Over the past several years developments in technology have made it possible for the artist to create reproductions in his studio using the computer, a scanner and inkjet printer. These reproductions are printed with the Epson 7600 and 2000P printers using Epson's Ultrachrome and Archival pigmented inks and papers. As of this writing they are rated as having fade resistance from 60 to 125 years when properly framed and exhibited.
The artist uses color profiling software to reproduce the colors of the original paintings and often it is difficult to tell the reproduction from the original.
These giclée editions are produced on 13" x 19" Epson Archival Matte and Watercolor papers except where otherwise indicated. The size of the image will vary, depending of course on the format of the original image itself. Some images need to be larger than others due to their format in relation to the size of the paper. Enough white border has been provided to offer your framer an opportunity to properly position the image. The artist has used his best judgment to determine the format for each reproduction.
We use the services of the PayPal system in order for you to make your purchase with a secure system. Simply click on the PayPal icon just below the reproduction you wish to order and you will be taken to PayPal's secure site where you can complete your order. With PayPal's Shopping Cart system you can place an order for several different reproductions at one time. After ordering one reproduction simply close the PayPal window to return to this page to order any additional reproductions. Then check the contents of your order by clicking in the View Shopping Cart icon on this page. Small reproductions are shipped flat in acid-free clear plastic sleeves encased in cardboard. It is not practical to ship large, full size reproductions flat. They are shipped rolled in acid-free clear plastic sleaves in hard cardboard tubes.
Caney Fork Snowfall, Watercolor
Giclée Edition sizes: 200 24" x 32" @ $150 each; 400 13" x 19" @ $50each; Unlimited Edition of 8.5" x 11" @ $25 each
Original painting: SOLD
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24" x 32" Edition
13" x 19" Edition
8.5" x 11" Edition
This winter snowscene of the Hunter barn in the Caney Fork area of Jackson County is typical of many you might encounter in western North Carolina. Viewers may remember two other paintings of this barn illustrated on this web site, After the Storm and Winter Flock. The Hunter barn has now almost totally fallen down.
Winton's Coat, Drybrush Watercolor
Giclée Edition size: 400 @ $40 each
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Original painting: Private Collection
Winton Shular lived with his wife Vena at their home on Chastain's Creek in the Caney Fork area of Jackson County. They have both passed on since this work was done.
My wife Wanda and I were introduced to them by some good friends. I did several paintings of subjects around their farm and was fortunate to have Vena pose for a portrait while she was lap quilting on her front porch.
Unfortunately Winton would not allow me to photograph him for a possible painting so I had to settle for his jacket hanging on the front porch wall instead.
For years Winton had been allowed to have his cattle "free-range" in the Nantahala National Forest surrounding his farm. He had recently been told by the Forest Service that he would have to pay a fee per animal in the future to continue this practice. He chose to fence in his property and when we were introduced as the "Forrests" he was immediately suspicious. Wanda then volunteered that her father was a forester ( timber cruiser ) and that was the nail in the coffin. There was no way I would ever be able to get him to pose.
I feel that this is representative of one of the finest drybrush watercolors I have ever done. It is interesting to note that this is a small painting and the reproduction is the same size as the original.
Drybrush starts out with a wash of watercolor upon which an artist builds successive layers of color using a brush with almost all of the water squeezed out. It truly is a building process. The more layers used, the stronger the final effect. Although colors are used opaquely, enough of the beginning wash should remain to provide a base for the final image. A combination of brush strokes and paint splatters ( both controlled and accidental ) with mostly pigment combine to achieve the finished work.
Weathered Oak, Watercolor and egg medium
Giclée Edition size 400 @ $50 each
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Original painting: Purchase information available on request
This is a barn that I have driven past hundreds of times without ever realizing it was there.
I received a call just before one Christmas from my friend Robert who was then recovering from a bone marrow transplant. He had been diagnosed with cancer and went to Duke University Medical Center for treatment. Unfortunately, some time later his condition worsened and he passed away. Robert started out by saying on the phone: "Carolyn and I own a barn that you should see to possibly use in a painting." Now if I had a dollar for every time someone told me about some barn or fence post or something...... That's really not what I'm about. But I know from past experience that when someone like Robert calls it's probably worth checking out. He wouldn't call if it was just any old barn. He said it was a very unique structure and quite large.
When I arrived it was misting rain, cold and miserable. We took my Jeep over to the barn and I made a few shots with my camera. Robert was right - this was a very large barn and it was quite interesting from all angles! In this image you are only seeing a little more than half of the front of the barn. Robert didn't seem to be doing very well, what with the weather and all, so I took him home and headed back to my studio.
Once I got home I started thinking about Robert, the barn, its condition, his condition.....I don't know, something sort of clicked. I talked about it with my wife Wanda some and she asked how I felt about possibly doing a painting of the barn. I said I didn't know - wasn't sure. She ended by saying she thought I should give it a chance ( and she hadn't even seen it yet. ).
The next morning it snowed. I asked Wanda if she felt like making a trip in the Jeep back over to the barn. She said sure so off we went - even took our Brittany! I had realized that the day before I hadn't gotten a shot of the front of the barn - the view that was really the strongest.
I did a painting titled "Worley Barn" ( Robert's wife Carolyn's maiden name ) first. It became sort of a prelude to "Weathered Oak". That old oak barn ( old timers around here call them stick barns because of the way they're made with logs ) came to almost be a symbol of Robert. It was almost like doing a portrait in a way. I used egg medium because I felt strongly about it.
The composition is what does it for me. There is what I call a tension point. It's the spot where the edge of the barn meets the tree line. If you could view the image upside down you'd see what I mean.
The barn is not situated on a site as depicted in the painting. It is a small plot next to a four lane highway. The tree is there but it's larger. I feel that this composition works well. I think of Robert sitting out there in my Jeep while I was making exposures with my camera..... the cold misting rain and snow the next day. It is a special painting.
Morning Thaw, Drybrush watercolor
Giclée Edition size 400 @ $35 each
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Original painting: Purchase information available on request
This reproduction is done from a drybrush watercolor of a herd of cows that were in the pasture across the road from the studio here in Cullowhee. The breed is Charlais.
As with the original painting this reproduction is viewed best outdoors in natural light. There are a lot of colors here which simply don't show up under indoor lighting or on a computer monitor. In the cows there are cerulean blue, cadmium red and permanent sap green just to name a few.
The scene was in January just after a light snow which was melting in the early morning light. The pasture is sort of bowl shaped which can be seen from the pattern of the cattle tracks in the snow. It was very cold and still. The grass would crunch underfoot as you walked on it.
10-10-10, watercolor and drybrush
Giclée Edition size 400 @ $50 each
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Original painting: SOLD
This old barn belongs to some friends of ours from Tuckasegee which is not very far from Cullowhee. The owner was storing fertilizer in the barn and I felt that the red in the logo of the fertilizer bags made a strong color statement against the muted tones of the rest of the scene. The tires and galvanized tub were a still life painting alone. The old hay rake wheel was doing a fine job of holding open the door. You may can just make out a hornet's nest under the eave.
The dark interior of the barn provides a nice element of curiosity for the viewer. What else lies hidden and out of view?
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