756 results for "aspen"

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

This contemporary color photograph is a dipytch is in two photographs to be shown side by side, each image is 20 x 30 inches on 24 x 34 inch archival paper. The two photographs dir...

From The Jon Gould Collection of Andy Warhol Photographs This work is not signed by the artist, however, each photo is unique and blind embossed “Andy Warhol” in the lower right co...

From The Jon Gould Collection of Andy Warhol Photographs This work is not signed by the artist, however, each photo is unique and blind embossed “Andy Warhol” in the lower right co...

Cloud 9 Aspen, Colorado, USA - 2022 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edi...

Cloud 9 Aspen, Colorado, USA - 2022 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Editi...

Gondola Aspen, Colorado - 2023 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 52 x 78 inches 71 x 110 inches The 15-minute gondola ride up from heart of Aspen to the Sundeck restaurant at the peak of Aspen Mountain...

Kemo Sabe Aspen, Colorado - 2023 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available siz...

Kemo Sabe Aspen, Colorado - 2023 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available siz...

Bill Claps FOREST PALM mixed media on canvas 23.00 X 30.00 in My work has traditionally been characterized by immediacy and gesture, executed combining elements of both painting and...

My work has traditionally been characterized by immediacy and gesture, executed combining elements of both painting and drawing, and I typically have tapped into the instinctual and ...

MESTIA MOUNTAIN VALLEY 2 by artist Bill Claps is a white, gold, and brown contemporary landscape mixed media on canvas that measures 22 x 32 Visual artist and writer Bill Claps medi...

USHGULI WITH SHAKRA MOUNTAIN by artist Bill Claps is a white, gold, and brown contemporary landscape mixed media on canvas that measures 22 x 32 Visual artist and writer Bill Claps ...

It's All Derivative, Brigitte I, Negative by artist Bill Claps is a gold, black, and white contemporary figurative pop art mixed media with light gold foil on canvas piece that measu...

It's All Derivative, Brigitte I, Positive by artist Bill Claps is a gold and white with black contemporary figurative pop art featuring Brigitte Bardot, mixed media with light gold f...

Shangri La Big Sky, Montana - 2023 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 52 x 78 inches 71 x 110 inches "There is no ski resort story like Big Sky, Montana. The growth in the whole community is staggering and it is now established as one of the premier ski towns in the world. The proximity of the legendary Yellowstone Club...

Shangri La Big Sky, Montana - 2023 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 52 x 78 inches 71 x 110 inches "There is no ski resort story like Big Sky, Montana. The growth in the whole community is staggering and it is now established as one of the premier ski towns in the world. The proximity of the legendary Yellowstone Club...

Available in the following sizes: 52 x 62 inches, Edition of 12 71 x 86 inches, Edition of 12 “The Lodge at Vail was the first proper hotel to operate in a resort that arrived at the Colorado ski...

David Yarrow The Gold Digger Saloon, 2023 Signed and numbered by the artist Archival Pigment Print, framed Available in the following sizes: 52 x 76 inches, Edition of 12 71 x 107 in...

The Gold Digger Saloon Telluride, Colorado - 2023 LARGE 56” x 92” Unframed 71” x 107” Framed Edition of 12 STANDARD 37” x 61” Unframed 52” x 76” Framed Edition of 12 "This tab...

The Gold Digger Saloon Telluride, Colorado - 2023 LARGE 56” x 92” Unframed 71” x 107” Framed Edition of 12 STANDARD 37” x 61” Unframed 52” x 76” Framed Edition of 12 "This tab...

Leadville Leadville, Colorado - 2022 Edition Size: 20 Available sizes: STANDARD Image Size: 52" x 37" Framed Size: 67" x 52" LARGE Image Size: 79" x 56" Framed Size: 94" x 72" ...

Sizes: Large - Edition of 12 56” x 93” Unframed 71” x 108” Framed Standard - Edition of 12 37” x 61” Unframed 52” x 76” Framed Artist Statement: "We know North American ski ...

Kochevars, Crested Butte Crested Butte, Colorado - 2024 Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper. Available Sizes: Standard 37" x 59" Unframed 52" x 74" Framed Edition of 12 Large 56" x 88" Unframed 71" x 103" Framed Edition of 12 "Nestling in at 9000 ft and with only one road out in the winter, the former coal mining town of Crested Butte in Gunnison County, Colorado is not mainstream. But what it lacks in accessibility, it makes up aesthetically. It is an amphitheatre of pristine, uncluttered grandeur that reminds me somewhat of the Dolomites in Italy. This is one hell of a location and well worth the trip. It is only 18 miles, as the crow flies, from Aspen, but by road in winter it is a 202-mile journey. Such is the nature of the topography in Colorado. I think it is rather appropriate that there is such a distance in winter between the most famous ski resort in the world and the small community that is now dubbed “The last great Colorado ski...

Available in the following sizes: 52 x 62 inches, Edition of 12 71 x 85 inches, Edition of 12 “The railroad and mining community of Minturn – which dates to the 1880s - allows for...

The Lodge at Vail Vail, Colorado - 2024 Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper. Available Sizes: Standard 37" x 47" Unframed 52" x 62" Framed Edition of 12 Large 56" x 71" Unframed 71" x 86" Framed Edition of 12 "The Lodge at Vail was the first proper hotel to operate in a resort that arrived at the Colorado ski...

The Lodge at Vail Vail, Colorado - 2024 Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper. Available Sizes: Standard 37" x 47" Unframed 52" x 62" Framed Edition of 12 Large 56" x 71" Unframed 71" x 86" Framed Edition of 12 "The Lodge at Vail was the first proper hotel to operate in a resort that arrived at the Colorado ski...

Worth Avenue (B&W) Palm Beach, Florida (2025) Archival Pigment Print Also available in Colour. Provenance: From the collection of the artist. Standard Edition of 12, 3 APs, 1 EP Im...

Worth Avenue Palm Beach, Florida (2025) Archival Pigment Print Also available in B&W. Provenance: From the collection of the artist. Standard Edition of 12, 3 APs, 1 EP Image size:...

Code Red Minturn, Colorado - 2024 Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper. Available Sizes: Standard 37" x 47" Unframed 52" x 62" Framed Edition of 1...

Code Red Minturn, Colorado - 2024 Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper. Available Sizes: Standard 37" x 47" Unframed 52" x 62" Framed Edition of 1...

Flight Los Angeles, USA - 2022 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 37 x 61 inches 56 x 92 inches All prints are on 315gsm Hahnemühle photo rag Baryta paper and varnished after processing to give both endurance and sheen. Each is signed, dated and numbered on the front. Price includes David Yarrow's custom black ash frame, white archival matting and protective UV acrylic. For unframed, $1,500 will be deducted from the price. David Yarrow has built an unrivaled reputation for capturing the beauty of the planet’s remote landscapes, cultures and endangered animals. Born in Glasgow, Scotland in 1966, he is now an internationally acclaimed fine art photographer and Europe’s best selling wildlife photographer. "Private jets are mainstream in 2022. In celebrated American resort destinations such as Aspen, they can outnumber grounded commercial aircrafts 20 to 1. Flying privately makes travel comfortable and appeals to those long of cash and short of time, but to film in a private jet and merely tell a story of luxury, has always struck me as banal and creatively stiff. Instead, I wanted to use the tube of a private jet to tell a story of excess and bad behaviour; if jets are private, then by definition anything is permissible and the word PJ can elicit imagery of sex, drugs and rock and roll. It is not, of course, a linear relationship and most passengers on private jets are model citizens simply travelling in the most perfunctory of ways from A to B. But in the art world, I feel no need to play to percentages. I would rather have some fun and tell some stories. My focus was the PJ journeys that get out of hand. The real ‘Wolf of Wall Street...

"THE MOONSHOT COLLECTION Emerging from a long evolution stretching back nearly 50 million years comes the horse, a wild beauty, grazing peacefully on the plains, and then suddenly br...

Drawing (Green with Three Tongues), Pastel on CutOut Paper by Richard Smith, 1970 Additional information: Medium: Pastel on Cut-out Paper with Staples 99 x 143 cm 39 x 56 1/4 in Signed and dated Smith was a key figure in the British development of Pop Art. By 1970 when this work was executed, Smith was primarily concerned with the examination of the two-dimensional nature of painting and was experimenting in both his oils and his works on paper with extending the paint surface out into a three-dimensional space. In this work we see the added extensions in collage (the ‘three tongues’) to the normal rectangular format. The large scale is testament to the influence of advertising in Smith's late 60s and early 70s works. This work was made in the same year that Richard Smith represented Great Britain at the XXXV Venice Biennale, with a solo show in the British Pavilion. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. It was a hugely defining period in Smith's career, including the creation of his sculpture-cum-paintings 'Waterfall', 'Triangular' (both in the collection of Tate, London) and Sphinx Series (British Council), before he began developments towards his Kite Series in 1971. Charles Richard "Dick" Smith was an English printmaker and painter. Smith was born in Letchworth, Hertfordshire, to Doris (née Chandler), a nurse and daughter of a chemical company director. He studied at Hitchin Grammar School and Luton School of Art. After military service with the Royal Air Force in Hong Kong, he attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. He began to take the canvas off the stretcher, letting it hang loose, or tied with knots, to suggest sails or kites - objects which could change with new directions rather than being held rigid against a wall, and taking painting close to the realm of sculpture. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. After being awarded the Grand Prize at the 9th São Paulo Biennial in 1967 and important exhibitions at Kasmin in 1963, Tate in 1964, and Richard Feigen Gallery in 1966, Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. The freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design...

Major George Washington Littlefield died in 1920. He commissioned E. Martin Hennings around 1910 to do six large paintings of scenes from his 235,000-acre ( part of the XIT ) ranch to hang in his bank in Austin. I have included photos of the paintings hanging in the bank from the Littlefield Book. I am not sure, but the bank possibly went under sometime in the 197s-1980s. All of the art and antiques were stored, and they had a sale. We have 3 of the six murals that were commissioned by Littlefield. I have about 40 pages of info on Littlefield and the murals. Too much to enter now but I will be scanning that info later this week. The Littlefield mansion is still in Downtown Austin. At one time he was the richest man in the state. He was UT's biggest donor for several years prior to his death. The paintings are 34 x 130 35 x 144 35 x 119 Two are hanging in my friend's ranch house. The other is of a large herd of Hereford Cattle. It is actually pictured on the cover of the Biography of George Washing Littlefield. Littlefield, George Washington (1842–1920). George Washington Littlefield, cattleman, banker, and member of the Board of Regents of the University of Texas, son of Fleming and Mildred Terrell (Satterwhite) White Littlefield, was born in Panola County, Mississippi, on June 21, 1842. The family moved to Texas in 1850 after a confrontation between Fleming Littlefield and his wife's family. In marrying Fleming, her overseer, after the death of her first husband, Mildred in her family's eyes had married beneath her station, an action to which her family objected. George grew to young manhood on the family plantation near Belmont, Gonzales County, helping his mother to manage the place after Fleming's death in 1853. George received a basic education in Gonzales College and Baylor University, 1853–55 and 1857. With the outbreak of the Civil War in 1861 George enlisted in Company I, Eighth Texas Cavalry (Terry's Texas Rangers), which fought in the Army of Tennessee. Before his military career was ended at Mossy Creek, Tennessee, on December 26, 1863, by an exploding cannon shell, George rose to the rank of company commander, the youngest in his regiment, and fought at Shiloh, Perryville, and Chickamauga. At Mossy Creek he was promoted to major, a title by which he was addressed after the mid 1880s. Back in Texas after being discharged in 1864, he took control of a plantation belonging to himself and his brother, and "went to work to make the best, as he thought, of a miserable life, having to carry his crutches everywhere." During the war, on January 14, 1863, George married Alice Payne Tillar, with whom he had two children, both of whom died in infancy. In his business ventures thereafter, George Littlefield, who had a highly developed sense of family, utilized nephews and the husbands of nieces as managers. George's first year's farming after the war ended in disaster caused by three years of worm infestation and flood. Even the road-side store he opened, which prospered because George accepted barter, in particular cattle, could not make up for the losses. In 1871 he gathered a herd of cattle, half of which were his and the rest belonging to his brother, bought more, and drove the herd to Abilene, Kansas, where he sold the animals for enough to discharge all of his debts and leave him with $3,600 "to begin business." Over the next several years entrepreneur Littlefield opened a dry goods store in partnership with J. C. Dilworth in Gonzales, bought and trailed cattle, bought ranches in Caldwell and Hays counties, and developed his plantations. In the trailing business, Littlefield commonly bought his cattle, rather than, as most trailing contractors did, trailing them for a fee. He took the greater risk but reaped the greater reward in their sale. In 1877 Littlefield bought water rights along the Canadian River near Tascosa and established the XIT Ranch which he sold in 1881 for $248,000. Littlefield rejoiced that he had obtained "far more money than he had ever expected to have" and thought of retiring at thirty-nine years of age. But he did not retire, as "he learned. . .that the more money a man makes, the more he has to make, that a man's world opens up a little bit wider with each deal and demands become heavier." In 1882 Littlefield followed the advice of his principal ranch manager, half-nephew J. Phelps White, and purchased water interests sufficient to control some four million acres of land in New Mexico east of the Pecos River between Fort Sumner and Roswell, on which he established the Bosque Grande Ranch. In 1883 he bought the site of the first windmill on the New Mexico plains at the Four Lakes north of Tatum and developed the Four Lakes Ranch with windmills and barbed wire to control access to water and permit upgrading of stock. His cattle after 1882 carried his LFD brand on their right side. In 1887 Littlefield began acquiring land in Mason County, which soon spread over some 120,000 acres in adjacent Kimble and Menard counties, a ranch he put under management of half-nephew John Will White. In the 1890s Littlefield assembled acreage that came to be known as the LFD Farm in Roswell, New Mexico, on which he established an apple grove, grew forage for cattle, recruited his horses prior to the spring round-up, and maintained the pure-bred bulls that he used to upgrade his herds. Littlefield climaxed his ranching operation in 1901 with the purchase for two dollars per acre of 235,858 acres of the Yellow House (southern) Division of the XIT Ranch in Lamb and Hockley counties. To reach the prevailing wind above the escarpment at the ranch headquarters, Littlefield put up a windmill 130 feet tall to the top of the fan, claimed at the time to be the world's tallest windmill. In 1912 he established the Littlefield Lands Company under Arthur Pope...