Tom Lockhart

“DYNAMIC GLOW” 24″ x 24″ Oil Blake Lockhart Style $2,200

“Fremont Thunder” 24″ x 24″ Oil Blake Style $2,000

“A View for Indian Peaks” 11″ x 14″ Oil $2,300

“Bear Tooth Morning” Beartooth Pass MT. 12″ x 16″ Oil $2,400.

“Heartland Sundown” 18″ x 28″ W/C CWS Award Winner $2,900.

“Morning in the Kawuneeche Valley” RMNP 11″ x 14″ oil $1,850.

“No Place Like Home” 24″ x 24″ Oil $2,500.

Ton Lockhart

Tom was Awarded Best of Show by the CWS Colorado Watercolor Society in 2007. Various Museum Exhibits include the Historical Society in Helena, Montana, The Brinton Museum in Sheridan, WY The Holter Museum in Helena, MT The Old West Museum in Cheyenne, WY The Governor’s Art Show at the Loveland Museum, Loveland, CO the Jackson Hole Lodge and the Wildlife Museum in Jackson Hole, WY

He is also a well-respected Workshop Instructor both, in the Studio as well as an Outdoor Painter (EN-PLEIN-AIR). He has taught at the Fechin Institute at The Branham Ranch in San Cristobal, NM, The Barn Site Studio in Kewaunee, WI, The Farmington Art Association in Farmington, NM, and The Amelia Island Art Association in Fernandina Beach, FL.2013 He also Judged the 50th Annual Shrimp Festival Art Show that same year and Numerous other Regional Exhibits in Colorado and TX

As a native Coloradan, Tom enjoys traveling around the country looking for Images of Inspiration, for his next series of Paintings. HE HAS A LARGE COLLECTION OF PLEIN-AIR PAINTINGS TO WORK FROM

Rob Hammer

COMING SOON!

Rob Hammer Photography

Meet the Artist:

Biography:

WILD WEST

For your Consideration:

Lynne Buss

Marquetry Landscapes of THE WEST .

Meet our artist:

Lynne Buss

My education and early work background are in manufacturing and mechanical engineering. After several years, I found myself seeking more creative work. Marquetry has been the perfect medium for me. It allows me to work in a tangible way, with a broad variety of woods to depict the soothing natural world of mountain scenery. Since 1985, I have shown my work at art shows, exhibitions and galleries. By continually seeking improvements in design, technique and materials, marquetry provides me with a rich source of problem solving opportunities that drive the creative process forward.

Capturing the beauty of mountains, lakes and valleys in natural wood varieties is my specialty. The variety of colors, textures and figuring available in the wood world is more extensive than most of us realize. I select from among the natural colors of individual wood species to bring out the best contrasts between all features of the design. My hope is that my sceneries will be a reminder of the spectacular beauty of our natural world.

Marquetry Landscapes of THE WEST defined:

What is the difference between marquetry and inlay?

The difference between inlay and marquetry: in marquetry pieces of wood veneer are applied to the surface of an object, such as a table top, while in inlay they are set into a depression

Lynne’s Technique:

Working from a prepared line drawing of the scenery being created, pieces of carefully selected exotic and domestic veneers are roughly cut for each feature of the design. A “saw pad” is constructed layer by layer incorporating each of the veneer pieces according to its place within the design. Using a motorized scroll saw, each feature is then cut away from the saw pad in turn. Once cutting is complete, the pieces of the” puzzle” are then sorted and taped together. The scene is then glued, applied to a backing board and clamped in a vacuum clamp. When secure, all the tape is removed and allowed to fully dry before sanding and finishing. Each piece is then mounted in a handcrafted frame. The back is finished with black felt, D hangers, framing wire and a description of the woods used within the scene.

Marquetry Landscapes of THE WEST for your consideration as matted prints in 2 sizes: 8″x10″ @ $32 and 11″x13″ @ $40
Original Marquetry maybe available for your consideration varying sizes.
Please call the Gallery for availability of these marquetry as originals for sizing and pricing if not listed below.

“Garden of the Gods”, matted print- $32 LB3-08P

“Hallett Peak Point”, matted print- $32 LB3-09P

“Mount Sneffels”, matted print- $32 LB3-10P

“Pikes Peak and Garden of the Gods”, matted print- $32 LB3-11P

“Eagle Fishing”, matted print-8″x10″- $32 LB3-13P

“Breckenridge”, matted print-8″x10″- $32 LB3-07P

“Howling at the Moon”, matted print-8″x10″- $32 LB3-03P

“Cougar on the Hunt”, matted print-8″x10″- $32 LB3-12P

“Mount Evans”, matted print- $32 LB3-15P

“Long’s Peak Sasquatch” matted print, LB3-05P $32

“Fall River Canyon’, matted print 8″x10” $32 LB3-01P

“Flatirons” matted print 8″x10″ $32 LB3-02P

“Maroon Bells” matted print 8″x10″ $32 LB3-06P

“Indian Peaks” matted print- 8″x10″ $32 LB3-14P

“Flatirons”, Original Marquetry Framed 16″x13″- JB3-16, $400

Details of Original Marquetry :

This fascinating geologic feature is seen near Boulder.

The wood types seen in this print of the original marquetry scene are: Sky – Purpleheart

Moon – English Sycamore Stars-Cubic Zirconia Mountains – Wenge

Flatirons – Figured Red Oak Flatirons Hills – Bloodwood Plains – Curly Maple

Cottonwoods – African Satinwood

“Pike’s Peak”, Orginal-16″x13″- LB3-11 $400

Details of Original Marquetry:

Named for explorer Zebulon Pike, this majestic mountain graces the Colorado Springs skyline.

Sky-Purpleheart Stars-Cubic Zirconia Moon-Sycamore

Mountain snow-Sycamore and Curly Maple Mountain-Makore Foothills-Wenge

Rock formations-Buttonwood and Curly Maple Shadows-Bloodwood

Foreground-Walnut Stump Frame-“Java” Stained Solid Red Oak

Andrew Busch

“As an impressionist landscape painter, I find my inspiration in the beauty of Colorado’s mountain streams and Southwest skies. When I paint, I try to convey both the visual essence of the scenery and my emotional connection with the land. I want to invite the viewer to experience the same peace and contentment I feel when painting, and possibly, to find their own story within the landscape.

By intentionally leaving certain details open to interpretation, I encourage viewers to actively engage with the artwork. Working primarily with palette knives and paint scrapers, I build up my paintings layer by layer. Through the additive process, I explore texture, color, and mark-making.

My hope is that my paintings transport viewers to the serene and awe-inspiring landscapes of Colorado, enabling them to pause, reflect, and find solace in the beauty that surrounds us.”

Andrew currently resides in Arvada, Colorado. He finds his artistic inspiration in the breathtaking landscapes that surround him. Embracing the “plein air” tradition, he ventures out to paint smaller works on location, capturing the essence of the Colorado scenery. For his larger pieces, Andrew uses the sketches and photographs created during his explorations and brings the scenes to life in his studio.

Drawing on a range of palette knives and paint scrapers, Andrew employs loose and expressive marks in his paintings, creating a distinct texture and visual interest. He meticulously adds layer upon layer to his artwork, and then skillfully scrapes back into the work, resulting in captivating depth and complexity.

Andrew’s artistic journey began with a solid foundation in both Math and Art, earning degrees from Calvin University. He received classical training in representational art, honing his skills in drawing and painting with a focus on realism. During this time, he even shared his expertise by teaching portraiture. However, his move to the Southwest ignited a transformative shift in his style, propelling him from realism into the heart of Impressionism.

Over the past several years, Andrew dedicated himself to developing his loose, energetic style, seeking guidance from various landscape and plein air painters. While he has been engaged in the art world for decades, he considers himself at the beginning of his professional artistic journey. Despite this, his artwork has already found a home in the collections of private art enthusiasts throughout the United States.

Paintings

AB1-01 “Three Horizons”-24″x30″ Framed acrylic, $800

Three Horizons, Moab

The skyline west of the Rockies is like nowhere else in this country. Pillars of red stone stand scattered through the land. The Rockies tower blue above them. My children groan as I get out of the car for yet another picture.

Monument Canyon

On the western slope of Colorado, the landscape begins to look a bit more like Moab. The hanging canyons of Colorado National Monument are stunning.

Chautauqua Trail

I sometimes forget how beautiful Boulder can be. Today, I went hiking in Chautauqua park. I didn’t get very far up the trail before deciding to paint. With all the rain this year, the colors were on full display.

Open Space in the Fall

Walking the open spaces centers me. Nature helps put things in perspective. I’m so thankful for these pockets of calm in our community. Pearce Park

Surrounded by Color

One of the iconic views of Golden–looking West from the bridge on Washington. Even after years of painting it, this view doesn’t get old.

Morning Vigil

Cradling my morning coffee in my hands, I sit by the mountain stream watching the sun slowly paint the rock face orange and red. Hay creek, near the Twin Eagles trailhead.

Clear Creek, Golden

One of the iconic views of Golden–looking West from the bridge on Washington. Even after years of painting it, this view doesn’t get old.

Dry Gulch

This gulch is a small walk from the Eastern entrance. Pinyon juniper and sage brush seem to grow from the rocks themselves: Colorado National Monument

Richard Raul

Rich says, “Using today’s digital cameras and software technology, the emotional connection to a landscape scene can be captured and thoroughly expressed through the digital process. So many times, a scene before me is so spectacular; there are no words to describe its beauty! That is the personal photographic moment I love sharing, with the hope of bringing forth a sense of ‘being there’ to my audience” which is what Rich strives for and delivers in every fine art piece of photographic work.

In addition to his love for the pursuit of iconic images, Rich thoroughly enjoys the handcrafted workflow from print to frame. Like the personal satisfaction of seeing a print job hot off the press, the same holds true for a beautiful landscape print exiting from a large format digital printer and then surrounded by a handmade frame.

Each piece of photographic art is uniquely handcrafted by Rich, a skill that sets him apart from other photographers. For Rich, it is a natural process that combines his experience as a fine art landscape photographer, printer and frame maker. The harmony of this workflow creates the organic lifestyle that defines who he is as a photographer and what makes him happy as an artist. He is forever grateful for the opportunity to share his love of nature and fine art landscape photography with local, national, and international audiences. It would be his honor to hang one of his masterpieces in your home or office.

Rich is a native of San Diego, California where he shares a family history dating back to the early 1900s. His mother is the descendant of South Dakota homesteaders who later settled in San Diego in the early 20’s. His father is the son of a former military officer in the Mexican army who migrated to the US in late 1919 after escaping his captor, Poncho Villa, during the Mexican Revolutionary War. His parents (Richs grandparents) soon met in Tucson, AZ and later settled in San Diego as well in the early 20’s.

After many years in San Diego and a few years in Anaheim, California, in 1968, Rich’s family moved to Albuquerque, New Mexico where he finished high school and became interested in classical guitar. In 1976 his interest in the guitar brought him to Denver to enroll in college at Metro State University for the sole purpose of seeking a music degree, but it wasn’t meant to be. In 1977 Rich was introduced to the offset printing industry. Fascinated by the printing process he took on numerous part time jobs that soon led to full time employment. By 1982 he started a small print shop where he became acquainted with the “process camera”; a large camera used to produce negatives which were essential to the offset printing process, very useful experience. By this time Rich was married with 3 kids and was using a Minolta 35mm film camera to capture photos of family and landscapes as a hobby. In 2005, following in the footsteps of the early pioneers of landscape photographers, Rich bought his first 4×5 large format film camera to teach himself the process of the art in black and white. He soon bought his first digital camera as well to focus on professional family and individual portraits. Weddings and real estate photography emerged as a new interest before returning to landscape photography as a professional in 2008. After 25 years in the printing business landscape photography became more than a hobby. The print shop was sold in 2008. Rich had his first landscape photography show at a pop-up Christmas store at a local shopping center in 2010. His love for the art has never ceased. Dedication and persistence have led him to where he is today.