SERIES: Historic California

ORIGINAL OIL PAINTINGS & GRAPHITE DRAWINGS OF HISTORIC CALIFORNIA
[Past Lived Lives]
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COMMENTARY:

“Thoughts on Painting Historic California” (scroll to bottom)

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PRICE LIST FOR CURRENT & PROJECTED WORKS
  • ORIGINAL OIL PAINTINGS
  • SELECT PREPARATORY STUDIES & SKETCHES RELATED TO OIL PAINTINGS: Graphite & Oil. Drawings sold matted. (limited discounts available)
  • ORIGINAL DRAWINGS (not related to Oil Paintings)
  • DISCOUNTS ON ORIGINAL OILS: Collectors, Broker & Galleries
  • Broker & Gallery Discount:  25% off List Price. (see charts below)
  • Added Broker & Gallery Discount: 15% off Prior Discount Price if purchased before completion, for a total Discount of 40%.  (see charts below)
  • Studio Sale (Collector) Discount: 20% off List Price. (see charts below)
  • Sales Tax: not included in the List Price. Will be added where applicable.
  • NOTE ON SHIPPING & INSURANCE:
    • Shipping & Insurance for Oil Paintings (Original & Sketches): If delivered, exact shipping & insurance added to subtotal (domestic & international). Original Oils and Oil Sketches are shipped UPS 2-Day (domestic). Shipping & insurance cost not included if buyer uses own shipper account.
    • Shipping & Insurance for Studies: Shipping & Insurance cost included in price (continental U.S. & Canada). Exact Shipping & Insurance added to subtotal if shipped outside continental U.S. & Canada. Shipping & Insurance cost not included if buyer uses own shipper account.
  • NOTE ON FRAMING:
    • Framing for Oil Paintings & Sketches, and Original Drawings: Not included in the List Price. If requested, exact cost only. (Note: framing will increase cost of Shipping & Insurance.)
    • Matting for Graphite Studies & Sketches: Included in the List Price.
  • ORIGINAL OILS:  Painted on linen/canvas.  Dimension varies.  Painted in the Artist’s signature style.  Limited palette used to bring out the fullness of Artist’s approach to theme and composition.  The Artist’s unique technique makes these Original Oils stand out and apart.  Original Oils are available framed, see Charts below.
  • SELECTED PREPARATORY STUDIES:  
    • Graphite & Oil Studies.  Drawn on acid-free drawing paper: 100lb. (260 gsm.) wt; or, acid-free watercolor cold-pressed paper: 140 lb. (300 gsm.) wt. Medium texture, regular or off-white. Limited use of charcoal and colored pencil.  No pastels.  Graphite Studies are sold matted.
    • Oil Studies painted on canvas; sold framed or unframed.  Oil Studies done to work out composition and color themes.
    • Selection made from multiple studies. (See charts below.)  Selected to highlight the approach, the attack, the cobbling together of the Original Oil.
  • SELECTED PERIPHERAL COMPLETED DRAWINGS (GRAPHITE): Drawn on acid-free drawing paper: 100lb. (260 gsm.) wt; or, acid-free watercolor cold-pressed paper: 140 lb. (300 gsm.) wt. Medium texture, regular or off-white. Limited use of charcoal and colored pencil.  No pastels. Peripheral Drawings are sold matted. Framing available.

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Prices and Conditions subject to change without notice.

Works purchased before completion are not subject to price changes and adjustments. 

CONTACT: stephengolay@gmail.com(209) 206-3758 (voice/text)

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SERIES (0200): HISTORIC CALIFORNIA

NOTE:

The sequence of any list does not indicate order of production.

Entries under “Sources” to be completed when the work is placed on the easel.

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(0201) “CARMEL MISSION: SAN CARLOS BORROMERO (Old View)”

San Carlos Borromeo de Carmelo Mission (Carmel CA). Established June 3, 1770 by Father Junipero Serra.

Interpretation of vintage photograph:  the mission chapel in utter disrepair.  Seems the image was taken as a memorial for some past lived life, soon to disappear by neglect of memory.

Grainy, a bit fogged in by the breathe of all who came this way – lived on, passed on. There is, in the image, both fragility and hope: fragility for something soon to disappear, and hope that, at least, some passer-by had an eye to preserve a fading habitation.

Our painterly ways take into account both the Mission’s fragile neglect and the voices of those who once occupied this place.  Picture out a memory bound over to disintegration. Do it thus, even tough we know the outcome: a restored Carmel Mission as the crown jewel of the California Missions. (Well, down the coast one or two may take issue with that!)

This work is related to a major, over-sized work  under the series The Provocatives, “Father Junipero Serra Welcomes the Mi-Wuk Tribe into Heaven”.  Links and and commentary posted there, especially on the Mission’s founder, Junipero Serra.

Blue tile image of our Lady of Carmel.  Special graphite & oil sketch available, see below

SOURCES

  • Official Site
  • Carmel Mission Foundation.  Excellent overview of its history and restoration.
  • California Missions Resource Center
  • Wikipedia: Carmel Mission
  • GOOGLE: General images.
  • Links & Resources on the California Missions 
  • Links & Resources on Junipero Serra
  • Links & Resources on the California Tribes
  • Links & Resources on the Spanish settlement of California
  • Links & Resources on the Russian interest in California
  • Links & Resources on the Missions in California Art
  • Links & Resources on the Missions in Literature
TITLE: “CARMEL MISSION: SAN CARLOS BORROMEO (Old View)” (oil on canvas) 48 x 72  (orientation: landscape) 
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%) Broker Pre- Completion Discount (Oil: 15%, total 40%) NOTE
0201 Original Oil 4,800 3,840 3,600 2,880
0201.a Study: Foreground 225 185 168.75 n/a
0201.b Study: Sky & Horizon 225 185 168.75 n/a
0201.c Study: Church #1 225 185 168.75 n/a
0201.d Study: Church #2 225 185 168.75 n/a
0201.e Study: Church #3 225 185 168.75 n/a
0201.f Graphite & Oil Sketch:
Our Lady of Mt. Carmel (Blue)
1,550 1,240 1162.40 n/a
PERIPHERAL COMPLETED DRAWINGS:note above on size and paper
0201.g Mission Church (Monterey) 675 540 496.25 n/a
0201.h Mission San Miguel Archangel (Old View) 675 540 496.25 n/a
0201.i Mission La Purisima Conception (Old View) 675 540 496.25 n/a
0201.j Mission San Antonio de Padua (Old View) 675 540 496.25 n/a
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(0202)  “CABLE CAR (Interior)”

A stark rendition: clarity of lines and form of a Cable Car’s interior without passengers & hangers-on.

But such vacant emptiness is not meant to be; it is not in the nature of the thing.  To lift a verse from Scripture – Cable Cars were made for man, that is, passengers, not man for cars (of any sort). So, how do Cable Cars serve Mankind?

Still, interpreting the calm of a car’s interior, before the stepping on of feet and the clutching of hands, has pictorial merit: the Cable Car at rest before the day’s onslaught of folks and such.

The vacancy of it, the transitory moment of the Car.

SOURCES

  • Moulin Studios (official site)
  • AMAZON:  San Francisco: Creation of a City by Tom Moulin. Photographic image for painting listed here
  • Commentary on Photographing Historic San Francisco
  • The Cable Car:  History, construction and operation.  This site’s loaded.
  • Market Street Railway:  Both Cable and Electric cars.  A preservation society.  Excellent & comprehensive.
  • GOOGLE:  Vintage images of Cable Cars
  • Links & Resources on Historic San Francisco
  • Commentary on Beauty & Engineering
  • Commentary on: What has painting Cable Cars to do with the Bay Area Figurative Art Movement?
TITLE: “CABLE CAR (Interior)” (oil on canvas) 36 x 42 (orientation: portrait)  (after Moulin Studios)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount (Oil: 15%, total 40%) NOTE
0202 Original Oil 4,800 3,840 3,600 2,880
0202.a Study: Section #1 225 185 168.75 n/a
0202.b Study: Section #2 225 185 168.75 n/a
0202.c Study: Section #3 225 185 168.75 n/a
0202.d Study: Section #4 225 185 168.75 n/a
0202.e Study: Section #5 225 185 168.75 n/a
0202.f Oil Sketch 1,550 1,240 1162.40 n/a
PERIPHERAL COMPLETED DRAWING: see note on size and paper
0202.g Embarcadero &Trolley (Old View) 675 540 496.25 n/a
0202.h Cable (California St. Line) 675 540 496.25 n/a
0202.i Cable (Sutter St. Line) 675 540 496.25 n/a
0202.j Cable (Telegraph Hill Line) 675 540 496.25 n/a
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(0203) “SAN FRANCISCO EARTHQUAKE (Fulton House View)”

[NOTE: This painting (and related drawings) are illustrations for the Artist’s novel, Forgiveness Sunday: A Marriage Redeemed in Sutter Creek. Notice pending]

After another Moulin Studio image.

This hurried passing-by shot captures that day’s devastation and the buried tremor of the City’s resilience. Stay put awhile, something boils under the rubble. Fear & hope.

The Great Earthquake & Fire of 1906 has been done, redone, and done over again: in stories, film, and visually. But never like this – on our canvas!

Maybe it’s the way the shadows lay deep – fire and smoke rumbling within seeking, as a devil, what it can devour – the image is mesmerizing, hypnotic. It is the chore of our brushwork to exorcise the prowling menace and tame it upon our canvas.

Composition Details & Commentary on the painting, and why this particular image, to be posted when preparatory studies begin.

SOURCES

  • Links & Resources on San Francisco’s Earthquake & Fire
  • The Moulin Studios
  • Commentary on Photographing the Earthquake
  • Links & Resources on the Great Earthquake in Literature
  • Commentary on why the Earthquake didn’t take the City Down & Under
  • Commentary on what the Earthquake Destroyed, Utterly
  • Commentary on how the City’s Response to the Earthquake Manifested the Ontological Character of California
  • Commentary on How Post-Modernism is Hell-bent on Subsuming the Great Quake to serve its Own Ends
TITLE: “SAN FRANCISCO EARTHQUAKE (Fulton House View)” (oil on canvas) 56 x 64  (orientation: landscape)  (after Moulin Studios)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount (Oil: 15%, total 40%) NOTE
0203 Original Oil 5,800 4,700 4,350 3,480
0203.a Study: Section #1 225 185 168.75 n/a
0203.b Study: Section #2 225 185 168.75 n/a
0203.c Study: Section #3 225 185 168.75 n/a
0203.d Study: Section #4 225 185 168.75 n/a
0203.e Study: Section #5 225 185 168.75 n/a
0203.f Oil Sketch 1,550 1,240 1162.40 n/a
PERIPHERAL COMPLETED DRAWING: see note on size and paper
0203.g Quake & Fire (Chinatown) 675 540 496.25 n/a
0203.h Quake & Fire (the Docks) 675 540 496.25 n/a
0203.i Quake & Fire (California St.) 675 540 496.25 n/a
0203.j Quake &Fire (Upper Van Ness) 675 540 496.25 n/a
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(0204) “CHINESE MINERS (BATHING)”

[NOTE: This painting (and related drawings) are illustrations for the Artist’s novel, Forgiveness Sunday: A Marriage Redeemed in Sutter Creek. Notice pending]

Who’s Lily? What has she to do with a redeemed marriage in Sutter Creek? The part Lily plays in the story is magnificent – and chilling. Lifting a quote  from it: “Even a whore is made a virgin by love.

The image snaps a scene of Chinese miners at day’s end: tense from labor, relaxed in the comfort of fellow companions and the washing of steaming water. The image’s simple yet firmly controlled composition draws the viewer into California Chinese life outside the colorful concoction of the Chinatowns.

A peaceful interlude between evening’s seclusion and the morning’s call to put do & out for someone else.

The image was taken during the build up to the Chinese Exclusion Act of 1881. For background see Jean Pfaelzer’s excellent history, Driven Out. This volcanic lashing out against the Chinese came, mostly, from Irish immigrants: an eruption of fear mingled with a mistrust of constitutional law. And, of course, with old-fashion bigotry mixed in: the sort the Civil War was unable to extinguish!

Pfalzer’s beautifully written book is generally free of the taint of that other bigotry:  the one sanctified by Post-Modernism and made righteous by the dogmas of Multiculturalism. Pfalzer tells the story well – straightforward with the right touch of advocacy,

The blot of Chinese persecution on California – the Golden Mountain of Promise – was a horrific and shameful one. Sadly, these days, its history (the history of anything)  is difficult to discuss without the intrusion of the (near religious) dogmas of Multiculti-Post-Modernism acting as the hermeneutical lens, matrix and sieve. That’s unfortunate, for the story – difficult as it is – is a fascinating one.

Thank God, that’s not how we paint! We serve no modern gods. Our Hog-Bristle Brush is quite atheistic on the fashionable religions of the day. Instead, from hope & faith, our brush  opens, across the canvas, the  story of the Chinese with  boldness of truth and the subtleties of respect.

* * *

Much taken with this vintage photograph. It beautifully illustrates the the themes & moods worked into the Artist’s novel, Forgiveness Sunday: A Marriage Redeemed in Sutter Creek (noted above). Which, also, explains the reference list (below) collected in drafting the book.

SOURCES

  • Commentaries – for there’s much to say about the Chinese in California – to be posted when we begin the preparatory studies.
TITLE: “CHINESE MINERS (Bathing)” (oil on canvas) 45 x 70  (orientation: landscape
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount (Oil: 15%, total 40%) NOTE
0204 Original Oil 6.800 5,440 5,100 4,080
0204.a Study: Miner (Standing) 225 185 168.75 n/a
0204.b Study: Miner (Squatting) 225 185 168.75 n/a
0204.c Study: Woman with Kettle 225 185 168.75 n/a
0204.d Study: Foreground, Left 225 185 168.75 n/a
0204.e Study: Background, Depth 225 185 168.75 n/a
0204.f Study: Background, Near 225 185 168.75 n/a
0204.g. Oil Sketch 2,850 2,280 2,077.50 n/a
PERIPHERAL COMPLETED DRAWING: see note on size and paper
0204.h Chinaman in 5the Delta 675 540 496.25 n/a
0204.i Chinaman Working the Rails 675 540 496.25 n/a
0204.j Chinaman Ruling Tea 675 540 496.25 n/a
0204.k China Lady in the Door 675 540 496.25 n/a
0204.h China Lady out the Door 675 540 496.25 n/a
0204.l China Doll, No More 675 540 496.25 n/a
0204.m Chinatown, Sacramento 675 540 496.25 n/a
0204.n Chinatown, Sutter Creek 675 540 496.25 n/a
0204.o Chinatown, Monterey 675 540 496.25 n/a
0204.p Chinatown, Sonora 675 540 496.25 n/a
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(0205) “COLUMBIA, CALIFORNIA (’45)”

NOTE: The related “Peripheral Drawings” are illustrations for the Artist’s novel, Forgiveness Sunday: A Marriage Redeemed in Sutter Creek. [Notice pending]

Columbia (Tuolumne County) has jostled for the title of Queen of the Gold Rush towns for decades – snatching it mostly from Nevada City, up Hwy 49.  (She may have settled for Queen of the Southern Mines – or, was that confiscated down the road by Sonora!)  Her later preservation as a historic state park can’t but help her buck up for whatever title is crowned her. Still, there’s nothing shy or staid about the town; her history has been rip-torn colorful.

As with most Gold Rush towns in the Mother Lode, it was the great wars of the past century that dragged Columbia through unsettling changes: the call-up of men, the First World War’s abrupt need for other materials and minerals than gold; all the uncertainties of war, depression – and then war again.  One would think such upheavals would deposit heaps of disruption across the Sierra Foothills – turning all into ghosts of things – it didn’t. What fell, like an afternoon shadow cast-off by the Sierra-Nevadas, was a stillness, an enclosure of quiet.

This is what has settled on the image before us, quietly bearing down the weight of that stillness.

* * *

Our painting is just that, an image of Columbia’s Main Street laid out under rustling whispers of a canopy of elms and oak, mid-summer 1945, before  the world changed forever.

This image (and painting) resonates with the Artist for the town, Sonora, that is, Tuolumne County, is his stomping grounds. A long enough stayed-put kind of place for an easel to plant itself and call it home.

SOURCES

  • Historic Columbia Excellent overview of the town’s history.  Good photo gallery.
  • Columbia State Park (official site)
  • Gold Rush Songs:  Hubert Brady sings (1879-1974).  No kidding! This guy was from Columbia.
  • The Chinese in Columbia
  • “Professional” women of Columbia
  • “My Gold Rush Tales”  by John Putman
  • GOOGLE: Images of historic Columbia
  • Links & Resources to the Gold Rush: social history
  • Links & Resources to Mining in California
  • Links & Resources to Tuolumne County
  • Commentary: Why the Mother Lode is the mother of us all
  • Commentary: Why would one live in Tuolumne County?
  • Commentary: What secret buries Tuolumne County – and, not it? And, the Frenchman, Jacque Ellul, has to do what with what in T. County? Are there really, truly avenging angels restraining the steeds of judgment at Heaven’s Gate?
  • Commentary: Is it worth another painting or two?
TITLE: “COLUMBIA ’45 (Main Street)” (oil on canvas) 40 x 64 (orientation: landscape) 
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount (Oil: 15%, total 40%) NOTE
0205 Original Oil 5,800 4,700 4,350 3,480
0205.a Study: Street, Left 225 185 168.75 n/a
0205.b Study: Street, Right 225 185 168.75 n/a
0205.c Study: Cars & Truck 225 185 168.75 n/a
0205.d Study: Trees, foreground 225 185 168.75 n/a
0205.e Study: Trees, background 225 185 168.75 n/a
0205.f Oil Sketch 1,550 1,240 1162.40 n/a
PERIPHERAL COMPLETED DRAWING: see note on size and paper
0205.g Mother Lode Main Street (Sonora) 675 540 496.25 n/a
0205.h Mother Lode Main Street (Jackson) 675 540 496.25 n/a
0205.i Mother Lode Main Street (Jamestown) 675 540 496.25 n/a
0205.j Mother Lode Main Street (Sutter Creek) 675 540 496.25 n/a
0205.k Mother Lode Main Street (Volcano) 675 540 496.25 n/a
0205.l Mother Lode Main Street (Drytown) 675 540 496.25 n/a
0205.m Mother Lode Main Street (Murphys) 675 540 496.25 n/a
0205.n Mother Lode Main Street (Ione) 675 540 496.25 n/a
0205.o Mother Lode Main Street (Mokelumne Hill) 675 540 496.25 n/a
0205.p Mother Lode Main Street (San Andreas) 675 540 496.25 n/a
0205.q Mother Lode Main Street (New Malones) 675 540 496.25 n/a
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(206) “MONTGOMERY STREET AFTERNOON (SAN FRANCISCO)”

After another Moulin Studio image: early 20th C.

Photo cropped to foreground the vertical thrust of the buildings, heighten the image’s twilight mood.

That mood: day’s over, late afternoon on winter’s edge; anticipated loneliness in the hour between work and evening: one of those hinge moments upon which half-opened doors creak.

As for the buildings, not a bit of loneliness. After all that overworked bustle the towers weigh down on the street with a light foot. A kind of twilight solidity. Workers and men may not, but the towers will be here still, tomorrow.

With dusk there is little traffic (this is not today’s Montgomery). No trolley in sight. On this stretch, never were any cable cars. The image is shadowed with weary slumber. An eeriness of secrets settles in, but one the sidewalk-men will take no note of. They are on their way out of here.

* * *

Have mangled the perspective. Horizon lines don’t quite mesh: adds to the undercurrent of anticipation (for a street finally at rest). Our working out teases the almost obsessive horizontal and vertical lines burdening the image. Second time around – if done – we’ll be more faithful!

* * *

“MONTGOMERY STREET was named after Commander John B. Montgomery of the United States sloop of war Portsmouth, whose marines and sailors took possession of Yerba Buena, July 9, 1846, and raised the flag on the plaza, which was afterward known as Portsmouth Square.” (S.F. Street Names)

SOURCES

TITLE: “MONTGOMERY STREET, AFTERNOON (San Francisco)” (oil on canvas) 34 x 448 (orientation: portrait)  (after Moulin Studios)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount (Oil: 15%, total 40%) NOTE
0206 Original Oil 5,800 4,700 4,350 3,480
0206.a Study: Sight-lines, upper 225 185 168.75 n/a
0206.b Study: Sight-lines, lower 225 185 168.75 n/a
0206.c Study: Cars 225 185 168.75 n/a
0206.d Study: Pedestrians 225 185 168.75 n/a
0206.e Study: Horizon 225 185 168.75 n/a
0206.f Study: Lower Facade (right) 225 185 168.75 n/a
0206.g Oil Sketch 1,550 1,240 1162.40 n/a
PERIPHERAL COMPLETED DRAWING: see note on size and paper
0206.h [to be posted] n/a
0206.i [to be posted] n/a
0206.j [to be posted] n/a
0206.k [to be posted] n/a
0206.l [to be posted] n/a
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(207)  “HAULING OUT THE BIG ONES (TO HUMBOLDT BAY)”

As with the construction of the Golden Gate Bridge, or Hetch-Hetchy Dam, there is a certain beauty to logging, milling, & the lives which took them up – who were, in truth, the artisans of these ways of life.  The painting here tells their story.

The image used for this painting comes from California’s far north (Humboldt County). What filters into view are two companion dignities: that of the handsome sturdy, heavenward Redwoods and the proud, brawny labor which fell them into its embrace.

Both are glories: one of Nature, one of Man. Both are mated to the same rising & falling.

Composition Details & Commentary on the painting, and why this particular image, to be posted when preparatory studies begin.

SOURCES

  • Links & Resources on the History of California’s Timber Industry
  • Links & Resources on the Righteous Dignity of Felling Coastal Redwoods
  • Links & Resources on the Righteous Preservation of Coastal Redwoods & Sierra Sequoias
  • Links & Resources on How to Make the Most of a Felled Tree
  • Links & Resources on the Redwoods & Sequoia in Art
  • Commentary on what Environmentalism the Religion just doesn’t get about Tree Felling
  • Commentary on the Global Gift of Harvesting California’s Timber, Mining & Agriculture
  • Commentary on why the Artist is so Mother Bear Protective of those who Shelter & Feed from their Labor at Timber Harvesting, Mining & Farming/Ranching
TITLE: “HAULING OUT THE BIG ONES (to Humboldt Bay)” (oil on canvas) 27 x 81  (orientation: landscape)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount (Oil: 15%, total 40%) NOTE
0207 Original Oil 5,800 4,700 4,350 3,480
0207.a Study: Engine 225 185 168.75 n/a
0207.b Study: Mid-Passage, train load #1 225 185 168.75 n/a
0207.c Study: Mid-Passage, train load #2 225 185 168.75 n/a
0207.d Study: Foreground #1 225 185 168.75 n/a
0207.e Study: Foreground #1 225 185 168.75 n/a
0207.f Oil Sketch 1,550 1,240 1162.40 a/a
PERIPHERAL COMPLETED DRAWING: see note on size and paper
0207.g Oxen Hauling the Logs 675 540 496.25 n/a
0207.h Falling the Big Ones in Humboldt 675 540 496.25 n/a
0207.i Falling the Big Ones in Calaveras 675 540 496.25 n/a
0207.j Falling the Big Ones in Tuolumne 675 540 496.25 n/a
0207.l Falling the Big Ones in Mariposa 675 540 496.25 n/a
0207.m Falling the Big Ones in Mendocino 675 540 496.25 n/a
* * *
THE THREE BIG ONES (PLUS)

The paintings below are definitely outsized. We’re talking big! The mental labor needed to hang their canvasses on the easel, to complete and send them forth, will be – no braggadocio, here! – over-the-top. That being so, we’ll post details and sources when we begin to manhandle their preparatory studies, hang their canvases on our easel.

You won’t be disappointed. For now, to get a sense of each, peruse the breakdown of their preparatory studies and oil sketches.

* * *

(208) “HOWARD STREET WHARF (SAN FRANCISCO)”

A magnificent panoramic image of a wharf (late 19th c.) in full throttle action. Energy pent-up, expended, crouching, pouncing.

Why this particular wharf and image was chose, the very reason & purpose of it? And, why in the world the novel, Forgiveness Sunday: a Marriage Redeemed in Sutter Creek, should intrude upon it.  For all that, later.

For now, to get a sense of the painting, peruse the breakdown of its preparatory drawings.

SOURCES

·         [Resources & commentary specific to the painting to be posted]

TITLE: “HOWARD STREET WHARF (San Francisco)” (oil on canvas) 40 x 160  (orientation: landscape)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount (Oil: 15%, total 40%) NOTE
0208 Original Oil 8,800 6,880 6,450 5,160
0208.a Study: Foreground, Boats #1 225 185 168.75 n/a
0208.b Study:  Foreground Boats #2 225 185 168.75 n/a
0208.c Study: Foreground, Dock & Boat, (right) 225 185 168.75 n/a
0208.d Study: Foreground, Dock &Buildings (left) 225 185 168.75 n/a
0208.e Study: Mid-Passage Buildings & Street (right) 225 185 168.75 n/a
0208.f Study: Mid-Passage Ship (right) 225 185 168.75 n/a
0208.g Study: Mid-Passage Central Ship #1 225 185 168.75 n/a
0208.h Study: Mid-Passage Central Ship #2 225 185 168.75 n/a
0208.i Study: Mid-Passage Central Ship #3 225 185 168.75 n/a
0208.j Study: Mid-Passage Central Ship #4 225 185 168.75 n/a
0208.k Study: Background#1 225 185 168.75 n/a
0208.l Study: Background#2 225 185 168.75 n/a
0208.m Study: Background#3 225 185 168.75 n/a
0208.n Study: Background#4 225 185 168.75 n/a
0208.o Oil Sketch, Left Passages 1,550 1,240 1162.40 n/a
0208.p Oil Sketch, Right Passages 1,550 1,240 1162.40 n/a
0208.q Oil Sketch, Mid-Passages 1,550 1,240 1162.40 n/a
0208.r Oil Sketch, Central Passages 1,550 1,240 1162.40 n/a
PERIPHERAL COMPLETED DRAWING: These are larger & more complex – therefore fewer, and priced other
0208.s Vallejo Wharf(San Francisco) 2550 2040 912.50 n/a
0208.t Steamboat Point (San Francisco) 2550 2040 912.50 n/a
* * * *
(209) “THE BROADWAY WHARF (SAN FRANCISCO)”

NOTE: This painting (and related drawings) are illustrations for the Artist’s novel, Forgiveness Sunday: A Marriage Redeemed in Sutter Creek. [Notice pending]

Another magnificent panoramic image of a wharf (again, late 19th c.) in full throttle action. Energy pent-up, expended, crouching, pouncing.

Pouncing upon the likes of Illyana Rostov, exiled to California – for there was an incident in St. Petersburg.

Why this particular wharf and image was chose, the very reason & purpose of it? And, why in the world the novel, Forgiveness Sunday: a Marriage Redeemed in Sutter Creek, should intrude upon it.  For all that, later.

For now, to get a sense of the painting, peruse the breakdown of its preparatory drawings.

SOURCES

  • [Resources & commentary specific to the painting to be posted]
TITLE: “THE BROADWAY WHARF (San Francisco)” (oil on canvas) 72 x 108  (orientation: landscape)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount (Oil: 15%, total 40%) NOTE
0209 Original Oil 10,800 8,640 8,100 6480
0209.a Study: Foreground, Ship (left) #1 225 185 168.75 n/a
0209.b Study: Foreground, Ship (left) #2 225 185 168.75 n/a
0209.c Study: Foreground, Ship (right) #1 225 185 168.75 n/a
0209.d Study: Foreground, Ship (right) #2 225 185 168.75 n/a
0209.e Study: Foreground, Dock 225 185 168.75 n/a
0209.f Study: Mid-Passage, Dock 225 185 168.75 n/a
0209.g Study: Background, Dock 225 185 168.75 n/a
0209.h Study: Mid-Passage, Ships (left) 225 185 168.75 n/a
0209.i Study: Mid-Passage, Ships (right) 225 185 168.75 n/a
0209.j Study:           Sky,Lower 225 185 168.75 n/a
0209.k Study:         Sky, Upper 225 185 168.75 n/a
0209.l Oil Sketch , Left Passages 1,550 1,240 1162.40 n/a
0209.m Oil Sketch, Right Passages 1,550 1,240 1162.40 n/a
0209.n Oil Sketch, Central Passages 1,550 1,240 1162.40 n/a
0209.o Oil Sketch, Horizon Passages 1,550 1,240 1162.40 n/a
PERIPHERAL COMPLETED DRAWING: These are larger & more complex – therefore fewer, and priced other
0209.p Mission Street Wharf(San Francisco) 2550 2040 912.50 n/a
0209.q ( to be selected ) 2550 2040 912.50 n/a
 * * *
(02010) “THE FLOWER SELLER, GEARY STREET (SAN FRANCISCO)”

A striking image of a San Francisco street.

Due to our election of values, hues, lines vs. form, this painting – besides being outsized – will be a bit disturbing since the painting’s subject seems so domestic, so pedestrian – flower sellers.

Within its ordinariness there’s a concentration of anticipation: the hurried waiting for a day’s closure, the going home; someone’s  flower choosing, a flower seller’s own homeward distraction; row of antique cars, waiting: for whom, and when for whom to where.

[NOTE: the painting will be unusually assembled and framed. You will see!)

For now, to get a sense of the painting, peruse the breakdown of its preparatory drawings.

SOURCES

  • [Resources & commentary specific to the painting to be posted]
TITLE: “THE FLOWER SELLER, GEARY STREET (San Francisco)” (oil on canvas) 78 x 108 (orientation: landscape)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount (Oil: 15%, total 40%) NOTE
02010 Original Oil 12,600 10.080 9,450 7,560
02010.a Study: Foreground, Boy (left) 225 185 168.75 n/a
02010.b Study: Foreground, Man (left) 225 185 168.75 n/a
02010.c Study: Foreground, Boy & Man (left) 225 185 168.75 n/a
02010.d Study: Foreground, Flowers & Sidewalk 225 185 168.75 n/a
02010.e Study: Mid-Passage, Flowers #1 225 185 168.75 n/a
02010.f Study: Mid-Passage, Flowers #2 225 185 168.75 n/a
02010.g Study: Mid-Passage, Flowers #3 225 185 168.75 n/a
02010.h Study: Mid-Passage, Women & Man 225 185 168.75 n/a
02010.i Study: Mid-Passage, Sidewalk (right) 225 185 168.75 n/a
02010.j Study: Mid-Passage, Car (left) 225 185 168.75 n/a
02010.k Study: Mid-Passage, Cars (right) 225 185 168.75 n/a
02010.l Study: Background (right) 225 185 168.75 n/a
02010.m Study: Background (left) 225 185 168.75 n/a
02010.n Oil Sketch,  Left Passages (including background) 1,550 1,240 1162.40 n/a
02010.o Oil Sketch , Central Passages #1 (including background) 1,550 1,240 1162.40 n/a
02010.p Oil Sketch, Central Passages #2 (including background) 1,550 1,240 1162.40 n/a
02010.q Oil Sketch , Central Passages #3 (including background) 1,550 1,240 1162.40 n/a
02010.r Oil Sketch , Right Passages (including background) 1,550 1,240 1162.40 n/a
PERIPHERAL COMPLETED DRAWING: see note on size and paper
02010.s ( to be selected ) n/a
02010.t ( to be selected ) n/a
 * * *
  THOUGHTS  ON PAINTING HISTORIC CALIFORNIA
(Picturing Out Past Lived Lives)

* * *

What to paint?  How to?  Much relied, though. We have sworn off expectations of doing too much of doing what others do too much of!

In short, we read Historic California independently, yet faithfully. We map our own vision of the place.

With overloaded mapping gone are we left guide-less and road-less?  No, for what does get mapped comes from tested intuition.  We look-about, look in, and make (painterly) manifest what is seen..

Painting-out these visions of Historic California, not much different than how we did our Native American Chiefs & Warriors. As with them, we select, choose, and discriminate images severely. We construct the palette with a steady eye on the subject, choreographing brushstrokes to move with the images’ interior life.

And, as with the Chiefs, we are humbled by our selected images of Historic California. Humility is the only hand which can rightly pick up the past lived lives of other Californians; for only through humility can such lives be eyed. Our time and age landing on the images they snapped of themselves.

Election (ours) upon an election (theirs).

* * *

Staying close (faithful) to the images of past lived lives tightens up the look-about, concentrates the imagination’s attention.

As we work out the images upon paper & canvas something within unwinds. Like discarding one’s shroud – upon the voice of a friend – a once lived life resurrects.

* * *

Of all the past lives of California which ones should our brush take up?  Bias enters here. We plant our easel on the plots the Artist has lived out his own California life. Topping any list of places to paint:

Know that doesn’t cover the state but should be enough.  (Could add Shasta.) California is more than any one artist’s vision or interpretation, but what does get picked up is caught by a chastened roving eye. So, also with this Artist.

The eye sees all but does not capture all for brush and canvas: there are prohibitions. This is always so with selection and election.

For instance, you will see little of landscape here.  Even with the Mother Lode being the Artist’s premier roped off place, the focus is not on “pure” landscape.  Wherever the easel plants itself our art eyes Man upon the land, paints up human labor and habitation.

Man, imaging God, is the creator of California, shadowing what God did in Eden, making the Garden a dwelling place. He can do so because – in Eden – Mankind was born as the Crown of Creation, even of the Sierra-Nevada Foothills.

Mankind upon the land is our measure of what to draw and paint.

* * *

Not that we have no eye for (pure) landscape. Many of our Past Master Mentors were landscapists (in part): such as Constable, or Rembrandt as seen in his masterful drawing of “Three Trees“.

We’re bracketing out (pure) landscape because the market is quite glutted with the stuff.  Most of it being derivative – Impressionism done and done, and redone. Even the good-lookers among them smother out, from the trade, fresh vision.

What matters, what counts is Mankind (man and all his works).  Even Rembrandt’s “Jewish Bride” and portrait of “Jan Six” intrudes into the grove of the “Three Trees”; wagons and cathedrals crisscross and settle upon Constable’s “Salisbury Plain”.

Bottom-line, our eye is on the lookout for lives lived (past or present) upon the shores, valleys, and mountains of California.

* * *

This holds, especially, for our use of vintage photography.

These images tell much about Californians who lived their lives – and that, fully – in a time they, themselves, saw as complete and open.

Our patient looking upon their images reveals their stories.  Once read, brush and oils can paint up their liveliness.

One complaint – not ours, but heard!  Vintage photography, it is said, is too poised, too stilted; that somehow our contemporary, casual, chopped (PhotoShopped, YouTubed) look is more truthful and authentic.

Says, who!

Doubt if those vintage folks (no less men or Californian than we) would agree, or give a rat’s tail damn! One could, easily, make the argument that our modern gaze in the mirror – for all its urbanity and casualness – has less truth and authenticity than the assumed overly poised and stilted look of our forefathers.

Even if that distinction is close to being definitive (which it is not) our vintage ancestors should not be shunted aside for being poised.  They arranged themselves, for the camera, to capture a chosen self-perception or memory.

By now, you should know how much we love selection and election!

* * *

Is there a pattern to our selection of how others elect to image themselves?

We only ask that the self-elected images of others be honored: at the least, draft an honest curiosity about their way of looking-about.

We, ourselves, would like to think that our progeny would take interest in our own PhotoShopped, YouTubed age!  From their (yet-to-be) removed distance we will need their looking at us, their curiosity, to affirm the certainty that we once were.

Saying all that, we must confess anxiety. The future hope of being searched out and found – maybe even painted-up – is bound up with a trembling, quivering knowing that our Post-Modern, Multicult notion of personhood is itself unstable, fickle, and fleeting.

Maybe it all falls down and under – folds into the knowledge we resist – that within the most startled moments of our disturbed nights we fear there will be no great-grandchildren to take a look at us, to cherish our images – or give a damn!

So, you see, we have nothing over vintage Californians!  We draw and paint them as they are – and with honor.

For, to be frank and truthful, we paint them as we, ourselves, would wish to be painted.

* * *

© Stephen L. Golay

 

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