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THE ARTIST - JOHN PAUL STRAIN
Artist John Paul Strain captures the color, drama and heroism of the Civil War with a vivid realism that is unique among the nation's top-ranking historical artists. A native Southerner born in Nashville, Tennessee, John Paul Strain has studied American History and the War Between the States in particular practically all of his life. He received his formal training at BYU, polished his professional techniques as an illustrator for the U.S. Department of Energy, and soon afterwards entered the field of historical fine art, prints and posters.
His work met immediate success and was showcased at a premiere gallery in the Rocky Mountains. Acclaimed for his paintings of the Old West, he eventually moved to Texas to work full time in the field of historical art. His early art, prints and posters depicting Civil War subjects produced the same enthusiastic response as his Western Art, and in the 1980s John Paul Strain began to concentrate on the Civil War. Few artists in the field have gained such widespread popularity so quickly.
His art, prints and posters are now acclaimed among collectors, who prize his studies of Lee, Jackson, Forrest and other Civil War leaders, as well as his scenes of conflict and pageantry. His distinctive artistic style, which combines bright colors and contrasting shadows, and his devotion to historic authenticity have dramatically increased his popularity. Today, his original art is displayed throughout America and among collectors of fine art limited-edition Civil War prints. Artist John Paul Strain has become an American favorite.
John Paul Strain S/N Limited Edition Artist Proof Print "Sunrise Strategy" with Remarques
Generals R.E. Lee, Longstreet, A.P. Hill & Col. Alexander
Lutheran Theological Seminary - Gettysburg, PA - July 2, 1863
150th Anniversary of the Battle of Gettysburg Series
This is the second in a series of three prints commemorating the Battle of Gettysburg.
Each print commemorates each of the three days of battle.
General Lee was up before daylight on the morning of July 2nd. He had given General Longstreet orders the previous afternoon to have the First Corps in position at daybreak for an attack on Cemetery Hill, to secure the heights, and to crush the remnants of the Federal I and XI Corps that had been defeated the previous day. A little after 4:00 AM, General Lee rode over to observe the Federal position on Cemetery Hill. To his surprise, the Federals had not yet reinforced their troops during the night at this key position. With his binoculars Lee could see that nearly all the south ridge was unoccupied.
Lee then turned his binoculars in the direction where he expected to see Longstreet's Brigades forming into lines of battle. But incredibly, no one was there. It would seem the theme of the day would become, "Where was Longstreet". The Federal Army was gathering, traveling all night in haste to face Lee's Army. Precious minutes were slipping away as Lee observed brigades appearing on the heights.
Riding over to the Lutheran Theological Seminary, Lee sent his adjutants to inquire after his Corp commanders Longstreet and Ewell. Soon after Major Venable had ridden off, Longstreet arrived and informed General Lee that his columns were not far behind. However, Longstreet had ordered most of his command to start towards the battlefield after sunrise, thus delaying the First Corps arrival.
Longstreet continued his ongoing discussion and disagreement over battlefield strategy. General Lee listened respectfully, but was firm in his resolve to attack the Federals on Cemetery Hill. General A.P Hill was there wearing his "red battle shirt". Other division commanders arrived and were given orders for their brigades. Colonel Alexander came up to report that the artillery of the First Corps had arrived, and Longstreet gave him instructions to place the batteries where General Lee wished them.
The short window of General Lee's sunrise strategy to crush the Federal Army was gone. Lee's army now faced 85,000 Federal soldiers holding the high ground. General Lee, lamenting how his first plan had not been executed, kept repeating the same words to officers he would meet throughout the day, "We did not or could not pursue our advantage."
19-1/2" by 25-3/4" image size Artist Proof print, limited to 75, signed by the artist - $300
(Artist Proof Edition includes two remarques, shown below)
Also available in the following Formats:
Image Size 19-1/2" by 25-3/4", Limited to 350, signed by the artist - $200
S/N Executive Canvas Giclees, Image Size 30-1/8" by 40", Limited to 10 - $1200
S/N Artist Proofs Executive Canvas Giclees, Image Size 30-1/8" by 40", Limited to 4 - $1400
Remarques on Lithographic Artist's Proof
Print Edition Only.
All Limited Edition prints are signed and numbered (S/N) by the artist and include a Certificate of Authenticity. Limited Edition prints are restricted to a certain number. For example, if 400 prints are made from an original painting, once they’re gone, that’s it. There is no limit to the number of open edition prints of a particular painting. That’s why Limited Edition prints are more expensive — and more valuable to collectors — than "open" edition. Rare objects are more valuable.
An Artist’s Proof (AP), generally, is the first 10% of the Limited Edition prints that come off the press. If the Limited Edition is 400 s/n, there would be 40 APs. This status is noted on the print. Collectors prefer APs because their value increases even more than a Limited Edition as time goes by.
A remarque is a pencil drawing done in the white border area of an art print. The subject of the remarque is usually determined by the artist. Each remarque is a piece of original art which adds to the value of the print by making that particular print unique and exclusive from the rest of the prints in the edition.
All Limited Edition artwork is subject to availability at time of order. Although seller strives to remain current as to inventory, seller reserves the right to cancel a sale if item is no longer available at time of purchase.
Artist John Paul Strain captures the color, drama and heroism of the Civil War with a vivid realism that is unique among the nation's top-ranking historical artists. A native Southerner born in Nashville, Tennessee, John Paul Strain has studied American History and the War Between the States in particular practically all of his life. He received his formal training at BYU, polished his professional techniques as an illustrator for the U.S. Department of Energy, and soon afterwards entered the field of historical fine art, prints and posters.
His work met immediate success and was showcased at a premiere gallery in the Rocky Mountains. Acclaimed for his paintings of the Old West, he eventually moved to Texas to work full time in the field of historical art. His early art, prints and posters depicting Civil War subjects produced the same enthusiastic response as his Western Art, and in the 1980s John Paul Strain began to concentrate on the Civil War. Few artists in the field have gained such widespread popularity so quickly.
His art, prints and posters are now acclaimed among collectors, who prize his studies of Lee, Jackson, Forrest and other Civil War leaders, as well as his scenes of conflict and pageantry. His distinctive artistic style, which combines bright colors and contrasting shadows, and his devotion to historic authenticity have dramatically increased his popularity. Today, his original art is displayed throughout America and among collectors of fine art limited-edition Civil War prints. Artist John Paul Strain has become an American favorite.
John Paul Strain S/N Limited Edition Artist Proof Print "Sunrise Strategy" with Remarques
Generals R.E. Lee, Longstreet, A.P. Hill & Col. Alexander
Lutheran Theological Seminary - Gettysburg, PA - July 2, 1863
150th Anniversary of the Battle of Gettysburg Series
This is the second in a series of three prints commemorating the Battle of Gettysburg.
Each print commemorates each of the three days of battle.
Lee then turned his binoculars in the direction where he expected to see Longstreet's Brigades forming into lines of battle. But incredibly, no one was there. It would seem the theme of the day would become, "Where was Longstreet". The Federal Army was gathering, traveling all night in haste to face Lee's Army. Precious minutes were slipping away as Lee observed brigades appearing on the heights.
Riding over to the Lutheran Theological Seminary, Lee sent his adjutants to inquire after his Corp commanders Longstreet and Ewell. Soon after Major Venable had ridden off, Longstreet arrived and informed General Lee that his columns were not far behind. However, Longstreet had ordered most of his command to start towards the battlefield after sunrise, thus delaying the First Corps arrival.
Longstreet continued his ongoing discussion and disagreement over battlefield strategy. General Lee listened respectfully, but was firm in his resolve to attack the Federals on Cemetery Hill. General A.P Hill was there wearing his "red battle shirt". Other division commanders arrived and were given orders for their brigades. Colonel Alexander came up to report that the artillery of the First Corps had arrived, and Longstreet gave him instructions to place the batteries where General Lee wished them.
The short window of General Lee's sunrise strategy to crush the Federal Army was gone. Lee's army now faced 85,000 Federal soldiers holding the high ground. General Lee, lamenting how his first plan had not been executed, kept repeating the same words to officers he would meet throughout the day, "We did not or could not pursue our advantage."
19-1/2" by 25-3/4" image size Artist Proof print, limited to 75, signed by the artist - $300
(Artist Proof Edition includes two remarques, shown below)
Also available in the following Formats:
Image Size 19-1/2" by 25-3/4", Limited to 350, signed by the artist - $200
S/N Executive Canvas Giclees, Image Size 30-1/8" by 40", Limited to 10 - $1200
S/N Artist Proofs Executive Canvas Giclees, Image Size 30-1/8" by 40", Limited to 4 - $1400
Remarques on Lithographic Artist's Proof
Print Edition Only.
All Limited Edition prints are signed and numbered (S/N) by the artist and include a Certificate of Authenticity. Limited Edition prints are restricted to a certain number. For example, if 400 prints are made from an original painting, once they’re gone, that’s it. There is no limit to the number of open edition prints of a particular painting. That’s why Limited Edition prints are more expensive — and more valuable to collectors — than "open" edition. Rare objects are more valuable.
An Artist’s Proof (AP), generally, is the first 10% of the Limited Edition prints that come off the press. If the Limited Edition is 400 s/n, there would be 40 APs. This status is noted on the print. Collectors prefer APs because their value increases even more than a Limited Edition as time goes by.
A remarque is a pencil drawing done in the white border area of an art print. The subject of the remarque is usually determined by the artist. Each remarque is a piece of original art which adds to the value of the print by making that particular print unique and exclusive from the rest of the prints in the edition.
All Limited Edition artwork is subject to availability at time of order. Although seller strives to remain current as to inventory, seller reserves the right to cancel a sale if item is no longer available at time of purchase.
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