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| "Snow White" |
$500.00 |
"Snow White"
Giclee on Canvas
Size: 35 x 26
Edition Size: 950
Monte Trevor Carlton was born in 1972 in Olympia, Washington State. Although he took up painting in high school, the first artistic passion that Trevor embraced was acting. He decided to forgo an art scholarship in favor of attending a dramatic arts scholarship at Skagit Valley College.
Trevor next attended the Lee Strasberg Acting Workshop. The following year he relocated to Los Angeles to pursue an acting career. Amidst the chaos of auditions and callbacks, Trevor paid the bills by working in a custom furniture store, specializing in antiquing and faux finish designs.
It was here that a style was born. Using reclaimed lumber as his "canvas", he started painting images of vintage Americana with subjects ranging from pop icon celebrity to the hey day of jazz.
After numerous gallery shows in Los Angeles and private commissions he has now combined his unique style to that most American of symbols, MICKEY MOUSE. Along with a series of classic lobby card paintings, he has also created a performance piece that has him painting a large canvas of our favorite Disney characters in a matter of minutes. |
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| "Ticked Off Mickey" |
$900.00 |
"Ticked Off Mickey"
Acrylic on Canvas
Size: 18 x 18
Edition Size: 95
Monte Trevor Carlton was born in 1972 in Olympia, Washington State. Although he took up painting in high school, the first artistic passion that Trevor embraced was acting. He decided to forgo an art scholarship in favor of attending a dramatic arts scholarship at Skagit Valley College. Trevor next attended the Lee Strasberg Acting Workshop. The following year he relocated to Los Angeles to pursue an acting career. Amidst the chaos of auditions and callbacks, Trevor paid the bills by working in a custom furniture store, specializing in antiquing and faux finish designs. It was here that a style was born. Using reclaimed lumber as his "canvas", he started painting images of vintage Americana with subjects ranging from pop icon celebrity to the hey day of jazz. After numerous gallery shows in Los Angeles and private commissions he has now combined his unique style to that most American of symbols, MICKEY MOUSE. Along with a series of classic lobby card paintings, he has also created a performance piece that has him painting a large canvas of our favorite Disney characters in a matter of minutes. |
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| "Aurora's Rescue" |
$1,200.00 |
"Aurora's Rescue"
Giclee on Canvas
Size: 24 x 36
Edition Size: 300
Born in 1913, barely a year before World War I was to assail England with bomb-dropping zeppelins and an economic downturn that would last for decades, master painter Peter Ellenshaw would spend his early years in hardship. “War was the devil that haunted all of us, driving out happier memories,” he writes in is pictorial autobiography, “Ellenshaw Under Glass” (Camphor Tree Publishers, 2003).
Ellenshaw’s father died in 1921, and his mother soon married the groundskeeper on an estate in Kent. Ellenshaw’s biological father had family living in Wilton Castle, near Enniscorthy, Ireland, and prior to his father’s death, Peter had been attending a private school in which he was taught, among other things, fine social graces. This ended abruptly as his mother remarried and his family moved into cramped living quarters on the estate his new stepfather tended to. Here, instead of kindly doffing his hat for the ladies, the seven-year old Ellenshaw was enlisted for the purpose of holding the lantern while the latrines were emptied at night.
Recurrent and frequent childhood illnesses left Peter unable to pass the basic entrance exams for grammar school, and at his mother’s suggestion, he became an auto mechanic at 14. Simultaneously, his mother also encouraged him to develop his artistic talent, especially painting and drawing. It was in this manner that Peter managed to keep his floundering self-esteem afloat. “[I] Certainly developed an inferiority complex,” he wrote years later. “because in England, dirty unskilled work was the lowest rung on the social ladder.”
It was around this time that Ellenshaw had a chance meeting with a local artist who would later mentor him not only in painting on canvas, but in painting on glass for the purpose of creating matte backgrounds for film. This man would play a pivotal role in his life in several ways. Percy “Pop” Day, as he was called, was to become a legend in pioneering visual effects for film. Later a recipient of the O.B.E., Day’s relationship with Ellenshaw became one of mentor-apprentice, as the younger of the two began working alongside the elder doing visual effect work for studios.
After serving his country as an RAF pilot in World War II, Ellenshaw returned to work for Mr. Day at the studios. After a brief yearlong stint at MGM, Ellenshaw left in 1947 upon receiving a call to work for Walt Disney Studios on the film, “Treasure Island”. As it turned out, his partnership with Disney would last over thirty years and earn him five Oscar nominations. For his work on “Mary Poppins” in which he recreated scenes of Edwardian London in 102 different mattes, he won an Academy Award. Walt Disney became Ellenshaw’s mentor and friend, spurring him on continually to perfect his craft and push the creative envelope. “Walt was the dominant figure in my life for all those years,” he wrote years later. “He talked to me as a father would. I cherished our relationship.” However, after Walt Disney passed away in 1968, making movies wasn’t the same anymore. “After Walt was gone, things were different,” he wrote in his autobiography. “I ceased to be as interested in film making.”
At this time more than ever, Ellenshaw became more engrossed with “his second career” – painting landscapes for the sheer beauty of it. By 1968, it was occupying every possible spare moment as he scurried to keep up with the demand created by galleries and collectors.
Disney’s “The Black Hole” in 1976 was Ellenshaw’s last film for Disney Studios, viewed both as an artistic masterpiece and a cinematic failure. Ellenshaw began to broaden his Hollywood horizons at that point, working on “Superman IV” with son Harrison in 1984.
The work of Peter Ellenshaw is represented in both public and private galleries worldwide. He has been the recipient of numerous honors and awards, including those by the American Film Institute, the Museum of Modern Art in New York, the Film Institute in Chicago, the Academy of Motion Picture Arts and Sciences, the R.W. Norton Art Museum in Shreveport, Louisiana, and the Disney Legends Awards.
Now in his nineties, Peter Ellenshaw still enjoys the daily regimen of “his second career” and paints nearly every day. |
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| "Blue Castle" |
$1,100.00 |
A wooden puppet, Pinocchio, is brought to life by the Blue Fairy, with the promise that he can become a real boy if he proves himself worthy. Pinocchio is led astray by the wicked Honest John and his companion Gideon, who turn him over to an evil puppeteer, Stromboli. Pinocchio is sent to Pleasure Island, where wicked boys are turned into donkeys, but he escapes with the aid of his friend and conscience, Jiminy Cricket, and eventually redeems himself by saving his father, Geppetto, who has been swallowed by Monstro, the whale. The Blue Fairy rewards Pinocchio by turning him into a real boy.
"Blue Castle"
Giclee on Canvas
Size: 18 x 27
Edition Size: 195
eter and Harrison Ellenshaw
Introducing the Collaborative Art of Peter and Harrison Ellenshaw.
As a visual effects designer and filmmaker, Harrison Ellenshaw's work can be seen in such films as STAR WARS, TRON, THE EMPIRE STRIKES BACK, CAPTAIN EO, DICK TRACY, and many others. He has also had a successful career as an artist with one-man shows of his paintings in London, New York, and San Francisco.
Peter Ellenshaw has received five Academy Award® nominations, winning the Oscar® for his stunning recreation of Edwardian London in the Walt Disney's classic, Mary Poppins. Throughout the years, Ellenshaw has sought to capture the drama and emotions of many different scenes. His work is represented in both public and private collections worldwide. He has received numerous honors and retrospectives including those by the American Film Institute, the Museum of Modern Art in New York, the Film Institute of Chicago, the Academy of Motion Picture Arts and Sciences, the R.W. Norton Art Museum in Shreveport, Louisiana and has been bestowed the illustrious title of "Disney Legend."
In their first creative collaboration since Disney's, "The Black Hole" (1979), Peter & Harrison Ellenshaw came together to create "We can Fly". Their first in a series of collaborative works celebrated the 50th anniversary of Walt Disney's, "Peter Pan".
Their second piece was "20,000 Leagues Under the Sea," which according to Harrison, "was my introduction to Hollywood, at least to the Disney style of epic movie making. This was an exciting time, seeing my father involved in one of Walt Disney's most successful live action films." |
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| "Donald Duck" |
$325.00 |
"Donald Duck"
Giclee on Canvas
Size: 14 x 11
Edition Size: 195
As an emerging, prolific artist with his own inimitable style, Tim Rogerson casts his artwork with a very evident energy and passion. Inspired by the works of Edgar Degas and Malcolm Liepke, the North Carolina native has embarked on an artistic journey that has taken him from Degas to Disney.
Born in Kissimmee , Florida , Rogerson grew up as a child who lived the everyday life of a kid, playing outside and ̶hanging out” with friends, however, the artistic urge to create was always present, compelling him to apply the pictures and images in his head to paper and canvas.
Moving from North Carolina back to Florida , Rogerson was accepted as a student at the prestigious Ringling School of Art and Design in Sarasota , majoring in Illustration. “I was a very traditional art student and explored all the works from the old masters to modern art,” says Rogerson. ̶My influences include Degas and John Singer Sargent, with his perfect, confident brushstrokes. . . their work has allowed me to push the envelope with my own abstraction of life.”
Using the medium of oil paints, Rogerson concentrates on capturing people in social settings. “My personal style has emerged and I break down the composition into simple shapes, with each shape having its own palette – it’s a jigsaw puzzle of color to form an image,” states Rogerson. “I keep the backgrounds simple so as not detract from the main focus and so I can concentrate on the details of the central image.”
While studying at the Ringling School, Rogerson gained the reputation as a rising artist and influence in his own right. His unique style was recognized when he was awarded the 2003 Best Painter Award from Ringling, followed by 2003 and 2004 Best of Ringling Award. One of his recognized works was an emotionally powerful portrait of “Mr. Lincoln.”
After graduating from Ringling in 2004, Rogerson has embarked on a career as a professional artist. He has contributed his artistic abilities to Disney and SS Designs in Florida and is currently engaged in creating imaginative imagery for the popular Disney Fine Art portfolio, published by Collectors Editions Fine Art Publishers of California.
“My work will always evolve, becoming more complex and detailed,” says Rogerson. “I want my paintings to celebrate life and stay fresh . . . I try to stay away from the basic routine and technique because my joy for painting comes from the challenge of creating something entirely new.
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| "Dream Maker" |
$750.00 |
"Dream Maker"
Giclee on Canvas
Size: 20 x 30
Edition Size: 95
Jim Warren is one of the most creative and prolific artists of our time.
If you are not familiar with his name, you have undoubtedly seen his work. His fine art paintings and personalized portraitures have been commissioned by a clientele list that includes world-famous celebrities and prominent business leaders, and his collaborations with marine life artist, Wyland, are widely acclaimed. His paintings have been seen around the world on billboards, large outdoor murals, set props for TV shows, and Fine Art Galleries coast to coast now carry his works.
Jim has also illustrated over 200 book covers for major New York publishers, including titles from authors such as Arthur C. Clark, Clive Barker and Robin Cook. He has created collectible movie posters and magazine covers, numerous album and CD covers including the Grammy award-winning cover for Bob Seger's album, "Against The Wind."
Born and raised in Long Beach, California, at age seven Jim knew he wanted to be a painter. However it would be several years before a pivotal event helped shape the developing, self-taught artist's career: the day he picked up an issue of "Life Magazine" and discovered Salvador Dali.
Looking at Dali's paintings in Life, Jim realized his own art could be anything he wanted it to be, and, while influenced by Dali, Norman Rockwell, Andy Warhol, Rembrandt, Magritte, Monet, Peter Max and others, he set out to further develop his own unique style of painting.
In 1986, Jim was commissioned to create a painting for another gifted individual, world-renowned recording artist, Prince. Jim was given very limited information on which to base the painting other than a one-page sheet containing 13 instructions such as, "a fat man hugging a tiger," "two men with hair shorter on one side, playing the tambourine." Jim was instructed, "use your imagination," which, of course, he did. Upon completion of the painting he was told that Prince loved it.
Currently, Jim focuses primarily on his fine art paintings. Yet in spite of the strong, ongoing demand for these works, he has managed to find time to create two books: "The Art of Jim Warren," and "Jim Warren, Painted Worlds." Both contain clear and colorful representations of his works, many of which combine, as Jim has stated, "the effect of the real mixed with a touch of the unreal, to make you feel as though you're actually seeing something that in reality couldn't possibly be. Although Mother Nature is my favorite art director, I do take artistic license to create environments of my own."
When questioned by an acquaintance recently concerning what aspect of his work gave him the most pleasure, Jim replied, "the letters and emails I get from people around the world who say they have been touched in some way by my paintings. The fact that my art can create an effect like that for some people, and act as a positive influence in their lives, means a great deal to me."
Such is the Art of Jim Warren. |
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| "Fishing with Friends" |
$1,200.00 |
"Fishing with Friends"
Giclee on Canvas
Size: 24 x 36
Edition Size: 395
Born in 1913, barely a year before World War I was to assail England with bomb-dropping zeppelins and an economic downturn that would last for decades, master painter Peter Ellenshaw would spend his early years in hardship. “War was the devil that haunted all of us, driving out happier memories,” he writes in is pictorial autobiography, “Ellenshaw Under Glass” (Camphor Tree Publishers, 2003).
Ellenshaw’s father died in 1921, and his mother soon married the groundskeeper on an estate in Kent. Ellenshaw’s biological father had family living in Wilton Castle, near Enniscorthy, Ireland, and prior to his father’s death, Peter had been attending a private school in which he was taught, among other things, fine social graces. This ended abruptly as his mother remarried and his family moved into cramped living quarters on the estate his new stepfather tended to. Here, instead of kindly doffing his hat for the ladies, the seven-year old Ellenshaw was enlisted for the purpose of holding the lantern while the latrines were emptied at night.
Recurrent and frequent childhood illnesses left Peter unable to pass the basic entrance exams for grammar school, and at his mother’s suggestion, he became an auto mechanic at 14. Simultaneously, his mother also encouraged him to develop his artistic talent, especially painting and drawing. It was in this manner that Peter managed to keep his floundering self-esteem afloat. “[I] Certainly developed an inferiority complex,” he wrote years later. “because in England, dirty unskilled work was the lowest rung on the social ladder.”
It was around this time that Ellenshaw had a chance meeting with a local artist who would later mentor him not only in painting on canvas, but in painting on glass for the purpose of creating matte backgrounds for film. This man would play a pivotal role in his life in several ways. Percy “Pop” Day, as he was called, was to become a legend in pioneering visual effects for film. Later a recipient of the O.B.E., Day’s relationship with Ellenshaw became one of mentor-apprentice, as the younger of the two began working alongside the elder doing visual effect work for studios.
After serving his country as an RAF pilot in World War II, Ellenshaw returned to work for Mr. Day at the studios. After a brief yearlong stint at MGM, Ellenshaw left in 1947 upon receiving a call to work for Walt Disney Studios on the film, “Treasure Island”. As it turned out, his partnership with Disney would last over thirty years and earn him five Oscar nominations. For his work on “Mary Poppins” in which he recreated scenes of Edwardian London in 102 different mattes, he won an Academy Award. Walt Disney became Ellenshaw’s mentor and friend, spurring him on continually to perfect his craft and push the creative envelope. “Walt was the dominant figure in my life for all those years,” he wrote years later. “He talked to me as a father would. I cherished our relationship.” However, after Walt Disney passed away in 1968, making movies wasn’t the same anymore. “After Walt was gone, things were different,” he wrote in his autobiography. “I ceased to be as interested in film making.”
At this time more than ever, Ellenshaw became more engrossed with “his second career” – painting landscapes for the sheer beauty of it. By 1968, it was occupying every possible spare moment as he scurried to keep up with the demand created by galleries and collectors.
Disney’s “The Black Hole” in 1976 was Ellenshaw’s last film for Disney Studios, viewed both as an artistic masterpiece and a cinematic failure. Ellenshaw began to broaden his Hollywood horizons at that point, working on “Superman IV” with son Harrison in 1984.
The work of Peter Ellenshaw is represented in both public and private galleries worldwide. He has been the recipient of numerous honors and awards, including those by the American Film Institute, the Museum of Modern Art in New York, the Film Institute in Chicago, the Academy of Motion Picture Arts and Sciences, the R.W. Norton Art Museum in Shreveport, Louisiana, and the Disney Legends Awards.
Now in his nineties, Peter Ellenshaw still enjoys the daily regimen of “his second career” and paints nearly every day.
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| "Gold Castle" |
$1,100.00 |
Based on Cinderella's Castle
"Gold Castle"
Giclee on Canvas
Size: 18 x 27
Edition Size: 195
Introducing the Collaborative Art of Peter and Harrison Ellenshaw.
As a visual effects designer and filmmaker, Harrison Ellenshaw's work can be seen in such films as STAR WARS, TRON, THE EMPIRE STRIKES BACK, CAPTAIN EO, DICK TRACY, and many others. He has also had a successful career as an artist with one-man shows of his paintings in London, New York, and San Francisco.
Peter Ellenshaw has received five Academy Award® nominations, winning the Oscar® for his stunning recreation of Edwardian London in the Walt Disney's classic, Mary Poppins. Throughout the years, Ellenshaw has sought to capture the drama and emotions of many different scenes. His work is represented in both public and private collections worldwide. He has received numerous honors and retrospectives including those by the American Film Institute, the Museum of Modern Art in New York, the Film Institute of Chicago, the Academy of Motion Picture Arts and Sciences, the R.W. Norton Art Museum in Shreveport, Louisiana and has been bestowed the illustrious title of "Disney Legend."
In their first creative collaboration since Disney's, "The Black Hole" (1979), Peter & Harrison Ellenshaw came together to create "We can Fly". Their first in a series of collaborative works celebrated the 50th anniversary of Walt Disney's, "Peter Pan".
Their second piece was "20,000 Leagues Under the Sea," which according to Harrison, "was my introduction to Hollywood, at least to the Disney style of epic movie making. This was an exciting time, seeing my father involved in one of Walt Disney's most successful live action films." |
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