Cow Art

This photograph is signed by the photographer. Please see additional editions listed below. Larger sizes may be available upon request.

Snow Monster Western Plains, USA - 2023 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Availa...

Wooded Landscape with Cattle By James Desvarreux-Larpenteur (American, 1847-1937) Unframed: 22" x 18" Framed: 27.5" x 31.5" Signed Lower Right Born i...

Longhorn Wall Art, Animal Prints, Longhorn Images-Carmel Carmella ABOUT THIS PIECE: This longhorn image titled "Caramel Carmella" was part of a photography landscape series featuri...

Longhorn Photography, Black and White Prints, Animal Photography-Stormy Stella ABOUT THIS PIECE: This extra large photo titled "Stormy Stella" w...

Horse Collection, Black and White Prints-Prancing Peter,Shoe Store & Mop Head “As I walked out of my hotel room early in the morning, I was greeted b...

NEW TESTAMENT South Sudan, 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 80 inches 49 x 114 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. In retrospect, my photograph Mankind, taken in South Sudan in 2014, was a stepping stone in my career. It was authentic, it had a biblical scale to it and could be looked at for a long time. Haunting and hellish one minute and serene and ethereal the next. Mankind elicited an emotional reaction despite how foreign the subject matter was. The editions of the picture sold out quickly and the hammer price at Sotheby’s of $78,000 was then a record for my work. Since 2014, awareness of my art has grown materially, and I am sure this powerful image has played a role. It was taken at a dangerous time in South Sudan’s short history and recently, during 2019 and 2020, the violence got worse. It simply was not safe for foreigners as many areas were loosely governed and guns were round every corner. It was sketchy at best and downright toxic at worst. But since 2021, some calm has returned and tribal skirmishes in the cattle camps are now less common. I thought it was time to return. After all, I’d had eight years to think about what I could do differently. Cameras have certainly improved, and I have a further eight years of experience under my belt. I also had maintained contacts in South Sudan, in particular with those in charge of the large cattle camps to the south of Rumbek. This is no place to go without inside help, security protection and best in class field logistics. There must be a plan and there must be attention to detail. But I knew it would be a mistake to go back and try to copy what I did eight years ago; it would hint at a lack of creative progression and courage. I needed to do better and offer a new story, to go backwards would be damaging at many levels. I had been preoccupied by that fear for some time and I knew that I had to be bold. The Lakes areas of South Sudan are just about on a map, but way off the grid for most. It is the most basic of existences and the only material source of employment is the cattle camps. In 2014, I filmed near the town of Yirol in a camp on a Nile tributary, but this time I wanted to travel further into the interior and find an even bigger camp on the way to Rumbek. My premise was to play on scale and my leaning was always to go bigger not smaller. I am always greedy in the field. The Dinka tribe are the world’s tallest people, their cattle camps are the biggest of their kind and the cattle horns are Jurassic. This is a place to play on the word “big”. My picture, Mankind, had novelty factor because it delivered such an emphatic sense of scale and place. Whilst I was nervous of treading old ground, familiarity is a friend not a foe, that’s why we often use the same talent in our storytelling. I needed to go one step further than I had in 2014, without losing any small individual stories within the image. My sense was that there needed to be even more of a visual overload in the frame and I found it difficult in my preconceptions to escape from the word “panoramic”. The local chiefs and the head of police knew where to take me and my security detail knew how to keep me safe. I would go into largely unchartered land where the Dinka had established a camp of over 10,000 cattle. I have often thought that a photographer in the last eight years would go and try and take their own version of Mankind, but I haven’t seen any. Every week I see monochrome photographs of the big elephants...

NEW TESTAMENT South Sudan, 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 80 inches 49 x 114 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. "In retrospect, my photograph Mankind, taken in South Sudan in 2014, was a stepping stone in my career. It was authentic, it had a biblical scale to it and could be looked at for a long time. Haunting and hellish one minute and serene and ethereal the next. Mankind elicited an emotional reaction despite how foreign the subject matter was. The editions of the picture sold out quickly and the hammer price at Sotheby’s of $78,000 was then a record for my work. Since 2014, awareness of my art has grown materially, and I am sure this powerful image has played a role. It was taken at a dangerous time in South Sudan’s short history and recently, during 2019 and 2020, the violence got worse. It simply was not safe for foreigners as many areas were loosely governed and guns were round every corner. It was sketchy at best and downright toxic at worst. But since 2021, some calm has returned and tribal skirmishes in the cattle camps are now less common. I thought it was time to return. After all, I’d had eight years to think about what I could do differently. Cameras have certainly improved, and I have a further eight years of experience under my belt. I also had maintained contacts in South Sudan, in particular with those in charge of the large cattle camps to the south of Rumbek. This is no place to go without inside help, security protection and best in class field logistics. There must be a plan and there must be attention to detail. But I knew it would be a mistake to go back and try to copy what I did eight years ago; it would hint at a lack of creative progression and courage. I needed to do better and offer a new story, to go backwards would be damaging at many levels. I had been preoccupied by that fear for some time and I knew that I had to be bold. The Lakes areas of South Sudan are just about on a map, but way off the grid for most. It is the most basic of existences and the only material source of employment is the cattle camps. In 2014, I filmed near the town of Yirol in a camp on a Nile tributary, but this time I wanted to travel further into the interior and find an even bigger camp on the way to Rumbek. My premise was to play on scale and my leaning was always to go bigger not smaller. I am always greedy in the field. The Dinka tribe are the world’s tallest people, their cattle camps are the biggest of their kind and the cattle horns are Jurassic. This is a place to play on the word “big”. My picture, Mankind, had novelty factor because it delivered such an emphatic sense of scale and place. Whilst I was nervous of treading old ground, familiarity is a friend not a foe, that’s why we often use the same talent in our storytelling. I needed to go one step further than I had in 2014, without losing any small individual stories within the image. My sense was that there needed to be even more of a visual overload in the frame and I found it difficult in my preconceptions to escape from the word “panoramic”. The local chiefs and the head of police knew where to take me and my security detail knew how to keep me safe. I would go into largely unchartered land where the Dinka had established a camp of over 10,000 cattle. I have often thought that a photographer in the last eight years would go and try and take their own version of Mankind, but I haven’t seen any. Every week I see monochrome photographs of the big elephants...

Black and White Photography, Animal Prints, Animal Photography-Woolly Wlifred ABOUT THIS PIECE: This black white photograph titled "Woolly Wilfred" was part of a photography landsc...

Sheepdogs, silver gelatin photograph, signed and numbered Keith Carter’s work explores time, place, and vernacular culture. Described as a “Poet of the Ordinary” by the Los Angeles...

Vibrant, yet also subdued, this work’s treatment of color and line imbue ordinary subject matter with an uplifting sense of levity and beauty. Bolstered by a strong use of abstract e...

This "Cow" painting vibrantly pops with hyper-realistic color. It depicts a highly detailed cow standing in against a blue background. Could it be an empty room? Could it be the sky? There is a very playful atmosphere as the cow is holding a dandelion gone to seed and the wonder is whether it will make a wish and blow. Its awash in a cartoonish blue with clouds and cloudy farm animals. This pairs with the lamb painting but is sold separately. Renata Palubinskas was born in 1968 in Kaunas, Lithuania, at the time still in the Soviet Union as the Lithuanian Soviet Socialist Republic. She received her diploma in Fine Art and Restoration from St. Zukas Technium of Applied Arts in 1989. After working at the M.K. Ciurlionis State Museum of Art, she emigrated to the United States in the 1990s, basing herself in Detroit. Renata's work rethinks historic iconography while intentionally addressing the modern world through a new perspective. The characters in her paintings are often caught between the struggle of good and evil. That struggle represents the choice of trying to obtain immediate gratification or realization of the self, and the haunting life experiences with latent possibilities for death. Renata uses schematic compositions with purposefully positioned figures and other visual elements. To attract attention to the most significant figures, she often ornate their garments with intricate patterns. They are typically placed in either a serene landscape or an interior setting with a threatening presence around them. Her work has been exhibited in Collected Detroit...

American Idol II Yellowstone National Park - 2017 Available Sizes: Standard Edition of 12 Image Size: 39" x 37" Framed Size (with a 5" mat): 54" x 52" Large Edition of 12 Image S...

Ain't My First Rodeo Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 48 x 57 inches 67 x 81 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. "The mythical cowboy, whose image has been shaped by history, fiction and folklore, is unquestionably America’s predominant symbolic native son. For many people across the world, a cowboy is the most American thing they can think of. For that we should be thankful. Much better this noun than a Big Mac...

Drovers Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 44 x 84 inches 57 x...

The Thundering Herd Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 43 x 78 i...

The Bills Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available si...

Horse photography, Black and White Photography, Horses-Stammering Stallion A B O U T T H I S P I E C E : ""Stammering Stallion"" was part of a Black and White Photography landscap...

Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 54 x 118 inches All prints ...

The End of the Line Texas, USA 2020 Available Sizes: Standard Edition of 12 Image Size: 37" x 54" Framed Size (with a 5" mat): 52" x 69" Large Edition of 12 Image Size: 56" x 82" ...

Texas, USA 2020 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: Standard: 48...

Dallas, Texas, USA 2020 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 48 x 71 inches 67 x 102 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. "This is Dallas - the Big D. Everything is big in Texas and therefore creative ideas should be big too. We wondered whether anyone had tried to photograph the Dallas Cowboy...

Dallas, Texas, USA 2020 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 48 x ...

Animal Locomotion: 671 (Ox Walking), 1887 - Eadweard Muybridge Inscribed with Muybridge's Letterpress credit, series title, plate number and date. Stamped with Museum of Edinburgh's ...

William Henry Howe (1846-1929) "Made in the Shade" 1887 Oil on Canvas Signed and Dated Site Size: approx. 14.5 x 21.5 inches Frames Size: approx. 17.5 x 24.5 inches Provenance: Private Collection, St. Louis, Missouri thence by descent William Henry Howe was born in Ravenna, Ohio in 1846. Of him it was written: "In the late nineteenth century no American artist was more thoroughly identified with the painting of cows than William Henry Howe." (Richter 128). In a style that combined Tonalism and Realism, he was a painter of light-filled pastoral landscapes that sometimes had sheep as well as cattle tended by their shepherds and herders. He began a career as a businessman in St. Louis, and in his mid-thirties, changed course and went to Dusseldorf Germany to study art at the Royal Academy. In 1881, he went to Paris and studied with animal painters Felix Vuillefroy and Otto de Thoren. He also exhibited his work at the Paris Salons and the Paris Universal Exposition of 1889. Travels in Holland in the 1880s with other artists inspired his interest in pastoral subjects, and during that time he began his cattle paintings...

Scotland, 2019 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 48 x 67 inch...

Forest Grump Yellowstone National Park - 2019 Available sizes: Standard Edition of 12 + 3 APs Unframed Size: 27" x 47" Framed Size: 42" x 62" Large Edition of 12 + 3 APs Unframed ...

Yellowstone National Park, Wyoming 2019 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Avail...

Amboseli, Kenya 2015 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 48 x ...

Original sculpture 8 ex. Acquired directly from the artist. Exposed at: Musée d’art contemporain. Saint-Martin – Montélimar. France 28 June – 26 October 2014. William Sweetlove, bor...

Chromogenic print.

Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 48 x 55 inches 67 x 77 inche...

Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 48 x 60 inches 67 x 86 inche...

Signed by the artist. This piece is available at least four different sizes so contact us as availability is subject to change. ARTIST'S STATEMENT: I use photography to express selec...

Edition of 5

THE FOREST The Forest is probably the most complicated and personal series I’ve undertaken. I have spent the past four years photographing for this series, from 2011 through 2014. A...

Stamped on the back of the mount and signed and verified by the trust with date and number. Available in various sizes. One original cibachrome print is available printed and signed ...

Titled and inscribed in printed ink, 'Photographed by R. Fenton, Manchester, Published by T. Agnew & Sons, Feb.29, 1856. London D & P Colnaghi & Co., Paris, Moulin, 23 Rue Richer. Ne...