- VISIBLE WATER DAMAGE ON BACK -- OTHERWISE NO TEARS ETC
- FRONT RIGHT BOTTOM CORNER HAS VERY LIGHTLY VISIBLE WATER MARKS--NOT NOTICABLE WHEN HUNG ON WALL-SEE PHOTOS 2 & 12
- KEEP IN MIND THIS LIMITED EDITION PRINT ALONE IS VALUED AT $650-$750
$1,200.00
Framed Limited Edition Textured Canvas
Image Size 36″w x 24″h 950 s/n
Sold Out at Publisher
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"gallary direct art"
Linda Hartough Hand Signed and Numbered: "Limited Edition - 11th Hole, 'Dogwood', Augusta - Textured Canvas"
11th Hole - White Dogwood
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| Title: | Artist: | Year of Release: |
| 11th Hole - White Dogwood - Augusta | Linda Hartough |  |
Signed & Numbered Canvas  | |||
| Image Size: | Edition Size | Original Issue Price | Our Price |
24" x 36" | S/N | N/A | $698.00 |
| Linda Hartough Art Print Index |
| Limited Edition Prints |
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"I am the proud owner of several paintings by Linda Hartough, and each time I look at one I see something new. For all its realism, her work goes beyond being photographic. Her paintings always convey a strong sense of place, so that you feel, for example, the charm of St Andrews or the majesty of Pebble Beach. A Linda Hartough painting makes me want to play."
-Jack Nicklaus
“Whenever you see a Linda Hartough golf course rendering, you have to resist the urge to grab a club and drop a ball. Linda has the unique ability to capture, in a single solitary perspective, the very essence of the course itself.”
-Robert Trent Jones, Sr.
“I have two of Linda Hartough's paintings and I love the masterful way she captures the essence of the course. Looking at them makes me wish I were there.”
-Rees Jones
- June 11, 2006 THE ninth hole at the Winged Foot Golf Club in Westchester County, where the U.S. Open is to be played this week, is a par-5 with a 510-yard approach, which, in laymen's terms, means that it is humbling and long. Like many unnerving points on courses as old and prestigious as Winged Foot, the ninth hole has an air of celebrity about it, and last year it commanded the attention of Linda Hartough.An artist virtually unknown in the world of art, Ms. Hartough is considered the country's most distinguished painter of golf — and yet even that distinction characterizes her work too broadly. Ms. Hartough paints golf landscapes — the azaleas of Augusta National, the tall grass of Shinnecock Hills and St. Andrews, the contours of Carmel Bay at Pebble Beach. Golf balls, putters and Phil Mickelson or a surgeon in midswing wield no interest for her.
- For the last 16 years, the United States Golf Association has had her commemorate the Open by capturing some aspect of the course on which it is to be held. (She has also served as the official artist of the British Open.) Her rendering of the ninth hole at Winged Foot conveys the difficulty of the shot, the winding fairway, the looming pleasures of the Gothic-style 1921 clubhouse set deep into the background. Last year, before it was completed, the painting was sold to one of the club's members for $75,000.
- Ms. Hartough has earned a handsome living. Her paintings start at $50,000 and go to $225,000 — the bigger they are, the more they cost. That means that for the price of a formidably sized oil painting of, say, sand traps and rhododendron, one might have instead purchased an individual piece by a celebrated contemporary artist like Maurizio Cattelan or Takashi Murakami, or "The Martyrdom of St. Lawrence" by the 17th-century Dutch master Salomon de Bray, which sold at auction four years ago for $170,000.
Linda Hartough makes career out of bringing golf’s great holes to life
For more than three decades, Hartough’s paintings of the world’s most famous golf holes have been the standard in the golf-landscape genre. For much of that time she was the go-to artist for the U.S. Golf Association and R&A. On top of her commercial success, she can count a new honor: On April 1, the Spring Island, S.C., resident will be inducted to the Low Country Golf Hall of Fame in Hilton Head, S.C.
As with many Masters champions, it was Augusta National that changed Hartough’s life. The club reached out to her in 1984 with a request to paint the par-5 13th hole.
“Had I been commissioned by any other course, it probably would have been one and done,” Hartough said. “But because it was Augusta, I immediately got commissions from other clubs.”
Soon she specialized in golf landscapes. By 1990 she secured the commissions to paint the British Open and U.S. Open venues. (She kept the British Open commission until 1999 and the U.S. Open commission until 2014.)
“She really is the gold standard of modern golf art,” said Tom Stewart, proprietor of Old Sport & Gallery in Pinehurst, N.C. “And the sheer volume of her work is incredible.”
Nos. 11 and 12 at Augusta National
Hartough is perhaps best known for her paintings of Augusta National and Pebble Beach – she currently is working on Augusta’s 11th for a club member – and she counts Shinnecock Hills as one of her personal favorites. She also developed a renewed appreciation for Pinehurst No. 2 after Bill Coore and Ben Crenshaw renovated it before the 2014 U.S. Open – her third time painting the course for the USGA.
“That made a big difference there,” she said. “I used to use Pinehurst as an example of how hard it was to find a subject because it was so much the same everywhere you looked – grass, pine trees. It was really hard to find a subject. The light had to make the whole scene. Plus, there’s no big signature hole there. After the renovation, the ninth hole just hit me like, ‘Oh, this is easy.’ It looks like Pine Valley now.”
Coore and Crenshaw also are restoring Seminole Golf Club, which Hartough has been commissioned to paint. (That will be a 2018 project.) Like many golf architecture buffs, she has become a big fan of their work.
“When you look at a hole, it’s like they’re painting it,” she said. “I love what they do. I look at a hole and the balance and composition and what makes it interesting. All of those elements make a great painting to me, and if they’re not there, I have to invent them as far as finding certain lighting or angles. What they do is no problem (for me). They frame it just like I would.”
Some of Hartough’s early golf landscapes included golfers, but then she had her “Golf in the Kingdom” moment, when the Old World’s links landscapes touched something deeper in her soul.
“After I went to Scotland, you tune into this other element of golf, that metaphysical feeling, the history, the tradition,” she said. “All of a sudden those people didn’t belong there.”
No. 7 at Pebble Beach
Stewart has sold Hartough’s paintings for more than 20 years, even when he was representing the artist Richard Chorley, one of Hartough’s most prominent competitors. Stewart sees a subtle progression in Hartough’s work.
“Her work has gotten tighter, more realistic, more what the golfer sees,” Stewart said.
She will, however, take some artistic license. In her portrayal of the Postage Stamp at Troon, for example, she shifted the Isle of Arran into the backdrop, reasoning “it’s part of your remembrance of that hole.” Stewart noticed in her new painting of Ekwanok Country Club in Manchester, Vt., that an iconic church steeple was repositioned to be a part of the landscape.
“To me, that makes it a little easier to sell the picture,” Stewart said. “She’s smart enough to know that.”
Hartough’s creative process is always the same. She’ll spend one to two weeks on site, taking thousands of photos that include every inch of the hole she plans to paint. She shoots in mornings and evenings when the light is best.
Each photo, she said, “is like a pixel – a part of that scene.” Back in her studio, she visualizes the entire painting. “I don’t start until I’ve done that,” she said.
One of the tricks she has learned over the years is to place a mirror on an easel facing her canvas.
“When you see it backwards, it’s like a whole different image,” she said. “If there’s anything wrong with it, it’s going to pop out.”
Once she starts, “it’s like meditation” – she immerses herself in the portrait for hours at a time. One painting can take up to four months to complete.
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