New Ray Harm Signed Print "Cape Buffalo" Envelope Folder Insert 56.3

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This is a print by wildlife artist Ray Harm. 


Hand Signed by the artist

This print has never been framed and comes with the original Envelope and Folder from Frame House Gallery. 

The artist website list this print with a secondary market value of  $100. 

This print measures 19.5 x 29.5 (image size), 23 x 33 (overall size)

We will ship this to you flat, unrolled and securely protected


African Series Plate IV.  The first time we approached Cape Buffalo in Africa, it was with some apprehension, because of the tales we'd heard about this "dangerously aggressive" beast. Now, I can only imagine it could be true if one were wounded. By this time, I have "worked" buffalo with my pencil and sketch pad many times and have found the animal not dangerous at all. In fact, we could get them to come closer by approaching the herd to the point of offending some of the bulls; they would make "bluff" charges of a hundred feet or so, stop, snort and hang their noses high on the wind to get our drift.  If we became too aggressive, they would scatter and run off. In areas outside of National Parks, we had great difficulty even getting close! Raising their heads high to get you wind, however, is quite characteristic, and they will hold this stance for minutes at a time (perfect for sketching). Their massive appearance (approaching a ton in weight) and great horns certainly exude the impression of a great power. Of course, the name "Cape buffalo" comes from the appearance of the flattened cape of horn over the top of the head. The yellow or red-billed oxpecker and cattle egrets are almost always in company with buffalo. The buffalo not only tolerates the birds but seem to derive pleasure from their presence. I have seen an oxpecker disappear into a buffalo's ear in search of insects or ticks, and the buffalo seemed to actually "lean" into the bird as if it were getting an itch scratched. It is not uncommon to see several white cattle egrets at on time standing along a buffalo's back. Once I saw an egret perched upon the tip of a buffalo's horn and even considered painting such a picture, but I reckoned it would look too "contrived" and decided against it. The egrets wander  amongst the buffalo as they graze, and feed upon the insects they stir up. Egrets also follow other animals, such as elephant and rhino or the Masai domestic cattle for the same purpose. We found buffalo most always near water; they spend a great deal of time wallowing in mud, getting it caked all over them as a protection against heat and insects. I recall once when my wife Millie spotted a huge set of buffalo horns lying on the plain some distance away. She asked if we could go have a look. As our landrover rumbled up to the horns, we were taken by surprise as the horns lurched forward and upward, attached to a great bull which had been lying in a mud hole. We got quite a start out of it, because from our initial position, the horns looked exactly like they were lying out there alone....perhaps, we thought, the leftovers from a lion kill.  All alone, or in a herd of several hundred as we've seen them, without the Cape Buffalo, Africa would not be Africa.

Artist biography from Ray Harm is the co-founder of the modern limited edition print industry in America and has been a nationally known wildlife artist since the 1960's. This has been documented by the Filson Historical Society' quarterly journal 4/98 Vol.72 No.2. 
His parents were both concert violinists in the 1920's so music has been a significant influence in his life and he learned several instruments from an early age. Born in the mid twenties in West Virginia (also his father's native state) Ray's childhood was imbued with his fathers later work and study as an herbalist and naturalist digging and selling herbs on the pharmaceutical market. The stock market crash in '29 had forced his father off of the concert tour and back to West Virginia to an earlier interest in herbal medicine. The young man was strongly tutored in the ways of nature by his woodsman/naturalist father. 
In his mid teens he went west to work as a cowboy on cattle ranches, rode the rodeo circuit in the bull and bronc riding events and when he won enough to purchase a roping horse and trailer, competed as a calf roper. He even satisfied a dream that many youngsters have by working with the Ringling Brothers and Barnum and Baily circus, then a tent show, training horses. Always he sought the outdoor life and work with animals. 
Three years of Navy service made him eligible for the GI Bill of World War II and later, after more cowboying on the ranches, he chose Art School in 1948. As he puts it "at least some kinda schooling would make my mom proud." Proud indeed, with only six grades of public school, today he holds Honorary Doctorate degrees from six colleges and Universities. Making a living as a wildlife artist in the early 1950's was not easy! This was when limited edition reproduction prints, (as we know them today), did not yet exist and selling original fine art paintings, one by one, was a very difficult way to make a living, especially when just out of art school and unrecognized. It was a struggle for some nine years as he drew heavily from his earlier "roustabout" experiences to support his family, training horses, digging ditches on construction jobs and driving truck while trying to establish himself as an artist. 
By 1961 Ray had almost given up when he met Wood Hannah, a Louisville businessman and art collector. Hannah became personally interested and together in 1962 they founded a publishing company that was the beginning of the Limited Edition print industry that opened a market for artists everywhere. This market today supports thousands of artists through the medium of Limited Edition prints and Ray is proud of this. The public acceptance of Ray Harm wildlife prints in an ensuing collection, introduced in Kentucky, spread rapidly from coast to coast. He was in demand as a lecturer, wrote a popular weekly nature column and authored two illustrated books, but his paintings of wildlife remained primary. His pictures are appreciated for being from living animals and wildflowers, sketched on location, not copied or traced photographs (which is so commonly done today). All this coupled with his extensive knowledge of the subjects he paints, he feels, is more the essence of fine art as opposed to commercial illustration. 
Ray has always been physically close to wildlife, since in his lifetime he has always lived rural. He lives with his wife Cathy on their H Rafter Ranch in Arizona. Antelope, Bear, Cougar, Bighorn Sheep, Javelina and a profusion of the bird life of southern Arizona is at his beck and call. His studio is on the ranch and is always open to interested people by appointment where he is happy to show original works, discuss painting, commissions and of course chat about art, wildlife, horses and cattle if the subject suits.


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