BACK IN MY ARMS AGAIN

Exciting New Release from Tom Everhart...

IN BACK IN MY ARMS AGAIN
Mixed media (archival pigment printing and serigraphy) with deckled edges.

Gallery Edition
Paper: 44” x 30.75” | Image: 40” x 28.75”

Parlor Edition
Paper: 31” x 22” | Image: 27” x 18”

Exhibition Edition
Paper: 57” x 38” | Image: 53” x 34”
9 / 3 AP / 1 PP $10,000

ORIGINAL PAINTINGS

THERE ARE MANY ADDITIONAL ORIGINAL PAINTINGS TO THOSE SHOWN BELOW. PLEASE EMAIL US SO WE CAN EMAIL YOU BACK IMAGES AND PRICING OF ALL AVAILABLE ORIGINAL PAINTINGS.

SALMON BREATH

84” x 128” (two 84" x 64" panels)
Acrylic & varnish on canvas
(Limited Edition print also available)

SUPER BAD
Acrylic and varnish on canvas
84" x 128" (two 84" x 64" panels)

Also available as Limited Edition print (see below)

THE PALM 3:20PM
Acrylic on paper - 22" x 30"
(please contact us for more available paintings from this series)

MELLOW
64" x 84"
Acrylic On Canvas

LAID BACK
Acrylic on Canvas - 64" x 84"

WORKING ON MY BRAND 33
30" x 22.5"
Acrylic on paper

WORKING ON MY BRAND 38
30" x 22.5"
Acrylic on paper

WORKING ON MY BRAND 31
30" x 22.5"
Acrylic on paper30" x 22.5"

WORKING ON MY BRAND 36
Acrylic on paper

WORKING ON MY BRAND 21
30" x 22.5"
Acrylic on paper30" x 22.5"

WORKING ON MY BRAND 22
Acrylic on paper

SHA LA LA
Acrylic on Canvas - 84" x 192" (three 84" x 64" panels)
(please contact us for more available paintings from this series)

THE BLUE LAGOON
Acrylic on Canvas - 84" x 128" (two 84" x 64" panels)
(please contact us for more available paintings from this series)

PUFF DOGGY DOG
Acrylic and Varnish on canvas 84" x 128" (two 84" x 64" panels)
(Limited Edition print also available)

LITTLE BIGGIE #5
Pom Pom, Acrylic and Varnish on paper
11" Diameter

CHICKEN
84" x 64"
Acrylic and varnish on canvas (1 Panel)
(please contact us for more available paintings from this series)

HONEST LYING SELF PORTRAIT 10
Acrylic on canvas
11.5 " x 15"

HONEST LYING SELF PORTRAIT 11
Acrylic on canvas
11.5 " x 15"

HIDE AND SEEK
84" x 128"
Acrylic and varnish on canvas (2 Panel)
(please contact us for more available paintings from this series)

PAPER DOLL
84" x 128"
Acrylic and varnish on canvas (2 Panel)
(please contact us for more available paintings from this series)

THE PALM 9:02PM
Acrylic on paper - 11.5" x 15"
(please contact us for more available paintings from this series)

THE PALM 11:04AM
Acrylic on paper - 22" x 30"
(please contact us for more available paintings from this series)

PEEP HOLE 1
Acrylic on Medium Density Fiber Board
51" x 51"
(Contact us for addition available paitnings from this series!)

PEEP HOLE 2
Acrylic on Medium Density Fiber Board
51" x 51"
(Contact us for addition available paitnings from this series!)

PEEP HOLE 3
Acrylic on Medium Density Fiber Board
51" x 51"
(Contact us for addition available paitnings from this series!)

PEEP HOLE 5
Acrylic on Medium Density Fiber Board
51" x 51"
(Contact us for addition available paitnings from this series!)

PEEP HOLE 6
Acrylic on Medium Density Fiber Board
51" x 51"
(Contact us for addition available paitnings from this series!)

PEEP HOLE 7
Acrylic on Medium Density Fiber Board
51" x 51"
(Contact us for addition available paitnings from this series!)

PEEP HOLE 9
Acrylic on Medium Density Fiber Board
51" x 51"
(Contact us for addition available paitnings from this series!)

PEEP HOLE 10
Acrylic on Medium Density Fiber Board
51" x 51"
(Contact us for addition available paitnings from this series!)

PEEP HOLE 49
Acrylic on Medium Density Fiber Board
17" x 17" / Framed 21.5" x 21.5"
(Contact us for addition available paitnings from this series!)

PEEP HOLE 12
Acrylic on Medium Density Fiber Board
51" x 51"
(Contact us for addition available paitnings from this series!)

THE PALM 9:12
22" x 30"
Acrylic On Paper

THE PALM 10:07
22" x 30"
Acrylic On Paper

ROOM WITH A VIEW, No 5
Acrylic, lagoon water on paper - 15" x 11.5"

ROOM WITH A VIEW, No 10
Acrylic, lagoon water on paper - 15" x 11.5"

COUP DE TAT
42 x 84
Acrylic on Canvas

CLONES
84" x 128"
Acrlyic on canvas

ITS GOT TO BE FUNKY '07
52" x 21"
Acrylic on cut MDF board
(please contact us for more available paintings from this series)

DOES THIS MAKE ME LOOK FAT
84" x 128"
Acrylic and varnish on canvas

Also available as Limited Edition print (see below)

UNBELIEVABLE / MONDAY SUN RAIN
Acrylic on paper
23" x 30"

BANGS
Acrylic, enamel, and varnish on canvas
96 " x 128"

Also available as Limited Edition print (see below)

ALL-EE ALL-EE IN-FREE 1
60" x 40"
Acrylic and varnish on paper
(please contact us for more available paintings from this series)

ALL-EE ALL-EE IN-FREE 2
60" x 40"
Acrylic and varnish on paper
(please contact us for more available paintings from this series)

ALL-EE ALL-EE IN-FREE 3
60" x 40"
Acrylic and varnish on paper
(please contact us for more available paintings from this series)

ALL-EE ALL-EE IN-FREE 4
60" x 40"
Acrylic and varnish on paper
(please contact us for more available paintings from this series)

BON APPETITE
64" x 84"
Acrylic on canvas

CUBE SOUND WAVE (ICE CUBE)
84" x 64"
Acrylic on canvas

PSYCHO CYCLONE
84" x 64"
Acrylic, Enamel and varnish on canvas

MOTU MOTOWN
84" x 64"
Acrylic, Enamel and varnish on canvas

JUNIOR PROM QUEEN - LUCKY HAD A SHINY BALL
30" x 18"
Acrylic and varnish on paper
(please contact us for more available paintings from this series)

BLUE AVATAR
60" x 40"
Acrylic and varnish on paper
(please contact us for more available paintings from this series)

PAPER DOLL YELLOW
40" x 60"
Acrylic and varnish on paper
(please contact us for more available paintings from this series)

PAPER DOLL PINK
40" x 60"
Acrylic and varnish on paper
(please contact us for more available paintings from this series)

I THINK I MIGHT BE SINKING
84" x 192"
Acrylic, enamel, and varnish on canvas

BOOM SHAKA LAKA LAKA 32
30 x 42
Acrylic on D'Arches Paper
(please contact us for more available paintings from this series)

LIGHT AS A FEATHER 8
30 x 22
Acrylic on D'Arches Paper

BLOW DRY 4
24" x 30"
Acrylic on D'Arches Paper

KEITH'S WET DREAM (KEITH HARING)
84" x 128"(two 84" x 64" panels)
Acrylic & Enamel on canvas
(please contact us for more available paintings from this series)

TURN DOWN FOR WHAT
84 x 128
2 Panels - Acrylic on Canvas

CURLS GONE WILD (IT'S YOUR 5:15)
30 x 40
Acrylic on paper
(please contact us for more available paintings from this series)

CURLS GONE WILD (IT'S YOUR 6:00)
30 x 22
Acrylic on paper
(please contact us for more available paintings from this series)

I'M SO FANCY
84 " x 128"
Acrylic on Canvas

COCONUT TWEET
64" x 84"
Acrylic on Canvas

ROGUE WAVE AND A BROKEN RIB
Acrylic and varnish on canvas
84" x 128"

PRAISE THE LOWERED
70 x 122
Acrylic and varnish on Wood

College Dogs Gone Wild (Arty-Fact 01)
84 " x 128"
Acrylic and varnish on canvas

WORKING ON MY BRAND 5
30" x 22.5"
Acrylic on paper30" x 22.5"

WORKING ON MY BRAND 18
Acrylic on paper

Ancient Chinese Secret - Taha'a - NIGHT
64" x 64"
Acrylic & varnish on Wood Panel

VENICE MOON DOGG E 10
40" x 60"
Acrylic on Paper
(please contact us for more available paintings from this series)

HIGH ON LIFE
96" x 128" (2 panels 96 x 64)
Acrylic and enamel on canvas

THE HAMMOCK
64" x 84"
Acrylic on Canvas

WOMAN, PLEASE
84” x 128” (two 84" x 64" panels)
Acrylic, enamal and varnish on canvas

FLIPPED OUT 49
14" x 11"
Acrylic and varnish on paper
(please contact us for more available paintings from this series)

THERE ARE MANY ADDITIONAL ORIGINAL PAINTINGS TO THOSE SHOWN ABOVE. PLEASE EMAIL US SO WE CAN EMAIL YOU BACK IMAGES AND PRICING OF ALL AVAILABLE ORIGINAL PAINTINGS.

LIMITED EDITION PRINTS

LAGOON LULLABY VERSE 2 - Series of 4 prints

LAGOON LULLABY VI - IX

(Suite of 4 prints, Sold as a Suite with matching numbers or Individually)

Each print:
Mixed media (archival pigment printing and serigraphy) with deckled edges. Paper 13 x 13" / image 11" x 11"
Edition: 125

LAGOON LULLABY VERSE 1 - Series of 5 prints

LAGOON LULLABY I - V

(Suite of 4 prints, Sold as a Suite with matching numbers or Individually)

Each print:
Mixed media (archival pigment printing and serigraphy) with deckled edges. Paper 13 x 13" / image 11" x 11"
Edition: 125

COME AND GET ME, TOUGH GUY

SOUND BATH

Mixed media (archival pigment printing and serigraphy) with deckled edges.

Regular Edition
Paper 33.5" x 43"/ image 29.5" x 39"
Edition: 125

Parlor edition
Paper 22" x 28" / image 19" x 25"
Edition: 125

Exhibition edition
Paper 42" x 52" / image 38" x 48"
Edition: 9 + 3 AP

SOUND BATH

SOUND BATH

Mixed media (archival pigment printing and serigraphy) with deckled edges.

Regular Edition
Paper 44" x 33.5" / image 40" x 29.5"
Edition: 95

Parlor edition
Paper 28" x 22" / image 25" x 19"
Edition: 95

Exhibition edition
Paper 56" x 36"
Edition: 9 + 3 AP

FREE BIRD

FREE BIRD

Mixed media (archival pigment printing and serigraphy) with deckled edges.

Regular Edition
Paper 44" x 33.5" / image 40" x 29.5"
Edition: 125

Parlor edition
Paper 28" x 22" / image 25" x 19"
Edition: 125

Exhibition edition
Paper 56" x 36"
Edition: 9 + 3 AP

FLOATING WITH MY HOMIES

FLOATING WITH MY HOMIES
SOLD OUT

Regular Edition
33” x 42”
multi-media print on paper with deckled edges
Edition of 50, 6AP, 6PP, 1OP

Exhibition Edition
38” x 56.5”
multi-media print on paper with deckled edges
Edition – 9 + 3AP

FOODIE CALL IN THE EVENING

FOODIE CALL IN THE EVENING

Mixed media (archival pigment printing and serigraphy) with deckled edges.

Regular Edition
Paper 45" x 31" / image 41" x 27"
Edition: 125

Parlor edition $1,350
Paper 31" x 22" / image 27" x 18"
Edition: 125

Exhibition edition $10,000
Paper 58" x 38.5"
Edition: 9 + 3 AP

THE PALM

THE PALMS

A monumentally impressive 37” x 58” print containing twenty colorful vignettes of Snoopy, Charlie Brown, Woodstock, and Lucy. This is the flagship work of a five-piece series in total that includes four smaller 16” x 20.5” editions titled Beneath The Palms (see below)

Paper: 58" x 37" / Image:54" x 33"
Giclee and silkscreening on deckled paper
Limited Edition Size: 50 / AP 20 / 10 PP / 5 HC

BENEATHE THE PALMS -
(Suite of 4 prints, Sold as a Suite or Individually)

BENEATHE THE PALMS
(Suite of 4 prints, Sold as a Suite or Individually)

Each print:
Paper 16" x 20.5" Image 13" x 17.5” g
Giclee and silkscreening on deckled paper
Limited Edition Size 125

IN THE BY WITH MY BOO

IN THE BU WITH MY BOO

Regular Edition
Edition Size 195, AP 25, PP 20 / HC 15
Paper: 42” x 33”- Image: 38" x 29

Exhibition Edition $10,000
Edition Size 9 / AP 3
Paper" 52" x 42"- image 50" x 38”

Original Painting
64" x 84" Acrylic on canvas

MR. SLIPPERY SLOPES

MR. SLIPPERY SLOPES

Gallery edition - $1,950
Paper – 44” x 33.5” Image – 40" x 29.5”
Edition of 125

Parlor Edition - $1,350
Paper – 28” x 22” Image – 25” x 19”
Edition of 125

HIDE AND SEEK SUITE
By Tom Everhart - After thirty-five years of devoting his art career to Schulz's subject matter, Tom took a brief, yet very important hiatus to focus on a body of work featuring his landscapes inspired by the views from his Tahitian studio.

MISTER DOWNTOWN

MISTER DOWNTOWN

Regular Edition
Edition Size 195
Giclee and silkscreening on deckled paper
Paper: 33” x 42” / Image: 29” x 38”

Parlor Edition
Edition Size: 195
Giclee and silkscreening on deckled paper
Paper: 22” x 28” / Image: 18” x 24”

HERO

HERO

Regular Edition - SOLD OUT
Paper size: 30.75" x 44" - Image size: 26.75” x 40”
mixed media on deckled paper
Edition 125

Parlor Edition - SOLD OUT
Paper size: 22" x 31” - Image size: 18” x 27"
mixed media on deckled paper
Edition 75

Exhibition Edition, SOLD OUT
Edition 10
58" x 38.5"

SALMON BREATH

SALMON BREATH

SOLD OUT

We have the original painting of SALMON BREATH available!!!

HOMECOMING KING & QUEEN SUITE
Mixed media (archival pigment printing and serigraphy) - Edition size 125

Regular Edition: Paper Size 44" x 33.5" Image 40" x 29.5"
Parlor Edition: Paper Size 28: x 22" Image 25" x 19"

REACH FOR THE STARS

REACH FOR THE STARS

In Tom’s own words - “ Reach for the Stars” The stars that play, flicker, and dance across the deep dark skies of the calm Tahitian nights offer us visual constructions of hope. As our studio nighttime activity, like young children, our visual awareness grows increasingly through the enthusiasm of our imagination seduced by the possibilities of so many other living things in an existence larger than our own. This positive human emotion of hope feels like the appropriate directions for the first print work released after almost 2 years of a worldwide epidemic. “Reach for the Stars”, part of the ongoing “Coconut Radio” series was painted flat on the studio floor and then tilted so that the paint, itself, would flow upwards to reach for the stars. -Tom Everhart 2022

Regular Edition
Edition Size 195, AP 25, PP 20 / HC 15
Paper: 42” x 33” Image: 38" x 29

Parlor Edition
Edition Size 195, AP 25, PP 20 / HC 15
Paper: 28” x 22” Image: 24" x 18”

Exhibition Edition
Edition Size 9 / AP 3
Paper" 52" x 42" image 50" x 38”

SLEEP OVER HOMIES Series - Original paintings currently available, as well

Paper 31" x 21" / Image 27.75" x 18"
G iclee and silkscreening on deckled paper Edt
Edition size: 75 / AP 20 / PP 10 / HC 10

(Click on each image for a larger picture)

SLEEPING BEAUTY

SLEEPING BEAUTY

24.5” x 45”
Mixed media (giclee and serigraph) on deckled edged paper.
Edition 125 / AP 20 / PP 10 / HC 10

JE Edition of 30 / 16.5 x 30
Exhibition size, aprox 30 x 55”, Edition of 9 (plus one AP)

We also have the original painting of SLEEPING BEAUTY available!!!

PARTLY CLOUDY - MORNING FLY Series - Original paintings currently available, as well

Paper 11.5" x 24.5" / Image 10" x 23" g
G iclee and silkscreening on deckled paper Edt
Edition size: 75 / AP 20 / PP 10 / HC 10

(Click on each image for a larger picture)

BUBBLE BATH SUITE
By Tom Everhart

Paper size 44" x 29.5" / Image sized 40" x 25.5"
Mixed Media on paper (giclee and silkscreening)
Edtion 125 / AP 20 / PP 10 / HC 10
Exhibition Edition 9 + 3 AP - 58.5” x 38.5”

(Click on each image for a larger picture)

CHOP CHOP CHOP

CHOP CHOP CHOP

Edition of 125 / AP 20 / PP 10
13” x 45” paper / 11” x 43” image
Mixed media (giclee and serigraph) on paper

JE Edition TBA
Exhibition size, TBA

COUP D'ETAT

COUP D'ETAT

SOLD OUT
Mixed media (giclee and serigraph) on deckled edged paper.
Edition 125 / AP 20 / PP 10 / HC 10

Exhibition Edition
paper 30.5" x 58" / image 26.5" x 54"
Edition of 12

We also have the original painting of Coup D'Etat available!!!

VENICE MOON DOGG E No 7

VENICE MOON DOGG E No 7

30” x 45”
Mixed media (giclee and serigraph) on deckled edged paper.
Edition 75 / AP 20 / PP 10

Exhibition size, aprox 36 x 56”, Edition of 10 (plus 3 AP)

VENICE MOON DOGG E Series - Original paintings currently available, as well

Paper 40" x 28" / Image 36" x 24"
Giclee and silkscreening on deckled paper
Edition size: 35 / AP 6 / PP 3 / HC 3

(Click on each image for a larger picture)

SNOOZING IN MY BIG BLACK BOOT

Paper 42” x 28.7” / Image 40” x 26.7”
Mixed media print on deckled edge paper (giclee and silkscreen) Edition 95 (plus proofs)

“Snoozing In My Big Black Boot”, is a new print work that continues to use the object matter and a semiotic title to camouflage the actual subject matter within the architecture of the image. A short time ago, I required a fairly serious foot surgery. No worries, after the pain of recovery, all is well. But, during the early days of that recovery I was instructed to wear a large black boot all day and all night. But, the night proved to be the most challenging, especially while sleeping in bed and swinging my big black boot around Jennifer as she attempted to sleep. Some of the music being played in the studio along this period of time was from Ice Cube. His track," Walking In My Big Black Boots", became quite obvious as the beginning point for the work's title. Sparky’s (Charles Schulz) original drawing from his strip that was used for the visual object matter originally incorporated his character of Rerun, Linus's little brother. But as I deconstructed and reconstructed his drawing, I replaced his character of Rerun with his slightly larger character of Linus. This would help emphasize the humor found between the scales of myself, strapped with the big black boot, and the sleep depraved Jennifer. Finally and most importantly, in my pull of memory, some of my most favorite moments were watching my friend Keith Haring start with his line at one side of the canvas and not finish until he got to the other side. Or, looking at Brice Marden's line moving around his image dodging and intersecting each other, as well as Cy Twombly's childlike line freedom. But, it was, my good friend, Charles Schulz's line that helped me see it all in a new way to produce works like "Snoozing In My Big Black Boot.”

TAHITIAN HIPSTER Series

Paper size 10” x 8” - Mixed media print on paper (giclee and silkscreen) with deckled edges
Edition 295 (plus proofs)

(Click on each image for a larger picture)

CRACKING UP

CRACKING UP

Paper 30" x 44” /
Image 25.5" x 39.5"
Mixed media print on deckled edge paper (giclee and silkscreen) Edition 195, Artist Proof 50, Printers Proof 40, HC 15

WEARING JIM DINE SUITE
giclee & silkscreening on deckled paper

Regular Edition: Paper 45" x 32" / image 41" x 27.5" SOLD OUT
Parlor Edition: Paper 22" x 16" / image 19" x 13" SOLD OUT

Exhibition Edition - Paper 57" x 38" - Only 12 prints in this Special Edition - AVAILABLE

I'VE GOT TO DANCE SUITE
By Tom Everhart

Paper Size - 22.5” x 22.5”
Image Size - 20” x 20”
Edition 78 (AKA - Gramophone Proofs), 45 SP (Single Proofs), 33 LP (Long-play Proofs), 33 AP (Artist Proofs)

More prints from this series coming soon!!! (Click on each image for a larger picture)

WATER LILIES SUITE
By Tom Everhart

Paper size 13" x 8"
Mixed Media on paper (giclee and silkscreening) |
Edtion 295 / Roman 75 / AP 50 / PP 40 / HC 15

(Click on each image for a larger picture)

LITTLE FANCIES Series - Original painting of each piece currently available, as well

Paper Size 40" x 28" / Image size: 36" x 24" |
Mixed Media on paper (giclee and silkscreening) with decled edges |
Edtion 35

(Click on each image for a larger picture)

I GOT ANTS IN MY PANTS

I GOT ANTS IN MY PANTS

Image 18.5" x 42"
Paper 22.5" x 46"
Mixed media print on deckled edge paper
(giclee and silkscreen)
Edition 75
Artist Proof 20
Printers Proof 10

I GOT ANTS IN MY PANTS

MAKE IT STOP

Paper 22" x 45" / Image 18" x 41"
Mixed media print on deckled edge paper

Exhibition Edition:
Size: Paper 29" x 59"  / Image 26" x 56" 
Edition: 9 / 3 AP

MAXI TAXI

MAXI TAXI

Paper: 30.5" x 39" /
Image: 25" x 33.5"
Mixed media (giclee and silkscreening) on deckled paper|

Edition 95 / AP 20 / PP 10 / JE 40 17.5" x 22"
Exhibition Edition 9+1 40" x 52"

“It wasn’t the storyline of Sparky’s work that first caught my eyes, it was the line.” This is how I usually explain my initial attraction to the art of Charles M. Schulz. When I had placed a Xeroxed copy of one of Sparky’s drawings into my painting studio’s projector, shortly before meeting him, the over-sized projection of his line-work looked like large rhythmic painterly brushstrokes. For me as a painter, they referenced the painterly lines of abstract expressionist artist like Franz Kline and DeKooning, even as far back into the art world as in the drawings of Van Gogh. This was a very new way of feeling and seeing line. Shortly after our introduction, we sat in his studio drawing lines in sets of three identical lines. He was demonstrating that no lines, in each set of three looked the same. That the eye sees and thinks about each line in a new way. This concept of seeing the same thing in a new way became the foundation for the twenty-six years of my visual articulation ultimately influenced by the strategies of process in his line-work. “Maxi Taxi” is a work dedicated visually to that moment of introduction and continued influence of his line construction. The black painterly brush stroke marks refer to a new way of thinking about Sparky’s pen line created by his 914 R. Esterbrook pen point held by a R. Esterbrook pen staff on Strathmore 3-ply high surface Bristol paper. While traveling with close friends, I was fascinated by their young one year olds perfect and natural driving posture while playing in her toy car. Her arm was comfortably draped over the car door and her hand was firmly placed on the steering wheel like a veteran taxi driver. It became the perfect vehicle for the dedication and celebration of Sparky’s line. Her name is Maxi, short for Maxwell. – Tom Everhart

“A cartoonist is someone who has to draw the same thing every day without repeating himself.” “ “The good cartoonist looks at the same thing as everybody else and then produces a drawing of something nobody else saw.” – Charles M. Schulz

PUFF DOGGY DOG

PUFF DOGGY DOG

34" x 46" (image 30" x 42")
Mixed media print - (giclee and silkscreening) on deckled paper
Edition 295

With the mountains as a backdrop, the artist represented here by Schulz's character Snoopy, stands on a bike path that runs along Santa Monica beach like a black ribbon. He's gazing to The West, watching the sun drop below the horizon of the vast blue Pacific. Bathed in the warmth of the sun's golden light you can tell he's at peace, he's at home. And yet, all the while he's wearing a giant, puffy, green jacket like a rapper straight out of Brooklyn. How did this East Coast dog find himself so far from home?

Rarely is one painting so significant to an artist's creative journey as is Everhart's painting of Puff Doggy Dog.

From the moment when a young artist picks up that first pencil, crayon or chalk to make their mark; the search for their own creative voice has begun. Along the way there will be no signposts or maps that will lead them. Typically, the only guide is their own instinct. For Everhart, that search in his early years took him to many places; New Haven, Washington DC, Baltimore, Paris and of course New York. But, despite his deep, East Coast roots, Everhart followed his own inner compass, and it pulled him to the West.

Back in the studio from the beach, the work begins -- and inspiration continues. Now, in his new home, Tom would fully embrace every bit of sunshine and beauty that it had to offer. From this, his daily constitutional of riding his bicycle for miles along the beach took root. This ride is always filled with many spectacular sights for an artist to take in. But, there was one in particular to which he always looked forward. If he timed his ride just right, Everhart would be riding underneath the Santa Monica pier just as the mid day sun would shine through the wooden slats above. This created a stunning array of long shafts of light onto the path below But, one day after seeing this countless times, Everhart stopped to study the light more closely.

What he observed would open the door to new way of seeing. It would change his own art forever. He found what he had been searching for...dots. The thin, bright shafts were constructed by dots of light. He realized that the dots were just an optical illusion. But with that, he realized so is everything that we see. And, there it began. Since that time, dots would become the one constant mark that is found in all of Everhart's works of art: Dots that are dripped, drawn, melted, glued, painted, poured, even cut out of the painting itself. And, the first painting to fully take shape from this discovery was Puff Doggy Dog.

Puff Doggy Dog is an artist's celebration shouted from a mountaintop. It's the cry of "EUREKA" at the end of the artistic quest. And, even though it represented the end of a search, it also represented the beginning of its own journey forward.

STARRY STARRY LIGHT SUITE
By Tom Everhart

Image 14" x 10.5" - Paper 18" x 14"
Mixed media print on paper (giclee and silkscreen)
Edition 295, AP 50, PP 40, HC 15
Please Note: COCONUT FABULOUS is almost sold out and available only with purchase of full suite

(Click on each image for a larger picture)

BIG POPPA

BIG POPPA

30" x 44" (image 26" x 40")
Mixed media print on canvas
Edition 295

"Do you know the quote from Albert Einstein? 'Creativity is the residue of time wasted.' I believe in it; that's my bible," Everhart stated while doing a gallery walk through with a group of art dealers on the eve of his highly anticipated New York art opening in May. He was presenting, for the first time to the seasoned crew, one of the three key pieces in his new collection of works: Big Poppa.

Like most of Everhart's paintings, Big Poppa is the result of many layers of thought and inspiration, beginning with Einstein's crystalized observation that creativity, inspiration, and even genius, comes from the moments when you step away from your "work" and let your mind relax and wander. We see this very thing happening in this painting, as Snoopy has started to drift to the side and enter into his own state of relaxation.

Often, on those rides, he watches birds flying above the sea in rows that wave up and down in the air as they move along the coast. This significant inspiration made it's way into Big Poppa as rolling waves of colored dots flowing around Snoopy. To Tom, these waves -- in the air with the birds, the winding bike path, and in this painting -- represent rhythm. They are the rhythms of life, the rhythms of caring, the rhythms of love, and the rhythms of pain: "all the things that flow around us as we are living," Everhart explains.

Back in the studio from the beach, the work begins -- and inspiration continues. While painting the works in this collection, his studio was filled with music. Most often he selected songs by Notorious B.I.G. [aka Biggie Smalls] whose song Big Poppa spoke to him profoundly. In the year that Tom painted the large body of work in this coming show, many of his friends became poppas. It was also a year in which Everhart gave a lot of thought to his to those who inspired him, shaped his life, and filled his world. And so, this painting is dedicated to Albert Einstein and Sparky (Charles Schulz), the 'Big Poppas' in Tom's life.

HOMIE DREAMS SUITE
By Tom Everhart

Image 42" x 28.5" - Paper 46" x 32.5"
Mixed media print on deckled edge paper (giclee and silkscreen)
Edition 295, AP 50, PP 40, HC 15

(Click on each image for a larger picture)

HOME DREAMS SUITE - It's the time before egos, affectations and societal conventions start to hide our essential selves; when our sense of who we are and what we believe are the clearest; and our creativity flourished with the greatest fluidity we'll ever experience.

It has been said that artists spend their whole lives trying get back to that place because children are the pure artists. That is why the Peanuts characters are the perfect muses for Tom Everhart's profound reflection on creativity and artistic inspiration in his Homie Dreams.

In this stunning series of portraits Everhart has posed Snoopy, Charlie Brown, and the rest as if they have grown bored while posing for the painter and have just started to drift off to sleep. They Try to hold their pose as if they are awake, but yet they float away. Tom explains that he wanted to show them entering into the world of dreams, as he believes that this is the place where all of us (artists or not) creatively grow the most. And that is also why they are all smiling, because they are enjoying their own "happy creative thoughts."

Each of the six portraits in the series represents the dreams of artists and, in some cases, friends who, themselves, have directly affected Tom's own dreams– Including one artist who does not have a portrait but is represented in all six of the paintings. The distinct abstract style of the background is a direct homage to Tom's former neighbor, the painter Sam Francis.

When Shulz drew the Peanuts, his characters often represented people in his own life. And even though we did not know who they were, we always knew someone in our own lives who were a little—or maybe a lot—like them. And that made those characters special and personal to us. Everhart has also done this. He has once again used Lucy, Pigpen and the rest to represent people who hold their own personal importance to him. Even if we don't have our own relationship with those people, we know people in our own lives who have inspired us. That is what these paintings are about—our own creativity, inspirations, friends and dreams.

SUPERFLY SUITE
By Tom Everhart

Image 14" x 10.5" - Paper 18" x 14"
Mixed media print on paper (giclee and silkscreen)
Edition 295, AP 50, PP 40, HC 15

(Click on each image for a larger picture)

SUPERFLY SUITE - The creative relationship that Tom Everhart and Charles Schulz shared has no comparable in the world of art. And when Sparky (Schulz) passed away in 2000, Everhart – having lost both his friend, colleague and mentor – found himself searching for something that would replace the life and growth that their profound relationship once provided. That something would be Tahiti.

Everhart, and his wife Jennifer, now spend a third of their year in this Polynesian paradise. There, Tom spends his days painting outside on the same dock their home sits on, surrounded by crystal clear water and emerald green islands dotting the horizon. Tom's immersion in such intoxicating beauty has influenced and inspired his art. And, in the case of the Superfly, that inspiration cannot be more apparent.

While Tom paints in front of their home, his wife Jennifer will often begin her day with a splash as she jumps off from their dock and disappears into the water for hours. And, as Tom works at his easel under the equatorial sun, he often imagines her journey into a color filled paradise – a world where she dives from the top of waterfalls into deep clear lagoons, awash in bright translucent colors, where the tropical heat, itself, seems to drip from the sky above. This is the world of Superfly. Through his controlled style of drip painting, with Snoopy as the playful embodiment of Jennifer, Tom has perfectly expressed this place of beatific color and light.

In these new paintings, Snoopy is doing something we have never seen in paintings by either Everhart or Schulz: he is flipping into the air. With pure exuberance and free of any constraints, Snoopy has taken flight. The choice to set Snoopy so free in this place of fantasy came as a response to a very real situation in Tom and Jennifer's own lives. Together, they faced some dark days over the past couple of years: challenges that can rob you of whatever it is that gets you up in the morning. But once again, as with the passing of Sparky, Tahiti became a place to heal. Instead of letting negativity take Tom into a place of darkness, he chose to do just what we see Snoopy doing in these paintings: fly over them. Correction SUPERFLY over them.

DOES THIS MAKE ME LOOK FAT

DOES THIS MAKE ME LOOK FAT

42" x 27"
Mixed media print on canvas (giclee and silkscreen)
Edition 295

"ARE YOU CRAZY?" Sparky (Charles Schulz) exclaimed when Everhart suggested that he wanted to do a series of paintings that contained hundreds of Woodstocks filling the canvas from edge to edge.

"Woodstock was the essence of Sparky's poetry, and it was his favorite thing to draw," Everhart explains. "Sparky felt his drawings of Woodstock communicated for him best." It was partly his attachment to Woodstock that excited him about Everhart's idea to take on such a challenge.

Schulz thought the idea was radical. "And it was," Everhart adds. But this was the whole thinking behind Everhart's pursuit, and Schulz' vision for him to carry forth his creations into an entirely new context of fine art expression. That it would be, as Everhart calls it, "doing the same thing, but entirely different."

That difference sometimes goes far beyond the stylistic choices. Often, the greater difference is in the things Everhart has chosen to express. At times, these are the big and tough issues. By expressing them through Peanuts, Everhart has been able to speak to these heaviest of subjects through the same prism of light-hearted humor that Sparky once used – even with issues as daunting as the world's growing population.

In this piece (Does This Make Me Look Fat), Everhart has created one of his best examples of this approach. It speaks to the very nature of his own heart and artistic perspective. At first sight of Snoopy wearing a sweater of Woodstocks (a nod to a sweater that Peppermint Patty once knitted for him in the comic strip) we can't stop ourselves from smiling or even laughing out loud. Then, still with that grin on our face, he draws us in a bit further, and we see Snoopy's face. It's familiar. We may not know the whole story, but we can see that there is more to this – something important, something real – and we connect. And then, in a way that only Everhart could pull off, he encourages us to once again smile, but this time it's with the kind of smile that comes from a deeper, meaningful place. The kind of smile lasts forever.

SUPERSTAR

Lithograph on paper
26.5 x 36
Edition of 309/350

IN STOCK AND AVAILABLE!
Our price to you $2950 framed!!!

PARADISE

Lithograph on paper
22.5 x 30
Edition of 132/500

IN STOCK AND AVAILABLE!
Our price to you $2900 framed!!!

BIG HAIR

Lithograph on paper
24 x 32
Edition of 89/250

IN STOCK AND AVAILABLE!
Retail price $7000
Our price to you $3750 framed!!!

ARE YOU TALKING TO ME

Lithograph on paper
22 x 46
Edition of 500

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BORING SNORING

Lithograph on paper
22" x 30"
Edition of 750

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SUPER SNEAKY

Lithograph on paper
31" x 21"
Edition of 500

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MY MAIN SQUEEZE

Lithograph on paper
42 x 31.75
Edition of 500

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DOG BREATH

Lithograph on paper
53" x 28.5"
Edition of 750

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SHROEDER'S PIANO
from The Peanuts Paintings Suite

Lithograph on paper
24" x 32"
Edition of 250

SOLD OUT
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DOGGIE DEAREST

Lithograph on paper
22 x 30
Edition of 350

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PARTY CRASHERS

Lithograph on paper
45.5" x 31"
Edition of 100

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ACE FACE

Lithograph on paper
22" x 30"
Edition of 500

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BLACK VELVET SCREAM

Lithograph on paper
32" x 32"
Edition of 50

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BOOM SHAKA LAKA LAKA
from The Lagoon Suite

Lithograph on paper
44" x 31"
Edition of 500

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BORA BORA BOOGIE BORED
from the Bora Bora Boogie Suite

Lithograph on paper
23" x 31"
Edition of 500

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BORA BORA BOOGIE DOWN
from the Bora Bora Boogie Suite

Lithograph on paper
23" x 31"
Edition of 500

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BORA BORA BOOGIE OOGIE
from the Bora Bora Boogie Suite

Lithograph on paper
23" x 31"
Edition of 500

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CALL WAITING - (CHARLIE BROWN)
from the Tribute Series

Lithograph on paper
22" x 30"
Edition of 500

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CHILLIN'
from The Lagoon Suite

Lithograph on paper
44" x 31"
Edition of 500

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HITCHED
from The Lagoon Suite

Lithograph on paper
44" x 31"
Edition of 500

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COOL AND INTELLIGENT

Lithograph on paper
26.5" x 37"
Edition of 500

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I THINK I MIGHT BE SINKING

Lithograph on paper
29.5 X 58
Edition of 500

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LUCY'S SCREAM
from the Peanuts Paintings Suite

Lithograph on paper
24" x 32"
Edition of 250

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MON AMI

Lithograph on paper
36" x 25"
Edition of 500

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MONDAY MORNING

Lithograph on paper
22 x 30
Edition of 500

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NO APOLOGIES - LUCY
from The Tribute Series

Lithograph on paper
30" x 22"
Edition of 500

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PIG OUT

Lithograph on paper
22.5 " x 30"
Edition of 500

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PLAY THAT FUNKY MUSIC

Lithograph on paper
22.5" x 30"
Edition of 750

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POP STAR

Lithograph on paper
17" x 27"
Edition of 500

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PRADA PUSS

Lithograph on paper
22.5" x 30"
Edition of 500

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SUPER SNEAKY

Lithograph on paper
31" x 21"
Edition of 500

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SUPERSTAR
from the "Smarty Pants" Suite

Lithograph on paper
26.5" x 36"
Edition of 350

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VERY COOL LIPS IN BRENTWOOD

Lithograph on paper
22.5" x 30"
Edition of 500

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WAIT WATCHERS
from the Smarty Pants Suite

Lithograph on paper
36" x 26.5"
Edition of 350

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WATCH DOG - 12 O'Clock, 3 O'Clock, 6 O'Clock, 9 O'Clock,

Series of 4 Lithographs on paper
22.5" x 30" each
Edition of 500

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TO REMEMBER

Lithograph on paper
30 x 22.5
500

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BOOM SHAKA LAKA LAKA

Lithograph on paper
44" x 31"
Edition of 198/500

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TO REMEMBER... THE SALUTE

Lithograph on paper
30 x 22.5
Edition size 500

Museum Framed

Current listed price $6500
Our price to you $3950 framed

TO EVERY DOG THERE IS A SEASON - SPRING

Lithograph on Paper
2001
30" x 22"
250 Limited Edition

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TO EVERY DOG THERE IS A SEASON - WINTER

Lithograph on Paper
2001
30" x 22"
250 Limited Edition

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TO EVERY DOG THERE IS A SEASON - SUMMER

Lithograph on Paper
2001
30" x 22"
250 Limited Edition

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I CAN'T BELIEVE MY EARS, DARLING

Lithograph on paper, framed
38" x 29"
edition size 500

Sold Out Edition
Retail $4700
Our price to you $2750!!!

I CAN'T BELIEVE MY EYES, DARLING

Lithograph on Paper, framed
2001
38" x 29"
edition size 500

Sold Out Edition
Retail $4700
Our price to you $2750!!!

A KISS IS JUST A KISS

Lithograph on Paper
13.75" x 18"
350 Limited Edition

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BEST IN SHOW

Lithograph on Paper
39" x 30"
Limited Edition

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GLAM SLAM

Lithograph on Paper
30" x 22 1/2"
350 Limited Edition

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DANCING IN THE RAIN

Lithograph on Paper
30" x 22 1/2"
500 Limited Edition

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HOLLYWOOD HOUND DOG

Lithograph on Paper
22" x 36"
Limited Edition

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WHY I LIKE BIG HAIR

Lithograph on Paper
39" x 30"
Limited Edition

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SNIFF

Lithograph on Paper
45" x 32"
Limited Edition

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SCRATCH

Lithograph on Paper
45" x 32"
Limited Edition

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I THINK I MIGHT BE SINKING

Lithograph on Paper
29" x 58"
500 Limited Edition

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TEA AT BEL AIR - 3PM and 7PM

Lithograph on Paper
30" x 22"
Limited Edition

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WATCH DOG
12, 9, 6, 3 O'CLOCK

Lithograph on Paper
30" x 22.5"
500 Limited Edition

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LUCY'S SCREAM

Lithograph on Paper
2001
30" x 22"
250 Limited Edition

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Tom Everhart is the only fine artist educated by Schulz and legally authorized by both Charles Schulz and Iconix to use subject matter from Schulz's Peanuts strip to create fine art.

Tom Everhart was born on May 21, 1952 in Washington, D.C. He began his under graduate studies at the Yale University of Art and Architecture in 1970. In 1972 he participated in an independent study program under Earl Hoffman at St. Mary's College. He returned to the Yale School of Art and Architecture in 1974 where he completed his graduate work in 1976, followed by post-graduate studies at the Musee de l'Orangerie, in Paris. He taught Life Drawing and Painting, briefly from 1979 to 1980, at Antioch College.

In 1980, Tom Everhart was introduced to cartoonist Charles M. Schulz at Schulz's studios in Santa Rosa, California. A few weeks prior to their meeting, Everhart, having absolutely no education in cartooning, found himself involved in a freelance project that required him to draw and present Peanuts renderings to Schulz's studios. Preparing as he would the drawings and studies for his large-scale skeleton / nature related paintings; he blew up some of the cartoonist's strips on a twenty-five foot wall in his studio which eliminated the perimeter lines of the cartoon box, leaving only the marks of the cartoonist. Schulz's painterly pen stroke, now larger than life, translated into painterly brush strokes and was now a language that overwhelmingly connected to Everhart's own form of expression and communication. Completely impressed with Schulz's line, he was able to reproduce the line art almost exactly, which in turn impressed Schulz at their meeting. It was directly at this time that Everhart confirmed his obsession with Schulz's line art style and their ongoing relationship of friendship and education of his line style.

A few years later, while still painting full-time on his previous body of work in his studio, Everhart began drawing special projects for Schulz and United Media, both in New York and Tokyo. These authentic Schulz-style drawings included covers and interiors of magazines, art for the White House, and the majority of the Met Life campaign. When Everhart was not painting, he was now considered to be the only fine artist authorized and educated by Schulz to draw the actual Schulz line.

The paintings using Charles Schulz's comic strip, Peanuts, as subject matter began and replaced the skeleton and nature related paintings in 1988. The inspiration came to Everhart in Johns Hopkins Hospital, where he was undergoing several operations for stage 4 colon / liver cancer in the summer of 1988. Everhart recalls lying in a hospital bed surrounded by enough flowers to open a florist shop, piles of art books and a stack of Peanuts comic strips sent to him by Schulz. The light streaming in from the window almost projected the new images of his future Schulz inspired paintings on the wall. All the images in Everhart's work are in some respect derived from Schulz's Peanuts comic strip.

In January 1990 Everhart's Schulz related work went on to show at the Louvre in Paris and subsequently in Los Angeles at the L.A. County Museum of Natural History, Montreal at the Museum of Fine Arts, Tokyo, Japan at the Suntory Museum of Art, Osaka, Rome, Venice, Milan, Minneapolis, Baltimore, New York, Houston, Chicago, Las Vegas, and in Santa Rosa California at the Charles M. Schulz Museum.

In 1991, Charles Schulz and United Media drafted a legal agreement to allow Tom Everhart to use subject matter from Schulz's Peanuts strip in his art for "the term of his life".

In 1992, Pigpen's Dirtballs a 72" x 128" painting was filmed with the artist in progress for the CBS special "The Fabulous Funnies". A series of four lithographs were published in 1996 and a series of four more lithographs entitled, To Every Dog There Is A Season followed in 1997. Over the next ten years S2 Art editions and Tom Everhart would create an astonishing body of lithography work consisting of over seventy-four lithographs.

In 1997, Snoopy, Not Your Average Dog, published by Harper Collins, featured an essay and reproductions of Tom Everhart's Schulz inspired paintings.

An agreement, with Tom Everhart, United Media Feature Syndicate and Peanuts creator Charles Schulz, was signed, in 1997, to grant to third parties licenses with respect to the Schulz inspired paintings to produce up-scale museum type products, and continues in effect to present, with Iconix replacing United Media in 2010.

In 2000, his first solo museum show was launched at the Suntory Museum of Art in Tokyo and Osaka, Japan. The Exhibition traveled to five other locations in Japan until the year 2002.

CBS, in a Charles M. Schulz tribute, designed an entire sound stage, comprised solely of Everhart's paintings, that were used with host Whoopi Goldberg, throughout the hour long special, in May of 2000.

After Charles Schulz passed away in February of 2000 it left Everhart with a deep sense of loss as well as an even stronger desire to communicate the incredible gift bestowed on him by Schulz.

Thus, in 2000 Everhart discovered French Polynesia, a small group of islands in the center of the Pacific Ocean. The ongoing trips between French Polynesia and Venice California have had a significant effect on the paintings most easily observed in the luminous color palette. But, most importantly, it offered him a new way of seeing the work that he was dedicated to continuing.

The Charles M Schulz Museum opened in August 2002 and the following year November 14th 2003 Everhart had the honor of presenting his works in a solo exhibition titled Under The Influence. He would also be included in the Museum's 2011, Pop'd From The Panel exhibition along with Warhol and Lichtenstein.

In 2004 Everhart showed a group of nine large scaled paintings titled Dots Dogs Drips with the S2 Art Gallery in Chicago that then traveled to Osaka and Tokyo in 2005.

For the next two years Everhart worked to produce two large bodies of works on paper, canvas, and wood. The first exhibition titled Cracking Up consisted of seventy-five artworks. The following exhibition Boom Shaka Laka Laka: The Lagoon Paintings was made up of three large scale paintings and one hundred fourteen works on paper ranging in sizes for 10" x 12" to 40" x 60". Both bodies of work were shown at the Jack Gallery.

In 2011 he exhibited 97 works, titled Crashing The Party a solo exhibition at the Animazing Gallery in New York.

Tom Everhart continues to lecture around the world on the artwork of Charles M Schulz and to communicate the unique collaborative relationship they shared, as a cartoonist and a painter. To this he has dedicated his life.

After living in San Francisco, Paris, New York, Washington D.C., Baltimore, and London, in 1997 Tom Everhart moved to Venice California where he now lives with Jennifer, his wife and director of their studio.

Images of Tom Everhart at the Fox/Blue Sky studio in NYC, teaching all their artists about Peanuts, for the PEANUTS MOVIE, being released 2015.