PINK SUNRISE - Hendry's Beach, Santa Barbara - Giclee Reproduction Print of Original Oil Painting

NEW - READY TO HANG GALLERY WRAPPED CANVAS GICLEE PRINTS. Choose between black sides or the painting continued around sides, 1 1/2 inch gallery depth cradled panel with hanging hardware ready to hang.

This unframed reproduction of an original oil 18 x 18 painting was first titled “SOCIAL DISTANCING AT SUNRISE - DAY 50”.  I painted this as part of my documentation Collection of the Lockdown during the Pandemic. I chose to document the many heroes that emerged and other aspects of this unique time of our lives. 

Strategically spaced more than 6 feet apart most Californians were allowed to enjoy the fresh air and warm weather at the beaches as this painting of sunrise walkers at ARROYO BURRO County Park, the official name of what Santa Barbara locals call Hendry’s Beach, suggests.

Although officially known as Arroyo Burro, this stretch of coastline between Hope Ranch and the Douglas Family Preserve has been called Hendry’s Beach for decades. In the late 1800s and early 1900s, William N. Hendry and family farmed in this area.

A native of Scotland, Hendry was 24 when he set sail for the U.S. out of Liverpool in 1872. It was not an easy passage. After a journey of two months, Hendry arrived in Santa Barbara and went to work for Ellwood Cooper on his Goleta Valley ranch. Hendry worked from sunup to sunset, six to seven days a week. Entries in his journal often just read, “Ploughed all day.”

Eventually Hendry saved enough to lease a piece of ground of his own in an area now occupied by UCSB. In 1881, he married Annie Stronach, also a Scottish immigrant, and three years later he leased over 360 acres at Arroyo Burro, which included Veronica Springs and a good portion of Hope Ranch. Hendry primarily grew hay, oats, and barley, selling much of his yield to stables in Santa Barbara. He later diversified, with lima beans becoming an important crop. One year the family earned around $4,000 just from the bean crop alone.

The Hendrys had 12 children, and the latter often invited friends to swim off the beach at the mouth of the creek; gradually the beach became known as Hendry’s to locals. Around the turn of the century, where the Douglas Family Preserve is today, Chinese farmers raised watermelons.

Hendry retired in 1914, and four years later he sold the farm for $80,000, as his children did not follow their father’s footsteps into farming. The family moved into town to a house at 509 Chapala Street.

This beach is surrounded by tall bluffs with parks and trails on top including the Douglas Family Preserve, a wooded space saved from development by locals and even Michael Douglas, who named it in honor of his father Kirk. A footpath into the preserve begins at the entrance to the parking lot. 

Provenance: The original 18 x 18 oil painting is framed in a natural wood floating frame available for sale. It was part of the Solo Exhibition BETTER ANGELS and BONAFIDE HEROES that was held in Santa Paula in two tents in Daves Christmas Tree lot near the Santa Paula Train Depot. Collector Susan Bell Walker added this to her collection in 2023 when it was included in the California Art League's Exhibition at the Santa Paula Art Museum. 

SIZES:

• The CANVAS print is available as a square 8” x 8”, 10”x 10" or 12” x 12” 
• The PAPER print is available as a square 8x 8, 10"x 10" or 12 x 12 This comes unframed with white border. Artist signature and title in lower margins ready for matting and framing. Can be framed without mat it you prefer.

MATERIALS: Choose from CANVAS (Ready to hang) or PAPER (frame not included) ARCHIVAL PIGMENT: All are printed and hand cut in-house with 100+ year light permanence rated archival pigment inks on archival substrates your choice Cotton Canvas or Paper;

CANVAS: 100% Real Cotton Weave Canvas, heavy 340 gsm / 125 lb. Mounted on Gallery 1 1/2” wide wooden frame ready for hanging 

PAPER: quality, fade resistant 100% Cotton Rag 308 gsm, Acid and Lignin Free FineArt Smooth Matt paper by Hahnemuehle, the leader in Museum and Gallery Papers for Giclee Reproduction Prints. Frame not included.

Printed and hand cut in-house with 100+ year permanence rated archival pigment inks on archival quality, fade resistant 100% Cotton Rag 308 gsm, Acid and Lignin Free FineArt paper by Hahnemuehle, the leader in Museum and Gallery Papers for their Giclee Reproduction Prints.

PIGMENT: We use Epson DURABrite Ultra pigment ink which has a permanence resistance rating up to 105 years as rated by Wilhelm Imagine Research a leading authority of print permanence. For make print life display prints under glass or UV filter. Pigment inks such as DURABrite Ultra consist of pigment particles suspended in the ink. Once applied to the paper, they will not dissolve and will not stain if they become wet. 

Epson’s DURABrite Ultra pigment ink uses an exclusive Microencapsulation technology where each pigment particle is encased in a resin. A unique polymer pulls the particles apart, so they are suspended in the solution and never coagulate. The ink base then helps the DURABrite Ultra pigment particles penetrate the paper. DURABrite Ultra ink uses a specific technology to control the penetration level of the ink and keep the colorant near the surface and a special formula that creates more Vibrant & bright colored prints.  Conventional dye-based ink particles are absorbed into the fibers of plain paper and are soluble in water. Pigment inks come at a higher cost than dye inks but you can feel confident in your investment that will last for generations. 

Shipping: Prints size 8 x 10 &  11x14 and below will be packaged in a clear cello sleeve, backed by a 22 pt chipboard sheet, inside a flat biodegradable extra-rigid fiberboard photo/document mailer and shipped via USPS. Prints size 12 x16 or larger will be packaged in a sturdy Kraft Mailing Tube. Please feel free to contact for alternative shipping options.

Jules Smith watermark will not appear on the final print.

© All work copyrighted by Jules Smith.  All rights reserved.