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Prints Have Some Pity on an Easterner, Right (Airport) Giclee Print
Kenton Nelson Have Some Pity on an Easterner, Right (Airport) Giclee Print Image 1 of 5
Kenton Nelson Have Some Pity on an Easterner, Right (Airport) Giclee Print
Kenton Nelson Have Some Pity on an Easterner, Right (Airport) Giclee Print Image 2 of 5
Kenton Nelson Have Some Pity on an Easterner, Right (Airport) Giclee Print
Kenton Nelson Have Some Pity on an Easterner, Right (Airport) Giclee Print Image 3 of 5
Kenton Nelson Have Some Pity on an Easterner, Right (Airport) Giclee Print
Have-some-pity-airport-Frame-Example.jpg Image 4 of 5
Have-some-pity-airport-Frame-Example.jpg
Framed-Diptych-Have-Some-Pity-Kenton-Nelson-Train-Airport.jpg Image 5 of 5
Framed-Diptych-Have-Some-Pity-Kenton-Nelson-Train-Airport.jpg
Kenton Nelson Have Some Pity on an Easterner, Right (Airport) Giclee Print
Kenton Nelson Have Some Pity on an Easterner, Right (Airport) Giclee Print
Kenton Nelson Have Some Pity on an Easterner, Right (Airport) Giclee Print
Have-some-pity-airport-Frame-Example.jpg
Framed-Diptych-Have-Some-Pity-Kenton-Nelson-Train-Airport.jpg

Have Some Pity on an Easterner, Right (Airport) Giclee Print

$1,500.00

Kenton Nelson’s Have Some Pity on an Easterner, Left and Right were a diptych he created in 1997. We have been authorized to release this small edition of only 16 prints of each travel-themed image, so they are very rare and special. Warm, earthy colors, and the classic environment of this airport terminal shows a moment loaded with suggestions of a story.

  • Image size 14 x 14 inches

  • Total print size 19 x 19 inches

  • Hand signed by the artist

  • Limited edition of 16

  • Unframed, ships flat in custom case

  • Comes with certificate of authenticity

From the artist’s perspective: “These were some of my first figurative paintings, and they are about unrequited love. The main characters are on time, but there has been a confusion as to transportation. In the left panel, the serviceman represents a new possibility of relationship, and in the second panel, the man checks his watch, to avoid temptation. The title was taken from a line of a Gershwin song. The art director of The New Yorker saw the second image in my portfolio, and it became my first cover for the magazine, in 1999.” - Kenton Nelson

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Kenton Nelson’s Have Some Pity on an Easterner, Left and Right were a diptych he created in 1997. We have been authorized to release this small edition of only 16 prints of each travel-themed image, so they are very rare and special. Warm, earthy colors, and the classic environment of this airport terminal shows a moment loaded with suggestions of a story.

  • Image size 14 x 14 inches

  • Total print size 19 x 19 inches

  • Hand signed by the artist

  • Limited edition of 16

  • Unframed, ships flat in custom case

  • Comes with certificate of authenticity

From the artist’s perspective: “These were some of my first figurative paintings, and they are about unrequited love. The main characters are on time, but there has been a confusion as to transportation. In the left panel, the serviceman represents a new possibility of relationship, and in the second panel, the man checks his watch, to avoid temptation. The title was taken from a line of a Gershwin song. The art director of The New Yorker saw the second image in my portfolio, and it became my first cover for the magazine, in 1999.” - Kenton Nelson

Kenton Nelson’s Have Some Pity on an Easterner, Left and Right were a diptych he created in 1997. We have been authorized to release this small edition of only 16 prints of each travel-themed image, so they are very rare and special. Warm, earthy colors, and the classic environment of this airport terminal shows a moment loaded with suggestions of a story.

  • Image size 14 x 14 inches

  • Total print size 19 x 19 inches

  • Hand signed by the artist

  • Limited edition of 16

  • Unframed, ships flat in custom case

  • Comes with certificate of authenticity

From the artist’s perspective: “These were some of my first figurative paintings, and they are about unrequited love. The main characters are on time, but there has been a confusion as to transportation. In the left panel, the serviceman represents a new possibility of relationship, and in the second panel, the man checks his watch, to avoid temptation. The title was taken from a line of a Gershwin song. The art director of The New Yorker saw the second image in my portfolio, and it became my first cover for the magazine, in 1999.” - Kenton Nelson

A portion of the proceeds from sales will benefit Special Olympics Southern California

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