2025
ACRYLIC, WATERCOLOR, & GLITTER ON COTTON RAG PAPER
22″ x 22″
1/1
This piece is based on an original poster for Buffalo Bill’s Wild West Show, a legendary traveling spectacle that captivated audiences worldwide in the late 19th and early 20th centuries.
The phrase “Yee-haw,” prominently featured in this piece, has its roots in cowboy and rodeo culture. It remains an enduring expression of the spirit of the American West—full of energy, enthusiasm, and rugged individualism.
2025
GRAPHITE & 22K GOLD LEAF ON COTTON RAG PAPER
22″ x 22″
1/1
This piece is inspired by the iconic photograph Jim Mihalek on Hud, Tucson 1971 Rodeo Bronc Rider. The original image captures the electrifying moment of a rodeo bronc rider mid-ride, clinging to the bucking horse as it twists and rears with incredible power.
Rodeo bronc riding pushes both horse and rider to their limits, with the rider attempting to stay on for eight seconds while displaying control and style.
2025
SCREENPRINTING ON COTTON RAG PAPER
30″ x 30″
1/1
The Chisos Mountains, located in what is now Big Bend National Park, provided a rugged and unpredictable landscape for cowboys working in the area. Rising to over 7,800 feet at Emory Peak, these mountains were among the most challenging terrains in Texas.
The isolation of these mountains meant that cowboys relied on their instincts, horses, and each other. Even in modern times, these peaks symbolize the unforgiving yet awe-inspiring landscapes that defined the frontier.
2025
SCREENPRINTING ON COTTON RAG PAPER
30″ x 30″
1/1
At 7,825 feet, Emory Peak is the highest point in the Chisos Mountains, a rugged and isolated range within Big Bend National Park. For cowboys working in this area, the mountains served as a natural barrier and a challenge, forcing them to adapt to high-altitude riding and tracking cattle across steep and rocky terrain.
The ability to read the land, predict storms, and work with sure-footed horses was crucial for survival. Today, the Chisos Mountains remain a testament to the resilience and skill of the cowboys who rode beneath their towering peaks.
2025
SCREENPRINTING ON COTTON RAG PAPER
30″ x 30″
1/1
Cerro Castellan, a striking peak in Big Bend National Park, has been a silent witness to the passing of cattle drives, ranchers, and frontier life for centuries. The peak, formed from volcanic activity millions of years ago, is a defining landmark of the Texas-Mexico borderlands, where cowboys worked in some of the most extreme conditions in the state.
This region was known for its remoteness and harsh environment, where water sources were scarce and the terrain was unforgiving. Despite the challenges, many ranches thrived due to their access to grazing lands stretching for miles under the shadow of the mountains.
2025
ACRYLIC PAINT & SILVER LEAF ON COTTON RAG PAPER
40″ x 60″
1/1
Cowboys like the one depicted often worked long days herding cattle, maintaining fences, and protecting livestock across vast, challenging terrains. Their attire, including chaps and spurs, was carefully designed for the job’s demands.
As the sun set on the open range, cowboys finished their daily work, gathering around campfires to share stories and prepare for the next sunrise.
2025
GRAPHITE, INK, & 22K GOLD LEAF ON COTTON RAG PAPER
36″ x 54″
1/1
Based on Erwin E. Smith’s early 1900s photograph A Texas Cowboy, this image captures a lone cowboy on horseback, surveying a herd of cattle spread across the open range. The lone cowboy represents the enduring self-reliance and independence that defined the American West.
2025
GRAPHITE, INK, & 22K GOLD LEAF ON COTTON RAG PAPER
54″ x 36″
1/1
Based on Erwin E. Smith’s early 1900s photograph The Horse Wrangler, this image was taken on the LS Ranch in Texas. Cowboys here had to be masters of their craft, managing herds across vast stretches of open land and ensuring the health and movement of thousands of cattle.
The role of a horse wrangler was essential—these men were responsible for handling the remuda, the herd of horses cowboys used for work, ensuring that every rider had a fresh mount when needed.
2025
GRAPHITE, INK, & 22K GOLD LEAF ON COTTON RAG PAPER
54″ x 36″
1/1
Based on Erwin E. Smith’s 1907 photograph The Bronc Gets Ugly, this piece depicts a cowboy attempting to break a wild bronc at the LS Ranch in Texas. The LS Ranch, one of the largest in Texas during the early 20th century, was known for producing top-tier working cowboys and tough, unbroken horses. Broncs at LS were meant to become reliable ranch horses, making the breaking process a long and grueling test of skill and patience. Cowboys had to train horses that would later carry them across miles of rugged terrain while managing cattle.
In the background is Guadalupe Peak, the tallest mountain in Texas at 8,751 feet. Part of the ancient Permian Reef, the peak is located in West Texas near the New Mexico border.
2023
COTTON RAG PAPER WITH ACRYLIC PAINT, SILVER, & HOLOGRAPHIC GLITTER
36″x40″
1/1
Inspired by Stampede (1976), this piece is based on one of Lea’s largest and most ambitious murals. Stampede depicts a chaotic scene of cattle in full motion, a moment of pure adrenaline and disorder. The painting captures the unpredictability of a stampede—where even the most experienced cowboys had little control once the herd was in motion. Lea studied these events extensively, interviewing ranchers and firsthand witnesses to ensure accuracy in his portrayal. His ability to translate motion onto canvas made Stampede one of his most dynamic works, emphasizing a runaway herd’s sheer force and danger.
Adapted from Tom Lea, Spooked (study for stampede mural), 1940,
Ink & brush, 9.25″” × 10.75″, Fred Van’t Slot Collection
2023
COTTON RAG PAPER WITH ACRYLIC PAINT & SILVER GLITTER
36″x40″
1/1
Inspired by Two Star Special (1940), this piece comes from one of Tom Lea’s working sketches, capturing the energLea’s precision of cowboy life. Unlike many Western artists, Lea was known for his commitment to accuracy, spending time on ranches and interviewing cowboys to ensure realism in his work. His quick, deliberate strokes ceased movement and control, making his preparatory studies as powerful as his finished paintings. Two Star Special exemplifies Lea’s ability to translate real-life action into dynamic, expressive compositions.
Adapted from Tom Lea, Preliminary Sketch for Two Star Special,
1975, Pencil & ink on tracing paper, EPMA Collection, Gift of Dorothy Clark
2023
COTTON RAG PAPER WITH ACRYLIC PAINT
30″x20″
1/1
Derived from Toro (1946), this piece is rooted in Lea’s deep fascination with bulls, particularly those bred for bravery and endurance in the ring. Spanish fighting bulls are selectively bred over generations for their aggressive but controlled behavior, making them one of the most prized breeds in the world. Lea’s studies of these animals focused on their musculature, movement, and expression, capturing their raw power and regal stance. His sketches often mirrored the intensity of the bullring, emphasizing the contrast between calm strength and explosive energy. Lea’s work in this area showcases his ability to depict animals as subjects and living embodiments of tradition and history.
Adapted from Tom Lea, Toro, 1946, watercolor, 16″ x 14″
Collection of Joe Lea
2022
COTTON RAG PAPER with 95mm Silver Leaf
15″x42″ / 74″x36″
10/10, 1/1
This standalone piece is inspired by The Hands of Cantu (1960s), which highlights the equestrian culture of Mexico and the American Southwest. Tom Lea was fascinated by the art of horse training, particularly the vaquero tradition, which emphasized patience, technique, and deep respect between horse and rider. Unlike modern rodeo-style breaking, vaqueros used a gradual approach, earning a horse’s trust over time. Lea’s works often depicted this process, showing trainers working seamlessly with their animals, using body language and subtle cues to communicate. His studies of horse training were detailed and historically accurate, reflecting the Spanish and Mexican influences that shaped the American cowboy tradition.
Adapted from Tom Lea, El Domador Sanchez, 1967, watercolor on artboard, 39½” × 14 ½”
Taylor Collection, El Paso Museum of Art
2022
ARCHIVAL INK PRINT ON 100% COT TON RAG PAPER
30″x16″ / 60″x31″
10/10, 3/3
Inspired by Who Came to Stay (1984), initially commissioned for UTEP’s library, this piece tells the story of the early Texas frontier and its settlers. Lea’s painting depicts an Anglo ranger guiding new arrivals—an image that reflects the movement of people into Texas and the expansion of settlements along the border. The work connects to a broader theme in Lea’s portfolio: the individuals who shaped the region through migration, adaptation, and conflict. His portrayal of rangers and settlers was influenced by extensive research into historical records, ensuring authenticity in dress and setting. The Peacemaker was the first Tom Lea work reimagined by Lee Beach, making it the foundation of this series.
Adapted from Tom Lea, Who Came to Stay, 1984, oil on canvas, 72″ x 38″
UTEP Library, University of Texas at El Paso
2023
COTTON RAG PAPER WITH ACRYLIC PAINT, WATERCOLOR , & GOLD GLITTER
50″x26″
1/1
Based on Ranger Escort West of the Pecos, this piece is a nod to West Texas’ identity and its historical significance. Lea’s original painting was an assertion of the rugged frontier’s role in shaping Texas, reminding policymakers in Austin that the westernmost regions were an integral part of the state’s narrative. The term “Gone to Texas” was historically used by settlers and outlaws alike, marking a transition to the untamed landscapes of opportunity and reinvention.
Adapted from Tom Lea, Ranger Escort West of the Pecos, 1956, oil on canvas, 36″ x 52″
Governor’s Business Office, Texas State Capital
2022
COTTON RAG PAPER WITH ACRYLIC PAINT, WATERCOLOR , & GOLD GLITTER
50″x36″
1/1
Adapted from Manuel Rodriguez (1947), this work draws from Lea’s fascination with Spanish bullfighting, which he documented after attending matches in Mexico. Lea was captivated by the theatricality of the sport, the careful training of matadors, and the selective breeding of bulls known for their courage and strength. His illustrations often depicted the dramatic tension of the moment just before the final pass, highlighting the balance of precision, danger, and spectacle that defined the tradition.
Lea, T. (1947) Manuel Rodriguez, Manolete, in a Pase Natural [Oil on canvas]
Collection of Isha Rogers.
2022
COTTON RAG PAPER WITH 22 KARAT GOLD LEAF
7″x5″ / 25″x20″ / 55″ x 32″
10/10, 10/10, 3/3
Inspired by Payday (1961), this piece features the San Pedro cactus, a plant that played a crucial role in the survival of travelers, cattle, and vaqueros in the harsh desert. Historically, the San Pedro cactus was used for multiple purposes—its pulp stored water for hydration, while its fruit provided much-needed sustenance. Additionally, in some regions, it was used for medicinal purposes, helping treat wounds and illnesses. Lea’s choice to include it prominently in Payday was not just an aesthetic decision but an acknowledgment of the plant’s historical importance in sustaining life on the frontier.
Adapted from Tom Lea, Payday, 1961, oil on canvas, 22″ x 33″.
Collection of Denison Wilcon
2022
COTTON RAG PAPER WITH 22 KARAT GOLD LEAF
40″x40″
5/5
Based on Texas Longhorns and Trail Herd (1940s), Tom Lea’s meticulous studies of cattle captured the importance of lead steers in large cattle drives. Unlike cowboys, who relied on maps or experience, these steers had a natural ability to sense the best routes through harsh terrain, leading thousands of cattle across rivers and plains. Lea’s work reflected the intelligence and resilience of these animals, elevating them beyond simple livestock to vital navigators of the open range.
Adapted from Tom Lea, Texas Longhorns,
1946, oil on canvas, 30″ * 30″ Collection of Dallas Museum of Art.
2023
COTTON RAG PAPER WITH ACRYLIC PAINT, WATERCOLOR, & BLACK PEN
30″x40″
1/1
Inspired by Juan Sanchez (1969), Tom Lea frequently revisited this character in his sketches, portraying him in multiple roles—from a revolutionary hero to a horse thief. Lea’s fascination with Juan Sanchez stemmed from his broader study of the Texas-Mexico borderlands, where history often blurred the lines between outlaws and folk heroes. His sketches of Sanchez were part of a larger exploration of the cultural crossroads where identity, survival, and lawlessness intersected.
Adapted from Tom Lea, Study of Juan Sanchez Himself,
1969, Ink wash, 20¾” x 16″ EPMA, Taylor Collection
This series reimagines the Founding Fathers and other historical figures as men shaped by the moral language of the American frontier. Drawing from the unwritten principles of the Cowboy Code—honor, restraint, loyalty, and responsibility—each portrait frames its subject not simply as a historical icon, but as a figure defined by character.
The Founders appear as architects of a nation built without kings, where a man’s word carried weight and freedom demanded responsibility. Figures such as Sam Houston and Davy Crockett, though not cowboys by trade, embody the same posture of resolve and self-reliance. These works suggest that the cowboy is not only a rider on horseback, but a symbol of conviction—appearing in moments where leadership, courage, and judgment shape history.2026
Multi-layered lenticular
16 1/2″ x 20″
1/12
Cowboy Code No. 1
Talk Less, Say More
Words carry weight out here. The cowboy doesn’t waste them. He listens first, speaks with purpose, and lets his actions do the rest.
Original artist: Rembrandt Peale
Date painted: c. 1800
Age of subject: 57
Context: Serving as Vice President of the United States under John Adams, just before his election to the presidency in 1801
Current location: White House Collection, Washington, D.C.
2026
Multi-layered lenticular
24″ x 36″
1/5
Cowboy Code No. 2
When You Make a Promise, Keep It
A man’s word is his bond. The cowboy doesn’t deal in empty talk. What he says, he stands by no matter the cost.
Original artist: Gilbert Stuart
Date painted: 1796
Age of subject: 64
Context: Second term as President of the United States, near the end of his presidency.
This portrait was intended as a formal statement of leadership, stability, and the authority of the new republic.
Current location: National Portrait Gallery, Washington, D.C.
2026
Multi-layered lenticular
16 1/2 ” x 20″ in
1/12
Cowboy Code No. 3
Take Pride in Your Work
The cowboy stands behind what he builds. Every mark, every move, every decision carries his name. Out here, pride isn’t vanity, it’s accountability. The work speaks long after the man is gone.
Original artist: John Trumbull
Date painted: c. 1806
Age of subject: 49 (posthumous portrait; Hamilton died in 1804 at 47)
Context: This image reflects Hamilton at the height of his legacy. After serving as the first U.S. Secretary of the Treasury, establishing the nation’s financial system, and becoming one of the most influential Founding Fathers.
Current location: National Portrait Gallery, Washington, D.C.
2026
Multi-layered lenticular
16 1/2 ” x 20″ in
1/12
Cowboy Code No. 4
Remember, Some Things Aren’t for Sale
The cowboy knows the difference between value and cost.
Some things you hold onto your word, your land, your name, because once they’re gone, no deal can bring them back.
Original artist: Joseph-Siffred Duplessis
Date painted: c. 1778
Age of subject: 72
Context: Franklin was in Paris as the American ambassador to France during the Revolutionary War. At this time, he was one of the most famous Americans in the world, securing French support for the colonies. This portrait captures him at the height of his diplomatic influence.
Current location: National Portrait Gallery, Washington, D.C.
2026
Multi-layered lenticular
16 1/2″ x 20″
1/12
Cowboy Code No. 5
Know Where to Draw the Line
Out here, boundaries matter. The cowboy understandswhere to stand, what to defend, and when to hold firm. Not every line is visible, but the important ones are never crossed.
Original artist: Gilbert Stuart
Date painted: c. 1820
Age of subject: 62
Context: Final years of his presidency – Monroe was completing his second term, shaping U.S. foreign policy (Monroe Doctrine, 1823) and overseeing a period of relative national unity.
Current location: National Portrait Gallery, Washington, D.C.
2026
Multi-layered lenticular
16 1/2″ x 20″
1/12
Cowboy Code No. 6
Do What Has to Be Done
The cowboy doesn’t wait for easy. He faces what’s in front of him and sees it through. No shortcuts, no excuses. Just the work, done right.
Original artist: Gilbert Stuart
Date painted: c. 1800-1815
Age of subject: late 60’s
Context: Painted after his presidency, reflecting Adams in his later years post Founding era, with his legacy as a principal advocate for independence and the rule of law already established.
Current location: National Portrait Gallery, Washington, D.C.
2022
COTTON RAG PAPER with Acylic Paint
25″x30″
1/1
Original Portrait: Davy Crockett by Chester Harding, 1834
Davy Crockett sat for this portrait during his anti-Jacksonian speaking tour, where he promoted the Whig Party while visiting cities in the Northeast. The picture was painted in Boston, where contemporary descriptions praised his amiable expression and striking features, detailing his parted hair combed back into a slight curl at the neck. Crockett served in Congress then but had already become a folk hero known for his frontier exploits. Less than two years later, in 1836, he would die at the Battle of the Alamo, securing his place in Texas legend.
2022
COTTON RAG PAPER with Acylic Paint
25″x30″
1/1
Original Portrait: Sam Houston by Martin Johnson Heade, 1846
This portrait was painted while Sam Houston served as a U.S. Senator from Texas, shortly after the Republic of Texas was annexed into the United States. Houston remains the only American to have served as governor of Tennessee and Texas. His close ties to the Cherokee, who adopted him as a young man, earned him the name “Colonneh” (The Raven), which he carried with him throughout his life. The painting reflects his statesmanlike presence, yet Houston was known for his unpredictable political career, at times embracing Texas independence, advocating for U.S. statehood, and later opposing secession, ultimately costing him his position as Texas governor.
2026
Inkjet on Cotton Paper
single – 18” x 24” in
set – 8′ x 8′ ft
1/6
Jarritos is more than a soda—it is color as memory. Before printed labels became
standard, each flavor was recognized purely by hue. The bottle itself was a form of
communication: a shared visual language that linked family kitchens, neighborhood
shops, and border-town taquerías.
This series of twelve large-scale paintings isolates each original Jarritos flavor the
same way the community once identified it—through color alone. The works high-
light how everyday objects can become cultural symbols, carrying humor, nostalgia,
and identity across borders. Color is not decoration here. It is history, recognition,
and belonging.
2024
Screenprint on cotton paper
60″x80″
1/1
The bull symbolizes power, endurance, and resistance across civilizations, from Minoan Crete to Spanish bullfighting arenas. In Mexican culture, bullfighting, or la corrida de toros, was introduced by the Spanish in the 16th century, blending indigenous and European traditions into a highly controversial yet deeply ingrained spectacle.
2024
Screenprint on cotton paper
60″x80″
1/1
For centuries, roosters have played a symbolic role in Mexican and global culture, representing strength, vigilance, and masculinity. In Mexican tradition, roosters are often associated with cockfighting, which dates back to pre-Columbian times and remains a cultural phenomenon in many regions. The rooster’s crow at dawn is a universal symbol of renewal and defiance, an image deeply embedded in folklore and artistic representation.
2022
ARCHIVAL INK PRINT ON 100% COT TON RAG PAPER
40″x40″
10/10
The butterfly has been a symbol of transformation across cultures for centuries, from the Aztecs associating them with souls of the dead to modern conservationists studying their migratory patterns. The Monarch butterfly, in particular, is famous for its multi-generational migration from Canada to Mexico, covering over 3,000 miles.
2022
COTTON RAG PAPER with Silver & Red Glitter
18″x30″
10/10
In 1941, Lea collaborated with author J. Frank Dobie to illustrate The Longhorns, a comprehensive account of the history and significance of longhorn cattle in the American West. Longhorn cattle were first introduced to North America by Spanish settlers in the 16th century, and their distinctive, curved horns span up to seven feet from tip to tip. The Big Dipper constellation, featured in this work, has been a guiding symbol for travelers for centuries, linking the Texas frontier to the stars above.
Adapted from Tom Lea, Illustration for Old Blue in J. Frank Dobie’s The Longhorns, New York: Bramhall House, 1941, p. 271. Harry Ransom Humanities Research Center Collection, U.T. Austin.
2022
ARCHIVAL INK PRINT ON 100% COT TON RAG PAPER
21”x29” / 40”x55
10/10, 3/3
The Lone Ranger character first appeared in 1933 as a radio show before becoming a hit TV series in the 1950s. Though portrayed as a fictional Western hero, the Lone Ranger is believed to have been inspired by Bass Reeves, a formerly enslaved man who became one of the most legendary U.S. Marshals. The character’s catchphrase, “Hi-Yo, Silver!” remains one of the most famous in pop culture.
2021
ARCHIVAL INK PRINT ON 100% COT TON RAG PAPER
54″x36″
10/10
Coca-Cola, originally marketed as a patented medicine in 1886, quickly became one of the most recognizable brands in the world. Its signature red and white color scheme has remained unchanged since the 1890s, solidifying its iconic status. In Mexico, Mexican Coke, made with cane sugar instead of high-fructose corn syrup, has developed a loyal following for its distinct taste and nostalgic glass bottle presentation.
2020
ARCHIVAL INK PRINT ON 100% COT TON RAG PAPER
55″x44″
10/10
Topo Chico has been a staple of Mexican culture since 1895, long before becoming an international brand. The mineral water was named after Cerro del Topo Chico, a mountain in Monterrey, Mexico, where the water was first sourced. Over the decades, its logo has undergone eight redesigns. Yet, its name and distinct yellow label have remained unchanged, making it one of Latin America’s most recognizable beverage brands.
2022
COTTON RAG PAPER WITH ACRYLIC PAINT & BLACK PEN
20″x30″
1/1
Vice Roy brings a raw, expressive energy to his work, reminiscent of Basquiat’s frenetic mark-making. His art fuses pop culture with urban influences, using chaotic compositions to challenge traditional portraiture.
2023
COTTON RAG PAPER WITH 22 KARAT GOLD
32″x36″
1/1
Gaspar Enriquez is a Chicano art icon whose airbrushed portraits capture the soul of El Paso’s barrio culture. His hyper-realistic style gives voice to subjects often overlooked in mainstream art, portraying cholos and veteranos with dignity and power. A recipient of multiple NEA fellowships, Enriquez’s work is part of the Smithsonian and numerous national collections, solidifying his status as a pillar of contemporary Chicano art.
2024
Layered Spray paint & Acylic Paint with gold leaf
38″x76″
1/1
Born and raised in El Paso, TX, Adalberto Sepulveda’s passion for art began in junior high. He was painting BMX and lowrider bikes, inspired by the vibrant custom cars he saw cruising the streets.
With no formal training, Sepulveda learned by studying car magazines and experimenting with paints. At 25, he opened his first shop, mastering custom automotive painting with candy paints, metal flakes, and gold leaf. His work gained recognition, leading to a career alongside top custom painters like Danny D. Now, he brings the same precision and energy to metal canvases, merging automotive artistry with fine art to create striking, shimmering pieces.
