James Christensen The Chess Match Canvas
Status: In Stock Available | Condition: New | Edition:Limited Edition Canvas | Edition Size: Limited Edition Of 300 | Dim:36 inches wide by 24 inches tall | James Christensen| Item #: JC00346
Price: $ 695.00 USD..
9/18/2025 $231.67 1st payment
10/18/2025 $231.67 2nd payment
11/17/2025 $231.67 3rd & final payment
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Art Terminologies
Giclée - A computerized reproduction technique in which the image and topography are generated from a digital file and printed by a special ink jet printer, using ink, acrylic or oil paints. Giclée printing offers one of the highest degree of accuracy and richness of color available in any reproduction techniques
Lithography - Printing technique using a planographic process in which prints are pulled on a special press from a flat stone or metal surface that has been chemically sensitized so that ink sticks only to the design areas and is repelled by the non-image areas. Lithography was invented in 1798 in Germany by Alois Senefelder.
Serigraphy (Silk-screen) - A printing technique that makes use of a squeegee to force ink directly onto a piece of paper or canvas through a stencil creating an image on a screen of silk or other fine fabric with an impermeable substance. Serigraphy differs from most other printing in that its color areas are paint films rather than printing ink stains.
Remarque – Additional enhancements by the artist on some or all of the final prints within an edition
Artist's Proof (AP) - Print intended for the artist's personal use. It is common practice to reserve approximately ten percent of an edition as artist's proofs, although this figure can be higher. The artist's proof is sometimes referred to by its French épreuve d'artist (abbreviation E.A.). Artist's proofs can be distinguished by the abbreviation AP or E.A., commonly on the lower left of the work.
“Gallery wrapped” is a way of finishing a canvas artwork so it’s ready to hang without needing an additional frame. The canvas is stretched tightly over thick wooden stretcher bars, and the edges of the canvas are wrapped around the sides and stapled on the back.
Stretched - When a canvas is described as stretched, it means the artwork has been pulled tightly over a wooden frame (called stretcher bars) and secured on the back. This process keeps the canvas flat and smooth, ready to hang on the wall or to be placed inside an outer frame.
Hand Embellished - When an artwork is hand embellished, the artist (or a skilled studio artisan) personally adds paint, texture, or other details by hand on top of the printed or finished piece. This gives each artwork unique highlights and depth, making no two pieces exactly alike — even within the same edition.
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James Christensen The Chess Match Canvas is eligible for 3 equal layaway payments in store, with a credit card of $231.67 made every 30 days over a period of three months. US & Canada orders only.
James Christensen (1942–2017) was a visionary fantasy artist known for his whimsical paintings that blend mythological storytelling with magical realism. His work, inspired by Renaissance art and surrealism, features imaginative characters, intricate details, and symbolic elements such as floating fish, which represent wisdom and wonder. Christensen’s unique artistic voice brought to life fairy tales, fables, and medieval-inspired dreamscapes, making his fine art prints and collectible fantasy artwork highly sought after. His ability to transform the ordinary into the extraordinary continues to captivate art collectors and dreamers alike.
The Chess Match
LIMITED EDITION CANVAS - JC00346
NOTES: There are 1,327 named openings and variations to a match in The Oxford Companion to Chess, but how can a player remember any of them when the day’s spectators include a pair of dragons? “Actually, I don’t think anyone is worried about them at all,” laughs the artist James C Christensen. “They enjoy a well played game. It’s the little guys with the lances that get ornery when they are captured.”
Welcome to The Chess Match as imagined by James, the professor of the imagination. “These characters are quite passionate about the game. You’ll notice that they’ve incorporated the checkerboard pattern into their clothing and even onto the castle walls. But, they’ve only learned the game as distant observers, somewhat like you or me getting fascinated over a rugby match on the Aussie Channel. We could get all excited, run into the backyard and form up a scrum but we wouldn’t know the nuances of the game. Still, we’d have all sorts of fun and maybe even lose some teeth in the process.”
“The two players remind me of Oberon, in red, and Titania, in blue, from Shakespeare’s Midsummer Night’s Dream, each with their own castles and followers. Instead of playing with the traditional black and white pieces I was going to tip a hat to Alice in Wonderland by using red and white. From a design point of view, it was a little boring,” reveals Christensen, “so I went with blue instead of white. I didn’t think much about it until a friend stopped by and pointed out that I happened to choose the colors of Utah’s own Holy War--the University of Utah (red) vs. BYU (blue).”
As for the field of play, it’s classic Christensen. There is little doubt that the two queens, one with her magical staff and the other with her broadsword, are the most powerful players on the board. The kings, being slightly less so, have compensated for their diminutive stature with rather tall thrones. At this point in the game, the blue king has opted for a nap, while the red king does his best to direct traffic with a staff not as potent as his queen’s.
“I had fun playing the different pieces off of each other,” relates James. “Knights, castles and kings all employ minions and ogres to move them about the field. The red bishop is very ‘Rome’, as if he has just arrived, ornate mitre and all, from a conference at the Vatican. His counterpart is a red-haired, crazy druid running around (technically, diagonally) with a bunch of skulls on his belt. You have the Napoleonic, Great Garabaldi pawn in the foreground very serious and very fired up for his role while his opposite number seems to be having trouble mustering any real sincerity.”
Then, there’s the crowd that surrounds the main event. Advisors, apprentices and dragons are part of the action. Like children mimicking adults, a group of faeries plays their own version of the game. A traveling salesman, in this case a “pawn-broker,” entices the locals with his wares. A chip monk hides in the woods holding a pawn. Has he swiped it, or is he looking to get in a game?
An old, lost king lies half buried in the ground. Seventy-eight of his companions, known as the Lewis Chessmen, were discovered in 1831 on the Isle of Lewis, Scotland. These medieval ivory pieces date back to the 12th century and are believed to have been brought to the Scottish islands by the Norwegians, who ruled Scotland at the time.
“For those who know me well and that think I’ve forgotten something here, I haven’t. Hidden in the forest are at least three (maybe more) fish adding their enchantment to the day’s festivities. After all, it wouldn’t be a Christensen without magic in the air. And, oh, by the way, it’s red’s move.”
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The Chess Match Canvas by James Christensen is signed by the artist and comes with a certificate of authenticity.
image Copyright © 2025 by James Christensen
James Christensen bio
It is with deep regret and profound sadness that The Collection Shop announces the passing of artist James C. Christensen on Sunday, January 8, 2017.
Inspired by the world's myths, fables and tales of imagination, James C. Christensen wants his work to add up to more than a beautiful - if sometimes "curious" looking work of art. Having taught art professionally for over 20 years, he likes to think of the world as his classroom. His hope is that through whatever he creates-be it a porcelain, fine art print or book-he can convey a message, inspiration or a simple laugh. He believes that teaching people to use their imagination helps us find solutions to sooth the stresses of everyday life-or get a little lift to help us keep going. In short: all things are possible when you share Christensen's philosophy that "Believing is Seeing."
Christensen was born in 1942 and raised in Culver City, California. He studied painting at Brigham Young University and, for a while, the University of California at Los Angeles before finishing his formal education at BYU. Since then, he has had one-man shows in the West and the Northeast and his work is prized in collections throughout the U.S. and Europe.
Christensen has also won all the professional art honors the World Science Fiction and Fantasy Convention can bestow, as well as multiple Chesley Awards from the Association of Science Fiction and Fantasy Artists. Christensen has been designated as a "Utah Art Treasure," one of Utah s Top 100 Artists by the Springville Museum of Art and received the Governor s Award for Art awarded by the Utah Arts Council recognizing the significance of Christensen s artwork to Utah s cultural communities. He was inducted into the U.S. Art magazine s Hall of Fame and is an Honored Alumnus at Brigham Young University for his contributions to fine art and education. James and his wife Carole, co-chair the Mormon Arts Foundation. He is a frequent guest lecturer at Brigham Young University, and has also given workshops to large companies and organizations on the subject of creative thinking, including the California Art Educator s Association, Hallmark and Intermountain Health Care.
In addition to his fine art limited editions on paper and canvas, Christensen s work can be found in five acclaimed books and a series of interactive journals and in three dimensions in porcelain and hand-crafted limited-edition bronze sculptures
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