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All mediums carry their own exclusive characteristics. It is really difficult to state that one medium is superior to another one. Basically it is resolute by the artists to make use of its exclusive properties and apply the medium that is most excellent suited for him. Now we would take a look at some of the features of the chief three mediums.

1) Oils – Oils appeals to be the mother of all painting mediums. Once your painting is executed on the wall it shows enough texture to confirm that it is an original. The situation of paint and the color also is precisely the same when being applied than when it dries. Therefore, the artists can be evaluating perfectly with the outcome of painting.

2) Watercolor – This is known as lucid (transparent) medium as white is no where added to the body. The pigments are quite thin and transparent. Watercolors normally have a brilliancy that surpasses solid mediums. Unfortunately, in this medium some properties are not simple to handle and meaning of edges are as well not simple to manage when working on wet paper. Another most significant thing is some people do not appreciate it to be framed behind glass. It doesn’t display that the painting is a real one and frequently been mistaken for a print.

3) Acrylics – These act pretty much the same as oils apart from that it doesn’t need toxic solvents. However, it is still an actual messy sort of medium. One of the setbacks that are a main issue is the fact that it dries too quick thus making it hard to blend, giving an in general hard edged look.

Hints:

If you have a preference to put in an extremely thin layer of linseed oil to your canvas just before you apply the paint, you would for sure work less on trying to rub the pigment on. This would further give you a more feasible surface as the paint would slide on. Also you might not require varnishing your painting as it will end up with a glossy look.

Remember that you are the only person who knows the difference between a palette and a canvas. As far as the pigment is concerned they are both mixing surfaces, meaning you could even mix your paint on either one.

vijay
http://www.articlesbase.com/art-and-entertainment-articles/all-about-oil-painting-today-137935.html

Renaissance

The Renaissance (meaning rebirth) was a cultural movement that started in Italy in the fourteenth century, and spread throughout Europe. In art, the style of painting became highly realistic, and attempted to mimic nature as closely as possible.

• What to look for: a rich three-dimensional perspective, human subjects in proportion (usually wearing robes and making grand gestures), and convincing representation of spaces.

Baroque

The term Baroque is often applied to art of the whole of the seventeenth century, and first half of the eighteenth century. Painters expanded on the naturalistic tradition established during the Renaissance, and extended their subjects to include landscapes, and still life. Baroque painters often set their subjects in vast landscapes, or interiors with extended views through doors, windows, or mirrors.

• What to look for: melodramatic spaces, fat cherubs, light rays and fruit bowls.

Rococo

Rococo was a decorative art that originated in France in the early eighteenth century and is marked by elaborate ornamentation, with a profusion of scrolls, foliage, and shell-like forms.

• What to look for: paintings of the aristocracy at play, asymmetry to composition, many small-scale ornamental details, and pastel colours.

Neo-Classicism

During the Neoclassical period (mid eighteenth century), the work of the Greeks and Romans (pre- Renaissance) became popular again, and paintings depicted historical subjects.

• What to look for: paintings with sharp outlines, cool colours, armour, spears and sandals.

Romanticism

Romanticism is assumed to be in opposition to Neoclassicism, and the term used to refer loosely to a trend in art of the late eighteenth and early nineteenth centuries. It was characterized by the avoidance of classical forms and rules, emphasis on the emotional and spiritual, nostalgia for the grace of past ages, and a fondness for exotic themes.

• What to look for: complex compositions, intense colour, soft outlines and heroic or scantly clad subjects.

Realism (1850 – 1880)

Realism came about in France during the Industrial Revolution. Realist Artists attempted to create objective, accurate, detailed, and unembellished representations of the external world based on the impartial observation of contemporary life. The name Realist refers to their subject matter; humble citizens doing everyday work and previously considered unworthy of representation in high art, rather than mythical heroes, Biblical or classical subjects, and portraits of the rich.

• What to look for: paintings of poor people working.

Pre-Raphaelites (1848)

The Pre-Raphaelite Brotherhood were a group of young English artists who rebelled against the style of the day that was being taught at the Royal Academy and other art schools. They felt the art was dark and muddy in colour, and the subject matter artificial. They admired the work of the artists of the fifteenth century, and their name, the Pre-Raphaelite Brotherhood, honoured the depiction of nature in Italian art before “Raphael”. Pre-Raphaelite artists believed art should have a serious, moral purpose and often filled their work with symbols suggesting deeper meaning. Most of all, they believed in artistic excellence. To give their paintings a lighter, fresher look, they used bright colours and painted on a white canvas, rather than a brown one. While the Pre-Raphaelite Brotherhood lasted less than ten years as a group, other artists carried on with the style, which became broader and more muted in colour.

• What to look for: subjects taken from the Bible, Shakespeare and the legend of King Arthur. Paintings exhibit meticulous detail, intense colours, tight handling of paint and complex compositions. Many works are highly realistic.

Impressionism (1860 – 1900)

The Impressionists were a group of French artists discontent with academic teaching, and who shared approaches, and techniques. They abandoned traditional formal compositions in favour of a more casual and less contrived arrangement of objects within a picture. The identifying feature of their work was an attempt to record a scene accurately, but without the use of traditional muted browns, greys, and greens in favour of a lighter, more brilliant palette. They stopped using greys and blacks for shadows, and used short (visible) brush strokes to produce flecks of unblended pure colours. They cast off literary and anecdotal subjects in favour of candid portrayals of ordinary people (doing regular things in everyday locations), landscapes, and architecture. Indeed, they rejected the role of imagination in the creation of works of art. Their name derives from a criticism of the first “impressionistic” work publicly displayed.

• What to look for: paintings look normal from far away, but close up they are a bit of a mess. Also look for the same the same image painted two or more times under different lighting conditions.

Post-Impressionism (1860 – 1905)

Post-Impressionist were not a cohesive movement, and the style of individual artists vary. Post-Impressionism was simultaneously an extension of Impressionism, and a rejection of its concern for the naturalistic depiction of light and colour in favour of an emphasis on abstract qualities or symbolic content. Post-Impressionists continued using vivid colours (e.g. Cézanne painted red grass), thick application of paint, and distinctive and visible brushstrokes.

• What to look for: You see paint first, and the image second.

Abstraction

Abstraction is a generic term for art that does not represent recognizable objects. Abstractionist abandoned art as the imitation of nature in favour of imagery from the imagination and the unconscious. Abstraction comprised a number of different movements, such as Fauvism, Cubism, Futurism, Dada, Surrealism, and Expressionism.

• Fauvism (1905 to 1907), as a movement, had no concrete theories. The name derives from the judgment of a critic who referred to the artists disparagingly as “les fauves” (wild beasts). Fauvist artwork is characterized by distorted forms, bold and vivid colours, often applied unmixed, and a spontaneity and roughness of execution. Fauvism was short lived, and most practitioners became Cubists.

What to look for: You may say to yourself, “I could do that.”

• Cubism (1907 to 1914) retreated from traditional perspective in favour of geometric forms. It attempted to achieve the illusion of three-dimensional forms in a different way by showing many aspects of familiar objects all at once from many vantage points to create new combinations.

What to look for: You may ask yourself, “What is it?”

• Futurism(1909) was an Italian movement with the intention to reject tradition ideals, and celebrate the aesthetic generated by the speed and power of the machine, and the energy and restlessness of modern life. Futurists adopted the Cubist technique of depicting several views of an object simultaneously with fragmented planes, and used rhythmic spatial repetitions of the object’s outlines in transit to render movement. Their preferred subjects were machines, and urban crowds. Their palette was more vibrant than the Cubists’.

What to look for: You may ask yourself, “What is it?”

• Dada (1916–1923) was initially a Swiss movement who channelled their revulsion at World War I into an indictment of the values that had brought it about. They were united not by a common style, but a rejection of conventions in art. Through unorthodox techniques, they sought to shock society into self-awareness. The name Dada itself was typical of the movement’s anti-rationalism. Various members of the group are credited with selecting the name for its childish and nonsensical connotations.

What to look for: You could be forgiven for not recognising a Dada exhibit as art (e.g. Duchamp “improved” the Mona Lisa by drawing a moustache on her).

• Surrealism (1924) flourished in Europe between World Wars I and II, and grew principally out of the earlier Dada movement, and was similarly a reaction against the “rationalism”. It attempted to join fantasy and everyday reality to form a new reality, and drew on the theories of Sigmund Freud, that the unconscious was the source of the imagination. Many different forms of Surrealism developed, including the realistically painted images of Salvador Dalí.

What to look for: something that simultaneously looks real, and unreal.

• Expressionism: was an art movement of the early twentieth century in which traditional adherence to realism and proportion was replaced completely by distorted colour and form to emphasize and express the intense emotion of the artist.

What to look for: dribbling, drippy paint splattered on the canvas.

Portraits by John Burton

John Burton

Li Qing was born on 1981 in Huzhou, Zhejiang province, China. He is a graduate student at China Academy of Art and one of the representatives of this new generation. Over the last few years his art has been included many important exhibitions and rewarded several grants and awards, due to his excellence of performance – the mastery of refined and personal technique, the wide social concerns, and the appropriate representation. Executed in the very traditional medium of oil on canvas, the generally mid-size paintings are usually paired pictures.

In Li Qing’s work juxtaposition usually occurs between two similar subject matters or scenes but in difference chronologically. The tension or relation between the two is usually the resource of concept of the work. In China’s art scene the juxtaposition of old and new, which reflects the remarkable social transition taking place over the last three decades, was/is popular. As the method exactly reflects the current identity of Chinese people who are surrounded by consistent remarkable transitions in a territory where old and new are mixed. The pairs of picture are seemingly the successive snapshots capturing the two moments of a seemingly consecutive event, a body, a face, a place, an object, or a person. There is very little difference between the two pictures at first sight, and there are several minor distinctions between two upon a careful scrutiny.

Li Qing is making a simple and easily accessible visual world where audience may exchange idea and share a common feeling. Many of the prototypes of contemporary Chinese art were heavy in their subject matter in order to express artists’ negative attitude towards the current corruptive system. Li Qing successfully presents a magic pictorial series of contemporary Chinese art. Simultaneously, psychological complexity toward the remarkable social transitions of China is easily understood. His art is a visual game but entwined with social information that reflects the vicissitudes of the society. The subject matter is ordinary, and unnoticed, some are like news photo for a propaganda purpose. He presents a picture that combine with images and reality. Grand rhetoric and heavy theme are non-exist. Li Qing is more interested with an ordinary scene that affects our perception to the world. Li Qing is a great practitioner of oil painter. With his bold brush stroke, exact impasto, and, he smartly turns the visual games and subject matter into his own painterly game, a pictorial world that reflects changing reality.

Selected EXHIBITIONS:

2006

• See the luck when raise head, Hangzhou 2006 Contemporary Art Exhibition, Hangzhou, China See the luck when open the door, Wuxi Contemporary Art Exhibition tour, Wuxi, China

• Body on the Site, The Third Beijing International Gallery Exposition,Beijing, China

• Tu Hongtao, Li Qing two persons’ show, Line Gallery, Yan Huang Museum,Beijing,china

• 10+10, Shanghai Zendai Museum of Modern Art, Shanghai, China Chinese contemporary Paintings, Nanjing Square Gallery of Contemporary Art, Nanjing, China.

2005

• Double reading photography exhibition, Hangzhou, China

• Let some ideas be seen, Modern art gallery of Art Academy of Hangzhou Teachers University, Hangzhou, China

• The spring of Vizcaya exhibition of paintings and sculptures of Chinese and French artists, Shanghai, China

• Archaeology of the Future, the second triennial of Chinese art, Nanjing Museum, Nanjing, China

• Rule-Possible young artists exhibition, Zhejiang exhibition centre,Hangzhhou, China

• First China Green Exhibition Exploration, Ag-Art Loft, Hangzhou,China Young Chinese Contemporary Art, Hangar-7, Salzburg, Austria

• 2005 Zhejiang Oil-painting exhibition & awarded the Gold Prize, Ningbo Art Museum, Ningbo, China

• It’s true, The Artistic Island, Beijing, China

2004

• Concrete, Hangzhou, China

• Art Shanghai 2004-Exhibition of works of young artists in China Academy of Art, International exhibition centre, Shanghai, China

• Layer after layer contemporary painting in Shanghai in Zhejiang art exhibition, Zhejiang exhibition centre, Hangzhou, China

2002

• Do we need to rebuild a Leifeng Tower? China Academy of Art, Hangzhou, China

Awarded Wu Fuzhi Prize

Conclusions:

Li Qing is among those group younger artists. Their emergence in the art scene will be symbolic to Chinese art world and the entire society at large. For the artist his visual game is perhaps a play of pigment and stroke, but his audience there is something significant behind the game.

What to Do Next…

If you want any information about Li Qing or looking for his paintings please visit us on http://www.saatchi-gallery.co.uk/artists/li_qing.htm

Saatchi-gallery
http://www.articlesbase.com/art-articles/about-li-qing-a-chinese-artist-138511.html

Targeted at Collectors

The Indian contemporary art market has been growing exponentially in the last few years. Not only in India, but even globally, Indian contemporary art is being recognized as amongst the best in the world.

The increasing disposable incomes among the Indian middle class, unattractive conventional investment options, extensive media coverage of art and more organized art galleries are some of the reasons behind this sudden popularity of Indian art even as an investment. Art has a creative appeal as it is a beautiful piece to decorate the house with. It has an appeal for the rationale since it is can be viewed as an investment and not just an extravagant expense.

The profile of the collector of art is also changing. The increase in the upper middle class disposable incomes, high risk taking appetite, more ‘spending than saving’ attitude is bringing more and more non-conventional retail investors (corporate/ salaried people) into its fold. The art collecting fraternity is getting increasingly scattered. So while, one may be a collector of art, not everyone he knows will be one. However, with the advent of the internet, people across the world are coming together to appreciate and buy art through on line art galleries.

Most online art galleries exploit the internet only to show case their extensive art collections for sale to a larger audience. However, when it comes to passing on efficiencies to collectors and artists both, they continue to follow the conventional brick & mortar model, with 33% and above commissions and payment terms ranging up to 60 days. With the advent of the internet and more efficient courier services along with efficient on line banking services there has come a need to make the art market more efficient as well. There is a need to revamp the existing market structure, and that is exactly what IndianArtCollectors has done.

IndianArtCollectors is an on line forum for collectors of art from across the world. The portal allows collectors to post their works to share with others. At the same time collectors of art can contact each other directly and discretely in case they want to transact in the secondary market through the in-built messaging system. IndianArtCollectors already has an extensive art collection with more than 1700 works and 700 odd registered collectors. It is a first of its kind web site, and introduces innovation into an industry that has failed to evolve itself despite the rapid changes in technology and target audience.

IndianArtCollectors offers the following services to collectors free of charge:

1. Share:
Collectors of art can display their art collection, as well as view what other collectors of Indian art across the world are collecting. All they need is a digital image of their artworks and they can post them online to share their works with other. With the fragmenting collector community, this forum is a delight for the lonely collectors to display art and share it with others.

2. Transact:
Most collectors are plagued by the concern of how easy would it be to sell their works in the secondary market. Most galleries charge a commission upwards of 15% on resale of an artwork, and that too can take several months. IndianArtCollectors allows collectors to display art and mark the art collections for sale with a “Willing to Part with” yellow flash. This invites other collectors to contact them through the in built messaging system and they can actually carry out a mutually agreeable transaction discretely without any intermediary costs. Today many collectors are using this option instead of bearing the high transaction cost with conventional galleries.

3. Acquire:
IndianArtCollectors now has artists joining the community and has an extensive art collection for sale. Just like collectors, artists too have membership to this community and can upload their works for sale at their own discretion and convenience. They even set their own prices and edit them from time to time. The prices listed on the website are inclusive of all taxes, shipping and handling charges, posing no hidden costs for the collector. The collector gets the benefit of lowered commissions at IndianArtCollectors and also receives an authenticity certificate signed by the artist himself for every artwork they acquire from the artist.

Through the above ways, IndianArtCollectors is redefining the Indian art market, making it more transparent, bringing people together and using the new economy’s internet, courier and banking services to benefit both the collector and the artist community. IndianArtCollectors has become a one stop destination for all collectors of art, as it satisfies their needs for sharing with each other, transacting with each other and adding to their collection by acquiring artworks directly from the artists. Today IndianArtCollectors has become a vibrant community with one of the largest collections of Indian art on the worldwide web.

Namita Sibal
http://www.articlesbase.com/hobbies-articles/indian-contemporary-art-52230.html

A passionate engagement

Marie Geissler on collecting Australian Aboriginal art

Aboriginal art is richly rewarding for the collector.

Described by renowned Australian art critic, Robert Hughes, as belonging to ‘the world’s last great art movement’, collectors of art from this extraordinary ancient but vibrant living culture have, in recent years, fuelled a boom in sales. Prices at auction have skyrocketed, and those who entered the market early have enjoyed great returns on their investments.

In 2006, Emily Kame Kngwarreye’s Earth’s Creation achieved a record of AUS $1,056,000 at auction; the first million dollar plus sale at a Lawson-Menzies auction. Last year, Clifford Possum’s epic Warlugulong was sold at Sotheby’s to the National Gallery of Australia for AUS $2.4 million.

Swept along by the wave of this success, and the expectations of rich rewards from investing in Aboriginal art, art aficionados have mined their savings for a piece of the action and purchased Aboriginal art for their superannuation and investment portfolios. This has been reflected in industry statistics which show that in 2007, secondary art market sales exceeded AUS $25 million; and over recent years well over 40 records have been broken for the top performing artists.

Today, however with the impact of the global financial meltdown being all pervasive, sales in all sectors – including Aboriginal art – have dropped. Within this context, however, it’s well to remember that art provides a very stable haven for funds; if purchased wisely art can be a source of excellent return.

Today’s climate therefore is a great time to start collecting. It offers collectors a rare opportunity to buy well at auction and also through galleries.

But how do you begin collecting Aboriginal art? Before taking the plunge, savour first the pleasure you are about to enjoy. I strongly advise that this be an adventure of the heart; that you buy because you’re passionately in love with the work you wish to purchase. This is because, in the end, your artwork will be a constant companion; you will more that likely see it every day.

It’s also well to remember that the promises of your collecting adventure will not just be aesthetic ones. As an owner of an Aboriginal painting, you step into a world said to be at least 40,000 years old; one that that draws from the most ancient if not the most fascinating living culture on the planet today.

Aboriginal art is informed by a sacred mythology, or tjukurpa, that draws from this. It is called the ‘Dreamtime’ or Dreaming – the incredible Creation Period of Aboriginal belief.

The Dreaming occurred in ancient times when powerful Ancestral Beings were said to have formed the land, the waterholes, the rivers; and at the same time created the people, the plants and animals. They came from under the Earth and took epic journeys across the country, making and creating as they went, before finally disappearing beneath the ground again.

These magical Beings are said to have taught the Aboriginal people their laws, and ceremonies which need to be enacted in the present in order for survival and well-being. For Aboriginal people, the Spirit Beings still live today and are very much part of their traditional culture. Their stories form the inspirational source for the mythological content of Aboriginal art. When artists draw on this, the act of painting brings the Dreaming into the present. It generates strength and ancestral energy into the ‘Now’.

The next step in the collection process consists of building your knowledge base about the Aboriginal art industry. Begin by trawling the key commercial gallery internet sites, including Agathon Gallery, Alcaston Gallery, Cooee Aboriginal Art, Michael Reid, Hogarth Galleries, Gabriella Roy, Gondwana, William Mora, Utopia and Gabriella Pizzi.

Useful publications include Margo Neale and Silvia Kleinert’s Oxford Companion to Aboriginal Art and Culture; Wally Caruana’s Aboriginal Art; Susan McCulloch and Emily McCulloch-Childs’ Contemporary Aboriginal Art (which, helpfully, has just republished in a fully revised and expanded third edition); and any of Jennifer Isaacs’ beautifully illustrated publications.

Art auction house catalogues are a must, and it also pays to look in on State and National Gallery bookshops, especially for their exhibition catalogues on this subject.

Before making any art purchase, however, you should decide what you want from this exercise. You may wish to purchase one or two pieces just for the pleasure of owning and looking at the work. In this case feel free to shop around and spontaneously purchase at will. You can get great prints for around $300 (see the Aboriginal Art Print Network online) and paintings from $800 plus. Your reward will be a collection that makes you feel good; the motivation behind many of the truly great collections of the past.

Alternatively, if your aim is to buy with an eye for investment return and perhaps eventual resale through a dealer or art auction house, then you should take a more considered and strategic approach.

After research which includes reading, looking at art, and discussing your preferences with knowledgeable art advisors, an area of interest should be selected. For sheer pleasure, try looking at the optically dazzling and colourful community desert art online at Irrunytju, Utopia, Yuendumu, Balgo, Papunya Tula, Fitzroy Crossing and Lajamanu. There’s also coastal works from Yirrkala, Lockhart River and Tiwi Islands. These will certainly inspire you.

Your aim is to find an individual artist whose work appeals; or a specific community, painting style or theme around which you can build a collection. This will make your collection a meaningful entity. And remember: a collection linked to an interesting area often has much more value for resale than a selection of unrelated works.

Your next consideration is to decide how much you wish or can afford to spend each year. Ideally, for investment purposes, the purchase price needs to be around $10,000 plus. At this price, if you’ve done all your homework, and you’ve found a work that has a certificate of authenticity from a reputable art auction house, gallery, community art centre or dealer, you can expect it to be a purchase that will give you a sound return. To optimize this, your painting should be held for at least five to ten years.

Now we come to the really exciting stage: shopping around and making a purchase. Knowing which artists are hot in the market, the artists whose work is increasing in price and selling well at auction, is important. Auction prices are good indicators of what the market is prepared to pay for an artist’s work, so it’s worth drawing up a list of the artists who are in your price range, and familiarising yourself with their works, before you start.

For serious, cashed-up collectors, start at the top. Stars in the auction room, and now deceased, include Rover Thomas (sales in excess of AUS $13.8 million), Emily Kame Kngwarreye, Albert Namatjira and Clifford Possum Tjapaltjarri, Johnny Warangkula Tjupurrula, Mick Namarari Tjapaltjarri, and Lin Onus.

Others who have sold between AUS $1-2 million are Ronnie Tjampitjinpa, Paddy Bedford, Turkey Tolson Tjupurrula, Kaapa Tjampitjinpa, Queenie Nakarra McKenzie, Tim Leura Tjapaltjarri, Uta Uta Jangala, Shorty Lungkata Tjungurrayi, and Maggie Watson Napangardi.

Of living artists, the dazzling talent of Tommy Watson tops the list. He is a stunning colourist who achieved a record sale price of AUS $240,000 for Waltitjata at Lawson-Menzies auction in 2007.

Other outstanding living artists whose work fetches good prices include Judy Watson, Dorothy Napangardi, George Tjungurrayi, Kathleen Petyarre, Ningura Naparrula, Makinti Napanangka, Lily Kelly Napangardi, Elizabeth Nyumi Nungurrayi, John Mawurndjul and Billy Whiskey Tjapaltjarri.

Emerging artists within the secondary market – those representing good value as their price tags are still affordable – include Regina Wilson, Tjayangka Woods, Jack Dale, Helen McCarthy Tyalmuty, Kudditji Kngwarreye, Paddy Simms, Anganampa Martin, Walangkura Napanangka, Wingu Tingima, Lorner Fencer and Eubena Nampitjin.

One you begin collecting, don’t be surprised if you find it taking over your life – just enjoy the ride!

marie geissler
http://www.articlesbase.com/art-articles/collecting-australian-aboriginal-art-709724.html

Our ‘Sienna’ model Hardwood French Easel is hand finished hard beech wood. nbsp;Features brass hardware and includes a wooden palette and carrying strap. Free easel leg spikes for outdoor use are included (a 9.95 value) Completely Assembled; In stock, on sale, and ready to ship today! 100% satisfaction guaranteed! A truly superior Artist Easel Please see ‘Detailed Description’

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Vibrant colors and contemporary shapes define this captivating collection. Artists meticulously combined multiple layers of glass in striking shades of azure and cobalt to create this truly inspirinig vase. Makes a superb gift for anyone that appreciates beautiful home decor with a modern twist! CRYSTAL VASE IN AZURE AND COBALT, CAPRI COLLECTION In shades of color that brighten any decor, this collection of vases feature a trendy design of the highest quality workmanship. Dramatic and bold, it creates the perfect touch to spruce up any room in the home or office!

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Series: Modern Photography br Artist: Jason Pierce br Period: br Source country: USA br Source Year: 2006 br br Two sculpted people sit and appreciate a painting by Rothko in a scene set by the Palm Springs Art Museum. br br br br 20inch by 30 inch po

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Orvis partnered with America’s foremost painter of sporting dogs Robert K. Abbett to publish one of only three giclee print editions ever done of his work. This exceptional limited-edition dog painting commemorates our 150th anniversary. The “Holly and Tyler” giclee print, on top-quality archival paper with hand-torn edges, is a rare and outstanding reproduction of an oil painting of two black Labs, that’s never been reproduced until now. Limited to 350 prints, in two sizes. Unframed. USA.

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