Friday, November 6, 2009


"Coming and Going" or "Hello Good-Bye" were both titles considered for this painting. The gourd reminds of a wingless bird, maybe saying, "You talking to ME?"
It just about drove me out of my gourd, so to speak :-), trying to paint all these odd shapes, bumps, stripes and reflected lights. I usually do these small paintings in one sitting but this one took two.

Wednesday, November 4, 2009

White Pumpkin

The pumpkin: the October-November Cross-Over Fruit.
The thing I liked about this scene was the ribbon of shadow across the top of the pumpkin and the ribbon of light on the table behind it.
I painted the pomegranate and the pumpkin for an on-line challenge, calling artists to enter paintings done entirely during the month of October. My plan was to enter a plein air work of changing leaves and a still life made up of Autumn Harvest but when October started running out, I hurried and did these two small works using my still life props.
The pomegranate is 5x7, the pumpkin is 6x6 and was selected for the first 6-Inch Squared show at the Randy Higbee Gallery in California.

Monday, November 2, 2009

October Pom

To paint this pomegranate, I set it on a box and put the box on a table so that it was nearly eye-level. I rigged a backdrop using a cigar box and a pashmina, then I tacked a black fan to the right side of the box to block all ambient light. Lastly, I turned on a nice, bright light and moved it around until I was happy with the play. The thing that I liked was the way the top was peeling down toward me, casting a shadow barely caught.

Tuesday, October 27, 2009

Pomegranate and Company

I have repainted it, renamed it, cropped it and framed it.
It's still the same painting underneath.

Thursday, October 8, 2009

Soda Springs

I kind of liked the original block-in of Soda Springs and thought to perhaps leave it alone, but there is something inside of me that always wants to make it better or to finish it, if it could be more finished. Sometimes I regret it but not this time. I had a lot of fun completing this little 8x10, reliving that afternoon painting the springs with my friends; the memories of the sounds and smells and jokes were keeping a smile on my face as I finished the afternoon on my canvas. That's kind of what it's all about.

Wednesday, October 7, 2009

Sisters Teach a Lesson

While I was in Wyoming, I had the wonderful opportunity to have had a couple of "brutally honest" critiques of my painting, "Sisters" by two highly respected master painters and I'd like to share the lesson, as it was very instructive.
One said that it was a wonderful painting, complimenting the brushwork, design and etc. The other wanted to see the shadow area painted in, judging it too dark and attention-grabbing. He also thought the black frame against the painting was too sudden and "closed in."
I have painted over the original painting, filling in the shadow, adding some touches to the sisters, and painting a lighter border around the inside of the frame. I do think that the changes have improved the feeling of Sisters, making it lighter and airier feeling. It more matches my own feelings when I look at the little figurines.
My take-aways: 1. Always be open to honest criticism of your work and willing to change. My goal should never be to be right; it should always be to be my best.
2. Everyone sees things differently and that's okay. I really like that one of the masters liked Sisters as it was. But I acted on the negative critique.
3. The frame is part of the painting.
I hope you like the changes made to Sisters.

Tuesday, October 6, 2009

Bougainvillea Blossom

I'm an oil painter but my students are watercolorists. It's a wonderful adventure with them because I really think that I would let my love of watercolor take a backseat, if not for them.
This is a section of a bougainvillea study that I did out in my backyard. The glory of watercolor is the white paper, bouncing the light back to you through the vivid color laid on the page. I love it.

Wednesday, September 30, 2009


An unfinished still life, begun in a workshop recently.
There are two sets of complements in this set-up: the sake bottle and cup; the green apple and red pomegranate.
To finish, I plan to leave the objects pretty much alone but I want to put something behind them that will unite and complement them.

Monday, September 28, 2009

Soda Springs

On this bridge, I painted with Lee and Kay, two of my great painter peeps. There was a big, huge heap of horse hockey right behind us, lending an authentic rustic air to our proceedings, together with the wonderful sounds of the springs, and of course our own witty repartee. Another artist did a painting of us painting on the bridge, complete with the hockey; I'll see if I can get a picture of that to share with you.
Anyway, we painted our hearts out until an enormous cloud rolled over our sun, completely changing all the color-value relationships in our landscape. We faked it for awhile, then we went in for supper.

Saturday, September 26, 2009

Butch's Ice House

One day, while I was on my Wyoming retreat, we had a "paint the town" day, and believe it or not, this mine-like thing is right downtown where I was staying. It looked like a mine to me but as I painted, townsfolk stopped to chat and there were many explanations for this oddity. However, all agreed: it's not a mine.
Some said that it was Butch Cassidy's hide out, Butch having lived and worked in and around the town from the 1890's. Other's said it was created to house bootlegged liquor, and still others said it's only job was to keep ice cold. All agreed that in its recent history, it served as a pretty cool bar, so to speak.
It was very strenuous, fast painting for me because the shadows were perfect when I was setting up and I could tell that they wouldn't last long. I blocked in the shadows and the more prominent light-catchers before I did anything else and was very glad I did. In just a half an hour, the light had changed on it completely. We painted from 3 to 5 and if it had been open for business, I may have gone in for a cool one to celebrate my quick-draw victory! Annie Oakley would have been proud.

Thursday, September 24, 2009

Whiskey Creek, 8x10. sold

I believe the exact name of this creek is Torrey Creek but it is located in Whiskey Basin and they call it Whiskey Creek because, according to locals, cowboys used to hide their whiskey in the creek to keep it cool in the summer. Sounds good to me.
This is a plein air painting looking down into the creek, no horizon or even anything other than the creek itself. There will be more paintings from this locale forthcoming. The basin was carved out by a glacier and a glacier can be seen from where I was standing, along with bighorn sheep moseying around. This was an ecstatic day, I must say.
This painting sold while I was in Wyoming, still wet, but another person also wanted it so I painted it twice.  The first time was such a joyous breeze.  The second time was very hard.  I don't know why that was but I am going to try not to do that again.  I'm very grateful that there was that kind of union of vision for us, but maybe next time, I'll paint a little bit different painting of the same spot.  

Wednesday, September 23, 2009

Second Place Pig

This is Carol, the new mistress of Sassy Pig.
Sassy Pig won second in oils at the show in Wyoming. Who said you shouldn't put lipstick on a pig?

Tuesday, September 8, 2009

To Market To Market

To market, to market, to sell some fat pigs...
I'm off to paint for a couple of weeks in Colorado and Wyoming. These little piggies will be in a show in Wyoming. They look much fancier in their little frames. Happy pigs.

Friday, September 4, 2009

Jax Cat

Pretty kitty kitty, sleeping on a bench, being all difficult to paint. Jax is painted on a paper bag; something I really enjoy doing, although it's not too archival.
Anyway, I hope you like it. Jax doesn't care either way.

Wednesday, September 2, 2009


These little piggies were given to me by my sister. I never meant to collect pigs, or anything else for that matter. We used to live in the country and when we first moved there, my mom gave us a pig cookie jar. It sat proudly in our country kitchen. People saw it and thought that we must like pigs so they blessed us with pig presents on every occasion. We have 32 pigs in our kitchen right now. Not counting any people. And we ourselves now collect them in spite of ourselves.
We have a few chickens, too. Not counting any people.

Tuesday, September 1, 2009

Pink Piggy

This rough-hewn pine, pink piglet was a gift from my husband and came with a white heartflower painted on her side. I posed her on a green cloth, as I really like green with pink or purple. Plus, she looks a little like a free range piggy this way.
She's 6x6.

Monday, August 31, 2009

Sassy Pig, sold.

Sassy is a South American terracotta piggy. She's wearing lipstick.

Thursday, August 27, 2009

Tiny Elephant

This tiny wooden elephant sits on our kitchen windowsill, guarding the tea canister. When we were first married, my husband went on a round-the-world cruise on the USS Carl Vinson and brought home treasures from everywhere. I'll be painting tiny portraits of some of them in the months ahead, as they are perfect subjects for daily paintings.
This is a 5x7.

Wednesday, August 26, 2009

Mr Shorb and Calvin Klein

I shot several pictures of this little 6x6 and they are all totally glare-smacked. It's too dark to reshoot so I'll give you an apology to go with your painting today.
This is Mr Shorb in a CK tie. Mr Shorb was our model this week and this painting was mainly about reflected light.
The light side is pretty bleached out. The shadow side, while still white, is just about the same color-value as the background drape.
When painting, the artist brings knowledge to the task but should allow observation to make the final decisions. When what you see doesn't match what you know, trust what you see.

Tuesday, August 25, 2009

Before I Fly

Before I fly off to other projects, I need to post a further working of the Stolen Beauty. Still a sketch but a little less sketchy. I do like to come back to unfinished paintings, with fresh eyes and ideas. I'm trying not to do that with sketches so much, though, as it defeats the purpose.

Monday, August 10, 2009

Stolen Beauty

This angel sketch is a demo, teaching how to quickly and accurately sketch out and block in a design, and also a lesson in light and shadow.
As always, as soon as I see the blog post, I want to make corrections to the painting, but it serves the original purpose adequately enough.
I called it Stolen Beauty because the demo was done from a calendar, so it's from someone else's photograph and therefore copyrighted. I can't use it for anything except a demonstration, but that's all I wanted it for so it's a crime without a victim.
I have been employed, since my return, with expanding my studio space and, while I'm thrilled with that job, I am missing the blogosphere and my peeps. I keep thinking that things will slow down but I'm beginning to think that that will require applying the brakes.

Tuesday, July 28, 2009

Over Shoulder Painting

I am just getting back from a wonderful week of painting with my husband. We camped in New Mexico and made daily trips up into Colorado to paint and this was our first day. I was painting a waterfall that was in front of me while the yawning vista beckoned from behind. Also from behind was a wicked storm that struck while I was working. For a bit, my husband was holding an umbrella over me while I painted but when it started to lightning, we packed it in.
My trusty Mini took us everywhere. The star on her antenna was lost, after being her trademark for over 5 years. Either hail or thievery took it, alas. And yes, I'm wearing exactly the same clothes that I was wearing in the last entry in London. I pack light but I can't get in some places.

Thursday, July 16, 2009

John and Julian

I just got back from London; this is the summer of dreams-come-true. I got to visit the studio of my very best hero, John Singer Sargent, which is presently occupied by a wonderful painter named Julian.
I was also able to see (twice!) the John William Waterhouse show at the Royal Academy. He was a very early hero of mine and the show was truly wonderful.
I don't bring my laptop with me when I travel, nor do I have a fancy phone, so when I'm gone, no blogging. I do have some paintings to show you soon, though.
This is a self-portrait of me outside of Sargent's studio: very, very happy.

Wednesday, July 1, 2009

The Patriot

This is a morning painting of the Patriot. It was hard to paint because it drifted quite a bit, so sometimes the boat on the canvas looked twisted. This was another one that was "fixed" after I got my arm back, in the studio.
Like the Warrior, this boat was being refurbished after a mauling by Ike. I debated whether to include the blue tarps but in the end, they worked with the composition.
When the Warrior and the Patriot were drying side by side, it looked like the Patriot was pulling the Warrior along on a leash as their respective lines met almost exactly. I think a warrior and a patriot would work well together, myself, but I'm not sure which would lead whom.

Tuesday, June 30, 2009

Old Warrior

It was getting a little late in the day when I started this painting and I was on the side of the road, trucks whizzing by and honking, my arm in a sling, painting with my left hand "like a one-armed paper hanger," as they used to say. I was racing the setting sun and sweating and swatting mosquitoes and some invisible biting bug: not having fun. I thought of myself as a painting warrior of sorts. Plein air painting is radically different than studio painting. It's extreme painting.
That said, I must add that I went over this painting in the studio once I was able to use my right hand again.
Anyway, Warrior was old and Ike-damaged but was not saying "Die" yet. His owner is planning to reburbish him; I was pleased to record his proud, pre-make-over visage.
The rigging was done with my friend's credit card: a little shrimp-boat-painting trick she taught me.

Monday, June 29, 2009

Morning Marsh

This painting is just behind Plein Air Judy. On our Louisiana trip, we visited the site of a house that had been swept away by Ike, leaving the 2 storey deck behind. I painted Judy from beneath it one afternoon. This painting was done from the top of the deck the next day, looking out over the marsh right after sunrise.
I was painting so small because of my frozen shoulder (this is 6x6), but I wanted to convey the vastness of the scene in spite of the limited canvas dimensions. Painting tiny is pretty tricky; it's hard to stay expressive. 
Anyway, this was a beautiful morning and I hope you enjoy this tiny glimpse of it. (This painting was selected for the first 6-Inch Squared Show at the Higbee Gallery in California.)

Thursday, June 25, 2009

Plein Air Judy

A group of artists went to Louisiana last month to paint shrimp boats and local scenes, and sometimes each other! This is my very dear friend Judy, working on a painting under the cover of a deck that belongs to a house that blew away in Hurricane Ike. There was much devastation still in evidence there, but the people are resilient, rebuilding and very friendly.
This is a tiny painting, 4x6, same size as the Drake Paul painting. It took me as long to paint my tiny paintings as it took my friends to paint 9x12's, and to be honest, I was glad my arm was in a sling. The truth is, on my best day with no gimp-card, it would take me a long time compared to them. I'm a slow painter and then I spend even more time with the paintings once I'm back in the studio!
Judy is wearing a neat hat, same kind that my friend Marty is wearing in the San Leon painting. It collapses into nothing so it packs well, then springs into action when unfolded: the perfect plein air accessory!

The Drake Paul at Home

This is a Louisiana painting, originally done left-handed, now painted over. It may be a tiny 4x6 painting, but you'd be embarrassed for me to know how many hours went into painting this.
The shrimp boats are very challenging as there are no straight 90 degree angles anywhere aboard. The green nets draped over the superstructure add a softness to all the lines. These boats just pulled up at the end of the day, right in front of their houses. We saw wives walking across the street with beers for their men to drink while they dealt with all the critters. One of our group bought several pounds of fresh shrimp from one of them and we took them back and cooked them up that night for supper! No starving artists in our group.

Tuesday, June 23, 2009

San Leon Jetty

I am now having some fun going back to the paintings I did with my left hand and painting "corrections" over them with a little more control. I never got really good at being a south-paw. I was told that it might open up a whole new genius, but I'm still just me. What it did do was force me to do much of my thinking on the palette because I could not finesse it at all once it hit the canvas. This is a pure and simpler way to paint and I hope I retain that.
I still see some things on this that I could correct...

Thursday, June 18, 2009

Workshop Article

The article that I wrote for American Artist's Workshop magazine can be found in the Summer Edition, or a shorter version may be viewed on line by clicking here. I really love to write and Qiang is such an interesting person, the article kind of wrote itself in many ways. It just took awhile to get it onto paper!
As I was interviewing him, I couldn't help but reflect on how often Qiang, a representational painter, focuses on abstract qualities of artwork. It's interesting when one remembers how China and Russia, in their curtained cultures, were uninfluenced by modern and post-modern art. Western art advanced and experimented, pushing the envelope of creativity to remarkable lengths. Old-fashioned, academic art training is, ironically, scant in the western art schools of the last century, giving birth to the explosion of representational painting workshops. It did, however, survive in the schools of countries where creative artistic experimentation was not encouraged. Qiang was not exposed to abstract art at all, until he came to the US. He now incorporates it into every facet of his representational paintings. Someday he hopes to return to China to learn what they have saved and share what he has learned.
I hope you get a copy of the magazine because there are many side-bars and a demo + student critiques and samples of Qiang's artwork. It's worth a peek.

Wednesday, June 17, 2009

Angel of Bethesda

This is my first right-handed painting in so long.
It fulfilled my dream to paint in NYC's Central Park. I was so blessed to be with my good friend, Bob, who planned the trip, who led me to the fountain, and whose gear I used. He completely set me up, making sure the easel was waist-height so I could keep my elbow at my side, then adjusting everything just so. It was a complete joy.
Here are some things that have special meaning to me. This angel was sculpted by Emma Stebbins in 1868. She was the first woman to be commissioned for a major work of art in NYC. I'm honored to record another woman artist's contribution.
More important, symbolically, this is the Angel of Bethesda, spoken of in the Gospel of John (5:1-9), who, tradition said, would stir the waters in the Pool of Bethesda and bring healing to whomever would enter the water first. This was my first right-handed painting after a time of inability and I was moved to tears and had to sit for a moment when I realized that I was being healed as I painted it. The angel herself is extending her right hand in blessing.
I extend this painting to you, with my right hand, and hope that it's a blessing for you as well.

Tuesday, June 16, 2009

Important Moment

This was a most important moment. Richard Schmid is one of the most important masters in our generation and I am extremely privileged to have met him at his recent opening in NYC.
I am back to my post in the blogosphere after months of skipping. Did you miss me?
I have had quite a trial with my right shoulder. I've been painting with my left hand and have been too embarrassed to share my efforts with you. I saw a doctor last week and he told me that painting caused it; it was frozen though and not torn, thank God. He gave me a massive shot of cortisone and pain medicine, and now I'm trying to paint with my right hand again. It'll be slow and steady but I'm coming back.
Also, during my absence, I wrote an article for American Artist's Workshop magazine, which I'll tell you about in a couple of days. And I have been traveling on painting trips, too: A week in DC for the Portrait Society of America conference, a week in Virginia where I saw family, a week in Louisiana painting bayous and shrimp boats (left-handed), a trip to the coast and 2 trips to Austin. I have learned a lot and painted a lot but I missed you and I'm glad to be back.

Saturday, May 9, 2009

Indy the Painter's Pal

The PSOA conference was very good, followed by another wonderful week with my family on the east coast.
I am not painting this week due to what could be a torn rotator cuff, but next week I will be on a painting adventure with some of my painter peeps. Perhaps painting with my left hand.
This is my beloved companion, Indy, here protecting me from big cows while I paint. She just passed away and we are heart broken. She was the best dog a person could ever want and she will be missed.

Tuesday, April 21, 2009

Portrait Society of America

At the Portrait Society of America conference a few years ago, Robert Liberace critiqued my portfolio and changed my life. My beloved friend Kay was hiding in the bushes taking pictures and so I have a memento of that very important day.
I'm off to DC for another PSofA conference so I will be gone from my blog post for awhile. I will come back better for it, I'm confident.

Monday, April 20, 2009

teaser ad

You think I'm cheating, but I'm not. This is the teaser ad for Workshop magazine, currently on the last page of the June issue of American Artist magazine. I have been working on this article, sometimes during my painting time, since March. It features Qiang Huang, whom I have mentioned to you before and whose link is right here to the left of this box! Go see him. He's a wonderful painter and a great teacher and I hope the article and photos do him the justice he deserves.
Sometimes you can Write Your Joy, too.

Friday, April 17, 2009

Red Roof Barn

This scene will not be around a lot longer. The barn looks like it will welcome a change; so tired. There are working farms all over this area, tractors moving, workers working, animals grazing. But all around them are very busy earth movers, bulldozers, tree haulers. In place of vegetable patches, strip malls are popping up here and there. While we were painting, an enormous power company truck turned down the dirt road we were next to with a load of telephone poles in tow. The drivers got out and watched us paint for a while, smelling the roses before they're gone. The little barns and farm houses seem vulnerable and threatened and really crying out for documentation. So we documented with love. And, you know... paint.

Thursday, April 16, 2009


This is the site of the morning painting of Tuesday's paint-out. Judy and I were in a field beside a busy road and were plagued by drive-by honkers. Many jerks of brush reflected on canvas due to jerks of road. They could not lessen the sheer joy of our morning, though.
The barn in the distance was falling apart and I thought of painting it newer, since that would be easier. I just loved it's faithfulness, though: the stalwart sentinel, still watching over the field... I thought I owed it to the barn to give it a go.

If I'd gotten this shot just a hair lower, all the lines would have lined up. I could not actually see the scene on the screen of my camera, so I'm lucky that it came out at all.
Just behind us was the quaintest operation going on: a young man and an old woman were hand-picking a crop of some sort, stacking and crating it, while an old man worked from his tractor. If it hadn't felt so invasive to do so, I'd have faced them and tried to depict their work. I did take pictures of them so maybe someday...

Wednesday, April 15, 2009

Japanese Bridge

This is the product of my paint-out yesterday afternoon. I was being harassed by mosquitoes and had several kamikaze gnats fly into the painting, preferring it to the real thing obviously. About now they're wishing I were a watercolor artist.
It was so serene, painting the water and the bridge, listening to the trickle of a fountain, in the 74 degree shade... As a Houston plein air painter, let me tell you, days like this are to be treasured; right around the corner is SUMMER.

Painting a Bridge

I came so close to making it under the wire by midnight! but alas, 2 minutes short.
I spent the day with a dear friend of mine, Judy Crowe, painting down in Houston. In the morning we were in a field and in the afternoon we were in a Japanese garden place with fountains, koi, lilies, statues... It was not easy to settle on a vantage point.
My little pond here was affected by the netting draped over the top of it. We decided that it must be to keep the egrets and herons from dining on the koi, which were cleverly hidden underneath.
The painting is not finished in this pic but it was before I left. I shall post it after I photograph it for you.

Monday, April 13, 2009


This is a very harsh picture of my painting of Lauren. She is the girl who sat for us last week, and since we did not meet today (Easter Monday), I will bookmark this work in place of today's.
I can see things when I blog that need to be improved in a painting much more easily than in real life. Perhaps because the digital image takes liberties with subtle nuances, basically eliminating them; it forces the imperfections into recognition. I learned a lot from the process of painting this one. I plan to paint over it and reuse the canvas: satisfying. 



Saturday, April 11, 2009


This is part of the view from Jakey Ranch in Wyoming. It was the beginning of autumn and in the 6x8 format, I wanted to show the massive mountains standing guard over the little man-made dwellings. It seems bigger when you click on the image (get it?).
I now want to try again with a bigger canvas.

Thursday, April 9, 2009

East From Wagon Box

I painted this little 8x6 on a very, very windy day at Wagon Box Ranch, WY. I was with my friend, Jeanne Mackenzie, backed up against a barn door to keep from being blown away. Still, Jeanne's easel blew down and we both had plenty of Wyoming dirt and straw on our paintings: landscape on our landscapes!
The clouds were dramatically marching over us with their black bottoms and white tops. I picked them over all the beauty of the ranch, which was not such an easy choice.
As I look at this digitized version of the painting, I'm thinking that I may make some late-date changes to it. If I do, I'll post the results.

Wednesday, April 8, 2009

Monday Painting

This week we painted a young woman who has modeled for us before. Her mother's a painter so she has had plenty of modeling practice. I will show you my start but the finish will have to wait till later. And I'll show you the painting that I did of her 3 years ago, too (see 13 April entry).
At this stage of the painting, I have toned the canvas with ultramarine blue and cadmium orange and wiped down the highest lights with a piece of viva paper towel. Then block in the darks with the same mix I used to tone the canvas.
Next comes the color...

Tuesday, April 7, 2009

Waterway Demo

Here is the finished painting of the Ancient Mariner of the Woodlands Waterway Arts Festival.

Man of the Sea

I participated in a portrait demo at the Woodlands Waterway Arts Festival on Saturday, painting this wonderful model. When he saw it, the model said that my interpretation of him should be named, "Old Man of the Sea" and that we should sell the image to a fish and chips company. I thought he should be in a slicker instead of a button-down for that idea.
We worked from 10 till 1 but I talked for at least half of that time.

Friday, March 6, 2009

Little Green Apples, study

Green apples painted on a grocery bag.

Thursday, March 5, 2009

Westward Vision

One day, I was at the grocery store and I met a vision that took my breath away. Literally. Her name was Esther and she was behind the deli counter. Her mysterious hair was hidden in a paper wrap and her lilting accent mesmerized me. I wanted to paint her immediately but did not have the courage to freak her out by asking, so I asked for some baby swiss instead. Our paths would serendipitously cross again and she would become the subject of more than one painting. In this one, I am depicting her story, which she told me during a long sitting. She said that when she was a preschooler in Nigeria, she told her mother that she would one day go to America. She could not recall how she knew of America, but she looked westward from Africa from her earliest memory. I'm so thankful that she came all the way to Texas. Westward Vision was in the Richeson's first Top 75 Portraits international competition.

Wednesday, March 4, 2009

Stage One

I have so many paintings at various stages of incompletion right now, including this one. I have two unfinished paintings of this model, as a matter of fact. She sat for us 2 weeks in a row and most people took advantage of that, painting on the same painting for 6 hours. Since I wasn't too crazy about my first start, I chose to start another one. I plan to finish both of them and will share the results with you. At this stage of the painting, all I've done is mark critical lines and begun to put in brightest color spot, lightest light and darkest darks. My support is cardboard.

Tuesday, March 3, 2009

Quilt Cottage

This painting was begun on a misty early morning in Old Town Spring. After about an hour and a half of painting, this cottage opened for business. It's a quilt cottage and quilts were hung from eaves and laid across rails; I had to do a lot of painting from memory! My favorite part of this is the light was bouncing from the front wall to the ceiling, making it very warm and inviting. This painting is 8x10 oil on linen in a gold frame and is hanging in the Richeson Fine Art Gallery with a price tag of $650. If this painting is for you, call the director Terry Stanley at 800.233.2404 and claim it. I hope you like it.