Sara Tabbert at the the Alaska State Museum in Juneau


LOVE this onea
tabbart exhibtion shot

Lowlands is an exhibition of new work that reflects my relationship to a very specific place.  Though specific in my mind, the lowlands of my backyard are not unlike a thousand various other swampy places throughout Interior Alaska. These are not the lands of the Alaskan tourist brochure – they are cold in the winter, wet in the summer, unmanageable for building, mosquito-filled, and visually relentless in their endless forests of stunted trees. It is not the easiest landscape to love. Luckily, I’ve never equated love with ease or perfection. I believe that in nature there is brutality, misshapenness, a degree of loneliness, and that the natural world does not bend to accommodate us. This is particularly true in the lowlands.

The basins of spruce and swamp between the mountains are places of enormous beauty. Every tree that grows on the inhospitable permafrost takes a unique shape. The muskeg is home to an infinite variety of small plant forms, grasses, berries and surprising creatures. Waterways surge with overflow even in the coldest weather, foiling travel and creating evolving ice sculptures. Over the years, I’ve seen animal life in my backyard ranging from bear to muskrat, shrew to sandhill crane. I’ve had the disorienting pleasure of being lost on my own land. I think it is a place that puts up with my presence, but barely. It can hinder my control in a thousand ways, which somehow seems only fair.

​These lowlands are also the context for human lives, some settling here by choice and others due to economic necessity. A lack of building codes and a tradition of do-it-yourself leads to both unique and often inadequate or dangerous structures. In the lowlands, we give each other space and don’t ask too many questions of our neighbors. Between the trails and dog teams and tidy log homes are drugs and darkness, mistreatment, abandoned dreams, junkyards and guns. This place is made of all these things at the same time – beauty, difficulty, occasionally desperation. Through my work, I attempt to get beneath Alaska’s overly edited myths to try and understand the whole.

tabbart exhibit 1
Tabbert exhibit 5

About the artist

I make art out of compulsion, curiosity, and my love of process. I learn through the act of making, and this passion for discovery is integral to who I am. The things I make often speak for me. Art allows me to be in places and with people and, hopefully, to talk across space and time. My work is an opportunity to know materials and to develop mastery.

Sara Tabbert is a printmaker and mixed media artist from Fairbanks, Alaska. With an MFA in printmaking from University of Nebraska – Lincoln, her love of woodblock printing has led to the creation of carved, painted wooden panels. In addition to smaller work, Tabbert’s large-scale public art commissions can be found throughout Alaska. Her work is housed in public collections through the state and far beyond.

tabbart exhibit2

Sara Tabbert

“Lowlands”

February 7, 2020 – April 4, 2020

Alaska State Museum

Juneau, Alaska

Framing Specifications

106MP01_700

METRO GALLERY FRAME

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Type: Standard Gallery Frame
Wood & Finish: maple frames with clear water based finish
Purchasing Option: cut to size with wedges
Custom Frame Acrylic:  1/8″ regular acrylic cut to size
Custom Frame mat: 4 ply white museum mat
Custom Cut Matboard: 4 ply white museum board cut to size
Custom Frame backing: acid free foamboard cut to size
122MP01
METRO FLOATING FRAME

Deep Floating Profile: 122
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Framing Advice: Fitting Floating Frames




ALEJANDRO CARTAGENA: PHOTO STRUCTURE / FOTO ESTRUCTURA at Eastman Museum

For this latest body of work, Cartagena spent time sifting through landfills on the outskirts of Mexico City to collect thousands of discarded photographs—portraits, snapshots, and tourist views. Cartagena excises figures, faces, or other details from the found photographs and reconfigures the original compositions by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.

Cartagena is producing works of art specifically for this exhibition, giving visitors to the Eastman Museum the first opportunity to see the newest photographs in his most recent body of work.

 

StudioSession-849.jpg
Alejandro Cartagena (Mexican, b. Dominican Republic, b. 1977). Detail from Narciso / Narcissus, 2019. Altered gelatin silver print. Courtesy of the artist. © Alejandro Cartagena
StudioSession-849
Alejandro Cartagena (Mexican, b. Dominican Republic, b. 1977). Detail from Narciso / Narcissus, 2019. Altered gelatin silver print. Courtesy of the artist. © Alejandro Cartagena
StudioSession-904.jpg
Alejandro Cartagena (Mexican, b. Dominican Republic, b. 1977). Detail from Rostros / Faces, 2019. Altered gelatin silver print. Courtesy of the artist. © Alejandro Cartagena

StudioSession-904
Alejandro Cartagena (Mexican, b. Dominican Republic, b. 1977). Detail from Rostros / Faces, 2019. Altered gelatin silver print. Courtesy of the artist. © Alejandro Cartagena

StudioSession-901.jpg
Alejandro Cartagena (Mexican, b. Dominican Republic, b. 1977). Detail from Vacaciones familiares (después Roma) / Family Vacation (after Roma), 2019. Altered gelatin silver print. Courtesy of the artist. © Alejandro Cartagena

StudioSession-901
Alejandro Cartagena (Mexican, b. Dominican Republic, b. 1977). Detail from Vacaciones familiares (después Roma) / Family Vacation (after Roma), 2019. Altered gelatin silver print. Courtesy of the artist. © Alejandro Cartagena

About the artist

Cartagena lives and works in Monterrey, in northeastern Mexico. His projects employ landscape and portraiture as a means to examine social, urban, and environmental issues. His work has been exhibited internationally and is part of public and private collections, including the San Francisco Museum of Modern Art, the Museum of Contemporary Photography in Chicago, the JPMorgan Chase Art Collection, the Museum of Fine Arts in Houston, the Harry Ransom Center at the University of Texas, and the George Eastman Museum.

Cartagena is also a self-publisher and co-editor of photobooks and has been published internationally in magazines and newspapers such as the New York Times, Le Monde, and the New Yorker. He is the recipient of several awards, including the international Photolucida Critical Mass Book Award, the Lente Latino award in Chile, and the Premio IILA-FotoGrafia Award in Rome.

ALEJANDRO CARTAGENA: PHOTO STRUCTURE / FOTO ESTRUCTURA
January 31, 2020 - June 28, 2020
George Eastman Museum, Rochester, NY
ALEJANDRO CARTAGENA: PHOTO STRUCTURE / FOTO ESTRUCTURA
January 31, 2020 – June 28, 2020
George Eastman Museum, Rochester, NY
EASTMAN EXHIBIT WITH PEOPLE
ALEJANDRO CARTAGENA: PHOTO STRUCTURE / FOTO ESTRUCTURA
January 31, 2020 – June 28, 2020
George Eastman Museum, Rochester, NY

Framing Specifications


eastman frame
Capture0002-712_114MP01_spacer700

METRO GALLERY FRAME

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Wood & Finish: unfinished ash frame
Purchasing Option: joined wood frame
Custom Wood Strainer: 1/2″ wood frame strainer




Connie Connally: Wild By Nature at George Billis Gallery in Los Angeles

Connally works most clearly with what we recognize as gestural abstraction, associated with Abstract Expressionism. Connally has focused, however, on a notable subset of such gestural painting, one recognized in the heyday of Action Painting and even cited then to link Abstract Expressionism with vital precedents (e.g. the late Impressionism of Monet, the early abstractions of Kandinsky). Like such precedents, Connally distinguishes herself as, in essence, a landscape painter, albeit one who paints the landscape she feels as much as she paints the one she sees. Indeed, Connally’s stress on sensuous form and color experience through reference to natural phenomena (in particular vegetation and water, normally in motion) places itself squarely in a tradition particular to the American experience. John Marin’s expansive rhapsodies on the local landscape exemplify this tradition, as does Joan Mitchell’s gradual – but ultimately thorough – adoption of landscape qualities and references. This sort of “plein air abstraction” defines Connally’s work, but her particular touch and palette, and her close and vibrant sense of atmosphere, distinguishes it.

Peter Frank, LA Art Critic

Connie Connally, Tigers on the River Bank, 2019, oil on canvas, 8 x 10 inches
Connie Connally, Tigers on the River Bank, 2019, oil on canvas, 8 x 10 inches
Connie Connally Windflower II 2019 30x30 oil on canvas
Connie Connally Windflower II 2019 30×30 oil on canvas
Connie Connally, Rose Garden, oil on canvas,30 x 30 inches
Connie Connally, Rose Garden, oil on canvas,30 x 30 inches

About the artist

 

Connie Connally paints stunning canvases of complex elegance, with imagery that merges harmoniously and nearly completely both representational reference and powerful abstraction. Connally’s poetic colorscapes, with their expressive brushwork, sweeping gestural marks and animated cadence, reflect the artist’s passion for distilling the essence of her observations of nature and situate her work as the vital interplay between memory and imagination. Her palette of organic color and calligraphic brushstroke combine to serve as imprint of the artist’s profound love of being in nature and the desire that her painting reflect both her exterior and interior experience of it.

Citing Joan Mitchell as an important influence on her work, Connally employs exuberant, impassioned colors laid on her canvases in a pictorial strategy that teeters between the action painting of her abstract expressionist forebears and a more refined personal style that modulates the strokes and dabs that comprise her surfaces. Her layers of brushstroke read less as agitated ruptures and more like intuitive, sensual experiences rendered as prismatic atmospheres of color and tone. Rich, multi-layered surfaces of color morph, coalesce and scatter in quietly energetic rhythms that evoke the experience of being surrounded by nature.

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Connie Connally

Wild By Nature

January 11, 2020 – February 15, 2020

George Billis Gallery

Los Angeles, CA

Framing Specifications

Capture0006-335 121MP00F _700

 

METRO FLOATING FRAME

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Type: floating frame for 1-1/2″ deep painting
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Purchasing Option: joined frame
Framing Advice: Fitting Floating Frames




Ying Li "Peregrination" at Gross McCleaf Gallery

Beautiful and seductive, these landscapes contain, but only partially conceal, a visceral howl. My understanding of them fluctuates between seeing them as landscapes, then as abstractions, and finally again as landscapes….What I love most is the time it takes to truly absorb and appreciate their structure and beauty. For me, that is a slow and delightfully rewarding experience. – Bill Scott

 

 

Ying Li, Cherry Blossom, Oil on linen, 36 x 36 inches
Ying Li, Cherry Blossom, Oil on linen, 36 x 36 inches
Ying Li, Grassy Waters #1, Oil on linen, 24 x 30 inches
Ying Li, Grassy Waters #1, Oil on linen, 24 x 30 inches
Ying Li, Wintry Garden, Oil on linen, 24 x 48 inches
Ying Li, Wintry Garden, Oil on linen, 24 x 48 inches

ABOUT THE ARTIST

Born in Beijing, China, Ying Li studied painting at Anhui Teachers University where she was later an instructor. She immigrated to the United States in 1983 and received an MFA from Parsons School of Design. Li’s work has been featured in numerous solo and group exhibitions, including internationally at Centro Incontri Umani Ascona (Switzerland), ISA Gallery (Italy), Enterprise Gallery (Ireland), and Museum of Rochefort-en-Terre (France); in New York City at Lohin Geduld Gallery, Elizabeth Harris Gallery, Tibor de Nagy Gallery, Lori Bookstein Fine Art, The National Academy Museum, and the American Academy of Arts and Letters; also, the Pennsylvania Academy of the Fine Arts, Cantor Fitzgerald Gallery (Haverford College), the James Michener Museum in Doylestown, and the Hood Museum at Dartmouth College.

 

LiOpeningrev

Ying Li
“Peregrination”
November 1-30, 2019
Opening Reception: Friday November 8, 5-7pm
Gross McCleaf Gallery, Philadelphia PA

FRAMING SPECIFICATIONS

Ying Li The Secret Garden, Insects and Butterflies, oil on linen, 16 x 16 inches
Ying Li The Secret Garden, Insects and Butterflies, oil on linen, 16 x 16 inches
Capture0006-335 121MP005_700F

METRO FLOATING FRAME

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Type: floating frame for 3/4″ and 1 1/2″ deep paintings
Wood & Finish: maple clear finish with pickled white finish
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Chuck Koosmann "Landscapes"

Iceland is a place I didn’t know much about before travelling there. It is small, isolated and full of my imaginings. I had heard many stories about it from travelers I’ve known but didn’t have a sense of it really.

The reality was unexpected. Too many tourists in Reykjavik, glaciers of immense size, a dramatic terrain that led to the sea and a presence that talked of creation and the formation of the Earth.

The photos in this exhibit represent the images of my unexpected experience. Long cooled volcanic magma flows, extinct volcanoes, man’s adaptation to its surroundings and settlement. A story of growth and progression.

 

Highway 1
Iceland, 2017
Archival Pigment Print
21 X 28”
Highway 1
Iceland, 2017
Archival Pigment Print
21 X 28”
Volcanic Flows
Iceland, 2017
Archival Pigment Print
21 X 28”
Volcanic Flows
Iceland, 2017
Archival Pigment Print
21 X 28”
Glacial Outflow
Iceland, 2017
Archival Pigment Print
21 X 28”
Glacial Outflow
Iceland, 2017
Archival Pigment Print
21 X 28”
kossman install

About the exhibition

This exhibition is a collaboration of my photography and Tiit Raid’s  paintings.

Our approach to our art is quite different. As a photographer; I see, I compose, and I make. A fairly straight forward process. In my understanding of Tiit’s process, he sees, he composes, and he interprets. To my mind there is an important and distinctive difference: objectivity vs. subjectivity.

Our collaboration piece, my photo “Volcanic Aftermath” and Tiit’s interpretive paintings of it, is the expression of how we see.

Chuck Koosmann / Tiit Raid

November 15, 2019 – December 28, 2019

Gallery Reception November 22, 2019 5-7 pm

Center for Visual Arts

Wausau, Wisconsin

Framing Specifications

Volcanic Aftermath
Iceland, 2017
Archival Pigment Print
21 X 28”
Volcanic Aftermath
Iceland, 2017
Archival Pigment Print
21 X 28”
102AH13A copy

METRO GALLERY FRAME

Profile: 101
Type: Standard Gallery Frame
Wood & Finish: ash frame with black finish
Purchasing Option: joined wood frame
Custom Wood Spacer: 1/2″ wood frame spacer with white finish
Custom Wood Strainer: 3/4″ wood frame strainer
Custom Frame Acrylic: 1/8″ UV acrylic cut to size




Billy Hassell "Lone Star Wild" at Davis Gallery in Austin Texas

My work is a symbolic and narrative response to nature and seeks a balance between realism and abstraction. My primary subject matter has been the flora and fauna of Texas and my influences include Mexican and American folk art, 19th and 20th Century Japanese woodblock prints, natural history, field guides and botanical studies. Over the years I have become increasingly concerned and involved with environmental issues and have received commissions from Audubon Texas, the Texas Nature Conservancy and the Texas Parks and Wildlife Foundation to produce color etchings and color lithographs featuring the flora and fauna of Texas that highlight those organizations’ conservation efforts around the state and the Gulf Coast.

Billy Hassell
September 2019
Billy Hassell MOCKINGBIRD    color lithograph     8.5” x 24”
Billy Hassell MOCKINGBIRD color lithograph 8.5” x 24”
Billy Hassell GRASSHOPPER color lithograph  8.5” x 24”
Billy Hassell GRASSHOPPER color lithograph 8.5” x 24”
Billy Hassell SKUNK color lithograph  8.5” x 24”
Billy Hassell SKUNK color lithograph 8.5” x 24”
Billy Hassell BISON color lithograph  8.5” x 24”
Billy Hassell BISON color lithograph 8.5” x 24”
Installation shot Davis Gallery 3 copy-1
Insatllation shot Davis Gallery 2 copy-1

About the artist

Billy Hassell has been making nature inspired paintings and lithographs for more than 25 years. His colorful and expressive art works, frequently featuring birds and indigenous plants and animals, have been exhibited nationwide and are included in the permanent collections of the Houston Museum of Art, the Fort Worth Modern, the Dallas Museum of Art, the Tyler Museum of Art and numerous other public and private collections. Articles on his work have appeared in ArtNews, Southwest Art and the New York Times.

Billy Hassell “Lone Star Wild”

October 19, 2019 – November 30, 2019

Davis Gallery Austin, Texas

Framing Specifications

Billy Hassell JACK RABBIT color lithograph 8.5” x 24”
Billy Hassell JACK RABBIT color lithograph 8.5” x 24”
Thin Gallery Frame
Thin Gallery Frame

METRO GALLERY FRAME

Profile: 102
Type: Thin Gallery Frame
Wood & Finish: ash frame with black finish
Purchasing Option: joined wood frame
Custom Wood Strainer: 3/4″ wood frame strainer
Custom frame mats/sized boards: white 8 ply mat & 4 ply backing
Custom Frame Acrylic:  UV acrylic cut to size
Custom frame backing boards: 1/8″ archival coroplast




Terri M Wells Brinton AIR Museum Show

The 2019 Brinton Artists in Residence show features six diverse, nationally recognized artists who were invited for two-week residencies in 2018 to create art en plein air. The Brinton’s Artists in Residence program allows artists the unique opportunity to sketch, draw and paint on The Brinton grounds and also on other scenic locations throughout the area. Resident artists are featured in a group exhibition in the fall of the following year of their residency.

Terri M. Wells “Big Horn Movement III”                 11” x15", watercolor and ink
Terri M. Wells “Big Horn Movement III” 11” x15″, watercolor and ink
Terri M. Wells “Big Horn Movement V”                16” x 38” watercolor
Terri M. Wells “Big Horn Movement V” 16” x 38” watercolor
Terri M, Wells “Big Horn Movement IV”           11” x 15” watercolor and ink
Terri M, Wells “Big Horn Movement IV” 11” x 15” watercolor and ink

About the artist

Terri Wells With an eye for nuanced, vibrant color, and memorable compositions, Terri paints outdoors on-location throughout the U.S. Some paintings are preliminaries for abstract sculptures and studio work. Terri was Plein Air Austin’s president and chairman of the board 2005-2008. She has participated in many national shows including Maynard Dixon Country and America’s Parks Through the Beauty of Art. In 2018, she received a two-week residency from the Brinton Museum in Big Horn, WY. In 2019, Terri was invited to be one of 31 centennial artists for the Art of Texas State Parks Project. Her work sells in national shows, direct, and the Thunderbird Foundation, Mt. Carmel, UT.

TMWells_BrintonAIROpening_5A
Brinton Artists in Residence Exhibition
September 7, 2019 – October 20, 2019
The Brinton Museum Big Horn, Wyoming

Framing Specifications

Terri M. Wells “Big Horn Movement I”     
 11” x 22” watercolor and ink
Terri M. Wells “Big Horn Movement I”
11” x 22” watercolor and ink
Capture0018-431 101MP01_50 SPACER_STRAINER

METRO GALLERY FRAME

Profile: 101
Type: Standard Gallery Frame
Wood & Finish: maple frames with clear lacquer finish
Purchasing Option: joined wood frame with matching splines
Custom Wood Spacer: 1/2 wood frame spacer
Custom Wood Strainer: 3/4″ wood frame strainer




Andrea Pramuk framing in her studio

Andrea called to order some frames because she was working on an exhibition. Since she works in larger sizes, we thought it would be interesting to show her framing in her studio. She said she wasn’t a video expert but agreed to give it a try. She sent us videos of each different aspect of the framing and we edited them.

Pramuk works on large Ampersand Panels and frames them with our Metro Floater Frames. Although our frames and cradles can be purchased completely joined, she purchases them unassembled to save money on shipping.

Framing large oversize work requires that your studio layout is well organized. In addition you need to have the proper tools. Andrea shows some techniques on how to join a cradle with a crossbar as well as joining the floater frame and attaching the artwork that we think you will find useful.

Additional tip:
She did tell us that the adjustable sawhorses make all the difference in her workspace for both framing and painting big. They are not a huge investment ($35-$50/pair)  and they fold up when she’s not working in the big area of the space.

ABOUT THE ARTIST

Texas painter, Andrea Pramuk, creates organic, drawing-based abstractions. Her pictures may seem familiar at first glance, but on closer inspection, they are not things or places that exist, but rather lyrical subjects whose dialogue originates out of line, color and light. She looks to ephemeral subject matter that is constant throughout time, reminiscent of stone, sea, sky and botanical forms – all traditional painting subjects.

Andrea uses acrylic paint and dye-based pigments within a system that includes a carefully mixed color palette, paint pouring and drawing techniques, working both flat and at the easel. She arrived at this current method of working due to physical limitations with manual dexterity and also for technical reasons like drying times and limited time constraints. Pouring paint for Andrea is like building sediment layers in stone, creating wave patterns in sand and bringing about tree rings born out of drying paint puddles shrinking one ring at a time. Her process and subject matter, therefore, are both temporal and symbiotic. Poetry comes into play with her choice of titles, often borrowed from music lyrics, poetry or books, while also folding in themes from current events.

andrea exhibit 1
Andrea Pramuk
Nosotros
May 31- July 7, 2019
Georgetown Art Center, Georgetown, TX

FRAMING SPECIFICATIONS

andrea exibit 2A
Capture0018-402 122MP14 with cradleF_700A copy

METRO FLOATER FRAME

Profile: 121
Type: floater frame with cradle
Wood & Finish: maple with charcoal finish
Purchasing Option: cut to size with wedges




Helen Cantrell at The White Gallery in Lakeville Connecticutt

“I need lots of color in an image that strikes me. I use a lot of drips and flung slashes of paint. The result is expressive pieces in which swaths of yellow, orange, and violet evoke paths and fields and features a mix of abstraction and figuration, with vibrant bright hues, visible brushwork, and a sense of calm.”

Cantrell has been painting and making prints full time for the past 20 years, most recently large‐scale woodcuts and landscape paintings in an expressionist gestural  style.

 

"Rising Mist," 48"x48", oil on canvas
“Rising Mist,” 48″x48″, oil on canvas
"October Gold," oil on canvas, 36"x48"
“October Gold,” oil on canvas, 36″x48″
"Venice Violet" oil on canvas 36"x36"
“Venice Violet” oil on canvas 36″x36″

Helen Cantrell "March Snow Sunset," 48"x36" oil on canvas
Helen Cantrell “March Snow Sunset,” 48″x36″ oil on canvas
Helen Cantrell: A Sense of Place
May 24  – July 28, opening reception May 24 5-7 pm
The White Gallery, Lakeville, CT

FRAMING SPECIFICATIONS

"Harlem River Bridge, 36"x36" oil on canvas.
“Harlem River Bridge, 36″x36” oil on canvas.
121AH05A

METRO FLOATING FRAME

Profile: 122 and 124
Type: floating frame for 3/4″ and 1-1/2″ deep paintings
Wood & Finish: ash pickled white finish
Purchasing Option: joined frame




Richard Kirk Mills: Recent Paintings - Windows and Landscapes

“I paint directly from subjects in my familiar surroundings. The poetry of place arises from my own personal mythology: a longing for lost homes; a remembrance of water; of daydreaming looking out of windows: of silence. I occasionally make a pilgrimage, but for the most part, it’s just there, in front of me. From my observations and emotions I try to make good paintings.”

Known for his printmaking and for his distinguished work in public and eco-art, this exhibit at Blue Mountain Gallery is his first show in NYC since his return to painting.

"From a Granite Shelf, Stonington", 36" x 48" oil on canvas 2019
“From a Granite Shelf, Stonington”, 36″ x 48″ oil on canvas 2019
"Night Lights in a Granite Quarry", oil on linen, 30" x 38", 2019
“Night Lights in a Granite Quarry”, oil on linen, 30″ x 38″, 2019
"Winter Lights", oil on linen, 36" x 34", 2019
“Winter Lights”, oil on linen, 36″ x 34″, 2019

ABOUT THE ARTIST

After teaching for thirty-four years, first at Pratt Graphics Center then as professor of art at LIU/Post, Mills has returned to painting full time. He maintains studios in New Jersey and the Catskills.

Mills has been artist in residence at the Teaneck Creek Conservancy and a visiting Fellow at the Jentel Foundation, Ucross Foundation and the Virginia Center for Creative Arts. Mills has received grants from numerous arts foundations and state and federal agencies including the NJ State Council on the Arts, Puffin Foundation, Geraldine R. Dodge Foundation, USEPA, NJDEP and NJ TRANSIT.

Richard Kirk Mills: Recent Paintings – Windows and Landscapes
May 21, 2019 – June 15, 2019
Blue Mountain Gallery, New York, NY

FRAMING SPECIFICATIONS

"Earnest on the Lookout", oil on canvas, 24" x 24", 2019
“Earnest on the Lookout”, oil on canvas, 24″ x 24″, 2019
Capture0003-610_121CH00_700-2

METRO FLOATING FRAME

Profile: 121
Type: floating frame for 1-1/2″ deep paintings
Wood & Finish: unfinished cherry
Purchasing Option: cut to size with wedges