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"Issue price" refers to the price established by the publisher or artist when the item is released. We maintain that price as long as possible. Once the item is "sold out" and only available thru "secondary" or "resale" sources, pricing can vary day by day or hour by hour as resales occur. In such instances, the prices you see on our website may represent the last of those items sold as opposed to today's price. That is why we often tell you to "email" for pricing. And that is why prices often change without notice. For your convenience, items are priced without frames unless otherwise indicated.
Errors in pricing and information with regard to sizes and data seldom occur as our staff makes every effort to be accurate. However, should a mistake in our listings occur, the buyer agrees that Gallery One will not be held responsible for errors and/or omissions. |
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In compliance with Federal Copyright Laws, the art work you are purchasing is legally yours, yet the artist retains the copyright in and to the image, including all reproduction rights.
Relative to original art, you may be requested by the artist to lend him/her the artwork for a period of time so that it may be photographed under the direction of the artist. Or the work may be requested for use in a museum exhibition. In all such instances, shipping and insurance will be handled by the artist or by Gallery One on behalf of the artist.
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Images are copyrighted
and subject to price and availability. Image sizes are approximate. Artwork is MINT unless indicated to the contrary. |
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Peggy Snyder, CPF
Norah Lynne Brown, CPF
Alan Brown, CPF |
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Thomas Blackshear - Night in Day
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Code: BLANI3
Release Year: 2003
Size (inches): 36 x 19
Form: limited edition giclée on canvas
Edition Size: 76 numbered and hand signed by the artist
Artist Proofs: call or email to check on availability.
Custom Framing: available upon request
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| "Night in Day" was my breakthrough painting. I guess you could say that this was the first piece that helped me get in touch with who I'm becoming. At the time I created it, I was overwhelmed with freelance work. I was tired of being a workaholic and not living my life. I was finally able to do a painting for a small Society of Illustrators art show in San Francisco and this was it. Someone suggested that it was me emerging from darkness into light. I hadn't thought of it that way, but it made sense.
Another way to look at it is that maybe it was my new way of looking at things. After I did this painting, every piece I painted from that point on was different. I had a whole new look, a new goal, a new vision and a new reason for what I was doing. What was so cool about the painting was that I saw it completely in my head before I even did it. That was the first time that ever happened to me. - TB
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440.255.1200 or 800.621.1141 |
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