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Charles Frace, SUNNY SPOT, Margay (Ocelot) Print For Sale

Charles Frace, SUNNY SPOT, Margay (Ocelot) Print
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Charles Frace, SUNNY SPOT, Margay (Ocelot) Print:
$29.95

A Sunny SpotCharles Fracè Closely resembling the ocelot, the margay is a small spotted wildcat that ranges from Mexico to South Brazil.A pure forest animal and excellent climber, the margay hunts primarily in treetops for birds, monkeys, possum, and other small mammals.With tremendous acrobatic ability, he can hang from a branch by one hind foot, jump from one tree to another, and spiral headfirst into his territory below.This limited edition print is: Signed by the artistThe edition size/date is: 2,500/1985The issue price was: $70.00The image size is: 22¾x17¾The print was published by: American Masters FoundationThis print has never been framed and has beenstored flat since publication.It will be shipped rolled in a tube.Charles FracèCharles Fracè was born in 1926 in a small town in eastern Pennsylvania. He began drawing at five and taught himself to paint when he was fifteen. Fracè remembers wanting to be an artist from an early age. His self-instructed talent earned him a scholarship to Philadelphia=s Museum School of Art, where he graduated with honors. In 1955, Fracè began a professional career as a freelance illustrator in New York City. Eventually, he became one of the nation=s most sought-after illustrators of wildlife. However Fracè soon grew frustrated by the restrictions of illustrating ideas conceived by others and longed to paint some of his own. He finished only one, which his wife Elke took to a nearby art gallery. They insisted on displaying the painting in the gallery, and it sold that same afternoon.In 1973, with the issue of Fracè=s first limited edition print, he had finally made the permanent change to fine art. Fracè brings to his art over three decades of personal research and a close kinship with animals. Fracè=s art has been the subject of two books. Perhaps the greatest honor of his career came in October 1992, when Fracè was recognized with a one-man exhibit of thirty-six of his paintings at the National Museum of Natural History of the Smithsonian Institution in Washington, D.C.We do not use the term “mint” condition when referring to any of the art prints we sell on .That is not because the prints are damaged or necessarily in any condition other than “mint.”There are two primary reasons for our avoidance of the “mint” condition terminology: First, we are trying to get this attractive art in the hands of someone who can display and enjoy it; we are not trying to target “collectors.”Second, most of the prints we list on were published over 20 years ago.While we have owned them since original publication, handled them with care, and stored them flat, time and original packaging can sometimes work together to leave slight “acid burn” marks on the backs of the prints, or possibly in the white borders on the front where non-conservation adhesives were used on the original folders for the prints.We do not ship any prints with image areas which are not perfectly suited for being framed.So, while most of the prints we sell on are “limited edition” prints and would qualify for the term “mint” condition, we are selling them as art to be framed and enjoyed.We sell the exact same prints in “collector markets” at the original retail prices or even appreciated values where appropriate.However, as stated above, due to the prices at which we make them available on and the age of many of them, we do not use the term “mint” condition.If you are truly interested in a print we list and insist on a “mint” condition representation, we can provide a collector value at which we are willing to make that representation.

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