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The Painter’s Keys Clickbacks Archive


The archive is a rich resource of art information and advice for artists and creative people looking for meaningful content. You can access every one of the Robert Genn Twice-Weekly Letters since the year 2000, including shared responses from the worldwide creative art community. This is a timeless collection of material formed by the brotherhood and sisterhood of artists, where all flags fly.

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2002 Robert Genn Twice-Weekly Letters

  • Resolution Archive
      December 31st, 2002
  • Among your last year's resolutions were plans to beef up productivity. The low was "ten paintings in 2002"--the high was "four hundred 16x20s." Several promised to "paint a painting a day." Read On

  • Ernest Hemingway's Cuban home
      December 27th, 2002
  • For Hemingway, Cuba meant new scenery, new people and a clean start. From his experiences as an ambulance driver in the First World War, as well as in Spain, Chicago, Toronto, Michigan and Key West, he knew the value of a sense of place. Read On

  • The Claus phenomenon
      December 24th, 2002
  • As you're probably aware, every year about this time engineers get together and reassess the seemingly miraculous moves that will be made tonight... Read On

  • Giclee prints
      December 20th, 2002
  • We live in remarkable times. Technology knows no bounds. Some of these giant photocopy machines put down dye-based inks, others, particulate pigments. Machines can make a million squirts a second--some work from as many as 400 different hues. Read On

  • Two guys in the same boat
      December 17th, 2002
  • A painting coming along in a boat is like a fish on the line. You have to be left alone to play it. It has to be brought alongside, netted, boarded and bonked. Read On

  • Relaxed pressure scheduling
      December 13th, 2002
  • You know you're in it when the clock spins by. You are lost in play. It's a casual, giddy, energetic, dreamy, pushy, know the next move, more or less satisfied, euphoric high... Read On

  • Anatomy of a commission
      December 10th, 2002
  • The painting I had conceived for them included three weathered totem poles. One of the totems had a phallic device as part of its design. Both the husband and wife were concerned about this. They wanted to know how I felt about anthropological correctness... Read On

  • Secrets of mentoring
      December 6th, 2002
  • Sensible mentoring is perhaps the most effective way to channel self-realization and success in another artist. Confidence is contagious, support is at hand and doors are opened. Proximity and availability make it golden. Read On

  • The joy of bad art
      November 29th, 2002
  • Even 'bad' paintings done by yourself are capital because they make your good ones look like great ones. And don't disparage the poor work of others because you were probably once on that same spot. You can take some satisfaction in knowing that all work, however jaded, sloppy, poorly composed, or incompetently executed, has its exalted place. Read On

  • The power of three
      November 26th, 2002
  • Man is traditionally threefold (body, soul and spirit), as is our world (earth, sea and air). Historic enemies of man have been the world, the flesh and the devil. Today's realistic enemies seem to be fear, ignorance and hatred... Read On

  • Spells
      November 22nd, 2002
  • The nasty business of 'maturing' and life itself tends to knock it out of us. But at some point an artist makes a decision to tune in. His eyes open wide and he gets into observation mode. He gets his thoughts organized. He does it alone... Read On

  • Protecting your copyright
      November 19th, 2002
  • Copyright is not a magic sign or date that you put on a piece of work, but the act of defending your ownership of a work that has, in your opinion, been transgressed. The idea is to be prepared... Read On

  • Commissioned artwork
      November 12th, 2002
  • We artists are often asked to do something along the lines of somebody else's ideas. If the subject matter turns your crank, I recommend that you should say "yes." You should never say "when." Read On

  • Selling your art
      November 8th, 2002
  • In my experience the highroad to freedom has been to consign work to dealers, art galleries and agents. If you're thinking about this, you need to select them with care. It's not like maintaining a chain of donut-shops. Read On

  • Tom Thomson
      November 5th, 2002
  • Firsthand reports say that he was forever dissatisfied with his commercial art. He worked long hours and often trashed his efforts, or tortured them with a burning cigar. He understood where his weaknesses lay. Read On

  • An artist's slide bank
      November 1st, 2002
  • For me the slide bank is the heart of the studio. While I believe in approaching my work from three directions: work on location, work from the imagination, and work from self-collected reference, the bank is the place I go to again and again to prime the pump. Read On

  • Synesthesia
      October 29th, 2002
  • One in two hundred of the general population may have it. Different senses blend and transpose with one another. For example, a person might experience the beep-beep-beep of a truck backing up as a series of red dots. Read On

  • The way
      October 25th, 2002
  • A lot has been made of the influence of positive and negative parenting. Quotes from my own parents in a recent letter set off a few bits of negativity and tales of misfortune. When this sort of thing happens I like to think of all of us just rising out of some sort of primordial soup. Read On

  • The art collecting instinct
      October 22nd, 2002
  • The brilliance of art as a collectible is that it has a way of reaching out on an emotional level. It touches on mystery, even spirituality. Furthermore, there are connectors involved... Read On

  • How to do it
      October 18th, 2002
  • To be fair, during a lifetime it's possible to advance prices to the point where you're quite highly paid. Ten percent increase a year gets you into brain-surgeon territory by the time you're fifty. Being philosophic and not fretting the small stuff, like critics, is valuable as well... Read On

  • Observations
      October 15th, 2002
  • Like most artists I love to be a fly on the wall, observe, and try to understand what's going on. Here's the crunch: I have the feeling that the appetite for quality is higher now, and getting higher. Read On

  • Alfi is dead
      October 11th, 2002
  • I know it's only a car, but Alfi was a vehicle for art. She was a studio away from home. You could paint comfortably standing at the open hatchback. Even the back seat with your feet out the door made a suitable laptopper or pochade station on a rainy day. Read On

  • In Monet's garden
      October 8th, 2002
  • Both Monet and his dealers believed in thematic, explorative one-man shows. Thus we have the haystack, London fog, steam-engine, coastal and poplar series. In a rented apartment in Rouen he painted the cathedral series. Read On

  • Art potion
      October 4th, 2002
  • The potion we need is more like the sense of elan that some of these Bretons have. "I care," and "I don't care," are some of the active ingredients that need to be put into the bottle. And the product has to be manufactured uniquely for each artist. Read On

  • Presence
      October 1st, 2002
  • As the walls bend, so bends your mind. There's the cubist interaction of disparate forms and shapes. There's the way the light in the passage of a day reinvents and re-designs the jumble. Read On

  • Levels of achievement
      September 27th, 2002
  • Rumors of the death of painting are greatly exaggerated, I'm thinking. It's like these baguettes around here. The French are not suddenly going to stop baking them. Baguettes are not going to go out of style... Read On

  • Joseph Beuys
      September 24th, 2002
  • I'm a bit of a junkie when it comes to contemporary installation art. This place is screaming with the stuff. Glazed gallery goers, their minds numbed by the visual challenges, wander in the ambience of this renovated power station on the south bank of the Thames. Read On

  • Some collectors of art
      September 20th, 2002
  • For what it's worth and at the risk of being too exclusive, there is one type of collector that is prevalent--in my world anyway. It's a couple. They act and collect in unison. Read On

  • Art swarm
      September 17th, 2002
  • Right now I'm in a "swarm." It's an arty crowd moving among "alternate" galleries in a once-a-year event. Some of these artist-run spaces hide in back-alleys and the basements of condemned buildings. Read On

  • Of geese and swans
      September 13th, 2002
  • The trick to getting more swans is to see your own geese for what they are. It takes clarity of vision. It's a function of looking and seeing. The patron saint of mediocrity awaits with his veil in every studio... Read On

  • Paint the town
      September 10th, 2002
  • They have from 9 until 3 to paint the town and turn out a masterpiece. That evening, the finished products, snappily framed and suitably awarded, some of them still wet are auctioned off to a supportive crowd at a hoity-toity dinner. Everything's a donation. Read On

  • Fortress artist
      September 6th, 2002
  • "Who am I painting for, anyway?" I asked myself one sunny day. I realized that if I simply put my work into commercial galleries my work could be silently and inoffensively rejected by thousands. But there was no rejection letter, no pink slip, no shutting down of my muse. Read On

  • In the beginning
      September 3rd, 2002
  • A list of creative ingredients is valuable. Every artist needs his or her own, and they ought to be reassessed regularly. Read On

  • Artistic truth
      August 30th, 2002
  • I've always found that anyone who waded in and proclaimed the "truth" was asking for instant excommunication for someone else's cult. At the risk of deletion, my cricket and I are going for it. Read On

  • Small deceptions
      August 27th, 2002
  • Creativity means imagination. Imagination means fiction. Fiction means deception. It's the electricity of deception that leads to the jolt of artistic truth, said my cricket, plugging into my ear. Read On

  • The Internet revolution
      August 23rd, 2002
  • It's got to the point where I'm surprised when I hear that some would-be professionals don't have an Internet presence. Apart from the potential of sales, the use of the Internet is the communication method of choice for artists. Read On

  • A sense of place
      August 20th, 2002
  • The question, "What shall I paint," is very much the same as "What shall I do on this golden day?" For many of us the answer comes with a sense of place. Read On

  • Art advice
      August 16th, 2002
  • We live in a time of democratization and the primacy of the individual. These days art is often expected to be boldly unique and the product of an unfettered and uninfluenced mind. Read On

  • Creative thoughts
      August 13th, 2002
  • In a world that was starting to think that creativity developed as you went along, Rungius was an artist who believed in thinking it out in advance. Read On

  • Strokes of pleasure
      August 6th, 2002
  • Strokes are the bytes, the building blocks, the yes and no of our surfaces. Strokes are the animated characters of the painted language. It's easy to get stuck with the same old strokes. And while there are different strokes for different folks, there's nothing to stop any of us from expanding our repertoire. Read On

  • William Wegman
      August 2nd, 2002
  • Close up of dog drinking milk from a glass. Dog taking spelling lessons. Dog watching something off camera. Dog catching a ball and not dropping it into a can... Metaphor. Insight. Microcosm. I'm wagging. Read On

  • Defeats
      July 30th, 2002
  • I changed the sky at least four times. It seemed straight-forward when it was born up in the mountains. It was the fine tuning that started to defeat me... Read On

  • Mark Rothko
      July 26th, 2002
  • He's been called the sublime painter of the twentieth century. Noted for his large scale soft-edged colour field paintings, his other claim to fame was his perennially toxic lifestyle and a lifetime of disgruntlement. Dealer profiteering and perceived maltreatment continued even after his suicide in 1970. Read On

  • Two spirits
      July 23rd, 2002
  • Up here in the mountains I'm realizing that the dual spirit methodology is no better exemplified than in the work of Lawren Harris (1885-1970)... Influenced by the Nordic school, art deco, and symbolism, Harris's mountain paintings honour and monumentalize his feelings about Nature. Dual spirit requires that the artist see and feel the environment. Read On

  • Yoho Park
      July 19th, 2002
  • An easel, paints, notebook, satellite phone, loaf of bread, cup of wine, and thou. Well, I have to admit, I'm missing thou. It's a sparsely-treed heather meadow at the 2200 meter level. A noisy brook runs through it. Mountains at the head of four adjacent valleys give a jagged horizon all around. Read On

  • Complaints
      July 16th, 2002
  • In this alpine hut 16 humans are required to sleep side by side 8 to a shelf. The odds that there are accomplished snorers among such a group are high, and these nights provide no exception. Another complaint is that canvases keep falling from my easel and landing face down on my palette. Poetry not mentioned in art school. Read On

  • Water cooler
      July 12th, 2002
  • About a year ago my daughter Sara insisted that I install a water cooler in my studio. She has one in hers. She's the pure pure type who believes in fruit blenders and doesn't eat anything with eyelashes. It's her opinion that we all need to run more water through our kidneys and in so doing improve the lives of our livers. Read On

  • Competence and incompetence
      July 9th, 2002
  • My friend Joe Blodgett came into the studio yesterday. He took a look around, studied a 20x24 for a minute, and then said: "Bloody incompetent, this one." As a matter of fact I had been watching it for a couple of days in the hope that it might miraculously cure itself. Read On

  • The Wyeth dynasty
      July 5th, 2002
  • As the Wyeth children came into their own, they were witness to their father's work habits and the steady flow of publishers and art directors... They knew what could be done. They were encouraged to be self-starters... It was reported that they withdrew like snails when so-called "bores" came onto the property to waste their time. Read On

  • Hothouse effect
      July 2nd, 2002
  • There's something to be said for families and extended families who live and work together in a creative hothouse. Think of Robert and Clara Schumann--they took in a boarder, Johannes Brahms, who managed to fall in love with Clara. She had eight kids and still had time to produce twenty compositions. Read On

  • Places of the heart
      June 28th, 2002
  • There are places of the heart where one can go a thousand times and not tire of them. We all have them and it's good to remember to go again--they reinforce our feelings and give us sustenance. Read On

  • Inconvenience
      June 25th, 2002
  • Checking the tide tables I realized that we were going to be stuck in the same spot until the tide came back in at 11 in the evening. What to do? I had the cell-phone, a small amount of reading, a few empty canvasses, a box of oil pastels, and two bottles of beer... There was to be no getting out and walking around the boat--the mud at this place has the reputation for sucking you in. Read On

  • Inheritance
      June 21st, 2002
  • I've never inherited or borrowed a cent from my family... Fact is that there are hundreds, perhaps thousands, of subscribers to this letter who could buy themselves a Bentley if they wished... Read On

  • Regimentation
      June 18th, 2002
  • To many of us "regimented artist" is an oxymoron. We prefer to float through our lives and our creativity. I've found that a small amount of regimentation heads off procrastination and vegetation. Read On

  • The inner artist
      June 14th, 2002
  • You must ask "How do I want my world to be, and how do I want my work to look?" You must trust the journey and have expectations of future joy. Then it's a matter of drawing on every resource to actualize what you visualize. Be prepared for surprises. Read On

  • Good karma
      June 11th, 2002
  • Good karma is a creative tool. By contrast, bad karma can interfere with your work, slow your progress and spoil your fun. Your words and deeds are your honour and your glory. Read On

  • Sign shop
      June 7th, 2002
  • A book could be written on what fine artists can learn from sign painters. Unfortunately sign painting with a brush is a dying art and there will soon be no one left from whom one can learn... Read On

  • Let's get physical
      June 4th, 2002
  • For some reason I've always had to remind myself to hold the brush by the end of its handle and put my whole arm and body into the act. Just as a brisk walk airs out and refreshes the brain, so does standing rather than sitting. Read On

  • Blue moose
      May 31st, 2002
  • Ted Harrison is well known for his colourful and childlike paintings of the Yukon. Coming from a background in teaching and academic painting he started painting afresh in mid-life. Purple skies, red dogs, yellow snow and blue moose inhabit his unique world. Read On

  • Unresolved tension
      May 28th, 2002
  • Let's talk about sexual frustration. Picasso, who was known for sexual dysfunction and ego-based "serve me" relationships, was reported to have said, "I put my orgasms on canvas." We might conclude... that Picasso was "inadequate," and this might explain his prodigious creative volume and spectacular variety. Read On

  • Love made visible
      May 24th, 2002
  • Although some artists may put me down for this, I'm pretty sure that the production of art has to do with a sense of well-being. I've found that art is at its best when the art more or less takes over your life. It's great if you happen to be a fan. Read On

  • Pick up your tool
      May 21st, 2002
  • It's been my observation that pretty well all growth, success and creative happiness are based on the discovery and exploitation of our tools. Some tools, tried and true, come back and are used again to new advantage. Still others are out there to be discovered. Read On

  • Raising creative kids
      May 17th, 2002
  • In the art of parenting we all begin as amateurs. By the time we turn pro, it's generally too late. Carol and I managed three out of the box: a filmmaker, a musician, and a painter. All are apparently flourishing. Here are some ideas we bumped into while getting lucky with creative kids... Read On

  • External validation
      May 14th, 2002
  • At the risk of being one of those who divide the world into two main kinds of people, there are two main types of artists: Those who have a need to listen to the opinions of others, and those who do not. Having said that, this habit can come and go--leopards can change their spots. Read On

  • Orphan art
      May 10th, 2002
  • Your trials are worth exploring--even exploiting. Abandonment and isolation are universal conditions--perhaps more so these days than ever before. Your upbringing, or lack of it, could be one of your great gifts to the world. Read On

  • Passing storm
      May 7th, 2002
  • The barometer had dropped hard. There was a black cloud swelling out from the north. Emily the Airedale had been acting strangely. The morning's painting had been peaceful pools and tranquil reflections. Then the storm took center stage. It's what happens to things that makes them interesting... Read On

  • The search
      May 3rd, 2002
  • We artists have an environment in common: we search through it, we dig in it. We look here and there for subjects, ideas, better work, deeper meaning, farther sight, creative joy. I'm on my bike, a mobile easel tows behind... Read On

  • Size matters
      April 30th, 2002
  • Often we simply fail to anticipate the scale in which we ought to be working. A common blockage happens when canvases are too small for the amount of stuff in them. Read On

  • Meditation Art
      April 26th, 2002
  • So here's what we all want to know: How does it work? What types of art do yoga-influenced artists do? Are they any better, happier, more productive, than those who don't? Do they substitute spirit for technique? Does yoga tranquilize or enhance vital creative energy? Is it a genuine pill or a placebo? Read On

  • Know your value
      April 22nd, 2002
  • At the easel it's a good idea to pay attention to the possibilities. Everything made with love and craft has the potential to become classic. In a way we fine artists have it the best of all because we have control. Read On

  • Foreground Dyslexia
      April 19th, 2002
  • First, make sure you properly identify what is to be the foreground. Even in abstract work, some elements are likely to be in the fore, others in the aft. Think of foreground as the primary frame for your subject matter. It's the actor that gives depth to your vision. Read On

  • What's wrong?
      April 16th, 2002
  • "Nothing is selling," writes Ron Sanders of Fort Wayne, Indiana. "Last year I had my worst sales in years. What am I doing wrong?" Read On

  • Don't wait
      April 12th, 2002
  • It's like being on a train where you don't know your stop. The conductor comes down the aisle and says: "You're off at the next." Any breathless protest about the precious gift of life or the "yet to do's" are of little avail. Read On

  • Your own baloney
      April 9th, 2002
  • What's going on here? It seems that artists can be grumpy on the outside while at the same time loaded up with inner joy. One of the reasons is that artists carry around with them the burden of perfectionism. Read On

  • Price points
      April 5th, 2002
  • Rudyard Kipling noted that if you don't get what you want, it's a sign either that you did not seriously want it, or that you tried to bargain over the price. For artists the price is very often merely exhaustion. Our business is not capital intensive. It's creative intensive... Read On

  • Why do you make art?
      April 2nd, 2002
  • A life in art is a way of seeing and being. One floats on a river of joyful challenges. We artists give daily thanks for the miracle of our planet and for the inclination and the capability to honor it. Read On

  • Subject matter
      March 26th, 2002
  • It's interesting to note that many of us simply "feel a painting coming on." Subject matter can be almost secondary when you feel the urge. Relegated to a minor role, "it's not what you do, it's how you do it." Read On

  • Good and bad art
      March 22nd, 2002
  • While we must always keep an eagle eye for what we think is quality, we ought also to honor all art, good and bad, fresh out of school, unschooled, or past its prime. It's the spirit that counts. Read On

  • Complementary colors
      March 19th, 2002
  • What a playing field! Blue and orange, yellow and purple, red and green. For the first time in my life I've taken egg cartons and carefully pre-mixed opposites that test out to equal intensity. Some are unabashed high-key pastels and others are sucked down with neutralizing opposites toward magic grays and mysterious darks. Read On

  • Travel Tips
      March 12th, 2002
  • With regard to the art you produce while you're away, don't sign it. Art's not a customs event if it's not signed. Don't finish it either. Give your travel-work the benefit of home-eyes. Read On

  • What steals my power?
      March 8th, 2002
  • Some artists, even highly realized, apparently motivated and successful ones, have personal misgivings and negative self-esteem--often based on envy and/or peer pressure. Read On

  • The wiser eye
      March 5th, 2002
  • The wiser eye that comes with the passage of time is part of the process that we spend our lives trying to speed up. Faults become more obvious when we leave things alone for a while. Read On

  • Hook-hours
      March 1st, 2002
  • A good stable of galleries is the key to stability. Think of your galleries as places to park your work. It's like a Retirement Savings Plan. Read On

  • The assertive eye
      February 26th, 2002
  • It's a condition. It's an attitude. It's a way of working. It depends less on planning and preparation than on being able to work it out as you go along. It's a form of self-trust. Read On

  • Quality questions
      February 22nd, 2002
  • Every stroke, every minute, like bits on a digital disk, are made of tiny but important decisions. Every piece of evolving art is a march of "what could be?", "what if?" and "what's next?" Our contemplative eye sees alongside our working eye, asks the questions and sometimes gets the answers. Read On

  • As A Man Thinketh
      February 19th, 2002
  • Thought and forethought are imbedded in our business. Visualization and imagineering are tools that we lose at our peril. Honesty and childlike purity are our stock in trade. We know that anything that can be conceived can also be accomplished. Read On

  • A touch of genius
      February 12th, 2002
  • A lot of us would really like to know whether we're cut out for it. The "sorter" in our business is the quality of our work. It's been my experience that we can be introverts, extroverts, care-givers, or self-centered boors, and still be damned good artists. What is it that gives some of us the touch of genius? Read On

  • Receiving the day
      February 8th, 2002
  • A day is our natural unit and mark of time. Living things note its regularity and predictability. Sunup to sundown, a lot can be done in a day... You can even waste a day, and it's good to know that Rome wasn't built in one. Read On

  • Into the rainbow
      February 5th, 2002
  • Treading water, I move steadily toward my rainbow. Wherever I go, it goes somewhere else. When I think I'm in the place where my rainbow ends, I can no longer see my rainbow. Read On

  • Lord of the Rings
      February 1st, 2002
  • Tolkien's a pit deeper than the Mines of Mordor. Motivational whiz-bangs. Creative potions. Artists take note: The power has been transferred to you. You will do with it the best you can. Read On

  • Your own brand
      January 29th, 2002
  • Art has integrity, uniqueness, we like to think. It's perhaps surprising that people would walk around advertising Tommy Hilfiger--the guy that actually took their money for the duds. Then again, we artists do something similar... Read On

  • The Kauai ferry
      January 25th, 2002
  • I've been wondering just how much of a professional one might be on four, three, even one hour a day. In the daily letters that come to my inbox there's generally one from a woman who wants to know how she can possibly work it all in. Read On

  • Stephen King's writing
      January 22nd, 2002
  • Bit of rain and rainbows here on Kauai. I've been reading Stephen King's "On Writing." Specific, clear, candid, no baloney... This is simple but beautiful advice for writers--hard-won ideas, attitudes and daily work-systems that can in many cases be effectively applied by visual artists. Read On

  • That's all I need
      January 18th, 2002
  • I always like that scene in the movie "The Jerk" where Steve Martin leaves home saying, "that's all I need..." He takes only a chair. Then he takes a lamp. He apparently doesn't take a belt because out on the sidewalk his pants fall down. I think I identify with his situation because deep in my heart I know I can do quite well with less. Read On

  • Rebirth
      January 15th, 2002
  • You can go back again to the place of your birth. You can go back to those locations where you came to terms with your capabilities, made breakthroughs, and grew. Read On

  • If I were an artist
      January 11th, 2002
  • This dazzling, midday light is difficult. It lends itself to the impressionist way. Or perhaps I should make it super-real. Itís all so super-real. And the water is dancing with abstract patterns. I feel like Gauguin... I only think Iím an artist. I wonder if Iím doing my job. Read On

  • The Mozart Effect
      January 8th, 2002
  • By listening to Mozart you might just turn out to be more creative, productive and healthier... Why Mozart? Campbell claims that Mozart, above all others, was "in utero" already a composer. Read On

  • My angle
      January 4th, 2002
  • My angle doesn't offer to fix everything, but it has the beauty of practicality. It works. Read On

  • New Year's Resolutions
      January 1st, 2002
  • Some artists don't believe in resolutions. Some artists find that when resolutions are let out into the world, they automatically self-sabotage. Some artists value the commitment... They know they are their own best guru. Read On




TWL Letters

Be witness to Robert Genn's abiding faith in the Brotherhood and Sisterhood of Artists and you will be informed, inspired, and motivated. On first publication of this book November 27, 2009, Robert wrote: "It's my sincere wish that you get real and lasting value from it. It's your book, really, and I'd like to thank everyone in our Painter's Keys Community for the inspiration that makes these Twice-Weekly Letters happen."

ORDER THE BOOK

"Thank-you for your friendship." (Robert Genn)

The Robert Genn Twice-Weekly Letters, 960 pages--ten years of over a thousand unabridged letters including an 82 page index. Six by nine inches and more than two inches thick, this beautiful book is hardbound Red Cayenne with a separate dust-jacket, a red ribbon, and shipped in a custom protective book-box.

Last modified: Nov 23, 2014