Tuesday

Sea birds


Final approach                                              Watercolour 56 x 75 cm                                       © Elizabeth Tyler  2017
In these latest watercolour paintings I was inspired by the seagulls I have often seen along the coast of southern Sweden. Sea birds are often considered a symbol of freedom and this was very much the case for me. I grew up in the middle of England, as far from the coast you could possibly be. We didn't see the sea at all most of the year so it was a great treat and part of the wonderful feeling of being on holiday when we could take a trip to the coast. On the way the whole family would compete with each other by spotting the first seagull. Then we knew we would soon see the sea.
In the first painting "Final Approach"  I have tried to capture the moment when the seagull lowers it's "landing gear" and prepares to land on some rocks on the breakwater. I liked the combination of rocks, seaweed and calm water with the seagull suspended in air for just a moment.
Seagull in Storm                                         Watercolour 56 x 75 cm                                       © Elizabeth Tyler  2017








At my favourite location Kulla Berg I encountered another seagull suspended in air. In "Seagull in Storm" the bird was seen against the backdrop of dark granite cliffs. Although the seagull was actually quite still, balancing in the wind, the sea and spray was in violent motion. I purposely painted the background out of focus with no sharp contours to create a feeling of distance and movement. This was done by using the wet into wet technique, layer over layer while the bird was masked out. After all was dry I painted the details of the seagull and softened the edges.

Sunday

New video on youtube, sailing and painting.

Although this video starts with clips of me solo sailing in Greece it is also about how I find inspiration for my paintings and some of the techniques I use. In this case it is a watercolour painted from my boat at a mooring off the island of Poros. Hope you enjoy it.
click here: sailing on single handed
Early morning on Poros                                             watercolour                                       © Elizabeth Tyler 2016

Thursday

Painting larger than life

For my upcoming solo exhibition in a beautiful art hall in Denmark I decided to have a splurge and paint something in a large scale.
I rather like the idea of tall narrow paintings inspired by the traditional Japanese hanging scrolls. In these the eye can wander through the painting from bottom to top taking in the details on the way.
I felt this subject with stranded seaweed on the beach could almost be reminiscent of Japanese calligraphy. The composition itself matched the planned format nicely.
Taking many (and I mean many)reference photos along the local beach I finally narrowed the subject matter down to this ( see below). By cropping and adding details in the foreground the perspective was purposefully exaggerated.
After covering the white canvas with a base colour of pale orange I painted the sea and sky, graduating from light ultramarine to light turquoise and back.
The rocks in the background were painted diffuse with pale shadows. An acrylic marker was used to sketch the stones and shells on the sand. 

In order to keep track of the perspective I put all the shadows in place by painting these in paynes grey.
 Then the laborious work of filling in the details could begin.

drinking a cup of coffee in front of  the finished painting
"Calligraphy of the Sea" 220x100cm © Elizabeth Tyler

Saturday

Splashing sea

No, I am not changing my style of painting to a Jackson Pollock lookalike. (I could perhaps be tempted as his price record for a painting was 140 million USD. ) It was Pollock who replaced the brush stroke with millions of drips and blobs in the abstract expressionist style of the middle of the last century.
I'm not using so many drips and blobs though, mostly squiggles.

But no matter what you use or how you
applying thin lines of acrylic paint with a fine pen.
apply paint to a surface, its the end result that matters and before that the noble art of being able to judge when the painting is finally finished. A close up view of any painting or photograph will look totally abstract because it's brought out of context. When working on the finer details of my paintings I nearly always have my nose just a few centimetres away from the canvas. With my reading glasses on I can concentrate on the nearest area of the work and the rest is out of focus. There is then the danger of losing the overall impression and composition. So a few steps back to look at the work from a distance is very often necessary many times during the painting process. The larger the work the further distance it should be viewed from.
The finished result  "Splashing Sea" 32 X 32 cm © Elizabeth Tyler 2016

Tuesday

Seascapes in acrylics

My painting "Morning glow" ( 33 x 97 cm) in the cockpit of my boat
Being surrounded by seawater for several months a year I feel inspired by it every day. I felt an irresistible urge to describe the ever changing colours, the random patterns of shapes in the ripples and the sparkling light and deep shadows in the waves. Also the way the sea sometimes disappears in haze in the distance, merging in a horizonless transition with the sky.
So I decided to work on some paintings with only the sea as subject matter. The sea would be the centre of attention in itself. No stones, rocks or seabirds, just water.

It's been done before, I know, by millions of artists throughout time, all over the world, there's nothing new under the sun.  Nevertheless I wanted to capture the scene at different times of the day and give each painting my own personal interpretation, rendering them in every detail.
"Misty sea" acrylics on canvas 45 x 69 cm

Friday

Step by step, an acrylic painting in progress

Painting on board my "floating studio" in Greece
The first four stages of the painting

This painting is 97 cm x 33cm. The step by step photographs were just taken with an iphone in varying light conditions, the quality is not so good but gives you an idea of the work involved.

The beach was bathed in a glowing yellow light just before the sun went down so I started by grounding the white canvas with a flat layer of yellow ochre. Then I added transparent washes of yellow, green, blue and white for the sea.  After that had dried I broke up the surface with short brush strokes of the same colours. The stones at the edge of the sea with their shadows and highlights were added and  blues and greens of the wet sand were worked into the surface. For this I used brushes of varying size and while the colour was still wet I lifted the paint again with a colour shaper. This technique reveals the underlying colour in stripes and dots to render the surface of the beach.




The last four stages of the painting "Evening n the beach"
I added darker shadows between the ripples and small waves and varied the direction slightly to give the impression that the water is flowing onto a slanting beach.
Using brushes and fan-brushes to seamlessly blend the colours I then used toothbrushes to flick tiny spots of colour for the spray and the sand. a colour shaper is great  to move the wet paint into flowing lines, and a natural, wet sponge to lift the colour and merge into diffuse patterns. Lastly I used a ruling pen to draw the light yellow lines across the wet sand.
I decided the painting needed something more in the foreground so I placed a few imagined stones at the bottom, taking care to use the same light and shadow as the existing group of stones in the centre of the painting.

The white foam spray looked a little artificial at first so it took some more work to add shadows between and under the tops of light spray. 


Wednesday

Swirling Sand - a new watercolour

Swirling sand          Watercolour 62 x 42 cm               © Elizabeth Tyler 2016
 A favourite subject of mine to paint has for several years been the beach. The dividing line where the land meets the sea seems symbolic and fascinating. Spending many months a year on my boat in Greece I never have far to find a potential subject. This time I found a small area of a beach with different coloured stones lying in the wet sand. Small waves were constantly washing over and around the stones keeping them wet and enhancing their colours. 
I painted the sand first in tiny dots of yellow, ochre, burnt sienna and blue/grey. This was done with the help of a toothbrush, spattering the different colours over the area. I then painted the stones one by one taking care to keep the white shiny dots of light clean. Lastly I wetted the area of sand where I wanted to render the swirling shallow water. This didn't turn out right at all at first because the underlying colours were dissolved and it all looked muddy. More like sewage water than the clear Mediterranean sea! I had to scrub the paper's surface with a wet saucepan scrubber and soak up the pigment. Afterwards I lightened the area where the water was painted with an aquarelle pencil. In other places I used the pencil again to suggest highlights in the swirling water around the stones.

Sunday

Take off

Take off time                                  Watercolour                             © Elizabeth Tyler 2016
This is a watercolour painting which has been lying in my studio, unfinished for some time.
It's from a photo I took during the winter when the water in the Sound was partially covered in ice.
I was fascinated by the way the black backed gull took off amidst a spray of water. The dark rocks of the harbour wall brought a dramatic contrast to the soft snowy ice on the surface of the sea.
It was one of my more challenging works in watercolour and I am quite certain I will never be able to do anything like it again.

Thursday

Watercolour Biennale Vancouver

I have just been informed that my watercolour painting "A walk on the wild side" has been selected by the IWS jury for the 1st International watercolour society Biennale 2016 in Vancouver Canada.
The entries from all over the world were selected on the base of photographs of the artworks. I will now be sending the original but haven't decided yet if I will attend in person.
The exhibition will take place in July this year.
"A walk on the wild side"                    watercolour                        © Elizabeth Tyler 2016

Opening





My living room right now. (The walls are not really curved its just camera distortion)
Altogether 62 of my acrylics, watercolours, lithographs and photographs are now exhibited in my hall, stairs, livingroom and kitchen.
Everything is finally ready for the annual open studio event which opens tomorrow. So if you are anywhere near Borstahusen Sweden you're welcome, just follow the signs.
The event Konstrundan Nordvästra Skåne with a total of 146 participating artists is open from Good Friday until the 3rd April.

Friday

New DVD finally released!

Four years ago I started work on a water-colour painting and filming the work-in-progress, step by step. It was to be a chapter in a new art educational DVD I planned to produce.

Filming the work in progress in my studio
Recording ambient sound in the woods
Little did I know then of how my life would turn out and how many other plans would radically change.
Nevertheless I couldn't let this project go and I kept coming back to it. I painted other watercolours, filming the work as the paintings progressed. Then in the time consuming editing process I wasn't satisfied with the result, I wanted this video to be something special. So other paintings came and went and the DVD project kept being put aside.

At last I decided to make a big effort to get it finished. Choosing four of the paintings I was most satisfied with, I edited the large amount of footage taken during the work on these. I could finally compile the chapters for a 74 minute DVD called Depth and Detail in Watercolour.
I can't count how many times I had promised my distribution agent Peter at Pulsar Productions Australia that the DVD was soon to be finished. I am so very grateful for his patience and encouragement through the years.

So here it is folks, the trailer for the DVD. The full length film (with on-screen text describing all the colours etc) is now available world wide both as a physical DVD and as streaming on-line video.  Get the full version DVD here


,

(If you have a good connection choose to watch this trailer in HD quality) 

PS I have just received this testimony from a customer:
  
I love Elizabeth's grit and unique style.  This DVD was so much more than I expected.  She shows you how to use every resource and that you don't need a shiny new box of paints to create a masterful work of art.  Thank you
Crystal Lindenberger


Wednesday

Waves on stones


Sunny days with cloudless skies are not always an advantage when painting watercolours. Especially here in Greece when the sun burns like a furness, mercilessly from dawn to dusk. The colours dry too fast, the heat is sometimes unbearable and it's not always practical to find a place in the shade or rig up a large parasol. In the first light of the early morning though or just after sunset the remaining light has a fascinating, almost magnetic attraction. On the beach at this time there is also the advantage of fewer people around to disturb.
My method of working is often a combination of sketching/painting plein air and photographing the subject to work on later when the light changes. For detailed work I  usually take a few items like stones, weed etc. back with me to my "floating studio".
In these latest works I wanted to experiment in depicting breaking waves and the movement of water juxtaposed against the hard, static, shiny wet stones.
After masking the upper edges of where the stones should be I literally poured diluted blue colours onto wet paper and tilted the drawing board in different directions to render the flow of the waves. By working wet into wet I avoided any hard edges and kept the impression of the sea in soft focus. When this was dry I could continue with the details of the wet stones, carefully keeping small patches of dry clean paper as highlights. 
To get the effect of splashing water in soft focus over the background stones I painted diagonal stripes with clean water and absorbed surplus colour with paper napkins.


Sunday

Pebbles

"Resting pebbles"                                             watercolour 42x 66 cm                                              © Elizabeth Tyler 2015


Pebbles on the beach have always fascinated me. They are universal, they can be seen anywhere in the world. This happens to be on a Greek beach but the stones, pebbles and sand all amount to the same thing, or do they? 

Not unlike human beings, every single one of them has it's own personality, shaped and coloured by the environment they happen to be situated in. Some are firmly set and embedded in the underlying sand where they have been for years. Others roll around and dance with every wave and even pretend they can float on air. Some have a rough, structured surface, bleached by the sun, others are polished smooth, almost transparent, every day absorbing and reflecting the warm glow of the sun.
That's the fascinating thing about people - I mean pebbles...

Friday

Feedback about my ebook "Watercolour in Detail"

I would like to share a couple of the warming, positive comments I have received about my ebook "Watercolour in Detail". (If you're wondering: No, I haven't written these myself!)
Larali wrote: I hope someone realizes you belong in Art History.  To immortalize your techniques, your genius and your passion for beauty will inspire and enable generations to come to follow their dreams.  Thanks for sharing, in this digital age, your amazing talent and provide us, the contemporaries, a glimpse of a Master.
Crystalheart9 wrote:
This ebook is a fantastic resource of watercolor technique and information. I have just recently purchased it and have learned some wonderful new ways of using watercolors. Anyone who wants to paint with watercolor should purchase this beautiful ebook.

For those of you who haven't seen the presentation video about the ebook, here it is
( if the video above doesn't start automatically click on this link instead: 
https://www.youtube.com/watch?v=_oxOLAbPq8c  )
This is a short presentation about my ebook which is available online for instant download.
The description of the book is as follows:

This ebook in PDF format is primarily written for those who have worked with watercolour for some time, but also new beginners will find help and inspiration. In the course of giving tips and ideas, practical advice and instruction many rules are broken in a different approach to the traditional concept of watercolour painting
“Watercolour in detail” has 106 pages with 224 illustrations.

Apart from methods, tools and techniques the 14 chapters cover a wide range of subject matter including flowers, animals, people and buildings. Also how to paint the sky and the sea, fruit and vegetables and subjects on the beach. What to take with you when travelling with watercolours and how to find unusual subjects by taking a closer look. A chapter about painting watercolours in large formats covers  important things to consider before starting. The book also dedicates a few pages to mistakes and how to avoid them or correct them when things went wrong anyway.
Finally there are some hints and words of advice about how to look after your finished work.

Sell Digital Goods from A Plus Download File Hosting Service If you would like the book it costs 19.95 USD and payment is processed securely by Paypal. Note: The pdf book works on any computer. For iPad just download to your computer first, then transfer it using iTunes.
You can also see more about it at www.elizabethtyler.com

Saturday

Seagull in storm - work in progress


During the latest winter storm  here in Sweden, I drove to Kullaberg, a beautiful high and rocky headland which reaches out in the Kattegat. This is a favourite destination of mine where I knew the waves would be just about as high as they get around here. The sea is quite deep and the coastline exposed to the north westerly winds.
I took a great number of reference photographs for this painting and combined them to compose this view of a seagull hovering over the waves. The dark rocks served as a backdrop to set off the gull and a contrast to the blue-green foaming waves.












Scroll down and see some step by step shots of the painting in progress...


I started by drawing some guidelines to keep track of the composition. The outline of the gull was taped before painting the dark brown background.















The different shades of the waves blue and green colours where roughly blocked in using thin washes of Ultramarine, Paynes grey, Pthalo blue green and cerulean blue.  Titanium white was painted where the foam should be. I used my fingers to smudge the transitions.










I spent some time painting the different shades of brown in both the rocks and the gull.

The markings and shadows under the gulls wings where rendered in blue, umber and burnt sienna. I added white highlights where the low lying sun touched the outlines of the gull.
 I worked for hours on the details of the frothing waves, using small brushes and feathering any hard lines with a soft dry fan brush.


Covering the gull with a thin wash of
white to bring it forward and
create a contrast to the background 

Sunday

Drama in New York!

On the second day of my New York visit I wasn't feeling well but tried to ignore it and met up with May for another tour of galleries in the city. After that it was a great privilege to be invited to the Manhattan home of May and her husband Bob. I was able to study May's impressive works of art while Bob entertained on the grand piano. I really and thoroughly enjoyed the beautiful music, amazing artworks and an awesome view of the sunset over the Hudson river.
Unfortunately though my stay in New York didn't turn out to be so perfect as it started off. In the evening, back in my room at Queens, my stomach pains got unbearable. I was alone in the apartment so I rang May to ask for advice, she told me to ring 911.
It was definitely not on my bucket list to be dashed across New York in an ambulance with flashing lights and and howling sirens, but that's what happened next! 




A rough sketch of the ambulance
I was taken to New York Presbyterian hospital in Manhattan and after 24 hours in the emergency department the diagnosis was: acute diverticulitis. After that It turned out that I couldn't tolerate the antibiotics they prescribed so I had to stay for another 5 days. 
That was my week in New York!
So for the 2nd time on this trip I missed my flight, this time it was my trip home that wasn't possible.









Skyline of Manhattan just before sundown


On the very last day of my extended stay in New York I was grateful to be collected by car and taken to Staten island for dinner and sightseeing. Thanks to the great initiative and effort of Lynn and Tom and the kind hospitality of Josefine. 

I did finally get to see a glimpse of the statue of liberty (far left) from Staten island.










Fortunately I had a travel insurance. They payed the hospital bill, arranged and payed a hotel room after my discharge from the hospital and a new flight home. All in all a bill of 33,000 USD!!! 
I will never ever travel anywhere without insurance!



Arrival to New York

From Washington I took the Amtrak again to New York, a trip of just 3 hours. On arrival to Penn station I just had to take the subway to Queens where my Airbnb apartment was booked. The plan was OK in theory but I wasn't prepared for the reality of actually standing alone in bewilderment on a typical New York street. The noise, the lights, the traffic, the crowds, everything impacted on my brain like being hit by a train! 
I had to find the subway and looked for any sign with SUBWAY on it. I wandered around trailing all my baggage behind me and finally found a big neon sign SUBWAY. 
Making a mad dash through the traffic I realised then that no trains whatsoever would be leaving there and no tickets could be bought either, 
only sandwiches and coffee.
Finally I found the real subway and took the train to Queens. 
Another misunderstanding happened when I got tired and really needed a rest. There were signs with restrooms in many places but they had only a toilet, no sofa or bed to lie on....
The next day I had arranged to meet my Facebook friend and colleague the artist May Trien Rolstad for the first time in real life. We met up at the MOMA to see several exhibitions including Matisse http://www.moma.org/interactives/exhibitions/2014/matisse/the-cut-outs.html 
Later May took me to see the fascinating art students league building where there also was an interesting exhibition of very talented students.http://www.theartstudentsleague.org/Classes.aspx
We also managed to see some gallery shows and attend the opening of this amazing exhibition with works of Julio Reyes http://www.julioreyes.com/375443/paintings/

Monday

Washington DC

When I booked my trip to the US to participate in the International guild of Realism exhibition in Charleston I extended my stay in the country to include Washington and New York. Airports look very much the same all over the world so I decided to take the train instead of flying. With the Amtrak from Charleston to Washington DC I could watch the scenery pass by for 9 hours. At first there were miles of cotton fields and beautiful farm houses. Later there were small towns that looked like props from an old western film. Derelict factories and mobile home parks intercepted by woodlands and creeks gradually gave way to more densely built up areas until I arrived in Washington.

I had booked a room via Airbnb just 20 minutes by metro. It turned out to be in a very large and beautiful, old house overlooking the Rock Creek park. The view from my window was filled with glowing autumn colours and it was hard to imagine I was in fact in Washington DC. The house itself was so inspiring to be in as it was filled with art created by very talented family members. My hosts made me feel very welcome.





The next day I took the metro to the Mall where all the museums are. I managed to visit 5 of them before my feet protested and my brain refused to digest anymore input. It was a great experience to see the Smithsonian Air and Space Museum http://airandspace.si.edu/  ( I was so surprised to realise that the space capsule that took 3 men to the moon is only a third of the size of my boat!)
The National Gallery of Art http://www.nga.gov/content/ngaweb/Collection/highlights.html was also very enlightening with the original paintings I had otherwise only known from art books.
The National Museum of the American Indian http://www.nmai.si.edu/ was a special experience. Not only are the collections of art and crafts amazing but also the architecture of the building itself is awesome. Here I ate a special, delicious and healthy lunch made according to an original Cherokee recipe.
I also saw a very inspiring exhibition of award winning photographs 
http://www.mnh.si.edu/exhibits/natures-best-2013/ at the museum of natural history.
After that my aching feet just managed to take me to the White House but they forgot I was coming so I could only say hello to President Obama's squirrel.
The next day I promised myself to take it easy and just go for a short walk along the creek. I ended up walking for hours all the way to the Washington Zoo and back.
Apart from many exotic animals, I met this policeman on duty, or as they say in american english "A law enforcement officer"
He asked me if he should take a photo of me on the vehicle but I said no, I wouldn't trust a stranger with my camera!

Stay tuned for the next blogpost about my dramatic stay in New york!

Wednesday

Charleston

I finally arrived with my painting all in one piece  to the Robert Lange Studios in Charleston. This was where the International Guild of Realism's 9th annual exhibition was to be shown. It was way past the deadline and most of the works were already in place but space was kindly reserved for my piece and it was a great relief to leave it. Like leaving my baby at kindergarten for the first time.
Me with my painting Morning Mist
I was just in time to keep the lunch date I had made with a dear Facebook friend with whom I had been corresponding for years but never met in person. She drove for 3 hours to meet me in Charleston! We had a couple of hours together before she took the long trip home.
This would be the first of many wonderful meetings in the US with facebook friends and colleagues from across the world. Don't scorn or laugh at Facebook! without it I, for one, would never have contact with the amount of friends I have today.

From The American Art Collector magazine
A cocktail party was arranged for participating artists and guests on the roof of a prestigious hotel with a beautiful view. Here I finally got to meet other artists whose work I had seen and been admiring for years.
Participating artists on the tour of Charleston
Next afternoon we were all taken by traditional river boat around Charleston harbour. On board we attended a seminar in which artist Camille Engel told us a lot about the importance of artist branding. Also an art collector told us about what he looks for at an exhibition and a few wise words about pricing. Then while we ate a southern barbecue dinner we could listen to the sound of a blues band playing on the upper deck.
The following day we went on a walking tour of Charleston with visits to the amazing number of top notch galleries there. We were guided around and told about the history of the old town by art docent Alison Massari.
Then finally the grand opening of the exhibition took place with well over 500 art patrons and guests. I was very honoured to have my painting among the few that were represented on the official invitation.
Read more about the event and show here: http://www.realismguild.com/CurrentExhibitions.html
and here:http://www.robertlangestudios.com/9th-annual-realism-show-2/

Opening night. Not many galleries have a swing for three in the exhibition area

Thursday

Never mind, just get me there!

When I was told my painting "Morning Mist " had been juried into the 9th International Guild of Realism exhibition in Charleston SC, USA , I decided to take the trip over with it instead of sending it. This would be my first trip to the US. There's lots of work involved in transporting a painting abroad including heaps of paperwork. I had a sturdy box made to measure by a shipping company specialising in art transport. I had to pay a very large guarantee sum to insure the correct procedure is followed for temporary export. The so called ATA carnet was stamped by customs in Sweden (country of origin) After that, customs in Denmark ( country of export) then customs in New York (Temporary import.) before flying to Charleston via Charlotte. 
My journey to Charleston was not easy to say the least. On arrival to Newark Airport the queue to the immigration authorities was enormous. 6 parallel lines with about 150 people in each were shuffling forward in slow motion but mostly standing still. I had 2.5 hours to catch my connection flight and I could see it was not going to happen. At last it was my turn to give them my finger prints and look nice for a "mug shot." Smile, look relaxed. Ran from there down to the baggage claim area and got hold of a porter with a big cart hoping he would take me, my box and baggage on a fast track to the right terminal. When he saw the big box he said "that's sure gonna cost you a few bucks ma'am" 
Never mind, just get me there! 
Over at customs to get the carnet stamped there was a new queue. With the precious stamp in place I tried to hurry the porter up but he had lead in his shoes and told me his big cart wouldn't fit on the monorail train to the next terminal. I ran upstairs to get hold of an ordinary baggage cart. fumbled the $6 into the slot, dropped my handbag with all its contents on the floor, grabbed everything, ran to the elevator and got back to the porter. With everything loaded on the new cart we got the train to terminal A. After that there were numerous elevators and long corridors before we arrived at the check-in counter for USAirways. The porter took $20 for his services and left. At the check-in I was told I was too late and would have to take the next flight to Charlotte but then there would be no more flights to Charleston before the following day. 
Never mind, just get me there!
The box and my baggage were taken off me and with relief I proceeded to the security check for the gate. After sitting for a while trying to calm down and get my breath back the loud speaker announced "Would ms Elizabeth Tyler please report to the information desk" 
I jumped up and in the sudden movement, my money pouch, which I had opened to pay the porter, emptied itself and 400 dollars in small notes scattered all over the floor! Kind people helped me gather them up again and I went to the desk. There was a message from security that they needed to open the box because it couldn't fit in the X-ray machine. I gave them permission to unscrew it.
Shortly afterwards the loudspeaker demanded my attention at the desk again.
"Ma'am, you didn't say them screws were special" 
-Well they're not special to me, I have a screwdriver but it's in the other bag that's checked in.
"You have to come back up and get it Ma'am"
The plane was now boarding and ready to leave so I ran all the way back through security to the check-in desk where they had retrieved my other bag. Fished the screwdriver out so they could unscrew all 16 screws while I ran back to the patiently awaiting passengers that were already on board.
Finally the plane lifted with me, my baggage AND the box.
In Charlotte USAirways gave me a courtesy toothbrush for the night. I found a nearby motel and continued on to Charleston the next morning. 
At the airport there was a long queue for a taxi to Downtown Charleston.
"There ain't no way dat crate'll fit in a cab ma'am" "you's gonna have to get a bigger taxicab."
"Never mind, just get me there!"
I finally arrived at the Robert Lange Studios gallery and could deliver the painting all in one piece.
To be continued...