Mexican Hairless Dog Vintage Style Poster Canvas Print NEW COLLECTION !!!
Mexican Hairless Dog Fine Art Canvas Print full color Limited Edition numbered ( 1 to 500) and Signed by the artist in A3+ format (40 x 30 cm or 16 x 12 inch) in canvas.
All Canvases are GALLERY WRAPPED so that it is ready to hang on the wall without framing.
All Artworks are my own art. All of our prints are produced on state-of-the-art, professional-grade Canon printers.
We use GICLEE CANVASES with ARCHIVAL PIGMENT INKS to guarantee that your prints last a lifetime without fading or loss of color. Giclee canvas prints are extremely high quality digital art prints produced with archival quality inks and artist’s canvas. A giclee print on canvas is the perfect option for clients who want to have the look of an original oil in their wall.
★ The new collection inspired by old movie posters
★ All Artworks are my own art
★ Gallery wrapped canvas, easy to hang, or stand on a shelf
★ Each print has a signature in the back
★ Limited Edition
★ Archival inks Giclee Canvas Print
★ 16x12 inch
★ Satisfaction Guaranteed
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GREAT GIFT FOR THE ANIMAL LOVER.
City Streets is a 1931 Pre-Code crime film based upon a story written by Dashiell Hammett, directed by Rouben Mamoulian, and starring Gary Cooper, Sylvia Sidney, Paul Lukas and Guy Kibbee.
Nan, a racketeer's daughter, is in love with The Kid, a shooting gallery showman. Despite Nan's prodding, The Kid has no ambitions about joining the rackets and making enough money to support Nan in the lifestyle she's accustomed to. Her attitude changes after her father implicates her in a murder and she's sent to prison. During her incarceration, her father convinces The Kid to join the gang in order to help free Nan. When Nan is released, she wants nothing more to do with the mob and tries to get The Kid to quit, but she may be too late.
The first sound flashback. Dialogue heard earlier in the film was repeated over a huge close-up of Sylvia Sidney's tear-stained face as she recalls the past.
The two china cats shown in one scene as a symbol of two people arguing came from director Rouben Mamoulian's own collection of such pieces.