{"title":"Clifford How","description":"\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0592\/3061\/7774\/t\/5\/assets\/CliffHow2.gif?v=1629281219\" width=\"500\"\u003e\n\u003cp\u003e\n  \u003cbr\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: Arial, Helvetica, sans-serif; font-size: 14px;\"\u003e“My practice as an artist began around 19 years ago when I started simply drawing. The simple line drawing I was engaged in regularly, became a solid foundation in understanding and translating form later on.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003eMy first introduction to colour was pastel and this medium was my preferred avenue for many years. I remember copying images from books with usually disappointing results, but again, I look back as see this period as a very important learning process.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003eEventually I tried oils, and this change of medium bought about a change of style.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003eI had taken the advice of some of the old master I admire, and started painting from life.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003eThis decision to paint Plein Air rapidly changed my colour sensibility and I noticed my works were quickly being injected with life. I feel Plein Air painting bombards the senses, and what is “felt”, is somehow incorporated into the studio works.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0592\/3061\/7774\/t\/5\/assets\/CliffHow3.gif?v=1629281222\" width=\"500\"\u003e\n\u003cp\u003e\n  \u003cbr\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003eToday, I still regularly paint small studies on location and use them as reference for my studio works. All my works, (both Plein Air and Studio), are executed with painting knives. Working with knives allows me to paint Alla Prima, building a heavy texture in one application and also to push subtle gradations of colour together whilst the paint is still wet and active.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003eI’m continually moved by Tasmanias remote elevated country and this drives most of my work. I even look to the more mundane rural scenes located near my studio when the “atmosphere” is right.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003eMy goal as an artist is to continue improving, not only from the technical point of mark making, but also from a visual point of view. The ability to see and translate with more clarity and simplicity  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003eI’ve been privileged enough to have received numerous awards including being a finalist in the Glover Prize in Tasmania and the Paddington Art Prize in Sydney.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003eI’m currently represented by Handmark Gallery, Hobart and Arthouse Gallery, Sydney.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003eMy studio is located in my home town of Launceston, Tasmania”.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: Arial, Helvetica, sans-serif; font-size: 14px;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003ca href=\"https:\/\/www.instagram.com\/clifford_how\/\" target=\"_blank\"\u003e\u003cspan style=\"font-size: 14px; font-family: Helvetica, sans-serif; color: rgb(17, 85, 204);\"\u003eInstagram\n\u003cp\u003e \u003ca href=\"https:\/\/www.facebook.com\/cliffordhowfineart\/\" target=\"_blank\"\u003e\u003cspan style=\"font-size: 14px; font-family: Helvetica, sans-serif; color: rgb(17, 85, 204);\"\u003eFacebook\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e","products":[{"product_id":"ultramarine-blue-michael-harding-113-40ml","title":"Ultramarine Blue Michael Harding (113)","description":"\u003cp\u003e\"\u003cstrong\u003eInorganic\u003c\/strong\u003e\u003cspan\u003e – \u003c\/span\u003e\u003cspan\u003eNo. 113 is an obviously beautiful mid-blue. The discovery in the 1820s of a Sodium Sulphosilicate compound, which had appeared as a mysterious blue deposit on soda-ash furnaces, was a liberating moment for financially challenged artists everywhere. Up to then the only available version of this compound was the often-unobtainable Lapis Lazuli ore, mined in Afghanistan. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUltramarine has a high tint power, and our chosen shade produces strong green shade blue hues and makes wonderful violets with Magenta and the red Lake colours. It is also useful in greens and greys. The only chemical weakness is a recorded sensitivity to atmospherically borne acids, which can bleach it out. Ultramarine Blue is one of the more difficult paints to make, as it forms an intractable runny syrup when first ground into oil, which must then be stabilized with a small amount of wax.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- Michael Harding\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48756108919013,"sku":"5060154040463","price":23.99,"currency_code":"AUD","in_stock":false},{"title":"225ml","offer_id":48756108951781,"sku":"5060154040449","price":101.39,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/ultra_e14dcdbc-b123-4bd7-aaf3-b6e3437e8a83.jpg?v=1775632460"},{"product_id":"transparent-oxide-yellow-michael-harding-219-40ml","title":"Transparent Oxide Yellow Michael Harding (219)","description":"\u003cp\u003e\"\u003cstrong\u003eInorganic\u003c\/strong\u003e\u003cspan\u003e – This Iron Oxide has been used as a wood dye, and its capacity to enrich hardwood grain makes it a wonderful candidate for paint making. It has great warmth, with gingery undertones quite different from those seen in the Indian Yellows. Because the pigment particles are small, it could almost be mistaken for a Lake. It has huge tint power that pulls whites and other yellows into a golden, rich, Titianesque zone of warm, low tones. Try it with Aureolin and the Earths.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- Michael Harding\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48756129988837,"sku":"5060154041545","price":39.2,"currency_code":"AUD","in_stock":true},{"title":"225ml","offer_id":48756130021605,"sku":"5060154041521","price":173.39,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/transoxy_7c741e1d-dd46-457f-8172-bd78f958c7ef.jpg?v=1775632293"},{"product_id":"transparent-oxide-red-michael-harding-220-40ml","title":"Transparent Oxide Red Michael Harding (220)","description":"\u003cp\u003e\"\u003cstrong\u003eInorganic\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e– This Iron Oxide has been used as a wood dye, and I realised that its capacity to enrich the grain of hardwood made it a wonderful candidate for paint making. My Transparent Red Oxide is an Iron Oxide manufactured to such a small pigment particle size that like its yellow counterpart, it possesses Lake-like characteristics. No. 220 has terrific tint power that produces wonderful results in mixes with yellows and brings gravity to mid-red tones. Mix it with phthalocyanine blue for an interesting surprise!\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- Michael Harding\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48756130709733,"sku":"5060154041576","price":39.2,"currency_code":"AUD","in_stock":false},{"title":"225ml","offer_id":48756130742501,"sku":"5060154041552","price":173.39,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/transoxr_4a4539a4-a621-42bd-aa08-fb7cad4d812f.jpg?v=1775632284"},{"product_id":"titanium-white-no-1-safflower-oil-michael-harding-101-40ml","title":"Titanium White No. 1 (Safflower Oil) Michael Harding (101)","description":"\u003cp\u003e\"Titanium White No. 1 is the most brilliant white in my range, suitable for crisp, cool, opaque, light shades. If you want a powerful mixer that lightens , then this is it. Although not subtle, this white is the most suitable for a bright, fresh palette. It forms a strong and durable film when cured. PW6 is an inorganic pigment.\u003c\/p\u003e\n\u003cp\u003eI grind this white with Safflower Oil but also offer this beautiful colour ground in linseed oil–\u003cspan\u003echeck out TW2 for this.\u003c\/span\u003e\u003cbr\u003eSafflower oil is a pale, slow-drying oil. As it is a paler yellow than linseed oil, lighter pigments (whites and soft blues especially) maintain their brightness when mixed with safflower oil.\u003c\/p\u003e\n\u003cp\u003eI also offer safflower oil as a medium, which has become many artists go-to when they want to brighten and thin oil paints. You can read more about\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003emy Refined Safflower Oil Medium here.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- Michael Harding\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48756137853157,"sku":"5060154040043","price":23.99,"currency_code":"AUD","in_stock":true},{"title":"225ml","offer_id":48756137885925,"sku":"5060154040029","price":101.39,"currency_code":"AUD","in_stock":true},{"title":"1000ml","offer_id":48756137918693,"sku":"5060154040005","price":343.89,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/t1harding_9325c935-889c-4636-8ba7-5afe883e664a.jpg?v=1775632160"},{"product_id":"ultramarine-violet-michael-harding-208-225ml","title":"Ultramarine Violet Michael Harding (208)","description":"\u003cp\u003e\"\u003cstrong\u003eInorganic\u003c\/strong\u003e\u003cspan\u003e – No. 208 is a variant of Ultramarine pigment. This colour is achieved by slightly altering the manufacture of blue shade Sodium Sulphosilicate by heating it with Chlorine. The result is a weaker, more violet pigment that has a relatively low tint power and a degree of transparency that lends itself well to glazes or thin body colour. In hues it becomes a high-keyed, rather fluffy textured mauve, which landscapists have found useful for the brighter tones of a clear sky and for the modelling of a sunlit cloud.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- Michael Harding\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48756203028709,"sku":"5060154041217","price":39.2,"currency_code":"AUD","in_stock":true},{"title":"225ml","offer_id":48756203061477,"sku":"5060154041194","price":173.39,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/ultraV_0c8cd208-4558-40ef-a598-22ca354d711e.jpg?v=1775632514"},{"product_id":"prussian-blue-michael-harding-112-40ml","title":"Prussian Blue Michael Harding (112)","description":"\u003cp\u003e\"\u003cstrong\u003eInorganic\u003c\/strong\u003e\u003cspan\u003e – \u003c\/span\u003e\u003cspan\u003ePrussian Blue was created in Berlin in 1704, and its popularity spread through the early 18th century. Prussian Blue is one of the first synthetic inorganic pigments and one of the most controversial as well. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe earlier and less purified versions had mixed reputations; they were said to fade in hues and migrate or leech through succeeding paint layers. But modern standards of washing have corrected the tendency to fade, and migratory problems are no longer reported. I suspect that this was the result of poor stabilizing. At any rate, Prussian Blue, like Alizarin, is one of those colours some painters find essential. It has a deep, inky beauty. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOn its own and in more concentrated mixes, it exhibits a slight bronzy sheen that can be used as a complementary glaze. Its tint power is frightening, so beginners beware!\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- Michael Harding\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48756226818277,"sku":"5060154040432","price":23.99,"currency_code":"AUD","in_stock":true},{"title":"225ml","offer_id":48756226851045,"sku":"5060154040418","price":101.39,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/PrussB_f81eba1c-f57e-4e3f-b8d5-2b63fa811bec.jpg?v=1775630847"},{"product_id":"phthalocyanine-blue-lake-michael-harding-209-40ml","title":"Phthalocyanine Blue Lake Michael Harding (209)","description":"\u003cp\u003e\"\u003cstrong\u003eOrganic\u003c\/strong\u003e\u003cspan\u003e – \u003c\/span\u003e\u003cspan\u003eInvented in 1935, Chlorinated Copper is one of the first synthetic organic pigments to be accepted as reliably permanent. It is sometimes seen as a modern replacement for Prussian Blue, but its unmixed colour is slightly more cyan, and in hues, it exhibits a unique range of throbbing, intense, greenish blues that are quite distinct from Prussian Blue. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHaving one of the highest tint powers in my range, this paint will blow any mix apart; if you wish to avoid doing so, add it incrementally and with caution! Its metallic content makes it a great drier, and like Prussian Blue, it shows a tendency to bronze upon curing. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAgain, use it with caution if you are a beginner.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- Michael Harding\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48756239106277,"sku":"5060154041248","price":39.2,"currency_code":"AUD","in_stock":true},{"title":"225ml","offer_id":48756239139045,"sku":"5060154041224","price":173.39,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/phthb_240294f3-e2c2-4911-94f1-2aee839f9b94.jpg?v=1775630395"},{"product_id":"oxide-of-chromium-michael-harding-305-40ml","title":"Oxide of Chromium Michael Harding (305)","description":"\u003cp\u003e\"\u003cstrong\u003eInorganic\u003c\/strong\u003e\u003cspan\u003e – No. 305 is a mid-19\u003c\/span\u003e\u003csup\u003eth\u003c\/sup\u003e\u003cspan\u003e-century metallic oxide with solid covering power and little tinting strength. It’s a heavy, vegetable green that can be surprisingly enlivened by adding yellows. Landscapists find that its range in mixes and hues makes it a staple green. It does well as a complement to active red hues.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- Michael harding\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48756723089637,"sku":"5060154041781","price":54.5,"currency_code":"AUD","in_stock":true},{"title":"225ml","offer_id":48756723122405,"sku":"5060154041767","price":216.72,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/oxchro_599b770c-3fcc-47b1-9c48-e90263ae9ef1.jpg?v=1775629750"},{"product_id":"lemon-yellow-michael-harding-108-40ml","title":"Lemon Yellow Michael Harding (108)","description":"\u003cp\u003e\"\u003cstrong\u003eInorganic\u003c\/strong\u003e\u003cspan\u003e – \u003c\/span\u003e\u003cspan\u003eSometimes known as Barium Yellow, as it is Barium Chromate. It was introduced into painting after the Lead Chromates, circa 1820. Unlike Lead Chromates, though, Barium has proven permanent and non-reactive. Most colourmen consider this yellow obsolete, and I’m probably the only one still making it. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBy itself, it’s an acidic looking yellow with weirdly green overtones. Its low tint and covering power mix with Magenta and the cooler reds to produce modulated greys artists sometimes seek for certain passages of flesh painting. This is the only yellow chrome paint that doesn’t discolour.\"\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- Michael Harding\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48756820279525,"sku":"5060154040340","price":23.99,"currency_code":"AUD","in_stock":true},{"title":"225ml","offer_id":48756820312293,"sku":"5060154040326","price":101.39,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/lem-yel_2a913a6f-4ea6-490d-a810-1abc38d924cf.gif?v=1775628236"},{"product_id":"cobalt-blue-michael-harding-506-40ml","title":"Cobalt Blue Michael Harding (506)","description":"\u003cp\u003e\"\u003cstrong\u003eInorganic\u003c\/strong\u003e\u003cspan\u003e – Introduced at about the same time as Ultramarine, Cobalt Aluminate is a synthetic, inorganic pigment. It is more greenish-blue, with a heavier, more mineral appearance when seen as a dry pigment. The hues formed from it are correspondingly heavier and greyer. But it has a certain shade that the less expensive ultramarine cannot quite match. The paint film, when cured, is quite soft.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- Michael Harding\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48757057716453,"sku":"5060154042115","price":104.94,"currency_code":"AUD","in_stock":true},{"title":"225ml","offer_id":48757057749221,"sku":"5060154042092","price":411.93,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/Cobalt_e08a339c-626b-4b8a-a6ac-b26727e63f5a.jpg?v=1775625078"},{"product_id":"cadmium-yellow-michael-harding-402-40ml","title":"Cadmium Yellow Michael Harding (402)","description":"\u003cp\u003e\u003cstrong\u003eInorganic\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e– Cadmium Sulphide is a dense, lean, mid-shade warm yellow, indispensable as a foundation colour for warm mixes of all kinds.\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48757087502565,"sku":"5060154041842","price":90.54,"currency_code":"AUD","in_stock":false},{"title":"225ml","offer_id":48757087535333,"sku":"5060154041828","price":346.82,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/cadyel_e1e0a6f3-d516-4146-9b08-afc663ab9acc.jpg?v=1775624611"},{"product_id":"cadmium-yellow-deep-michael-harding-404-40ml","title":"Cadmium Yellow Deep Michael Harding (404)","description":"\u003cp\u003e\"\u003cstrong\u003eInorganic\u003c\/strong\u003e\u003cspan\u003e – This oil paint is a warmer version of Cadmium Yellow Golden, giving a transitional colour more powerful, vivid colour than those obtained by mixing Cadmium Reds and Yellows. Cadmium Yellow Deep is often used to warm the mid-tones and lights of some flesh painting.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- Michael Harding\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48757087994085,"sku":"5060154041903","price":90.54,"currency_code":"AUD","in_stock":true},{"title":"225ml","offer_id":48757088026853,"sku":"5060154041880","price":346.82,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/cadYdp_dd53fb58-53a1-45d6-a7ec-9555ec868317.gif?v=1775624534"},{"product_id":"cadmium-red-michael-harding-504-40ml","title":"Cadmium Red Michael Harding (504)","description":"\u003cp\u003e\"\u003cstrong\u003eInorganic\u003c\/strong\u003e\u003cspan\u003e – My Cadmium Red is a powerful, orange shade red with the usual cadmium characteristics of high tint power and opacity. This red presents warm, almost fiery hues when mixed with a more transparent white.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- Michael Harding\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Harding","offers":[{"title":"40ml","offer_id":48757091238117,"sku":"5060154042054","price":104.94,"currency_code":"AUD","in_stock":true},{"title":"225ml","offer_id":48757091270885,"sku":"5060154042030","price":411.93,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/files\/CadR_82329b7b-6aca-48cb-a39f-3119cdfd4de4.jpg?v=1775624501"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0789\/8585\/5205\/collections\/P9-WINTER-TRAVERSE-Oil-on-linen-2018-108cm-x-102cm-8.gif?v=1775696449","url":"https:\/\/seniorart.com.au\/collections\/clifford-how.oembed","provider":"Senior Art Supplies","version":"1.0","type":"link"}