Bev Doolittle 'The Good Omen' Print

This item is a framed art print titled 'The Good Omen' by Bev Doolittle. The print features a detailed illustration showcasing a Native American rider on horseback, with a striking reflection of an eagle rather than the horse and rider in a body of water below. This iconic imagery is characteristic of Doolittle's 'camouflage' style, where hidden elements are incorporated into the artwork. The print is housed within a sturdy wooden frame, likely oak or a similar light-colored wood, with a visible grain that suggests good quality. The frame appears to have a natural or light stain finish. Inside the frame, the print is matted with a double matting system: an outer, wider mat in a reddish-brown or burgundy color that complements the earthy tones of the artwork, and a thinner inner mat, possibly in white or cream, which creates a subtle border around the print itself. A small brass or gold-toned plaque is affixed to the bottom center of the inner mat, which likely bears the title of the print or the artist's name. The print itself shows good color saturation and detail, although without inspecting it out of the frame, the exact condition of the print media (paper) cannot be fully assessed. There are no obvious signs of significant damage such as tears, creases, or major discoloration visible through the glazing. The glazing appears intact, protecting the print from dust and environmental factors. A ruler or measuring device is visible behind the framed piece in one of the images, indicating its approximate height is around 24-30 inches based on the visible markings. The overall presentation suggests a professionally framed piece, indicative of an item that has been cared for. The style period is contemporary, likely late 20th to early 21st century, consistent with Bev Doolittle's active career.

Upon visual examination of the provided images, this item is identified as a framed decorative print of Bev Doolittle's 'The Good Omen'. The piece is professionally presented with double matting, a sturdy wooden frame, and a title plaque, all of which enhance its decorative appeal. The visible condition of the print appears to be very good, with no apparent fading, discoloration, or damage to the print or the framing elements. However, my assessment is limited to what can be observed through the glazing. Without a physical inspection, I cannot confirm if this is a limited edition, signed print, or an open edition poster. This distinction is the most critical factor influencing value. Limited edition prints, especially those signed and numbered by Doolittle, are highly sought after by collectors and command significantly higher prices. Comparatively, open edition decorative prints are widely available and hold much lower value, primarily for their decorative quality. The current market for Bev Doolittle's work remains steady, though values have moderated from their peak. For a conclusive appraisal, I would need to examine the piece out of its frame to look for a signature, edition number, and assess the paper condition. Provenance or a Certificate of Authenticity would be required for full verification.