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Writer's pictureRobin Black
Sep 34 min read

Revealing the Artistry of Susan Leyland: The Story Behind her Signature Style Horse Block Sculpture



Susan Leyland, born in UK,1952, has been living in Italy since 1978 .


Since 2000, Leyland has pursued her passion for Art and Horses, making horses her subject matter and elevating them to an expressive medium in her sculptures.  She searches for innovative solutions in both shape and composition.


Susan Leyland is known for her signature style, Horse Block Sculpture, which is characterized by flowing horse shapes merging with rigorous geometric figures with straight and angled lines.




 

Equustyle: What are your most important sculptures?


Susan Leyland: A 1 1/2 life-size Public War Horse Memorial which stands on the roundabout in Ascot, UK, to recall the suffering of millions of horses, mules and donkeys during WW1. 2018


Describing the process of creating the work, in an article by ArtUK.org, Leyland said: "I spent four years from receiving the commission to finalising the bronze at Black Isle Foundry, Nairn, solemnly learning about the First World War, drawing more than 200 sketches, reading and searching the internet, so that the war was part of me to interpret and transfer feeling into the monument, not as an onlooker or outsider, and to be able to portray this solemn monument with the greatest dignity and esteem for those animals recalling their suffering and hardship."


The sculpture does not portray any type of breed or particular horse. It was made considering the human loss as well as other equines, mules and donkeys.


An installation I designed and modeled five life-size bronze horses that pull the chariot of the Sun God Helios was installed at SunWorld Bà Nà Hills Resort, in Dà Nang, Vietnam. in 2020. Grand Cascade is a cluster of more than 40 artistic sculptures with the theme of ancient Greek mythology.


According to the writer of “Bà Nà Hills Launches New Project Grand Cascade on April 30-May”in Vietnam Insider, Leyland’s sculpture is “The most prominent in the ensemble of golden statues at Grand Cascade is the central cluster of statues at the fountain, where the sun god Helios controls the chariot pulled by five steeds. Viewed from afar, viewers have the feeling that the horse’s hooves are pedaling the waves, flying, leaping forward.”


Equustyle: How did your upbringing in the UK influence you and subsequently your art?


Susan Leyland: My upbringing in UK was a happy one. I was born in Whiston, Lancashire in 1952 and grew up in England near Cambridge. My grandfather gifted me a pony at the age of 4, establishing my bond with horses. I liked to draw and paint from an early age and usually horses but only later in life discovered sculpture.


My  first drawing and sculpture exhibitions where held in 1998 and 1999. One year later, in 2000, I held a solo show in Saratoga Springs, NY. The success of these exhibitions led me to take up sculpting full-time.


Equustyle:  Where do you work?


Susan Leyland: I work quietly and long hours in my Tuscan studio, an old stable, in the olive but I also love the excitement of travelling, exhibitions and meeting people. I have just returned from UK where my bronze and clay sculptures were exhibited at Gallery 8, St James’s, London, where six sculptures found new collectors.


Equustyle:  What is the process behind your sculpture?


Susan Leyland: I search for new ideas and elaborate the ideas by drawing and study sketching. I am inspired to explore and experiment, searching expression in innovative form from what I see and feel within.


I begin with a design, decide the size, make the base, the horses are then added and the forms take shape. Work on a sculpture can take a week to two months, depending on the size and the number of horses. The piece has to completely dry out before firing which can take another month. The sculpture is fired in a furnace for a week reaching over 1000 degrees



Equustyle:  What materials and techniques do you use for your sculptures?


Susan Leyland: I work in a coarse semi refractory water based clay, difficult to work with but beautiful and resistant to breakages when fired. I also work in other materials such as wax, non water based clays, polystyrene for enlargements, and in bronze.



Equustyle:  Who are your clients and where can people see your work?


Susan Leyland: My clients are from countries world wide, art lovers as horse lovers alike. My work can be found in the UK, USA, Canada, Thailand, China, Australia, Italy, Russia, Sweden, France, Germany, Switzerland, Portugal, Asia and Arab countries.


My work can be seen in Italy at the Barbara Paci Gallery, Forte dei Marmi & Pietrasanta, the Brancacci Gallery, Florence and in Germany the Kunstgalerie Bech. My work is represented worldwide by Alan Kluckow Fine Art, Sunningdale, UK. She exhibits in the UK with The Country House & Stables Gallery, the Osborne Studio Gallery and the Norton Way Gallery.


Recent exhibitions took place at Gallery 8 London and Country House & Stables, Berkshire UK.


Equustyle:  What are the best ways for potential clients to connect with you?


Susan Leyland: I would ask anyone interested to look at my website www.susanleyland.com and Instagram Susan Leyland, to be able to see and understand my work in more depth.

Direct contact can be made via email susan.leyland@gmail.com or Instagram Message.


 

More About Susan Leyland's Horse Block Sculptures


Susan Leyland is known worldwide for her Horse Block Sculpture. Her work is met with international acclaim by art collectors as well as horse lovers for their uniqueness in form and concept as well as for quality, harmony and beauty.


Horse Block Sculptures are of original aspect. Her horses blend with the bases creating a flow of shapes and negative spaces. The bases are often architectural, geometrical, pedestal like or they ground the work with simple rectangles, squares or spheres.


Leyland undertakes preparatory studies before starting to work on her sculptures. A clay sculpture can take two or more months to make depending on its size and complexity . When a sculpture is concluded there are precise drying times to follow, after which, when completely dry,  it is fired at MITAL terre-cotte works Impruneta.


Susan Leyland’s sculptures are unique and original pieces, modeled in a semi-refractory artistic clay or made in bronze and come with a certificate of authenticity.










Editor's Note: Sleeping Horse is a Horse Block Sculpture by Susan Leyland that I discovered over two years ago. I was immediately taken with the beauty and artistry of her equine sculptures.



171 views
Writer's pictureRobin Black
Sep 28 min read

In Conversation with Internationally Acclaimed Wildlife Artist Carla Grace


EquuStyle: As an internationally-acclaimed, award-winning, realistic wildlife artist, can you share the story of your artistic journey?


Carla Grace: I have been on an artistic journey my whole life without realising it. I never wanted to become an artist, but once I started studying at university, I quickly realised that I didn’t want to do anything else.


In hindsight, I began my career at 14 when I sold my first painting and won a major school art prize. I spent many years throughout my childhood in different parts of Africa, which is where my passion for wildlife came from. We were living in Zambia when I started to earnestly pursue my skillset in pencil portraits, doing commissions for pocket money from the age of 17. I even had a waiting list at that age, and so figured I would end up doing something with my skills eventually.


I trained myself hard in those early years, often staying home when others were out being social. Even during university, where I studied fine art for two years before dropping out, I was doing art on the side for extra cash. When I dropped out of uni and moved to Australia at age 23, I dedicated myself to setting up my art business and pursing it as a full time career. It then took me 4 years to make that a reality as I slowly transitioned away from a supplementary full-time job, to doing more and more art, until finally it was my full-time career.


EquuStyle: Which piece are you most proud of, and what’s the story behind it?


Carla Grace: I am most proud of a very large scale painting of flamingos I did in 2023, and a large scale white on white painting of a horse entangled in fabric completed at the start of this year. Both of these pieces are significant in that they were made up from many different images which otherwise could not be captured in nature. I took my concepts for both pieces past reality, instead making a slightly fantasy, and slightly surreal composition. This is stronger in the horse painting than it is in the flamingo piece. I am proud to say my flamingos are now being displayed in a Museum in Wisconsin, USA.





EquuStyle: Can you describe your painting process, from the initial idea to the finished piece?


Carla Grace: My painting process begins with an idea. I always see the painting I want to create in my mind before I source imagery to support it. This is why my paintings often require many different images stitched together to make up the whole composition.


Once I have found images, or created images to make up all the different parts of the painting, I will put them together in procreate, on my Ipad. This digital representation of the painting needs to happen in order for me to see the ideas come together fully. Some elements I don’t need to see, but the overall structure needs to be realistic before I start committing it to the painting. Once I am happy with the composition on the iPad, I will begin my sketch on the canvas and let the process go from there. I have begun limiting myself to two passes of paint only. This means that I cram as much detail in each application of paint, but then force myself to walk away after the second one is complete. This means that my paintings are becoming more and more unrefined, and painterly.


I have a tendency to paint to perfection, but don’t want to continue in this way because I want to do what a camera cannot do - and that is create texture and expressive marks with my paint.



EquuStyle: You work with both oil and acrylic, sometimes on the same painting. What effect are you seeking to achieve when using the two mediums together?


Carla Grace: Acrylic is my speed medium, and so I tend to use acrylic for paintings that are required under a deadline, or that are smaller in scale. I will use acrylic for the base tones of the painting which is usually a very quick and basic application of paint to tone and block in sections of the painting. I am then able to begin working with oil paint on top of the acrylic base tones straight away, rather than waiting a full day for the base layers to become touch dry - which is what needs to happen if I used oil paint from the start. Acrylic also tends to be a lot more sharp in finish, where as oil paint has a higher blend ability and therefore I am able to create soft focus details a lot easier than if I did it with acrylic paint. Oil paint is much easier to work with (in my opinion) than acrylic paint for the larger scale paintings, which is why I will favour oil paint for those rather than acrylic.


EquuStyle: How do you approach the use of color in your work?


Carla Grace: I am self taught in all areas, so my colour theory is a little lacking. This makes me feel like I approach my use of colour with a lot of guesswork rather than accurate theory and understanding. Because of this, I have made colour theory my focus to understand and use as an asset to my process. Despite this, my colours always tend to be a little more neutral rather than saturated, leaning closer to what is accurate in nature.


EquuStyle: How do you approach the use of light and shadow in your paintings?


Light and shadow is everything in my work. Contrast and steep representation of value is key to my work. Just in the change between the values I am able to alter the colours to the point where they become vibrant - despite being over all very neutral. Contrast is one of my favourite ways to convey intensity and drama. Even the lack of contrast, when used correctly such as in my white on white painting of a horse, can convey something very powerful. So I approach it with care, and ensure that I get that part of each painting absolutely perfect.


EquuStyle: You offer several hyper-detailed tutorials in oil, acrylic, or both paints on your website. Why are you motivated to share your creative process with artists around the world?


Carla Grace: When I began my career in earnest, I chose wildlife not only because of my connection to the animals I grew up with in Africa, but because I noticed a severe lack of wildlife artists represented in the timeline of art history.


There seems to be a huge gap between the artists who paint wildlife, and artists who paint everything else, and that could be due to many different factors such as vision, conceptual power and overall artist value, but I saw a lot of good artists making good wildlife paintings - not masterful ones. A lot of this is because no one really teaches wildlife artists how to become better. There isn’t very little in the way of intermediate and advanced courses that teach artists how to paint with more skill and run a better practice. So I decided that when I got to the stage in my career that other artists were asking me to teach them, I would do just that. Since I have a lot of content on my platform, I have chosen to create a subscription based access offer, rather than sell tutorial individually - this makes it much more accessible to more artists.


Ultimately, It is my hope that wildlife art as a whole will get better, and start to make an impact in the timeline of art history. Hopefully I can start that process by showing other artists how to level up their game and become masters in their craft.


EquuStyle: What inspired you to create the tutorials “Full Horse Portrait in Oil Paint” and a “Horse Portrait Acrylic Mini Painting”?


Carla Grace: All of my tutorials on my platform are requested by the students who learn through me. Somewhere along the way artists have requested a horse tutorial and so I have created that for them. There is a lot more available in my exclusive content sections for those who are subscribed to my platform on a monthly basis, in addition to the individual tutorials. Horses can also be really hard to paint, especially if you have no idea where to start and how to achieve the simple effects of short hair and the long mane. Seeing how someone else dose it step by step is incredibly helpful.


EquuStyle: How do you balance your artistic creativity with the business side of being an artist?


This is a really challenging aspect of the practice. The business side is a full time job, and the artist side is also a full time job. Being in control of both aspects is almost impossible. It gets to a point where you need to delegate some jobs because otherwise you suddenly realise its been days since you last painted.


I am currently building my dream studio, and the balance between building it all myself, painting and running my business is full on. I am lucky that I love the business side of being an artist, and that I have a husband who now works with me. He helps me with alot of the admin and running of my online tutorial platform.


EquuStyle: Can you discuss a time when creating art helped you through a difficult period in your life?


Carla Grace: There have been times through out my life where being an artist has been the core of what has made things difficult. The insecurity of income and lack of guarantee in sales can cause significant stress. However, even though the industry can be hard to navigate sometimes, I find myself overwhelmingly grateful that I am able to do this full time.


Knowing that I can do what I love every day, and that collectors all over the world love my work get me through every rough patch. Since it is my daily job, I don’t usually make art for the fun of it anymore, so often I have to take a break from the studio when life gets too stressful, such as when my father in law passed away. I didn’t turn to art to work through the grief, even though many artists naturally would do that. This is something that has become a consistent theme, the more art I do for work, the less I do of it for fun. I have become ok with this over the years, and instead will focus on painting with my kids for the fun of it, teaching them and seeing the joy it gives them. I have found this to be more therapeutic and fulfilling during the difficult periods.


EquuStyle: Given many of the environmental and wildlife crises around the world, what role do you think your art has in society?


Carla Grace: I want people to feel the animal through my work and experience creatures like they wouldn’t otherwise be able to. I want each painting to create a closeness between the viewer and the animal, and to feel like it could draw breath at any moment.


There is a process of immortalisation when something is committed to paint. I feel like it is incredibly respectful to recreate anything with care and true to life details.


As the artist, I am looking at the animals with much more intensity that I ever could in passing. Im taking in every detail and every imperfection that makes them the way they are. It’s more than what can be achieved in a photo. A painting takes a 2 dimensional surface and turns it into something that requires the very best of both the creator and her subject to succeed.


EquuStyle: How do you hope your art will impact viewers on a deeper level?


Carla Grace: I hope that my work inspires awe, that it takes the viewers breath away. From my classic range of wildlife portraiture, I hope that the viewer feels a kinship with the animal. This connection comes from the pure beauty of the animal itself and my technical ability to create it on the canvas.


My signature range is focused on creating a narrative, and I add elements that are intended to provoke a response based on the viewers individual understanding, for example, “Skin to Skin” has been known to provoke both admiration and disgust. Both responses to the painting are a success because it is the reasons behind the response that I am most interested in. If a painting can provoke an emotional response, while still being stunning in its own right then I have succeeded as an artist.








203 views
Writer's pictureRobin Black
May 317 min read

An Interview with Melody DeBenedictis: "Painter of the West and Its Wild"

Updated: Jun 10

How Moving to the West and Wild Horses Have Influenced Her Paintings



EquuStyle: Where did you move from? And, how does living in the West affect your work? 


Melody DeBenedictis: I grew up in Florida, and from there made my way up to South Carolina, North Carolina in the mountains and a short time in the Tennessee mountains before making my move west. The landscape of the west is incredibly inspiring by its vastness. The smells, the sights, the sounds… it's an incredible experience that keeps drawing you in to the wild.



EquuStyle: How would you describe yourself as an artist?


Melody DeBenedictis: I have been called prolific. I would say that I am disciplined and motivated.  Having two galleries teaches a great discipline to just paint. I used to wait for this euphoric high, and would be up for days straight painting.  As I had a retail gallery, early on it taught me the value of discipline.  Even if I wasn’t ‘feeling it’…I learned over those early years, that if I would just ‘show up’ at the canvas, whether I felt it or not, the creative would come as the brush hit the canvas. It's been a liberating experience to know that as I show up, so does the creativity within.  The motivation, that comes from the work itself, knowing the work is created in hopes of bringing positive change as each painting tells the story of our wild land, wildlife and the wild mustang.


EquuStyle: How do you hope to evolve as an artist? 


Melody DeBenedictis: Constantly growing in skill level. My work has come a long way over these 14 years. I paint on an average of 5 or 6 days a week. I have purposely not used aids, such as grids or projectors in my work. I have desired to continually push my skill level, working from eye to hand to canvas.


I have a greater understanding of the art industry itself, though that is constant ebb and flow, and am always learning. Staying flexible is essential to success. If we become rigid as an artist, it can limit our growth creatively and from a business perspective. I always say, ‘I don’t want to be famous, I just want to be rich’.  Obviously I am not there yet, Lol…  it takes money to do great exploits.  Can I be happy if I don’t reach a level of fame, of course, but I paint to bring change. So of course the money would give me a greater ability to ‘give’ in ways that I would love to help in so many ways.


EquuStyle: Which artists have influenced your work the most?


Melody DeBenedictis: There have been many, but over the last few years, I would say Mark Maggiori has captured my attention, as he has many others. His work is amazing and he has reached a level of ‘fame’ in his work that gives him the freedom to do what he desires to do around his business and his work. 

I think when musicians, artists, other creatives reach a level of fame, opportunities open to drive the direction they want to move in. Art is fickle, so pleasing your audience while staying true to ourselves in our craft is always a challenge. As I watch other artists, it's not just the work they create, or the skill level of their craft, but I watch to learn. To learn how to be a better business person along with constantly working to increase my creative skill level.


EquuStyle: What is it about the West that most informs your paintings?

 

Melody DeBenedictis: Well, obviously wild mustangs are foremost. The grandeur and size of our western frontier is always desirable to paint the landscape as much as the wild mustang and wildlife. Light play is a huge factor in creating compelling art. 


Composition is next on my list. And, I love color.  When you travel across the west, it’s the diversity of the range that is moving. You have the desert, the plains, the mountains, the big skies above. Depending on the season, it literally comes alive; even the smallest rainfall can bring vivid life to the landscape.


I would hope that my work showcases the beauty of our western landscape, and the wild that call it home. I feel extremely fortunate that I get to do what I do, see what I see, experience what I experience, and then come back to the studio and recreate those experiences on canvas to share with the general public, giving them the opportunity to enjoy the wild in their own home.


EquuStyle: Where will you be traveling to take reference photos or paint on location during the coming months?


Melody DeBenedicitis: We’re in conversation about that even now, lol.  I am looking to go north into Wyoming and perhaps up into Montana before shooting back down home into Colorado. There are several roundups of wild mustangs which are very disruptive to herds, family bands and even the land itself, the timing of planning may be interrupted depending on where we choose to travel. That conversation is on to make some decisions on where to go.


EquuStyle: Are there particular wild horses that you have come to know and enjoy painting?  


Melody DeBenedicitis: I love the Sand Wash Basin of Colorado, of course because that was my first introduction to wild mustangs and to wild lands. But Wyoming, the Dakotas, areas of New Mexico, Nevada are also favorites on my list of favorites.


EquuStyle: What is the story behind “Meteor, Stallion of the Sand Wash”?


Melody DeBenedicitis: Meteor has a special place on the basin as he is the only of his color. After losing ‘Picasso’ who was known worldwide, it will be interesting to see which stallion is next to reach the acclaim that Picasso did.


Meteor has a beautiful color and countenance on the range.  He remains a bachelor stallion at present, it will be fun watching as he continues to mature to see how he does as a stallion with his own band of mares. To date, he seems content running  as a bachelor with his guy friends, lol.


EquuStyle: How has the work of wild horse advocates, such as Ginger Kathrens of The Cloud Foundation and wild horse photographer and advocate Carol J. Walker impacted your work?


Melody DeBenedicitis: We can learn a lot from them. They have been in the field a very long time. Ginger is a wealth of information as she has dealt with the BLM (Bureau of Land Management) for years.  Her documentation of herds and input is invaluable for the preservation of our wild herds. 


Carol , I met early on as well and have a great respect for the work she does, keeping the public informed and showcasing the beauty of our wild mustangs and the land. There are so many out there doing their part to make a difference. Supporting the work of advocacy is an important part of bringing positive change. In a way photographers and painters are the ‘eyes’ of what is currently happening on the range as they spend so much time out there. They know the herds, they see the landscape, they are the "catalog" of keeping a record of our wildlands in a way that the BLM doesn’t have the staff to do.


EquuStyle: How are you promoting your wild horse paintings as a “bridge” to educate the public about the plight of America’s vanishing wild horses? 


Melody DeBenedicitis: The raw beauty of "wild" compels people to want to know more. Traveling, doing shows, events, having a galleries…wild horses are not a "hard sell". Few people know much about wild mustangs.  The paintings are my way of "introducing" them to the public. The stories always come as folks ask questions.


There is a lot of propaganda out there, it's one of the biggest reasons I started traveling myself, I wanted to know first hand about the dynamics that surround the plight of our wild lands and the wild mustangs. It’s a politically driven issue that doesn’t have one solution to the diversity of issues that surround our wild mustangs and burros. It will take compromise on both sides to find solutions to assure wild mustangs, burros, wildlife, and the land itself can flourish. The demand of competitive industry on our landscape is fierce, it will take a willingness on both sides to bring sustainable resolutions to preserve the land and the wild.





EquuStyle: What is most important for people and collectors to know about you and your work?


Melody DeBenedicitis: I am convinced that Art can bring change. Art is a form that from its beginnings has always told a story. Art is timeless. I am committed to being one of those artists with a passion to make a difference on behalf of our wild lands and those that call them home.


The importance of preserving our wild places is essential.  To lose the land and the wild would be a loss that cannot be described.  Sanctuaries and preserves are great to have, but the element of "wild" doesn’t exist there like the true wild. Once animals no longer have the social dynamics of "family" etc. between them, they are changed. It's important to recognize "wild" and do our very best to preserve it as it is with as little intervention as possible.



 





EXHIBITION/AWARDS:

2011 MUSTANG MAKEOVER, FORT COLLINS CO

2011 EXTREME MUSTANG MAKEOVER, FORT WORTH TX

2012 MUSTANG MAKEOVER, WY

2011 CHERRY BLOSSOM GALLERY SHOW, CO

2012 SPIRIT OF THE WILD HORSE SHOW, SANTA FE NM

2012 LOVELL MUSTANG DAYS, WY

2012 TERRITORIAL DAYS, NM

2012 STABLES GALLERY “HORSES” SHOW, TAOS NM

2013 WILD HORSE ART SHOW, MAYBELL AND CRAIG CO

2014 LAS VEGAS NM STUDIO TOUR

2015 THUNDERING HOOVES, BEVERLY HILLS CA

2015 THUNDERING HOOVES, TX

2016 THUNDERING HOOVES, MARFA TX

2016 THUNDERING HOOVES, SANTA FE NM

2016 CELEBRATING THE HORSE SHOW, SANTA FE NM

2016 LAS VEGAS ARTS COUNCIL STUDIO TOUR NM

2018 ANGEL FIRE STUDIO TOUR NM

2018 ANGEL FIRE ART UP NM, SECOND PLACE AWARD

2019 THUNDERING HOOVES, FORT DAVIS TX

2019 EQUUS FILM AND ART FEST, SEDONA AZ

2019 WILD MUSTANG SHOW, LIVERMORE CO

2020 SANGRE ART GUILD WESTCLIFFE, FIRST PLACE

2020 EQUUS FILM AND ART FEST, WINNER

2021 EQUUS FILM AND ART FEST, WINNIE WINNER

2022 EQUUS FILM AND ART FEST, RUNNER UP

2022 SANGRE ART GUILD WESTCLIFFE, SPECIAL AWARD

2022 EQUUS FILM AND ART FEST, HONORABLE MENTION AWARD

2022 SANGRE ART GUILD WESTCLIFFE, PEOPLE’S CHOICE AWARD

2022 SANGRE ART GUILD WESTCLIFFE, FIRST PLACE AWARD

2022 EQUUS FILM FESTIVAL, WINNIE WINNER

2022 SANGRE ART GUILD WESTCLIFFE, FIRST PLACE AWARD

2022 VALLEY HARVEST SHOW, BECKWITH RANCH, WESTCLIFFE

2022 SANGRE ART GUILD WESTCLIFFE, SECOND PLACE AWARD

2023 ROCKY MOUNTAIN HORSE EXPO, DENVER CO

2023 COWGIRL GATHERING FORT WORTH STOCKYARDS

2023 MUSTANG SUMMIT, EQUUS FILM AND ART FEST, SECOND PLACE AWARD

2024 365 ART&COLOR ONLINE EXHIBITION/COMPETITION, ARTIST RECOGNITION


OTHER OUTSIDE ACKNOWLEDGMENTS:

"THEIR LAST RIDE” DOCUMENTARY FILM 2016


MEMBERSHIPS:

PRO MEMBER "CGA"- COWGIRL ARTISTS OF AMERICA ASSOCIATE MEMBER "WAOW"- WOMEN ARTISTS OF THE WEST ASSOCIATE MEMBER SANGRES ART GUILD, WESTCLIFFE CO


PAST GALLERY REPRESENTATION:

2012 GRAND TETON GALLERY, JACKSON HOLE WY

2012 CREATIVE SPIRITS GALLERY, FORT COLLINS CO

2014 THOMAS GALLERY, TAOS NM

2016 RUNNING HORSES STUDIO, LAS VEGAS NM

2023 MELODY DEBENEDICTIS FINE ART GALLERY, WESTCLIFFE CO


All images Copyright Melody DeBenedictis -all rights reserved. Cannot be reproduced for any purpose without permission from Melody DeBenedictis.

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