Shells From Montara (2010)
ORIGINAL ART: Call for Acquisition / FINE REPRODUCTIONS:Call for Price
About Fine Reproductions
Archival reproductions from Museum quality art captures
There is an art to printing just as there is an art to framing. I work with the best photographers and printers in the US to create true museum-quality limited edition prints of my artwork. Four to five people are involved before reaching an approval on the final reproduction. Everything is taken into consideration from flawless color matching, to how the depth of brush strokes are rendered, to the value of metallic reflection if that type of paint is used, and in selecting papers and substrates that specifically lend to the artwork’s surface texture.
The photographer uses the same camera and methods you will find in-house by the MoMA, the Smithsonian, the Metropolitan Museum of Art, and the Tate Gallery of London. Each image is tested on a variety of paper samples and reviewed at various sizes to determine what will ultimately produce the most beautiful prints because the printing surface should serve the artwork, and not opposite. For each print runs, it can take a month and four visits before a final choice is made. I am the only person who is allowed to issue a certificate of authenticity for my art. Each print is reviewed for quality and consistency before signing and numbering.
About Original Artworks
Original artworks are one-of-a kind pieces accompanied by a certificate of authenticity and information on the craftwork to help you care for the art for generations to come. Request a purchase price or bid on an art original during pre-auction or live-auction events. If you would like to see an original artwork in person before buying and have access to San Francisco, you are most welcome request a private studio tour. Some paintings are captured for fine art reproduction, also available as limited edition prints.
Only museum quality surfaces will do in my artwork. The acid-free, sealed and triple-primed linen canvas resists deterioration for at least 500 years. Before each painting I apply additional coats of gesso created by the paint manufacturer for a more durable and compatible ground. Sometimes I draw onto the canvas lightly with graphite before painting, and then apply an additional layer of gesso to isolate the graphite particles from the paint. In the case of painting on panels, I use high-density hardboard made from FSC Certified US-grown renewable wood fibers that is archival, eco-friendly, formaldehyde-free, made by hand in the USA, and tested to last beyond 200 years.
When layering and blending paint, I use the recommended mediums and avoid water to maintain strong paint film integrity. All toxic pigments, such as the cadmiums, are excluded from my palette. Excess paint is wiped onto cloths to contain the non-toxic substances from the water supply.
After the painting is completed, it is signed and brought to a photographer for museum quality capture and color matching. I then brush-apply three to four layers of isolation coat on the front surface and edges of the art according to the paint manufacturer’s recipe to protect the painting layer. A removable polymer varnish with UVLS (UltraViolet Light Stabilizers) is the final layer, applied in three thin coats, before the painting is ready to leave the studio.
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