Quality

My limited editions are printed on the best photo papers available—usually of archival, museum quality—using the highest quality Canon Lucia pigment inks. There’s more information in “About the Papers” below.

Authenticity and Provenance

A certificate of authenticity—accompanying the print—helps provide assurance of durable value, by verifying the artwork’s origin, authorship, and provenance. A uniquely numbered holographic identifier is attached to both the certificate and print. This serial number is registered in both my private legacy records, and in an online artwork registry. This way, each print may be independently verified by the owner, as well as future inheritors or buyers.

Once the limited edition prints are sold out, no more limited editions will be made.

Each edition print is hand signed and numbered by me, using archival ink or graphite pencil. This signature will either appear on the front of the print in the white border, or on the back of the print (or custom substrate).

• Your print is very carefully packed. It is wrapped with glassine (pergamin) for protection, to help ensure that it is pristine when received. Please keep it covered with the glassine until it is framed or while it is stored.
• The print must be handled with care. Wear clean cotton gloves when handling the print—your picture framer too—as invisible oils from bare hands can cause the paper to degrade over time.
• To avoid marring or abrasion, please do not touch the printed surface.

Framing and Storage

Have your print framed as soon as possible. Otherwise, store it only in acid-free materials—such as the glassine in which it was packaged—and preferably flat (not in a tube).

The safest way to display your print is with quality archival framing, using only acid-free materials. Some collectors attach the certificate of authenticity to the back of the frame, others keep it stored with important papers.

If possible, select museum glass or another UV-protective barrier, to help keep the print from fading. Sunlight and strong lighting (fluorescent bulbs in particular) can damage artwork over time.

Use either a mat or spacers to hold the glass away from the print’s surface.

If matting the image (recommended), you can either:

• leave a 1 cm (3/8 in.) margin around the printed image, so the signature shows (if signed on the front),
• or cover the signature with the mat, presenting only the image.

Be aware that cutting the paper devalues the print.

The print should be hinge-mounted (only from the top, to prevent wavy paper). It’s best to avoid full adhesive mounts, as they can devalue the print.

Lighting Artwork

Please avoid long-term exposure to direct sunlight and very high humidity.

Here’s an excellent article on lighting artwork.

When will the order ship? When will it arrive? I do my best to answer your questions at All About Shipping.

Something not right? Check out my information on Returns, Refunds and Exchanges.

Need to cancel your order? Learn about your Right of Withdrawal at #9 of the Terms and Conditions, and then head over to Returns, Refunds and Exchanges.

Please see the image description for the optimal paper I have chosen for this image.

I select from the finest photographic papers available. Below are all of the papers I have used to date.

Gloss Fine Art Paper (Silk Finish)

Canson’s Baryta Prestige II 340, an archival, acid-free, OBA-free, alpha-cellulose and cotton paper, with a silk gloss finish, and a very slight texture.

Gloss Fine Art Paper (Satin Finish)

Canson’s Platine Fibre Rag 310, an archival, acid-free, OBA-free, 100% cotton paper, with a satin gloss finish, and a slight texture.

Metallic Paper (Luster Finish)

Red River’s 60 lb. Polar Luster Metallic, with a pearlescent texture and a beautiful iridescent shimmer. The base paper stock is acid-free, with minimal OBAs, while the coating is slightly acidic.

Matte Fine Art Paper (Soft Texture)

Canson’s Edition Etching Rag 310, an archival, acid-free, OBA-free, 100% cotton paper, with a matte finish, and a soft texture.

Matte Fine Art Paper (Smooth)

Canson’s Rag Photographique 310, an archival, acid-free, OBA-free, 100% cotton paper, with a matte finish, and a very smooth texture.

Matte Fine Art Paper (Distinct Texture)

Hahnemühle William Turner Fine Art 310, an archival, acid-free, OBA-free, 100% cotton watercolor paper, with a matte finish, and distinct texture.

As is usual in the art world, all copyright remains with the artist, except in cases where a signed contract states otherwise. Please note that some artwork and photographs may be reproduced as greeting cards, in books, and in other products. If you have a special case where you wish to purchase an artwork or photograph plus the copyright, please contact me.