We’ve all been to art museums and were moved by the beautiful portraits of people long gone.
In our digital photography era, in which we are exposed to thousands of images each day, and in which we see our own likenesses so often, the thrill of seeing our faces is all but gone.
There is, though, a huge difference between seeing an image taken in a fraction of a second, by a machine that does everything automatically, without much commitment from the author, and another painted with pigments on a support, painstakingly realized in weeks of careful labor, planning, and involvement. Each brush stroke laid out conscious and precise, the result is on a very different level.
Those museum portraits are still done today if you want them. To commission a painting or portrait from me we need to take a few steps together.
First step, we get in touch. You tell me what you have in mind, what inspired you to commission a work, what you expect and, if you are commissioning a portrait, how you see yourself. In this chat we will get to know a bit about each other so your work will be all you imagine.
Step two, we talk business: we set the date for delivery and the budget. When we deal in painting, size and time expended make some difference, as well as media or technique employed, and sometimes even style. We will fine tune these parameters so the work gets done and we are both satisfied.
Step three, I send you a quote and an commission agreement. You sign the agreement and make the down payment. Receipt of the down payment starts the clock and the commission is undertaken.
Step four, if it’s a portrait, we choose the reference photograph from which I will draw. It needn’t be a perfect shot but it must have good colours and light, and clearly show your face. As I am also a photographer, we can make the photo ourselves if need be.
I start on the painting in earnest and make a point to keep you well up to date with photographs and messages, so you can make suggestions as we go along.
Now the painting is ready and drying on the easel: I will send you an invoice for the balance due and you pay it. As soon as the work is dry and packed I ship it to you.
And now you own something unique, exclusive and perennial to give you joy!
Most of my pieces are shipped unmounted, that is, without the usual wooden frame on which canvas is stretched. That way I can roll the canvas or paper perfectly safe inside a rigid, heavy duty cardboard tube. Moreover, the volume and weight of the parcel are much less, and so is the cost of shipping.
The relatively few Works made on panels will have to be handled and shipped in the traditional way.
In all cases, when you buy a work I will ask a reliable courier service for a quote directly to your address.
And in all cases I will email you all the info necessary to track the shipment.
And of course, should you wish to pick up your work directly at my studio, just email me and make an appointment.
All paintings are handled with extreme care. The photographs on this website show every line, trace, drop and brushmark that are part of the finished work and tell the story of how it was made. I try to be as clear as possible when showing all about it.
For this reason, EVERY SALE IS FINAL AND THERE CANNOT BE ANY RETURNS, except in the rare instance when some damage occurs during shipping.
Please carefully read all the info about the specific work, and study the photographs (across a few different monitors and devices, as recommended above) as you decide on a purchase.
Do not forget to consult the topic “Policies and precautions” in the FAQ: there is important information about our rights.
There are several ways you can mount and frame a 2-D work of art (a print, drawing, photohraph, or a painting), depending on its size, weight, style, the specific site where it is to be shown etc. etc. and of course your personal taste.
I call “mounting” the process by which a pliable and fragile material like paper or canvas is attached to a rigid support like a panel or frame, to protect and preserve it.
I call “framing” the setting of the mounted work in a further protective and decorative structure for enhancement.
You can mount canvases of any material either in strong wooden frames or panels because they can be stretched until they are perfectly even.
Paper is generally mounted in cardboard or foam board, modern acid-free materials developed to preserve it for long periods. Although you can’t stretch paper like canvas, these panels ensure quite satisfactory evenness.
You should, on receiving the work inside the tube, contact a good framer as soon as possible so you can decide which solution works best for you.
Works on paper are usually enclosed in glass. The sooner a work in oils is stretched, or a work in charcoal or pastels is framed behind glass, the safer they’ll be.
It is a good idea in principle to place a matt (in French, “passe-partout”) around the work. It creates a “buffer” space between the image and the surrounding wall and décor, and the additional overall size lends more “presence” to the work. This is especially true for works on paper.
Top lace a matt around a print is purely an aesthetic choice, but for originals on paper do require a matt. The thickness of the matt will ensure that the protective glass does not touch the fragile surface of the paper where the the color lies, and will not “scrape” off the pigment.
Choose a matt that goes well with both the image and frame, in terms of color and style. Your gallery will be that much splendid!