Acrylic paint is a fast-drying paint made of pigment suspended in acrylic polymer emulsion. Acrylic paints are water-soluble, but become water-resistant when dry.
Oil on Canvas
A method of painting in which pigments are bound together, and to the canvas, by a drying oil; the oil, usually linseed, is thinned with solvents such as turpentine and mineral spirits; the pigments should dry in linseed oil to form an acceptably strong paint film.
Each bronze figure is individually handmade and cast by the artist. Further pieces are made in a similar body position.
Lost wax, or Cire Perdue, is a bronze casting technique. Models are made in wax and then submerged in ceramic. The ceramic is then placed in a furnace so that the wax melts to leave a cavity. Molten bronze is then poured into the cavity. Once cooled and hardened the ceramic is broken to retrieve the sculpture.
Sand casting, also known as sand moulded casting, is a metal casting process characterized by using sand as the mould matter. The mixture is moistened, typically with water, to develop the strength and plasticity of the clay and to make the aggregate suitable for moulding. Oak models are then pressed into two halves of a sand / clay mould to create a cavity. The two halves are then locked together and the bronze is then poured into the cavity. Sand casting allows bronzes to be made in limited editions.
Etching is an intaglio method in which drawn marks are eaten into a metal plate by acid or chemical means rather than cut out with a tool. An acid-resistant ground is thinly coated and dried on a plate. The artist draws through the ground with any number of various tools to expose the metal. The plate is immersed in an acid bath that chemically dissolves the exposed metal, creating depressed lines or areas that can be inked and printed.
Guy Allen also adds gold leaf to some of his etched pieces.
Palladium platinum print
The choice for serious collectors of black and white photography. Platinum prints are the ultimate expression of bespoke craft printing. In the hands of a master printer they can provide a unique register of tones and effects bringing unexpected nuances from a negative. Prints created in this way have an ethereal quality with incredible detail, enhanced by the way the chemicals soak into the fibres of the paper. They are also light fast and therefore not subject to any form of fading over time. James Sparshatt’s platinum prints are produced by 31 Studio, the UK’s leading exponents of this art.
Silver gelatin handprints
This has been the standard for producing black and white prints for most of the 20th century. Extracting maximum detail and the correct balance in a photographic print is an art form in its own right with print makers often taking a lifetime to master their craft. Selenium toning is used to increase the stability of the chemicals and give the photographs a greater archival life. In the UK we work with Barb Wilson one of Britain’s leading practitioners of traditional black and white printing and processing.
Archival prints on Hahnemuhle rag 308 gsm
Hahnemuhle Photo-Rag 308gsm is a smooth white 100% rag cotton based fine art inkjet paper and is considered the industry standard for photographers’ professional output. The paper is acid and lignin-free to meet the most exacting requirements for age resistant archival properties and fine art applications. It has a smooth white surface texture and premium matte coating, producing outstanding prints with deep blacks, striking contrasts and perfect reproduction of detail.
Digital C-Type or Lambda print
A traditional colour photographic print on light sensitive paper (Fuji Crystal archive museum quality), developed by chemical-process but exposed by digital laser. The process produces prints of vibrant intensity and amazing detail.
It is standard practice for prints to be produced in numbered Limited Editions in traditional printing, fine art photography and sand casted bronzes. Each piece is numbered and the size of the edition noted, e.g. #1 / 12.
There are no set rules for the size of the edition so each artist decides on their own approach. Some decide to opt for an edition at a single size, while others will produce prints at a number of sizes with an edition associated with each. The media may also vary between sizes.
Each print is signed, titled and numbered by the artist. We, as the gallery, also provide a Certificate of Authenticity which is signed by one of our directors and stamped.
Framing and mounting
UV Clarity Glass
We use a UV protective clear glass to frame all of our work. Artglass AR 70™ reveals both the true colours and the texture of the art without adding a coloured tint or optical distortions. Its anti-reflective coating reduces unwanted reflections and 70% of damaging UV light. Artglass has a smooth surface that allows for details to emerge unaltered. It is highly scratch resistant and easy to clean.
The work is mounted raised from the backboard and separated with a space from the moulding. This gives the effect of the image floating within the frame.
Direct print on brushed aluminium
The image is printed straight on the brushed aluminum surface with UV Fine Art inks. The surface is then sealed to protect the image from UV light and humidity. Hanging rails on the reverse make for easy hanging.
Mounted to aluminium with matt UV seal
The photographic print is mounted to an aluminium dibond sheet. A matt seal of protective film is then applied to the face of the print, helping to minimise damage from scuffing, UV rays and fingerprints.
Acrylic reverse or face mounting
The print is bonded to a clear sheet of UV perspex using a silicon gel technique and then mounted to a backing substrate (aluminium or black perspex). The refraction of light through the perspex enhances both the prints definition and colour with stunning results as well as protecting the image from scratching and other environmental factors. The piece comes complete with an aluminium subframe to allow for easy hanging on a wall and to give it an elegant, contemporary feel.