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About the Prints
What size are the prints? This print is available in A4 & A3 size with a 2cm white border that bleeds out beyond the paper dimensions, allowing it to fit perfectly in a standard A4 or A3 mounted frame
Are the prints limited edition? Yes, each print is part of a limited edition of only 50. Each print is individually signed, numbered and issued with a certificate of authenticity making it a unique collectible piece
What printing method do you use? I use museum-quality giclée printing, a sophisticated technique that produces exceptionally detailed, vibrant prints designed to last over 200 years without fading when properly cared for.
What paper are the prints made on? Each print is created on Hahnemühle German Etching paper, chosen specifically for its substantial weight and pronounced texture. This premium paper gives every artwork a handcrafted, artisanal quality with a beautiful tactile finish. The robust construction means the edges resist fraying far better than standard alternatives, ensuring your print remains pristine for generations.
Shipping & Delivery
How long does shipping take? Standard shipping takes 5-6 working days from the date of order. You'll receive tracking information once your print has been dispatched.
Do you offer free shipping? Yes, I offer free standard shipping on all UK orders.
Do you ship internationally? Yes, I offer free standard shipping on orders to UK, EU and USA, Canada and the EEA (Norway, Switzerland, Iceland, Liechtenstein. For other countries, there is a charge of £39.
What if my print is damaged? You can request a free replacement via the customer service
How are prints packaged? Your art prints are protected on all sides with recyclable and biodegradable wrapping materials. All materials are 100% sustainably sourced and recyclable to ensure end-to-end carbon neutral
Best Sellers
La Ville began with a simple observation in Little Venice, London: water doesn't just reflect, it transforms. Reflections within this painting dissolve the boundary between the solid and the fluid, the observed and the imagined.
The composition is deliberately constructed to pull the viewer in via the narrowing canal into the depth of the scene. So the perspective becomes an invitation, not simply to look at a place, but to step into it and inhabit it.
That openness is intentional.
Each viewer arrives with their own narrative, their own sense of what unfolds beyond the frame. Such specific gives way to the personal, and the painting becomes a shared space between artist and audience.
Summer has a colour and it's not one thing. It's blue and green refusing to be separate. In colour psychology, blue and green together create harmony, a natural balance that the eye instinctively relaxes into. Nature figured this out long before we did.
This painting embodies summer. The way the water holds the trees and the trees dissolve back into the water. That specific warmth you only find in July, when everything feels lush and the light lingers longer than it should.
And then there are the boats. An invitation to step in. Climb aboard, untie the rope, go. There is a latent movement here. The geraniums on the bow, the small flag catching air, a sense that this scene is mid-breath rather than frozen. The canal doesn't feel like a photograph. It feels like a place you could inhabit.
The colours here came before the composition — deep reds and burnt oranges burning across the sky, urgent and alive in the way London at dusk so often feels. Gold bleeds down into the wet pavement of Westminster Bridge, the light pooling beneath anonymous figures who move through it without pause. Blue holds the edges, quiet against the heat.
Big Ben anchors the scene, but it is not the subject. What slowly emerges is the feeling of the city in that particular hour — familiar, overwhelming, and oddly intimate all at once. The brushwork stays loose, the forms just resolved enough to be recognised.