Limited Edition Prints

Example of Ash moulding used for frames

The Limited Edition prints of my work are all each personally numbered, named and signed by me and reproduced to the highest standards.
Every print is individually checked by me with the original and discarded if it does not meet the exacting standards that have been set.
The paper size for each print will be shown in the information under the image and will be one of three possible sizes - A5, A4 and A3.
Prints are available in three basic formats:-
Loose, mounted and framed. (For trade customers there are two additional options - Loose unbagged and Mounted unbagged.)

LOOSE
All prints are reproduced on the highest quality watercolour papers available, the main ones used being 'Hahnemuhle' and 'Somerset Enhanced'. They are 100% cotton and acid free. Both are specifically designed to meet the highest standards for fine art reproduction. The weight of paper used is dependent on the size of print and ranges from 225gsm to 310gsm.
The latest genuine Epson inks for Fine Art are always used ensuring not only extremely accurate reproduction but the very highest lightfast levels which rate at the top of the Wool Scale.

Specification
A5 format - Paper - Somerset Enhanced 225gsm
A4 format - Paper - Somerset Enhanced 225gsm
A3 format - Paper - Hahnemuhle Turner finish 310gsm

MOUNTED
All mounts are whitecore and precision bevel cut. Both mounts and backing cards are ph Neutral thus removing any chance of chemical reaction between print and mounting materials.
Conservation quality mounts (Off white) come as standard on all A3 prints and are all triple thickness whitecore.
All prints are hinge mounted with ph Neutral archival tape to ensure strong and safe positioning.
Mounts are presented, depending on size, in either clear, re-sealable, self-seal bags or clear acetate sheeting to give high quality protection and presentation.

Specification
A5 format - 240mm x 300mm
Mount aperature - 120mm x 180mm
Colour - Britannia Snow finish (Off white)
A4 format - 300mm x 400mm
Mount aperature - 167mm x 267mm
Colour - Britannia Snow finish (Off white)
A3 format - 450mm x 600mm
Mount aperature - 240mm x 390mm
Colour - Britannia Astral White finish

FRAMED
All frames are solid wood with MDF backing board.
A4 & A5 prints are in plain wood or black frames.
A3 prints are in plain wood only.
Custom made frames are available on request.

Specification
A5 format - Frame moulding
Plain Ash - Moulding front width 21mm - Moulding depth 14mm
A4 format - Frame moulding
Plain Ash - Moulding front width 21mm - Moulding depth 14mm
Black Cush - Moulding front width 12mm - Moulding depth 11mm
A3 format - Frame moulding
Plain Ash - Moulding front width 37mm - Moulding depth 15mm


Glass - 2mm float glass is standard for all sizes.
Specialist glasses are available on request

Carriage charges

Currently being updated. Please email (phil.stenning@gmail.com) or phone (44) 01536 710573 for additional details over and above those shown by the images.

Original works

Some original works are available for sale from time to time. Please contact me by email (phil.stenning@gmail.com) or phone (44) 01536 710573 for availability and prices.

Below are listed the materials and methods I use, in all mediums I currently work in, to give an indication of the material quality of my artworks.

OILS

Paints
All paints used are 'Old Holland' oils which are widely regarded as the finest oil paints in the world. The colours are made using only the finest quality pigments and stone ground in the purest virgin cold-pressed linseed oil. They do not contain any fillers or extenders and are manufactured using 16th century traditional methods.

Paint supports
All oil paintings are painted on canvas which is carefully prepared by myself using traditional methods to ensure longevity of both the paint and the support itself.

I use one of the best linen canvases available (13oz. Superflax from Russell & Chapple) which is extremely dense and very tightly woven. Before sizing, I dampen it and stretch it twice on the stretcher frame to stop shrinkage and warping, to improve size adhesion and test for material defects.

The stretcher frame (mitred and wedged with oak or birch) is made from seasoned kiln-dried pine (19mm x 57mm) and lipped on the front edge to allow the minimal amount of painted canvas to touch the frame. Tacks are zinc plated and canvas edges are all 'pinked'.

The size is hand-made by me using a traditional recipe with rabbit skin glue which I apply using traditional methods.

Finally the sized canvas is primed twice by me using Spectrum white lead primer to create one of the most stable painting surface available.

Preparation, procedures and finishes
In addition to the support preparation, much care is taken when I'm painting in oils to adhere to time honoured methods to ensure the long term chemical stability of the painting. This includes, amongst many others, taking into account the varying drying times of different pigments and varnishes, adhering to the 'fat on lean' formula, and using only the very best mediums (oils, resins, waxes and diluents) in the appropriate way.

Varnishing
My works in oil are not given a 'Final varnish' for 12 months from completion of the painting, as oil paint (particularly impasto) is not completely dry internally for at least 6 months. For short term protetection I use a 'retouching varnish' which allows paint to dry without causing cracking.

The 'Final varnish' I use has a ketone base and is also removable so that it can easily be restored. Two thin coats are applied (the second coat brushed at right-angles to the first if gloss) for a high level of protection and enhancement of colour.

Framing
Frames for all original works are chosen by me and made in my own workshop to a high specification. All mitres are both glued and underpinned, and the frame is assembled using only the best materials available.

Commissions

Retail price list

Contact details

Guarantees