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RECEIVING AND STORAGE OF YOUR PRINT When you receive your print, carefully remove the cardboard container. If you choose to store your print prior to mounting, please note the following: Never store unmatted/unframed prints directly on top of each other; separate them with acid-free tissue. Ideally, you should store prints in their individual folios with acid-free tissue on either side of the print. As an alternative, you can mat your prints using acid-free mat board and then cover them with acid-free tissue. Never store or leave prints flat on the floor. Elevate them so that air can circulate around them. If you have a choice between wooden or metal shelves, choose the wooden shelves. Metal shelving can cause condensation of water over a period of time and it is also a greater conductor of heat in case of fire.

HANDELING YOUR PRINT The protective coating placed on each print gives some protection. Always handle prints with clean hands; natural body oils are acidic and can do permanent damage to paper and other fine art materials. To avoid crimps and creases, always use two hands to lift a print. Never touch the image or drag anything across it. A scratch or thumbprint is permanent and cannot be repaired.

HEAT Never hang or store a print over or next to a heat register or radiator. Do not hang a piece of art over a fireplace, either; the combination of heat, soot and smoke can do extensive damage in a very short period of time.

HUMIDITY Humidity is a major enemy of paper and prints. The chief danger of humidity is mold, which grows in the environments where relative humidity is greater than 70%. According to museum curators, 50% humidity is ideal for works of fine art. Always maintain proper humidity levels wherever prints are being stored or hung, and never hang or store a print in damp basements or cellars. Never allow a print to rest directly on glass. If your print has not been matted, it will make contact with the glass. Condensation will form between the print and the glass and will ultimately destroy the print. Always ensure air circulation behind your print, and be sure you check for dampness on the outside of any outer wall where you are hanging your prints. Collectors who hang or store prints in their vacation homes should ensure proper ventilation and humidity control while the house is unoccupied.

LIGHT All light will cause fading in works of art, especially those on paper. The two main sources for harmful U/V rays come from the sun and florescent illumination. The recent technological advances in fine art printing have developed protective coatings and fade resistant, pigmented inks to drastically curb the fading of your print. The protective coating on all of our prints is either water based for lithographs or solvent based for Giclee. This coating offers minimal protection from scuffs and U/V light. Under the protective coating lies the pigmented inks which offer the greatest protection. These specially engineered inks are used to protect from the above-mentioned light sources. Studies show that there is no apparent fading after 300 hours of direct sunlight. This equates to a fade resistance of approximately 130 years in normal room lighting. We recommend not hanging your print on a wall that receives direct sunlight most of the day. Incandescent lighting is best. Museums of fine art state that the optimum lighting for your print would be equivalent to a 150-watt light bulb 4-5 feet away.