FINE ART PRINTS

Limited Edition Prints
Limited edition prints are produced in set print and edition sizes and are dated, signed and numbered by Cristian and are sold with a Certificate of Authenticity.
Total Number in Edition: this reflects how many prints are available within one edition. If 10 copies are made, then the edition contains 10 as the total number. If a print is listed as 8 of 10 then this is indicating that the print is number 8 out of 10 in the series. This number is included in the corner of the print along with the Artist signature.


Assigned Number: if the print has a number, then this is what print number this reflects. Example, if 12 are printed and this is number 10 would mean the print’s assigned number is 10. If the print does not have an assigned number, then it should be labelled as open edition or single edition.
 

Edition sizes vary by photo and become lower as the print size increases. Edition sizes ranging from 1 to 12 prints.


Open Edition Prints
Open Edition prints are not limited by the number or size produced and are not numbered. We are not offering Open Edition Prints.

Depending on the project / series, in general we use four fine art printing options.

  • Giclée Fine Art Printing on Archival Hahnemühle Paper

The term ‘Giclée’ was coined in the 1990’s and is derived from the French word, ‘gicler’, which literally translates as ‘to squirt’ or ‘spray’ (inspired by the way that the printer nozzle applies the ink pigments to the paper).

While the word ‘Giclée’ originally referred to fine art prints created on IRIS printers (large format colour inkjet printers which became prevalent in the 1980’s) the term ‘Giclée’ has since been used in a wider sense to describe any prints made using an inkjet process. These prints are also often known as ‘pigment prints’ because of the inks (which contains miniature particles of colour, or pigment, suspended in a neutral carrier liquid) that are laid down by a digital printer. We use both ‘Giclée print’ and ‘Pigment print’ to define an archival grade inkjet print produced directly to fine art paper.

By using only the best quality materials our Giclée Fine Art prints are archival grade and offers an intense colour saturation, vibrancy and image permanency. Giclée prints are available on archival papers in sizes up to 60 inches wide, and just about any length.

  • Black and White Photo Printing on Ilford Baryta Paper

Traditional photo papers are made of a coated polyethylene, which makes processing them easier and quicker. The key difference of baryta paper lies in the barium sulfate (the so-called “baryta”) coating. Ultra-white with a neutral image colour, the paper is outstanding at combining brilliant white with intense black tones. The shades of grey are nuanced, the contours extremely sharp. Thanks to the natural brilliance of the baryta coating, optical brighteners or laminations are no longer needed; this makes it the most durable photo paper in the world.

The traditional developing process for Baryta photo paper is pretty laborious. Unlike papers with synthetic coating, it doesn’t have polyethylene layer. The chemicals can soak into the paper and have to be washed out. That is not the case for polyethylene papers, where the chemicals are simply rinsed off, and the photo is finished.

Since every Baryta print is carefully produced by hand, each one is a unique work of art. It all starts with LightJet laser exposing the light-sensitive paper. Next comes the traditional silver halide developing, fixing, and rinsing. Since the chemicals are washed out for a long time, the water and chemicals can soak into the paper, minutely affecting the print’s size. As a result, the print is always extremely individual and emphasizes the photographic handiwork. Additionally, the very sensitive panchromatic emulsion enhances the picture quality of black & white photos to the highest degree.

  • Ultra HD photo print on Aluminium dibond

In any format the ultraHD photo print on aluminium dibond is known for its outstanding image quality. The finest details are reproduced realistically with precise contours and clear contrasts.

UltraHD photo print is developed on the Fuji Crystal Professional Archive Maxima photo paper. The backing is 3 mm (1/8 in.) - thick aluminium dibond. A composite material with three layers, dibond ensures maximum stability but weighs very little.

  • Acrylic ultra HD photo prints

Compared to conventional photos, ultraHD photo prints offer significantly better resolution and have visibly sharper definition in the image’s finer details

The characteristics of the razor sharp ultraHD photo print are exhibited perfectly under acrylic glass. The 3 mm (1/8 in.) aluminium dibond backing consists of two layers of aluminium sandwiched around a polyethylene core. This completes the overall look while providing additional stability

Framing
Usually the artworks are sold unframed (shipped in a tube), however should you decide you would like to purchase the print already framed we can offer several framing options. Based on your request we shall send a quotation for the framing system.


When framing the work, we only use the finest sustainable materials and solid woods (100% acid free materials and FSC certified), and where appropriate we always opt for a frame with Art Glass (anti-reflective glass). This may be a little more expensive at first, but it's worth it because art glass will keep your print in pristine condition across the years and will ensure the colours always stay true.
 

Tray Framing with Passe-Partout (or Solid Wood Frame with Passepartout) - Similar to a Shadow Box Frame or Spacer Box Frame, the photograph is placed in an extra deep frame with plenty of space between it and the frame edge. Unlike the Shadow Box Frame Tray framing offers a glassless, contemporary framing solution that achieves a 3d effect.


The photograph is firstly placed between a mount and the Passe-Partout for its rigidity – which adds protection to the print and provides a firm base for framing. A sub-frame is then attached to the reverse of the mounted print, providing space between the back of the frame and the print. The artwork is set back from the edge of the frame to prevent damage and there is space left on all sides of the mounted print within the frame.


Tray Framing without Passe-Partout – As opposed to the Tray Framing with Passe-Partout in this situation the photograph is set directly on the mount, made from the finest museum card stock, without being covered by a Passe-Partout.


Classic Photographic Gallery Framing with Passe-Partout (or Gallery Frame) - The photograph is firstly placed between a mount and the passe-partout for its rigidity, which adds protection to the print and provides a firm base for framing. On top of the photograph there is a glass for protection. For all these frames we use anti-reflective Art Glass or Perspex as a glazing solution, which is the best option for reflective-free and neutral viewing. This incorporates a 70% UV filter to protect your valuable artwork from fading.


The Passe-Partouts are made from the finest, non-acidic, fade-resistant museum card stock – guaranteed to be free of wooden fibres. These mounts are produced with a bevelled edge and then set flush against the images

Should you like to find out more about each series printing and framing systems, please download a catalog here.


The Certificate of Authenticity
The Certificate of Authenticity is an official document, signed and dated by the photographer that proves your work is genuine and authentic. The Certificate of Authenticity offers additional information about the artwork such as the edition number, print size, medium, date of printing, the year the photo was taken, and potential other useful information about the print.


Production time

•    Unframed print orders take approximately 4-8 business days to ship, depending on current production times.

•    Framed open edition prints take approximately 5-11 business days to ship.


We are not responsible for delays outside our control. If our supply of the goods is delayed by an event outside our control then we will contact you as soon as possible to let you know and we will take steps to minimise the effect of the delay. Provided we do this we will not be liable for delays caused by the event, but if there is a risk of substantial delay you may contact us to cancel your order and receive a refund for any goods you have paid for but not received.

BELIEVING IS SEEING

CONTACT

Address: Chapel Lane, Chalgrove
Oxfordshire, United Kingdom

Phone +44 (0) 7547 920 116

cristian@ancastefanescu.com

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