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Yes. To make things easier for customers (and us), we are initially using standard shipping rates, but we can ship anywhere in the world.


 Giclée (pronounced zhee-clay) is a term created by printmaker named Jack Duganne to refer to digitally-reproduced fine art prints. 

Giclée has since then come to mean any high resolution inkjet print produced on large format printers from digitally generated files.

The process uses high quality format format printers with fade-resistant, archival inks and archival substrates. The printers use the Cyan-Magenta-Yellow-Key (Black) or CMYK color process with multiple variations of each color to improve color accuracy.  This increases the apparent resolution and color gamut and allows smoother gradient transitions. A wide variety of material substrates are available, including canvas (gloss and satin) and various textures and finishes of art paper. 

In my view, Giclée fine art printing gives prints a brilliance that is superior to anything but the most expensive lithograph, and is a far more affordable option. It represents the artist’s original artwork better than any fine art reproduction technique available today.  Combined with the finest quality canvas and inks, giclée fine art reproductions rival original artwork in beauty and detail.

Fine art giclée prints have become the print method of choice for museums, photographers, and artists who demand high quality fine art reproductions.


We will replace any prints damaged during shipping. Please contact us with a photo of the damage, and we'll send you a replacement ASAP.


As noted on the homepage, in the 1970s, 80s and 90s I worked almost exclusively in oils - not only for wildlife, but for nudes, portraits, landscapes, and the odd sci-fi piece as well. When I returned to art in 2012 (with a lot of trepidation), my intention was to pick up where I left off. However, the physical issues that prompted early retirement from university teaching plagued the attempt; simply put, a rather annoying neurological condition (and the medication required to treat it) caused unsteady hands. The problem was not too bad using graphite, charcoal and pen for drawings, and I could get away with rough 'sketches' in oils, but the fine detail work was difficult - and led to results that were at once annoying and comical. So I began experimenting with digital painting programs - at least the 'mistakes' would be easier to erase; just clicking "undo" was far easier than repairing a days work ruined by ill-timed 'spasm'. The results of the digital work, for the first 2-3 years were unsatisfactory. I found I could not draw on a computer. However, I found if I combined traditional techniques with digital work, I might have something that might work.

The method involves doing detailed drawings, scanning these, then doing oil sketches, and scanning those in turn. The drawings and the oil sketches are then layered, one over the other using a computer. Additional semi-transparent layers are added through digital painting, but it is done so that the drawings (either graphite and pencil or coloured graphite) and oil sketches show through the digital 'paint'. 

While the method may contravene tradition, it has permitted me to produce work, and thus begin (at least) to fulfill a promise - and an ambition - to use artwork to help support wildlife rehabilitation centres. My association with the Bluewater Centre for Raptor Rehabilitation began in the early 90s (I designed their logo), and over the years had donated a couple of art pieces for auction, but had promised do do more once I stopped teaching in 2012. BCRR has been patient. It's my hope that the sales of these limited editions help them, and other centres, in their wonderful work.

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