While our recommended frame color and border or bleed choice is what we feel best complements the art and vision of the artist, by all means, choose a look that best complements your style and space.
Paper Size: Is based on Full Bleed and adding a border will change the aspect ratio, so paper size may adjust slightly smaller.
Glazing: To eliminate reflective glare, our biggest work (70″ to 80″ on the long side) is protected by an archival laminate in lieu of acrylic. Up to 60″ on the long side is protected by UV acrylic.
Border: If the framed image above is showing a white border, then clicking on Full Bleed will not show what full bleed looks like. We only show how a border will look. Your choice will appear on your order. The border on work up to 40″ x 60″ is about 2.5″ and about 3.5″ on our biggest work.
Frame Color: Clicking on Frame Color will not change the color of the frame, but your choice will appear on your order.
Frames: Our frames are custom made from robust solid wood Studio moulding, 2″ deep with a 3/4″ face width and joined at the corners with butterfly joints.
Orientation: Some work can be displayed either horizontal or vertical—should you wish to change orientation, please contact us and we’ll place the D-rings accordingly and confirm via email.
We print exclusively on Hahnemühle 100% Cotton Photo Rag Baryta paper and museum shadowbox frame in solid wood, Studio moulding handcrafted in a robust, contemporary profile preferred by galleries and museums worldwide.
Ask us should you need help or clarification. And please double check your (c)art to ensure your choices are correct.
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Entrance to a meeting and conference room of the Kadyrov Museum complex in Grozny in Chechen Republic in Russia. This gun was used at the Chechen War.
In documenting a unique phenomenon, the German photographer Frank Herfort has journeyed to the most remote areas of the former Soviet Union. After the collapse of the regime, a strangely pompous architectural style sprung up throughout the new republic. It conflates the aesthetics of monumental Soviet architecture with the Western language of form seen in the twentieth century.
Frank Herfort travelled all over Russia for a photographic project that lasted several years, following the ideas of architectural photography and taking pictures of skyscrapers that had been quickly built after the collapse of the Soviet Union. The force and magnitude of these buildings appears bizarre, pompous and exotic; equally they evoke larger-than-life Soviet memorials. They express a longing for lost greatness and the ambition to go one better. Contextual contradictions however add another completely different grace note: the Russian residential buildings and faded idylls around the new constructions introduce a second level of meaning to the images, which poses questions and raises enigmas.