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.
Free Shipping to the US. Contact us for global shipping options.
The picture is based on a witness account in the investigation of an unsolved murder case in Belgium. In the early 1980’s a gang of unknown criminals, referred to as the ‘Gang of Nivelles’ robbed different supermarkets, killing twenty eight people. My father was one of them.
Based on long term research and investigation my work is an interpretation of this research resulting in images that blur the boundaries between fact and fiction.
Jan’s work is in the collections of FOAM Amsterdam, ING Bank Art Collection and private collections in Europe and USA and has been published
FOAM Magazine, IMA Magazine, Le Monde, De Volkskrant / Volkskrant magazine, Vrij Nederland, de Standaard / DS Magazine, de Morgen, De Tijd, Le Vif, l’echo, Onze taal, P/f, PhotoQ, 8weekly, copypasteculture, GUP, Piel de Foto, photographer.ru and Knack / Trends, Emaho Magazine and The Huffington Post.