The painting can also serve to introduce ‘The Art of Gordon Frickers’ to some leading galleries and auction houses; which one will seize the opportunity to sell this unique picture?

Paintings of dinghy sailing are rare, portraits of famous sailors rarer, a  painting licensed by the British Olympic Association, probably utterly unique.

For further information read on or phone Frickers -

(UK) 01865 522435 (International: +44 1865 522435)

(France) 05 63 40 72 25 (International +33 5 63 40 72 25)

The painting “Going for Gold” shows Ben Ainslie on his way to winning the first of 3 successive Olympic Gold medals. – “Going for Gold” – 762 x 1016 mm (30″ x 40″)

http://frickers.co.uk/marine-art/ben_ainslie_sydney_olympics.html

This picture was produced under license with the special permission of the British Olympic Association.

Ben Ainslie is one of Britain’s most renowned high profile living sailors.

He continues to build a distinguished career

Gordon Frickers is a highly experienced and respected marine artist who has worked with some of the British Olympic squad and the British Olympic Association.

Gordon is the only marine artist to have been invited to exhibit at The European Parliament (May 2011).

He was commissioned for a series of paintings for HMS Victory, and has produced several significant works depicting this famous ship and the Nelsonian subjects.

Illustrated here, Trafalgar dawn the French Perspective, painted in 2010, exhibited in Brussels, the original is available at the time of writing as are signed numbered copies.

Gordon Frickers has featured in many journals this year including Sea Breezes and Warships IFR.

His “Roaring Forties” was recently described by Dick Durham (Yachting Monthly) as “iconic”.

“Putting something back” – Ben and Gordon agreed as sailors who have benefited from the RYA / BOA system, they wish a significant percentage of the sale price to be donated to the BOA.

This picture was produced under license with the special permission of the British Olympic Association who by act of Parliament has exclusive copyright to all images pertaining to the British in any Olympic Games.

We have a limited permission to reproduce this image in support of Gordon Frickers work.

Ben Ainslie and Gordon Frickers co-operated closely to produce this unique Olympic Games action portrait of Ben Ainslie at the Sydney Olympic Games in a Laser sail boat on his way to win his first of 4 gold medals for sailing.

Ben Ainslie besides winning 4 successive Olympic Gold medals is on course for a 5^th in 2012 and if successful equals Paul Elvstrom the “Great Dane”, considered the all time best Olympic sailor. Sailing is more competitive today than in Elvstrom’s time, may hold the modest Ainslie in awe! Ainslie was elected ISAF World Sailor of the Year in 1998, 2002 and 2008.

Quote from Sir Robert Knox-Johnston:

“From a very happy owner of an original Gordon Frickers painting” (The iconic “Roaring Forties”)

Quote from letter to Mr Andrew Bray, Editor of Yachting World:

“I have won a few prizes in my short racing career, but I can assure you this will be the one I treasure most. Please convey my appreciation to the artist (Gordon Frickers) and once again my sincere thanks to you and your organisation for such a wonderful prize” M. J. Leadbeater.

Quote from “Sea Breezes”: (long established world wide magazine of ships and the sea)

“We are delighted to report that Frickers was uniquely invited to exhibit at The European Parliament 23^rd- 26^th May 2011.  The exhibition titled “Life on the Ocean Wave” included many of Frickers most significant works…..

…..Frickers is the only artists who is a member of The British Marine Federation, and Superyacht UK”

~

We would like to take this opportunity to invite you to review other painting by this versatile artist, marine painting embracing many subjects and in particular his less known vibrant  landscapes.

http://www.frickers.co.uk/marine-art/index.html

http://www.frickers.co.uk/colour/index.html

~

Typical Press story: The Mail on line wrote: http://www.dailymail.co.uk/sport/olympics/article-2019087/London-2012-Olympics-Yachtsman-Ben-Ainslie-Britains-modern-day-Steve-Redgrave.html

Yachtsman Ben Ainslie is Britain’s modern-day Steve Redgrave. In his final Olympics, prepare for the sail of the century.

I was here to study at close quarters what makes our helmsman — Ben Ainslie CBE, winner of three Olympic gold medals and one silver — a phenomenon as worthy of admiration as anyone in contemporary sport.

He may not be mobbed in Regent Street but he is the principal celebrity — a description he would thankfully detest — in any yachting town. ‘I never have and don’t suppose I ever will have to go through what somebody like Lewis Hamilton or David Beckham goes through,’ he said.

Determined to win a fourth gold in London — a feat that would leave him behind only Sir Steve Redgrave in British Olympic history for the level of success accrued over a span of 16 years.

‘There is this fear-of-losing thing,’ he said. ‘It’s competing for something you set out to achieve and not wanting to fail. It’s the same as A-level students who go out to get three A’s and work their arses off. They don’t want to come up short. Over and above that, this is a competition, so you don’t want to be beaten by guys who are younger than you or who you think you should be beating.’

That is the essential Ben Ainslie.

I have the honour of having been invited onto the Winsor and Newton web site. 

Also Four questions have to be answered.

Included here is brief a summary of Winsor & Newton and advantages of being featured.

“How will you be promoted on the Winsor & Newton site?
By being on our site, you will gain exposure to the thousands of artists and art trade people who visit our site daily.

We will feature you as a Winsor & Newton endorsed artist and your presence will allow you to raise your profile and promote your work and your website, in turn increasing your website’s visitor numbers.

We may even feature your work on our homepage and in our email newsletters”.

You may be aware, the company was founded in 1832, “and we take our relationship with the artist very seriously. Our founders, Henry Newton and William Winsor were involved with the leading artists of their time – J.M.W Turner for example – and to this day, we strive to keep up with the latest developments in the art world and take an active interest in what artists say”.

1. Write a short paragraph about Gordon Frickers as an artist –
   (CV, art education, exhibitions, expertise, influences) 150-180 words.
2. Write a short paragraph about my work – (style, subject matter, techniques, current projects, unique qualities, comparisons with other artists) 180-200 words.
3. I am required to submit and upload 1 image of myself preferably at work in my studio and at least 3 of my work. – Any suggestions welcome in particular which pictures to offer and how many.
4. They would love to hear what I think, could you finish this sentence.
   “I use Winsor & Newton because….”

~

*Indecently, I do and have since college used mostly Windsor and Newton materials.

~

“We are very proud of our featured artists and hope that once you are added to our site that you will keep in touch and let us know of any projects that you are working on”.

“Criteria for becoming a Featured Artist
All our Winsor & Newton Featured Artists are professional artists.

This is the main criteria and in order to submit your art work, you need to be a distinguished professional who uses Winsor & Newton materials”.

–
Phone Frickers: (UK) 01865 522435 (International) +44 1865 522435

Following the last picture frame repairs (more on picture frame repairs below)  I got as far as loading inside the car yesterday while last minute tasks have multiplied like an algae bloom.Up until 4 days ago the run up period to the exhibition at the European Parliament was looking comfortable.

Following best management practice I’d allowed a full day in hand for this week for life’s little ambushes and tasks taking longer than expected.

Despite some 5 and 6 o clock starts here we are on departure day and still not ready, ekkk…

This morning has been occupied by relatively simple tasks, packing, making a picnic out of a left over roast Chicken I had cooked last week planning to use some en route and little realising I’d share most of it with my ‘French sister’ Helene Ancelot.

Helene thoroughly deserved here roast chicken dinner having put in  several days work helping prepare and pack paintings.

Picture frame preparation and restoration:

Helene quickly developed a knack and enthusiasm for making the frames look perfect.

I was really surprised by the difference she made; how did she do that?

Before each and every frame can be carefully packed for traveling is has to be thoroughly checked to ensure it looks new.

I choose my frames with great care and over many years have come to standardise on certain designs.

I use only 2 suppliers; they know me I know them.

By the way, you can order your frames from www’frickers.co.uk.

Special orders can be made securely via PayPal on page

http://www.frickers.co.uk/blog/making-a-payment/ or paid bank to bank; if in doubt contact us via info at frickers.co.uk.

Most of the frames need dust and  grime removed having been in store for in some cases, many years.

The paintings we are going to show include a few examples of my early work which I have managed to keep so far and the exhibition paintings will include a spectrum ranging from abstract painting to very finely detailed marine art.

More on the paintings in THE exhibition in tomorrows blog entry as tomorrow is scheduled to be unloading at the European Parliament setting up and the preview day.

This exhibition will possibly, probably be the only time in the life time of the artist Gordon Frickers so many (about 35, I’ve not counted yet) of the more significant art works of Gordon Frickers are shown together.

The majority of these picture frames as in painting frames are hand made to special order and my specifications so are neither cheap or easily replaced.

Picture frame repairs include attention to some minor chips repaired with gold and colourants.

First though each frame is dusted, very carefully wiped with a damp cloth and inspected for damage.

My picture frames have a hard life before they reach their new owner.

Many suffered damp and grim, neglected during dark days, now I am happy to say ancient history,  my last years at Plymstock were I lost my family.

Some frames were so damaged that they went onto the final bonfires as I evacuated the house and basement where I’d lived for 22 not very happy years.

The frames have been moved to various galleries for show and risked the long journey to my new base in the Midi Pyrenees.

Galleries are often very casual with artists frames.

I find I count myself  lucky  if frames on unsold work are returned undamaged; actually I count my self lucky if the pictures are returned!

Honest caring galleries are in my experience few and far between and even the best galleries can turn bad.

I am not the only artist who is cheated by art galleries who’s common practices include, sale or return – the artist stocks their shop for free the reward being the honour of having work shown in competition with others with the small possibility of a sale.

Few galleries actively promote their artists and almost none understand more than rudimentary marketing.

Risks exhibiting with art galleries include their refusal to insure the artist’s work, returning (expensive)  frames damaged, insisting they frame the artists work then charging the artist full retail price for not very suitable frames, denying they have received some pictures, not co operating over returning unsold work and simply not returning valuable paintings.

Many galleries also have a nasty habit of forgetting to pay the artist for works sold.

In short if you find an honest reliable professional gallery, kindly let me know ASAP as I’d like to shake that owner’s hand and ask if they are interested in promoting my art work.

Picture frame restoration, back to the previous subject;

After cleaning damage is made good.

My principal supplier has kindly sent a repair kit which includes spare plaster moulding, gold ‘leaf’ finish and a special colour wash.

A little plaster of Paris is also helpful in repairing and places where a frame is chipped or has flaked.

When Helene is satisfied she then applies a very thin coat of a satin finish wax.

The end result is I have never seen my picture fames looking so beautiful, discreetly gorgeous, setting off their paintings splendidly.

My picture framing  rule has always been, the frame should not dominate the picture, the picture frame should add to the picture. A good frame finishes a picture and can significantly add to the value of a painting.

In my case I often finish a new painting in the frame and often use frames retailing in London for hundred’s and in some cases thousands of pounds per frame.

You can find more on picture framing on www.frickers.co.uk pages

http://www.frickers.co.uk/care.html

and

http://www.frickers.co.uk/framing.html

En Route:

I’d looked at borrowing or hiring a van.

The one I’d ‘ear marked’ to borrow was ’suddenly’ unavailable.

No replacement could be found at short notice and I was less than enthusiastic about the problems, time taken and cost of going to Albi  to hire a French van.

Besides I was quietly confident my car would do the job.

Several of the largest paintings were to travel in protective packing cases I’d made years before.

08.00 the car roof rack was loaded buy the combined efforts of Jean Marie Boin, Gauthier Boin, Helene and myself , a team job with everyone having their own opinion on how the task is best done…

After that it was simply a matter of packing and not forgetting anything important like a passport needed to obtain entry to the European Parliament loading bay, a bag of picture frame repair kit (just in case) and so on.

There was also the small matter of where to stay.
I’d intended to use hotels however various friends kindly insisted I stay with them which is more fun than a hotel.

Fianlly I got under weigh at 12.00, 3 hours later than intended…

The car felt heavily loaded and i was nervous about the weight and windage of the roof load.

Visions of the roof rack tearing of the roof at 130 kmph (80 mph) haunted my vivid imagination…

Happily it did not take long to adjust my driving style, what did add to the time was stopping every hour or two to check the roof load.

Happily the only problems en route were the carefully wrapped by still noisy plastic sheet over the roof load.

My sea man like lashing of the roof load worked well, nothing moved of chaffed.

I soon discovered the fuel consumption was doubled by the roof load and the sheer distance was daunting fore one anxious driver alone.

My destination for the evening, at Watten near Dunkirk hove in sight 10 hours and 20 minutes after leaving Caslelnau de Montmiral.

How reliable is a GPS?

Mine, a TOMTOM XL new last November failed to find the street were Gilles and Bridgitte live although the street has been in existence for at least 50 years.

I had problems with the GPS en route and I’d had quite serious issues with it when I went to Antibes last April for the Antibes Yacht Show.

For examples it completely miss understood the roads around Saint Afrique where it wanted to send me past  a no entry sign which had clearly been in place for years and at Montpellier the TomTom had not idea a major by pass existed.

Considering the gadget is almost new and I always check mit for updates before a long journey I am very disappointed to find it fails to meet the claims made for it by TomTom.

Should I complain, yes.

Would I recommend TomTom, no, try another mark and let me know if it is any better please.

Luckily and very thoughtfully, Gilles was looking out for my car and saw me drive past so was quickly after me.

Despite the late hour I was very warmly received by my friends Gilles and Bridgitte who had waited to eat in company, first parking my car in a heavily locked workshop for the night.

Just as well because the retail value of my load of paintings was some 125,000 English pounds.

Well meaning friends have not confirmed accommodation so I may be in hotels for the week and will probably stop at Paris en route Sunday night.

This means I will only be able to get on the internet infrequently.
However my mobile phone 0044 7588411720 has come back to life and while I don’t trust it, it should work.

The Parliament would like the paintings delivered to the rue d’Ardenne entrance to the building.

If you enter it into Google Maps then it does find it but you don’t see the name.

It’s a very short road off Rue Belliard that only has a Delivery entry for the EP, so you shouldn’t miss it.
I am to meet Phillip Ball there at 10am.

He is Brain Simpson’s assistant, my primary contact and he will have my badge for the day.

We will go upstairs, see the space, take the two trolleys that have left us back downstairs and bring the paintings back up.
I realized only yesterday we may have a problem with the weight if some of my paintings.

A few like the new Plymouth Emigration Depot have substantial frames and the larger Emigration, Plymouth Cattewater, like the large Yamaha, is just plain heavy being painted on 6 mm MDF Board.

The board is a according to a former curator and director of the London Tate Gallery, Sir Norman Reid, the best surface to paint on being stable, steady and unlike canvas does not easily deteriorate with time.

The down side is that once one goes over 3 feet / one meter it starts to be heavy.
Once the delivery has finished the EP would like me to move my car/van out of the Delivery area.

The nearest public car park to the EP is this one http://brussel.staatopdekaart.be/show/3844/parking_wet which is a ten minute walk.  Or I could take it back to my hotel, the Hotel de France.
Once I’m back we will start assembling the exhibition.
Then there’s hopefully some ‘down time’ to relax, clean up, change into presentable clothing or should I dress ‘like an artist’?
The guests will begin arriving from 18:15.
I’m told we expect about 75 on the first night and about 500 over the days of the exhibition, time will tell…

At 19:00  Brian Simpson will welcome people and the artist is supposed to make a speech too then there will be the serious business of drinks for an hour and a half.
Brian will have to leave the reception at 20:00 for an urgent meeting that has just been called, but I am hoping that he is able to join us again once it finishes.
If you have any questions during the week or any problems on Monday, please don’t hesitate to call my mobile 0044 7588411720 or Phillip ball on – 07921836131.

By way of reminder, this is a unique event, the first time a marine artist has been invited and the first time some of the more significant paintings of The Art of Gordon Frickers have been show ensemble.

If you can pass the story to your regional media  of the European Parliament Exhibition that would be very helpful.

To join us you need security clearance.

I hope by now you have received your invitation, if not email me please.

info@frickers.co.uk

Otherwise if you are thinking of joining us you need to let Brian Simpson’s office know as soon as possible email to Brian (office) SIMPSON MEP < brian.simpson@europarl.europa.eu > .

This is because you will need security clearance for entry into the EP.

If you can’t come you may still request a souvenir booklet complete with EP logo.

If you have already accepted the invitation all will be taken care of for you by the office of our host, Brian Simpson MEP and Chairman of the Transport and Tourism Committee.

The event is the first time many of the more significant pieces of  The Art of Gordon Frickers have been shown under one roof, besides which this is the first time a marine artist has been invited thus for any artist and a great honour and form of recognition for an artist.

Perhaps strangely, this exhibition at the European Parliament is not about selling paintings or prints ~ although people can purchase ~ the prestige is enormous and makes this almost certainly the most important exhibition in the story of  The Art of Gordon Frickers,  my career.

The catalogue will continue to have value as a promotional tool for years after so more will be printed than are immediately needed.

The press may use use the attached logo shown here, click on the pic for a clearer view. 

If you can’t come you may still request a souvenir catalogue complete with EP logo.

~

The press may use the attached logo you may with the story of the EP Expo.
I received it yesterday evening.
Difficult to get, taken months of asking, quite an honour and used on the official exhibition booklet makes all seem more official so I am delighted.
I have also attached a pic of our host because I know from my days working as a press photographer people like to see faces.

There is a selection of books we can highly recommend because

A. they feature Gordon Frickers marine painting and

B. they are excellent book (not that we are biased, much), see page

http://www.frickers.co.uk/marine-art/trafalgar.html

The books can be ordered via that page from Amazon.

The original of Trafalgar Dawn was sold about 15 years ago to a private collection however the owner has indicated he is now open to offers.

Offers can be made via Mr. 10% on this web site!

More affordable, Trafalgar Dawn is available as a superb quality numbered, signed, Prestige edition on printed canvas, from page
http://www.frickers.co.uk/prints.html
where it can be ordered 100%  securely using Paypal or by a direct bank to bank transfer.

The new Trafalgar Dawn is in an advanced stage of research and pre sketching following visits to research at Portsmouth and in Paris last December (as mentioned in this blog, early December).
As for

Nelson at Gibraltar, you can follow the development of this painting on this blog.

The painting has evolved from a drawing Gordon Frickers  made one evening in 1998 while in the member’s lounge of the Royal Plymouth Corinthian Yacht Club.

Gordon was a very active member of the Royal Plymouth Corinthian Yacht Club for many years and the club has 2 magnificent marine paintings of his in it’s collection.

One features the Royal Yacht Britannia HRH Queen Elizabeth disembarking, to visit Plymouth, the other shows a typical Spring Series race of the period and is very rich in details.

That original sketch was intended as an idea for a painting of the French navigator and discoverer Laperouse entering Botany Bay.

The Laperouse painting is an other currently under development after a long interval.

Gordon was researching for the Laperouse painting and Nelson at Gibraltar last November at H.M. Hydrographic Office, Taunton,  and another reason he was in Paris and at the Muse de Laperouse, Albi (Laperouse home town).

A friend of his, Chris Boddington former very successful lawyer and a skilled painter in his own right, saw the sketch last summer and suggested it would work well as a painting of Nelson transferring from HMS Captain to HMS Minerve at Gibraltar so guess what?

Since the attached pic was taken, the composition and colouring have advanced significantly.

There will be a new blog entry on this painting of Nelson and Gibraltar  in the next few days.

~

Also currently for re sale, given an offer they can’t refuse,  by clients of Gordon Frickers are the following Marine Paintings, several quite famous,  (by the way we should mention, prices often with paintings are the reverse of most cars so re sale prices are likely to be considerably more than the vendors paid or the current price of new paintings direct from the artist):

“H.M. Schooner “Pickle”, carrying the news of the Battle of Trafalgar”

“Nelson’s Column”

“Trafalgar Dawn”

“First Shots, Trafalgar”

“Nelson’s Pickle, first with the news”

“Ferriera” ex “Cutty Sark”, “Last Departure” (mentioned on this blog, 27.01.10)

~

Another  email was an invitation to go on a Dutch gallery web site ( for a fee).
The site seems to feature mostly Russian artists, some quite good.
It has no marine artist.
It did have an interesting link to a gallery in California, that set Gordon thinking…
He does not  have a list of galleries which might be worth approaching, should he have one?
Can you recommend any galleries?

The schooner “Jane Banks” was the last British square rigger with out an engine to trade “foreign”, barely surviving her final crossing of the Bay of Biscay.

You can read more of the life and adventures of Jane Banks by following the further reading links from page

http://www.frickers.co.uk/marine-art/jane_banks_entering.html which in turn will lead you to a second painting of her in our archive section and more text.

http://www.frickers.co.uk/marine-art/jane_banks_leaving_extra.html

This picture (http://www.frickers.co.uk/marine-art/jane_banks_entering.html) gives us a beautiful set of 3 of the most famous of the Cornish merchant schooners, working ships for you to collect.

The other pictures being Waterwitch, the running mate of Jane Banks,

(http://www.frickers.co.uk/marine-art/waterwitch.html)

and “A dispute settled“, the latter showing the Cornish Schooners Katie Cluett and Rhoda Mary,

(http://www.frickers.co.uk/marine-art/dispute_settled.html).

The new marine print has we hope you will agree, captured the warm colours off Bermuda so adds a special dimension to the trio of marine pictures, the working ships shown in the other 2 paintings being off the Cornish coast, Falmouth and Fowey respectively.

Thus “Jane Banks entering Bermuda” is now available for you to add to your collection.

You can order securely online and soon Jane Banks will appear in our Print Gallery in a few weeks time.

http://www.frickers.co.uk/prints.html

These paintings are part of an emerging series of scenes currently being painted, along the French coast including many nudist, surfer beaches and some ports.

If you want to know more before they are sold, hit “contact us” but be quick to avoid disappointment.

Audrey, now a very senior citizen,  has been running Gallerie Marin, Appledore, N Devon for well over 25 years.

Her May Exhibition is always well attended, buyers always confident knowing they are going to see some special work chosen by Audrey with care and skill.

This year despite the heart breaking loss of her soul mate Alan last Autumn, Audrey decided life is just to dull without her Gallerie Marin so she says  the new show will be bigger n better with new attractions!

Audrey comes from a sea faring family of illustrious pedigree hence Gallerie Marin.

However when she visited Gordon Frickers some 17 years ago it was his experimental French landscapes that bowled her over.

The paintings started as a result of Gordon’s determination to understand his peculiar and rare colour vision.

The complexities of which make painting, for him, more difficult and when he chooses to paint “as he sees” as opposed to as he has learnt, for other people surprising and more rewarding. (see  http://www.frickers.co.uk/colour/index.html or “contact us” to learn more)

Audrey has been enthusiastic about these works ever since and her gallery has a significant demand for Gordon’s French work.

Audrey said the emotions, in many cases the sense of heat, powerful handling of the colours, confident direct painting, and much more struck her as extra ordinary; she has many clients who agree and you can make up your own mind by viewing the originals or at least contacting Audrey.

You can contact the remarkable Audrey on 01237 474231 or via audreyhinks@galleriemarin.co.uk or vist the gallerie at 38 Market Street, Appledore EX 39 1PP. 

Audrey  is none to quick with the net and besides just for fun a vist to beautiful Appledore is always worth while, plus as it is impossible  accurately reproduce paintings on the Internet,  there is no substitute for seeing the real thing.

A beautiful limited signed, numbered edition of an elegant  schooner the famous Nathaniel Hershoff built at New York U.S.A.

“Vagrant off the Needles” was the first of my paintings to go into print thanks to Helen Swaby of De Montfort Fine Art http://www.demontfortfineart.co.uk/
Following a recent enquiry here,

I found none in stock so I contacted De Montfort Fine Art who published “Vagrant off the Needles“.

They have replied “unfortunately, this piece is now sold out“.
In theory, all our available picture copies are listed on an Excel spreadsheet, but, that dread 3 letter word, these are unusual times.
 
The spreadsheet tells me I have 4 remaining copies of “Vagrant off the Needles“.
Because I am in the process of moving studio, 3 copies according to my spreadsheet are in store in Normandy.

Nos. 2, 3, I had reserved years ago for my children but they can’t store them so some one else is going to be very lucky, you maybe?

I will now sell 2 and 3 and 404.
I can’t liberate them until the 2nd week of December.

You can reserve your copy via contact us on frickers.co.uk
 
The 4th copy is here but is slightly blemished, retained as a portfolio example and will be destroyed when the edition has sold out.

It is tempting to have some fun with a “Dutch” auction!

Who wants to grab the last now rare copies, available from 2nd week of December?

Wow, what a difference, I’d never go back!

Last week I treated my desktop PC to a new monitor/screen.  I changed my 17″ screen for the latest thing according to their web site, from AMU, a 22″ flat screen.

The 5 year old 17″ was ceremoniously retired and replaced with a shinny new 22″ flat screen built by AMU

But why does the new screen re arrange the desktop and documents (example showing 2 pages next to each other) without my asking it to???

What other “initiatives” has it got to surprise the unwary???

Exploiting the potential of the new screen, soon I will begin to tackle a very “thorny” subject. How faithfully can one get the photographs of my paintings to reproduce on the website?

I am all too conscious that at present it is a rather hit and miss struggle to get near accurate colour and it is working at the limits of my Epsom 2450 scanner and Canon D350 camera.

These devices despite claims to the contrary do not easily reproduce colours faithfully, many strange distortions occurred…

It is part of the issue Gallery  Four Advantages http://www.frickers.co.uk/colour/index.html is exploring.

I know there are some problems it seems none of the manufactures are interested in addressing even though a solution would give them a competitive marketing edge. Who knows why?   

I will write more on this subject soon.

I would be very pleased to hear from anyone interested in developing colour reproduction with digital cameras.