Current Exhibition, July 2014 - Painting by Contemporary British artist Gina Parr July 08 2014, 0 Comments

TINT ART Gallery are delighted to present the work on Contemporary British Artist, Gina Parr. 

Exhibiting at TINT ART Gallery, Bosham, West Sussex PO18.

By Appointment - Wednesday 2nd July 2014 - Wednesday 22nd July 2014.

(Haze and Linking Past and Present, a beautiful pair of paintings inspired by Gina's fishing trips with her father.)

For three weeks from 2nd July 2014 TINT ART Gallery is exceptionally lucky to be receiving the work of Internationally collected and exhibited artist, Gina Parr. Gina has been working in the arts since 1980, working as a full time painter since 2007. Her work is in private collections in the United States, Canada, Norway, Germany, Switzerland, Eire and the UK and has recently been purchased for the permanent Art collection at Keble College, Oxford.  

The Exhibition is made up of paintings from three of Gina’s Collections of work. River meets sea, Gone fish in’ with Wilf and Down to earth. River meets sea series is a reference to the Estuary at Exmouth, where Gina now lives in Devon and where she fished with her father as a child. 

In Gina's words: "Gone fishin with Wilf' and consequently "The River meets sea" series, both reference the Estuary in Exmouth, Devon, where as a child I fished with my father and these memories now fuel an emotional catalyst for me to explore the line between abstraction and scenic recognition. Whilst considering where "exactly" the river meets the sea, I am also mapping elements of chance and control in the process of Painting. Although my work is autobiographical I would like it to evoke an atmosphere which may in turn elicit personal emotional responses for the viewers own sense of "place," physical or emotional."


Rosie Emerson tells TINT ART Gallery about her artistic development June 27 2014, 0 Comments


Rosie is a full time working artist living in Hackney Wick. Her work is highly admired and she has a range of Collectors, ranging from Gallerists to young collectors to established art gurus. We tip her as one to watch and one to buy into now.

Candida Stevens of TINT ART Gallery went to Rosie’s studio in Hackney Wick to interview her about her artistic development:

Who and what are your artistic influences?

My Inspirations come from sources old and new, I love to travel when I can and I am forever drawn to the ornate and decorative. Florence has inspired several works, both the Florentine frescos and statues to the glistening gold of the early renaissance paintings in the Uffizi. In London, I visit galleries like The V&A and the Wallace Collection, I love finely crafted jewelry and Armoury.  Nature is also a resounding influence, I have used pictures I have taken in Kew Gardens in my work and I take photos regularly when out walking my dog, Prince.


Can you tell me a little about your early journey as an artist after leaving art college?

After graduating in 2004 I was en route to do a Masters when I stopped off in Dorset, my home county, and I ended up sharing a Georgian town house with a ceramicist.  We set up a little gallery called the Shotgun gallery because it was above a gun shop and made work there for 2 years. We lived amongst damp and open rafters but it allowed me the opportunity to experiment with different ideas and carry on making work. I then returned to London to reengage with the London energy.


What has coming back to London done for you creatively?

I think the diversity of creative people is important. Lots of people working within cross disciplines, like costume design and photography.  Having access to a broader group along with all the exhibitions and all that London has going for it.


What informed your stylistic development, for example the long sweeping legs? 

My first collection of Long thin ladies was the model series which were inspired by silhouettes of fashion photography and were a kind of comment on the perverse alien creatures of catwalk models. I’m sure there were other less conscious influences like Japanese painting and Alphonse Mucha. Then I did the Legs & Drawers series inspired by Florence, the frescos and statues and furniture books. My Dad is a cabinet maker so I’ve grown up around antique furniture. One of the Legs & Drawers originals is 12 foot long, they just kept getting longer.  I then wanted to work with photography and do my own shoots and be able to scale up, so I worked on the Goddess series and the Louise Brooks commission for a cruise ship and the Annoushka series. The screen prints came next. I wanted to soften the photographic image, experimenting with different powders and elements. Then I moved onto the cyanotypes, which is where I’m at. I’ve just started moving the objects half way through the exposure which is exciting.


Did you start working with any particular favourite medium?

I’d say collage is still what I feel is the essence of my working process, but not necessarily using scissors, more of a methodology, putting things together that weren’t together before. I like changing and combining mediums, like hand painted with photographic. I’m really enjoying the cyanotypes at the moment.


What is next?

In terms of technique I’d like to try some salt prints. These are similar to cyanotypes, but come out brown. They are more technically challenging but I’m up for it. I have various shows coming up including as Exhibition with 3 other cyanotype artists, all women, double negative darkroom.


What is your artistic dream?

I’m hoping to break the world record for the biggest cyanotype print, 9m x 6m.


Watch this space!

Some basic rules about Limited Editions May 13 2014, 0 Comments

Limited Editions:

In the UK the Fine Art Guild ensures the quality and verification of limited edition prints by employing a number of strictly administered regulations for all processes and aspects related to them. TINT-ART respects the binding agreement of Limited Edition in accordance with Governing Law and purchases will be deemed to have occurred in the United Kingdom. 

A limited edition is normally hand signed and numbered by the artist, typically in pencil, in the form 14/25. The first number is the number of the print itself. The second number is the number of overall prints the artist will print of that image. The lower the second number is, the more valuable and collectible the limited editions are likely to be, within whatever their price range is. The early prints in an edition are the most desirable. Some editions are staggered, the first few will cost less in order for the artist to recoup their costs and encourage early sales. There can be several levels to an edition and they will be shown at the point of sale. 

A small number of "artists' proofs" may also be produced while testing prints, signed and with "AP", "proof", etc. Prints that are given to someone or are for some reason unsuitable for sale are marked "H. C." or "H/C", meaning "hors de commerce", not for sale.

TINT Editions tend not to number more than 25 meaning the edition is limited so that the number produced from the same exposure does not exceed 25. Each one is sent with a stamped and embossed Certificate of Authenticity showing it's corresponding edition number. With prints now being produced on aluminium or behind acrylic glass it is becoming more common for artists to sign a Certificate that can be framed with or stuck to the back of the artwork.



If you have any questions about Limited Editions we'd love to hear from you. It's important to us that the concept of a Limited Edition print is well explained for the benefit of our customers. Please get in touch [email protected] 


TINT-ART AT THE OTHER ART FAIR, APRIL 2014 April 21 2014, 0 Comments






As a Photographer who embraced everything that was beautiful about Film Photography, the new digital age was, for a while, a source of some distress to Dan. He collected frames from the end of the films he shot and printed a series of images called "The End of Film".
What Dan has to say about this Collection. 

"The End of Film is like The Happy Accident. Film was only ever the intermediary to the print. It's the print that endures and does the telling. That's how all of this kind of art work should happen, the unexpected and an element of a journey adding to why something makes sense, this is the message it's conveying. The digital files have come of age, they are now worth printing."






16” X 20” - EDITION OF 25                        24” X 32” - EDITION OF 5 

1-4         £360                                               1-2       £700

5-9         £420                                               3-4       £750

10-14     £480                                               5          £800

15-19     £550

20-25     £640



TINT Tinys: Print centered on 8" x 10" Fine Art Paper, Edition of 250

A brief history:

Dan Stevens fell into the high society glossy magazine world immediately after graduating from King's College London in 1987. He shot fashion shows and parties for W magazine and Tatler at the same time as assisting well known photographers including Snowdon, Michael Roberts and Mario Testino. 

In 1994 he set up on his own and since then has travelled worldwide, won Association of Photographers awards and shot many well known faces for magazines and private commissions in the UK, Europe and the US.


TINT-ART is TINT-ART is a contemporary fine art photography gallery selling affordable limited edition fine art prints from International artists in bespoke collections.






Like the photographers that most inspired her, Man Ray and Jerry Uelsmann, Rosetta found a way to push the limits of photography and create surreal imagery in a dark room without the use of Photoshop which was Light painting.

In her own words: "Chance plays an integral role in my work, revealing new paths to explore. No matter what my intentions, the unexpected will always surface. Things I cannot predict. It is this that makes the creative process so exciting. I often use fabrics, and my array of torches, lasers, and fibre optics act as my paint brushes. I am drawn to the female form, playing with the feminine archetype. Maybe this is because I have always been surrounded by beautiful, spirited women. I do not like to dictate how the viewer should feel about my work. I create, I leave the viewer to analyse and make what they will of it. I hope to capture a world rich yet raw, romantic yet tragic. I am looking for images that are mystical, ethereal, fragile and momentary. But, most importantly, images that are serene. It is a sense of serenity that I am most obsessed with realizing in my work."







16” X 20” - EDITION OF 25                        24” X 36” - EDITION OF 25 

1-4         £200                                               1-4        £250

5-9         £255                                               5-9        £300

10-14     £280                                              10-14     £380

15-19     £320                                              15-19     £420

20-25     £350                                              20-25     £480



TINT Tinys: Print centered on 8" x 10" Fine Art Paper, Edition of 250


TINT-ART is TINT-ART is a contemporary fine art photography gallery selling affordable limited edition fine art prints from International artists in bespoke collections.

FOR MORE INFORMATION: www.tint-art.com or www.rosettapierra.net or www.danstevens.co.uk

Twitter & Facebook @TintArtGallery



A study on self publishing fine-art photography books March 14 2014, 0 Comments

A study on self-publishing fine-art photography books by Candida Stevens of TINT-ART GALLERY, UK.

While representing the work of 20 international artists I have noticed themes forming in their bodies of work; water, abstract close ups, architecture. This got some of us talking about books. A few of my artists are crying out to be published in this close intimate form so I decided to research publishing. TINT ART PRESS hopes to print its first three books this summer. Here I share some of the main points that I have taken away from reading a great book, "Publish your photography book" by Darius Himes and Mary Virginia Swanson. This book has been a great early guide and has been invaluable both for its enthusiasm and encouragement on the joys of book publishing alongside its warnings, instruction and considerations. It seems undeniable that the photography book market is booming, both as more artists turn to photography as a means of expression, and as the print-on-demand (POD) technology becomes more useable and omnipresent. So how to get published and how to stand out in the crowd?

Fine art book publishing is like a world of its own. Is 'book art' a new art form? Are the designers and publishers themselves helping to define small individual details in the books they publish that make the books unique art works? The secret ingredient in 'book art' seems to be in the art and craft of making the book an art object in itself.

First things first:

Define your audience and ask yourself why you want to publish a book and what you want it to say. Know who you are talking to and if you have an established audience. If so have they been catered for already? If so, was it a success?  Personalise the style of your book to suit the story and the individual. Ensure that it is not generic enough a design to fit any work. It must be unique and relevant and linked to the theme. Ideally have a thesis statement about what the book is about.

 Consider how to organise and categorize the project at the start. How do the multitude of parts function together? A good practical suggestion to help with the layout is to print out the images and live with them for a while.  Play around with the order and do it physically rather than in a software package. This way you free yourself to discover. If editing is taking time remind yourself of your audience and your goal and ask yourself if each picture qualifies.


Knowledge is power. Do your research. Know what type of binding you like, know what paper types you like and don't like, know what trim size (final page size) you want, how much text you do or don't want.  Some advice imparted in ‘Print your photography book’ is to spend time identifying art books that you do like and that you don’t like and work out the reasons why. They observe that it is often easier to identify why you don't like something, helping you to narrow down what you are after.


It is generally agreed that the maximum potential market for an art book is going to be around 3,000 with some fine art publishers printing as few as five hundred.

High-end limited edition books can be produced in very small runs and often include an original print. You could limit this to the first 30 copies sold to encourage early sales. The price will be determined by the artists reputation, the price their work achieves in a gallery setting and the number of copies in the edition.  Some can be pre-sold in order to cover the costs of production. For most artists and photographers a published book acts as a stimulus for their work to sell so is an investment worth making. To enhance the marketability of your book think about getting it endorsed. Endorse the book with a piece of contributed writing. Celebrities or industry experts are always powerful. Otherwise an expert in your subject area. Think of the book as a Collectors item and consider the endorsement accordingly.

The publisher:

Identifying the books you like might help you to identify which publisher you want to work with. When approaching a publisher make it as easy as possible for them to say yes. Provide them with a fully mocked up version of the book. Depending on the publisher be prepared for them to want an influence on layout and production.


When you enter an agreement with a publisher you retain copyright of your work but you are granting the publisher the exclusive right to publish the work in book form for the life of the copyright. They may well be acquiring a number of subsidiary rights so make sure you understand the contract.

We hope this is a helpful starting point and to keep you inspired here are some great quotes;

"Books are conveyors of ideas, mementos of civilisation and harbingers of change" (Himes and Swanson)

Paula McCartney talking about her book 'bird watching' says, "I think of books as a medium where all of the elements, including form, content, and materials are in dialogue with each other."

"The power of the photograph continues to amaze me. The power of the book is beyond my full comprehension" (Lisa M. Robinson).




Interview with Rosetta Whitehead about her Award winning light painting March 11 2014, 0 Comments

Interview for Fotoura.com where Rosetta recently won first prize in the February 2014 light painting competition. Candida Stevens, Owner of TINT-ART Gallery interviews Rosetta Whitehead about her Light Painting. Rosetta is one of two TINT-ARTists showing at The Other Art Fair in April.   27.02.2014

CS:  What got you into light painting?

RW:  I was studying photography at University when I stumbled across the technique by mistake. I was doing a shoot at night and needed some extra light so I used a torch, the model ran across the image painting herself into it by mistake. In that moment of understanding the endless possibilities of light painting opened up before me.

CS:  When you are setting up for a shoot what practical and creative considerations do you have to make?

RW:  I have to make sure it’s pretty dark so I work by night. All my torches use batteries so I can work anywhere but have to ensure they are charged. For my art work I tend to use my friends or sisters so there a mood of familiarity and intimacy.

CS: When you set to work in the pitch dark do you have an idea of what you will achieve or is it an unknown?

RW: I’m very experimental and quite often go into a shoot without an idea and see what emerges. Chance is an integral element of light painting, at least at the early stages of exploration. Every time I find a new technique, like fiber optic torches, it goes through a new spurt of chance again.

CS: The word photograph means painting with light so you could say light painting defines photography. Where do you feel light painting fits within photography?

RW: It’s the most surreal facet, it leaves so much room for creativity. It’s considered by the Light Painting World Alliance to be a new genre that needs to be recognized as such. I’m not sure if I feel the same way because people have been working with a form of light painting for years right back to Picasso and Dali, it’s all amalgamated now and without the digital age it was difficult to take it as far as it has gone. Working in dark rooms with negatives doing what Jerry Uelsmann did in the 50s and 60s was another form of light painting, dark room tricks, manipulating light. Manray manipulated light in the darkroom. I’m manipulating it in a dark room in the camera all in one exposure. a certain extend I am making a photo montage but it real life. I’m not shown in the frame because I’m not lit, I’m walking around in shot all of the time.

CS: Does it sometimes feel like videography frozen in a single frame?

RW: Absolutely. There is something almost holographic about it. There’s something more honest about it than a single photograph that freezes something because it’s time playing out.

CS: Who inspired you and which of your peers do you most respect?

RW: The Pre Raphaelites were my first inspiration. There are 2 light painters, Patrick Rochon and Aurora Crowley who work with portraiture and nudes. One of Patrick’s nudes spurred on my whole inspiration of fiber optic torches.


We look forward to showing Rosetta's work in April so you can see it first hand.

The Other Art Fair. 



Interview with Dan Stevens about his Collection, The End of Film February 24 2014, 0 Comments

Candida Stevens, Owner of TINT-ART Gallery interviews Dan Stevens about his new Collection of art work, The End of Film. Dan is one of two TINT-ARTists showing at The Other Art Fair in April.   23.02.2014

CS: Tell me about “End of Film”

DS: One of the reasons I was drawn to photography was the magic of film, this delayed yet at the time instantaneous, way of capturing what I noticed. There was a technical challenge and a tactility of mechanism in the camera with its own aesthetic. Then there was the chemistry, the process, the work that you had to go through to be rewarded with your image. As I’m speaking I’m casting my mind back to the Bristol Arts Center when I was 14 years old doing an evening class learning how to process and print black and white photographs in about 1978. I associated the process of noticing and recording things and then realising it, making it a reality that other people could see which was the processing of the film, then the printing. It was all part of the overall appeal of photography. So years later, for my 21st birthday I was given a camera and the reason I wanted it was to record my life, a sort of diary. I’d always been interested in how things looked and it was the easiest way for me to record my observations.

CS: Was it about communicating?

DS: It was purely as a diary, encouraged by my mother who was much more literary. I had none of those attributes but still noticed things and had the desire to record.

CS: So film was important to you?

DS: Film was part of the process, in around 1999, 10 years into my career as a photographer, digital cameras were available and the internet had started. There was initially a great excitement for all the benefits that digital photography had, but I soon discovered that there were a lot of good qualities associated with film that were going to be discarded, namely the texture, feeling and colour and sense of hand tactility. There were commercial pressures to shoot digitally, the results disappointing and as such I clung on to the romance of film. Simultaneously I was having to develop new skills in using digital. The End of film was inevitable and I’ve always liked puns. It was while I was cutting up negatives to go into their sleeves, I was just looking at literally the ends of the film that would have been clipped to the film holder while being dipped into the processing solution and there are two interfaces here because the end of a roll of film is partially exposed, the tip protrudes from the canister so it exposed to light, then there is a boundary between where it enters the film canister, partially exposed to light and then fully protected and unexposed. At the same time there is a boundary between the chemicals and the air space above as with dip and dunk machines. It was a kind of analogy of one thing becoming another. This accidental intermediate range was suddenly very interesting and each film had its own signature pattern. The vast majority were pretty boring because the transition region was pretty narrow, but occasionally you get this wonderful broad band going from totally exposed to light creating these beautiful oranges to unexposed which stays black. This series of images  have come from negative film, but I’ve noticed equivalent patterns on positive film. Incidentally, it is purely a property of the film and the process and has nothing to do with the lens. So this series is concentrating on the aspect of photography that was my interest and becoming absent. Why I find them intriguing is that the patterns are at a molecular level and remind me of images you might see in chemistry, they are kind of universal and could happen anywhere in the universe where there is light. Ultimately it is light interacting with molecules, you can see similar patterns in space. They have an other worldly atmosphere. They remind me of a Rothko painting or a Turner sunset.

CS: I’m totally taken with these circles and elipses.

DS: To make a drum scan you have to put the film in oil to make it stick to the drum. The orange circles are where an air bubble has formed in the oil. The light bounces around the border of the air pocket in the oil forming a kind of internal refraction absorbing part of the light. 

CS: What year were they shot?

DS: I first started collecting them in 2005. I made some high res drum scans in 2008.

CS: Are you a photographer or an artist and how does that question make you feel?

DS: It’s an interesting question because I had no art education at school, I don’t remember a single lesson. I was considered a scientist at school but I was an accomplished musician and my artistic side was present in music. I fell into photography after University and initially approached it from a practical point of view but quickly, subconsciously, I was behaving as an artist, noticing things and recording them, but it’s taken many years to call myself an artist.  I wasn’t practicing what I considered to be an artists role, I was commercial, but I did develop a sense of my own instinctive point of view.

CS: What to you is art?

DS: I suppose it’s a manifestation of a person’s observation.

CS: Do you like to challenge or comfort?

DS: Comfort. I’m a people pleaser rather than confrontational so producing something as abstract as this is a departure for me, it’s quite new

CS: Which are you doing with this project?

DS: I suppose I’m purely showing people what I have noticed and think is quite cool, appealing, in the same way that someone might photograph a sunset or write a story.

CS: What’s next?

DS: To possibly be a bit more pro active in the creation of these patterns, Up until now I have purely collected ends of film that have been processed for jobs so I have an understanding of how the films have come to be the way they are and would like to spend more time in a lab perhaps with larger sheets of film seeing what patterns I can create.


The full Collection is available to buy at www.tint-art.com and will be Exhibited at The Other Art Fair, London 24-27 April 2014.



A wonderful story about THE END OF FILM February 07 2014, 0 Comments

Dan Stevens has been working as a professional Photographer for 30 years. As a Photographer who embraced everything that was beautiful about Film Photography, the new digital age was, for a while, a source of some distress to Stevens. He collected frames from the end of the films he shot and collected a series of images which he aptly named, "The End of Film".


Stevens was a master of 35mm black and white photography and built a dark room in his London studio to work on his own printing. When the Commercial world started to demand digital photography, there are many that would agree, the technology was just not ready to produce the quality that these Professionals were accustomed to delivering. Experiencing the doubt and inner struggle of how the art of film photography would be replaced by digital technology, Stevens along with many of his fellow Photographers experienced a time of flux. This Collection of artworks are part of what Stevens developed during this time.

The wonder is that the age of digital is here and the technology with it, allowing theses art works that were created out of pain to now deliver their full glory and express a wonder, almost other worldly in their rich tones and extraordinary details. Like fire, like space, like sunshine, like night, the power of these images is incredible.

Each of these details is part of the MASTER ART WORK which is made up of all 16 details.

What Stevens has to say about this Collection. "The End of Film is like The Happy Accident. Film was only ever the intermediary to the print. It's the print that endures and does the telling. That's how all of this kind of art work should happen, the unexpected and an element of a journey adding to why something makes sense, this is the message it's conveying. The digital files have come of age, they are now worth printing."

View collection


What to buy now and why! December 02 2013, 0 Comments

I was recently asked by a magazine, what would I buy and why from TINT-ART.
It was such fun thinking of the answers and I thought worth sharing so, If I was you....written by Candida Stevens, Founder of TINT-ART.

As an investment I would buy Herbert Ypma's Buddha Bridge. Sold to Hugh Jackman for his NYC apartment for $10,000 this will be a sell out at Ypma's Exhibition next year. The large print is an Edition of only 10.

As a more accessible investment I would buy Rosetta Whitehead, a young promising artist at the beginning of her career. Printing on aluminium and behind acrylic she requires someone with an eye for the contemporary and vision for the future of the fast changing world of art collecting. 

As a cool and contemporary comment on the world of art and Photography I would buy Dan Steven's End of Film. New prints will be printed under poured resin with an amazing organic affect that illuminates the colours of the negative. 

For something relaxing and beautiful I would buy Alexander Hamilton's Cyanotypes, Sam Burns or Allan Coker Australian seascapes. Colour psychology shows these blue green tones to be the most relaxing colours to have in your environment. Perfect for the bedroom.

For classic old school timeless images with a historical edge I would buy Nicola Bensley. Nicola works only on film with only hand printed silver gelatine prints and is an artist who will continue to gain recognition as time marches on and her brilliance endures.

For abstract images with story and intrigue buy Carlotta Maitland-Smith's sand studies. Evocative, figurative sand scapes taken in the Namibian Desert. 

For geometric form and shape with studied perspective I would buy Fabrizio Magris, an Italian artist represented in Europe by TINT-ART.

For intellectual art I would buy Cedric Christie or Bill Jackson. Two artists further along in their careers who express themselves through studies of time.

Limited Editions range from 5-30 and are exclusive to TINT-ART so you won't find them anywhere else. Limited Editions become more expensive as the edition sells out, so best to get there early!

Bill Jackson Photography - Fine Art Photographic Prints November 19 2013, 0 Comments


Bill Jackson Photography  - The Night Time Series:

In 2007 Bill began work on his night series. Having spent years in film and multimedia practice Bill returned to photography. Bill draws influence from some of his favourite films. There is a clear cinematic feel to Bill's work with similarly cinematic titles. Bill works by night for this series. It's often cold and damp, an atmosphere that lends itself well to the foggy, eerie mystery of his images, a time when no one is around and the world is still.

Bill location hunts by day and returns by night, well prepared for what could be a whole night of shooting. As he looks through his lens he often can't see anything, but he knows what's there from seeing it in the day. Bill lines up his camera using a spirit level and presses the button for a long exposure of 5-20 minutes. He works in pitch dark. Torchlight will blind him for a good 20 minutes, so he adjusts to the dark, using a night vision scope to make sure he doesn't fall down any holes. He is hunting, he is hunting for the next image that portrays what he is seeking. 

Bill is very specific about his titling. They all hark back to some earlier influence, often cinematic. One good example is “Night hawks is an old term for people who steal antiquities in the night. It's me going around and stealing the images of these spaces owned by other people, a transgression. I feel like a trespasser, going into spaces, taking away the spirit of the place. Hawks swoop down and take things, nigh hawks do it at night. "The Night of" series refers to The Night of the Hunter, the 50s movie with Robert Mitcham playing an evil creature. Curiously, despite the prominence of dark influences, Bill is a big fan of pop art and surrealism. He has a deep respect for someone who can synthesis heavy going stuff and put it in a few words. He refers to himself as a "comic book boy". 

Bill doesn't believe in ultimate originality, a totally new thought, because, he says, you can trace the history of everything. Most, if not all, of what we see can be traced to some other source. That’s why originality is not his driving thought, but an inflection on what ultimately has gone before. For Bill his work either gets you or it doesn't. A clever visual artist knows that people have a history already inbuilt with triggers ready to be got, whether they be memories or lost feelings. This is what his work gets at. 


Buy the art you love November 04 2013, 0 Comments

As any seasoned art dealer will tell you, if you love it that is sufficient reason to buy it. That is reason enough for me to buy an artwork that I will see every day. I want something that makes me feel; happy and calm and captivated. This is a big ask, but is the criteria used to select the artworks for sale at TINT-ART Gallery.

There are so many talented artists creating such beautiful images. Having beautiful pictures on the wall is, as they say, a way of making a house a home. As representing Gallery to currently 16 artists it is important to me that my artists all sell their work well to good homes. Wandering around the Affordable Art Fair recently I noticed that there was a buzz around the Exhibitors who had prints for sale, by which I mean cradles of mounted images that were not framed, but were well presented and ready to buy. 

With this in mind I am planning the TINT-ART stand at the Goodwood Rare Brands next week. We will be showing work by Alexander Hamilton, Carlotta Maitland-Smith, Dan Stevens and Samuel Burns. 


From E1 to W1 to W11 in a day of Art October 21 2013, 0 Comments

With Frieze week drawing to a close there will be lots of exilerated, if
exhausted, artists and curators today. Saturday saw the TINT team in
London attending several events. This is what I got up to. First stop, The
Other Art Fair at The Truman Brewery in E1 where I met some
interesting artists. Fabrizio Magris, an Italian artist whose work had a
focus on geometry and urban simplicity.

So much news...October 2013 October 17 2013, 0 Comments

Having spent a great deal of time and effort on "product development", which has broadly involved a lot of test printing, mounting and framing we have established an optimum output and final presentation for all our current artists. We are delighted that Rosetta Whitehead (who everyone knows as Zetta Pierra so we're thinking she should just change her name?!) is showing the work we have been busy developing in an exhibition at Acklam Market in Nottinghill, London this weekend. We have printed a triptych of her Collection 'Avian Lens' face mounted behind acrylic glass which looks AMAZING and a triptych printed on aluminium which is stunning. We are also excited to be showing a range of TINT artists work at Goodwood this November as part of Rare Brands. We are thrilled to have our first online Exhibition which went live today, showing "Still Lives" by Nicola Bensley. We are champing at the bit to exhibit the work of highly acclaimed conceptual artist Cedric Christie whose work we are currently working with to find the optimum presentation solution. We are chuffed to be working with Herbert Ypma, founder of HIP HOTELS on curating his first art Collection which will exhibit on TINT-ART and in a London Gallery in the coming months. We hope you enjoy everything we have been working on. Let us know what you think of our Collections and if you have any questions, get in touch. All the best, Candida, founder of TINT-ART Gallery.

Everything you need to know about Limited Editions September 18 2013, 0 Comments


"An edition is a predetermined number of prints at a specific size from a single image. An edition print should be of exhibition quality and will be individually numbered (e.g. 5/10), signed and dated, either on the print itself or on an accompanying certificate. Often an ‘Artist Proof’ will exist separate to the edition and is usually the first or last to be printed. Editioning is more common among contemporary photographers and gives the collector an assurance of authenticity." Affordable Art Fair talking about Photography.

Digigraphie® printing explained. September 05 2013, 0 Comments

Digigraphie® describes a print created: By an 8-colour Epson Stylus Pro professional printer, with Ultrachrome™ and Ultrachrome™ K3 inks on certified paper authenticated numbered and signed by the artist, embossed and accompanied by its certificate.

Epson Technology

The 8-colour Epson Stylus Pro professional printers have printing characteristics which meet the expectations and requirements of photographic and pictorial artists.

Print quality and faithfulness:

  • Very high print quality = 2880 dpi
  • A wide palette of colours = 8 colours
  • Black and white printing = 2 blacks and 1 grey

Welcome to Samuel Burns July 15 2013, 0 Comments

 whose fine art prints of the Australian sea are like therapy. So calm, so serene, so  beautiful.....see them here....

What would you like to see for sale? June 05 2013, 0 Comments



TINT-ART is set to grow to up to 30 of the best Art Photographers we can find. Recommend someone who you would like to see featured on the site by emailing [email protected]


TINT-ART is a contemporary fine art gallery selling affordable painting, collage, illustration and limited edition prints from International artists in bespoke collections.

All work is available as print only and the majority is available ready to hang. The final presentation of the work is considered by each individual artist in order to best present their type of work.


TINT-ART Ltd operates according to the provisions of the consumer protection (distance selling) regulations 2000. In accordance with these you have 7 working days from receipt of your purchase to contact us by email and cancel your order. Please read our Terms & Conditions.