A few plain statements about what the catalogue records, what the online rooms show, and where the gallery stops short.
Each entry carries the maker, the medium, the year and a short note on where the work was made. Nothing more is implied by it. The record is there so a body of work can be followed across seasons, not so a single sheet can be read in isolation.
The digital hang follows the physical one room by room, in the same order. It is a viewing aid, not a separate exhibition. Where a work sits beside another in the gallery, it sits beside it online too, so the pairing can be compared rather than guessed at.
The zoom view is built to reveal paper grain, ink unevenness and brush marks at close range. It is not a condition report, and it does not stand in for examining a print in person. Hand-printed runs vary, and the sheet you see on screen is one impression from that run.
Only the works marked as print-on-demand in the catalogue are offered that way. Everything else exists solely in the physical hang. The catalogue states which is which, so there is no ambiguity about what stays in the room and what can be produced again.
A studio visit with a resident artist can be requested, and it is arranged separately from the Saturday walk-through. It depends on the artist's working schedule and the current show, so a request is a starting point for a conversation, not a confirmed appointment.
The gallery does not authenticate, appraise or value work, and it gives no advice on buying art as an investment. It also does not hold works aside, offer previews ahead of a show, or promise access that other visitors cannot have. The catalogue and the rooms are open to everyone on the same terms.
We would like to remember your choice about how the gallery behaves on this device. Your selection is stored only in this browser and is used to keep the browsing experience consistent on your next visit. You can read more in our privacy policy.