Question 1

I have an Alan Larkin print, painting, or pastel. What is its current value?

Accepted Answer

The value of a print, oil painting, or pastel of mine can vary depending on factors such as its rarity, condition, size, and whether it's a limited edition or original piece. The prices of my work found on the site are determined by our experience selling directly to interested buyers and may provide some guidance. Additionally, online marketplaces or art sales platforms may provide insight into current values.

Question 2

Will my print be shipped to me in a frame?

Accepted Answer

All prices quoted on this site are for the works unframed. If you are interested in a framed price please contact us.

Question 3

I’m interested in reproductions. Which paintings and drawings can be purchased that way?

Accepted Answer

Affordable, high-quality reproductions of select paintings and pastels are available. Watch for the "reproductions available" sign on images; click any image for sizing and ordering details.

Question 4

I’m interested in making a purchase. How/when will it be shipped?

Accepted Answer

Thank you for your interest in my artwork! We take great care in packaging and shipping each piece:

Oil paintings and pastels are shipped flat to ensure they arrive in pristine condition. 
Small Prints are shipped flat. 
Large Prints are rolled up in a protective tube to prevent damage during transit.

Shipping costs are determined based on the weight and size of the item, and we offer international shipping for an additional fee. Please note that processing and shipping may take up to 2 weeks, depending on the item and your location.

If you have any specific questions about shipping or need an estimated cost, please reach out to us directly.

Question 5

I’m interested in the prints. Can you tell me more about them?

Accepted Answer

All of my prints are printed by myself or directly under my supervision. All are printed on archival (acid-free) papers to ensure longevity.

If you have specific questions about a particular print or would like more details, please don't hesitate to reach out to us! We're happy to provide more information and assist with any inquiries.

I have worked in a number of print media, including lithographs and etchings. Lithographs are made by drawing with a crayon or brush directly on limestone slabs. Etchings are printed from copper plates after an image has been created on the surface, sometimes using acid and sometimes using tools to make marks directly on the plate.

Printmaking terms can sometimes be a bit tricky. Here is a list of definitions of terms. 
 
Printmaking Terms  
Stone lithography is a planographic printmaking process, meaning the image is created on a flat surface where image and non-image areas exist on the same plane. Instead of relying on raised or incised lines, the process is based on the chemical repulsion of oil and water. The artist draws on a limestone slab with greasy materials such as lithographic crayon or tusche, and the stone is chemically treated so the drawn areas attract oil-based ink while the untouched areas attract water and repel ink. When inked and printed, the image transfers from the flat stone surface onto paper.

Intaglio: The term intaglio broadly encompasses the various methods for producing images on metal plates. While it is often used interchangeably with etching, this equivalence is technically inaccurate. On this site Etching refers specifically to both hardground and softground processes. Any use of alternative techniques is explicitly noted where applicable.

Intaglio That Does Not Use Acid  
Mezzotint: An intaglio printmaking technique that creates rich tonal ranges from deep black to soft gray. The entire metal plate or a portion of it, is first roughened with a rocker to hold ink evenly, then the artist smooths and burnishes areas to create lighter tones, working from dark to light without relying on line. 
Drypoint: An intaglio technique in which the artist scratches directly into a metal plate with a sharp needle, without using acid. The displaced metal forms a burr along the line, which holds ink and produces soft, velvety, slightly fuzzy lines in the printed image.

Intaglio That Uses Acid 
Etching: Is a broad term that describes any intaglio printmaking process in which an artist uses acid (or another chemical mordant) to bite lines or areas into a metal plate. It is frequently used as a synonym for hardground and softground etching.

Hardground Etching: An etching process where a hard, waxy, acid-resistant ground is applied to a metal plate. The artist draws through the ground with a needle to expose the metal, then places the plate in acid so the exposed lines are bitten into the surface, creating crisp, controlled line work. 
Softground Etching: A variation of etching that uses a softer, tacky ground that remains sensitive to pressure. Paper or textured materials are laid on the plate and drawn on or pressed, lifting the ground where contact occurs. This produces lines and textures that resemble pencil, crayon, or fabric impressions. 
Aquatint Etching: An etching technique used to create tonal areas rather than lines. A fine dust of resin is applied to the plate and melted in place, then the plate is bitten in acid. The acid bites around the resin particles, producing a grainy texture that can be built up in stages for varying depths of tone.

Frequently Asked Questions

I have an Alan Larkin print, painting, or pastel. What is its current value?

Will my print be shipped to me in a frame?

I’m interested in reproductions. Which paintings and drawings can be purchased that way?

I’m interested in making a purchase. How/when will it be shipped?

I’m interested in the prints. Can you tell me more about them?