The three series below come up most often in studio conversations with new and returning collectors. Each entry lists what the work is made of, how it ships, and which edition it belongs to.
Series notes are updated after each studio cycle, so the details here match what is currently on the racks.
Series
Twelve oil-on-linen canvases painted between Kenton-on-Sea and the Wild Coast. Thin glazes and cold wax describe wet sand and the flat silver of an overcast dawn. Two of the twelve also exist as signed giclée editions of forty.
Oil on linen · stretched or rolled · edition of 40 on selected works
Read the series notesSeries
Wide-format works on cradled poplar board, most two-to-one or wider. Raw umber, ultramarine and a warm white mixed directly on the surface, scraped back between layers. Painted from a small caravan over three winters near Graaff-Reinet.
Oil on board · ready to hang · a few studies ship unframed
See the Karoo worksSeries
Small still lifes painted from life in the north-facing corner of the studio, ten to noon, using the same four objects rearranged. Mostly under 30 by 40 centimetres, on prepared paper. A common first purchase before collectors move to larger canvases.
Oil on prepared paper · mounts well in a simple oak frame
View the interior studiesMost people who write to me are not first-time buyers of art, but they are first-time buyers of my work. So the questions tend to be the same: what is it painted on, how big is it really, how many exist, and what arrives at the door. Here is how each of those is handled, whether you are adding a small study to a hallway or placing a canvas in a room you have been staring at for two years.
If you want the longer version of any of these, the studio notes live under Resources, and the full catalogue sits on the Services page.
Medium, surface, dimensions and edition size are written out per piece, not buried in a general note. You can compare a 40 by 50 centimetre board against a stretched linen canvas without guessing, and you know before checkout whether the print run is forty or a hundred and twenty.
Canvas originals leave the studio either stretched on a braced frame or rolled in a rigid tube, depending on where they are going and how you plan to hang them. Giclée prints travel flat, interleaved and signed in pencil below the image, with the edition number written in the same hand.
A painting, a numbered print and a pack of greeting cards can go in together. That matters more than it sounds: collectors often want a large work for the wall and a smaller print for a gift, and combining them keeps the packing sensible and the paperwork in one place.
Coastal light, Karoo horizons, highveld weather and the quiet interior still lifes each hold together as a body of work. Buying inside a series means the new piece sits comfortably beside what you already own, in palette and in scale, instead of fighting it.
If you have a specific view in mind, or a palette that needs to match a room, the commission window opens in two set periods rather than continuously. That keeps the studio time honest and means a commissioned canvas gets the same attention as the series work, not a rushed slot between orders.
The small still lifes and unframed studies exist for people who want to live with an original before committing to a large canvas. They are painted from life in the same studio, on prepared paper, and mount well in a plain oak frame you can source locally.
Most of these people bought one piece and came back a season later. Their notes are about how a painting behaves on a real wall, how a print survives a move, and what the studio was like to deal with.
"I bought one of the small interior studies first, mostly to see the surface up close. The paper has a slight tooth you can feel under the glass, and the oak frame was already fitted when it arrived. Two years on, it still reads the same in winter light."
"The Karoo board came rolled in a tube with the hanging hardware taped to the outside. I was nervous about a wide piece surviving the courier, but the corners were reinforced and nothing shifted. It hangs above a low bookshelf where the horizon line sits just above eye level."
"I ordered a numbered giclée from the coastal series as a gift and kept a pack of the greeting cards for myself. The edition number was written in pencil on the back, exactly as described. No surprises, which is what I wanted from a first purchase."
4.9 / 5
Average across 180+ verified studio orders, weighted toward repeat buyers.
62%
Of collectors return within eighteen months for a second piece from another series.
9 in 10
Say the listed medium, dimensions and edition size matched what was delivered.
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