Introduction There are plenty of art studios that advertise "museum quality copies" of famous antique paintings. However on close examination it becomes obvious that they are just that, copies lacking the quality of a true masterpiece and the fine painting of the age only found on genuine antique paintings. I have been creating high-class reproduction paintings for over thirty years. My life has been dedicated to perfecting the methods and techniques of painting from the old masters to the moderns. My works are made specifically for decoration, connoisseurs and collectors who demand absolute perfection not less than impeccable recreations that even the best experts would believe to be period works of art. An "art forgery" and "art forger" if you will as some have put it. Each painting is subjected to a unique process of aging that matches precisely the actual affects of age on antique paintings. More What is a copy? Before the advent of cameras, movies, magazines and modern painting techniques the only way people could see pictures of things, especially in color were by viewing oil paintings. From the rennasance on large studios were established throughout Europe where artists, often under the direction of a master turned out imnurmerable paintings. More

Cracking Cracking occurs in most antique paintings. They can begin to appear on the surface of a painting in as little as twenty-five years. Many Picasso's on display in museums today have long since begun the cracking process. But why do paintings crack? To answer this question we must understand the construction of an oil painting. An oil painting on canvass is typically composed of four layers of very different material sandwiched together. First there is the 'support' another term for the canvass itself. Applied over that is a layer of gesso sometime called the 'ground'. This is the actual surface the oil paint will be applied to. Originally gesso was composed with powdered gypsum and a binding agent or glue. The next layer is the oil paint itself, and finally a coating of varnish is applied after the oil paint becomes dry. More Cracking the Cubist Code 'For years I have studied the cubist paintings by Picasso, Braque, and Juan Gris. The cubist school is a way of thinking, seeing and interpreting. There are many commonalities that can be seen in the works of these painters. Subjects, themes, objects and concepts were often shared among these artists. More

Re-Lining All the paintings displayed here have undergone a relining process unless otherwise stated. Relining is a process where by a new canvas is applied with special adhesives to the backside of the original canvass. Virtually every painting displayed in museums is relined. The purpose of a relining is to reinforce the old antique canvass, which in time will dry out, and deteriorate. When this occurs the painting is in danger of being punctured or torn by the slightest external pressure. Also the original canvass will tend to sag in time. When this occurs the surface of the painting may become uneven with bulges or ripples that interfere with the viewing of the painting. For over one hundred years restorers with the relining process, which not only flattens out any irregularities in the original canvass but reinforces it as well, have remedied those conditions. At the turn of the century there appeared in England large restoration shops that were established to restore the huge reservoir of neglected antique paintings being bought up by the newly rich collectors of the industrial revolution. More