The Studio of Michael Revers

About this site

This website was launched in January 2002 in response to demand by collectors of Michael's work. The aim of the site is to provide you with a window on the work of the artist Michael Revers. We have included all current issue limited editions in the "Traditional Art - Limited Edition" -Watercolour Collection, and a number of other collections and originals in the respective portfolios found in, "Traditional Art" and "Contemporary Art"

Although every effort will be made to ensure the material is correct and up to date, please be advised that pictures contained on this site will be subject to availability and Michael Revers does not accept any liability for any of the technical details held on this site. In addition, the portfolios are not inclusive of all Michael's work, which can be viewed instead at pre-arranged private viewings or exhibitions.

You can find out more about the artist Michael Revers by clicking on "About Michael Revers" - Biography.

About my limited edition prints.

Firstly let me assure you that any of my limited editions in the "Traditional Art" - Limited Edition Portfolio - Watercolour Collection, are of a singular nature and completely exclusive. That is to say it is a single edition, published and issued world wide, and of the number so stated. Each limited edition print is numbered accordingly, signed by me and is accompanied by a certificate of authenticity. Each edition and print is protected by copyright laws. I have been very strict to maintain that there is no other source of my published work. The total number of impressions in each edition in the Watercolour Collection has varied from 750 to 850, and latterly to 350.

The paper chosen to receive the impressions is high quality, and acid free, with a surface texture to resemble as nearly as possible, the original watercolour paper used for the painting. The process is that of lithography.

I have always used quality inks but in 1986, when technology permitted it, I bought the latest state of the art light fast quality, having a rating of 7 to 8 on the blue wool scale (Excellent to Exceptional). This constituted the very best quality available with this process, however, fading may occur if subject to ultra violet or bright artificial light, or conditions of persistent dampness, as would furnishings, carpet, wallpaper etc. It is important therefore to consider the hanging position in relation to the light source. This problem can be further reduced when framing, by the use of a special glass, which partially filters out the penetrating UV light, whilst allowing perfect clarity of vision.

Good framers will know about this material though it is more expensive than ordinary glass.

Giclee Limited Editions.

The name "Giclee" is given to the most recent technology in fine art printing.

It is a fine digitally produced image from the original painting. After digitalisation the printing machine uses many ink colours to achieve an amazing depth of colour. Compared to conventional print which uses three colours plus black, you can imagine why as an artist I am so excited by this Giclee process.

My Giclee prints are produced using a 330gsm fine acid free paper - Somerset Fine Art. The first three images in the "Traditional Art" - Giclee Limited Edition Portfolio, are of just 25 signed and numbered copies.

Concept Limited Editions.

These too are digitalised images taken from my original paintings and printing with six colours. These are issued as 250 signed and numbered prints. Why Concept? Well at exhibition I noted that viewers were getting confused between original and print. Some asked for prints of certain originals because they did not wish to budget for the original. I decided to start a collection of new images were the original was for sale, and also at the same time in smaller format, produce a limited edition modestly priced.

This I believe offered real choice and was a new venture. Hence the name Concept. They can be viewed in "Traditional Art" - Concept Limited Edition Portfolio.

Finally, I would like to stress that in the beginning in 1979, I set out to create a collection of limited editions and prints, which resembled as closely as possible, my original paintings. I am still in pursuit of this by using the latest technology when it becomes available. I have over the years resisted commercial pressures in the interest of collectors, when most about me have gone in the other direction. Making money at all cost was therefore never my main concern, but rather to produce a picture, which if not the original, was worthy of hanging on my own walls. To this day I have never sent anything out of the studio of less value.

Michael J. Revers

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