اللَّهُمَّ صَلِّ عَلَىٰ سَيِّدِنَا مُحَمَّدٍ الْفَاتِحِ لِمَا أُغْلِقَ، وَالْخَاتِمِ لِمَا سَبَقَ، نَاصِرِ الْحَقِّ بِالْحَقِّ، وَالْهَادِي إِلَىٰ صِرَاطِكَ الْمُسْتَقِيمِ، وَعَلَىٰ آلِهِ حَقَّ قَدْرِهِ وَمِقْدَارِهِ الْعَظِيمِ

Print & framing

Up close, before it reaches your wall.

A screen shows the image. It cannot show the grain of the paper, the depth of a frame or the line of shadow around a canvas. This page is the closest look we can give you, and every detail on it is what arrives.

Two surfaces

Every work is printed on one of two materials, chosen for how it holds colour and light.

Close detail of a watercolour of Masjid al-Nabawi: soft washes of green and violet, and brush calligraphy below.

Detail of a watercolour work, from the artwork file.

Hahnemühle German Etching

  • 310gsm
  • Matte
  • Natural white
  • Mould-made

A heavyweight fine art paper with a soft etching texture. Where a glossy print sits on top of its paper, this one holds the image in its grain: washes stay soft, dark tones stay deep, and nothing glares back at you from the wall.

The grain under side light: a drawing, not a photograph.

For single artworks and Build your own sets.

Close detail of the Soft wash Masjid Al Haram from the Haramayn Collection: the Kaʿba under a pale, washed sky.

Detail of Masjid Al Haram · Soft wash, from the artwork file.

Artist-grade canvas

  • 400gsm
  • Fine woven surface
  • Stretched to 38mm

A fine woven surface, stretched over 38mm bars. The weave gives the image a texture closer to a painting than to a paper print, and the depth of the bars lets each piece stand forward from the wall as an object, not a sheet.

For the Haramayn Collection.

Three ways it arrives

Each presentation is drawn here to its maker’s specification. Try the wood finishes on each.

Ismul Jalālah in a Gallery Box Frame. A drawing to scale, not a photograph.

Gallery Box Frame

Framed, glazed and ready to hang.

The print is set without a mount, directly behind standard Perspex glazing, in a solid ash box frame. It fills the glazed area, and the frame’s edge overlaps it very slightly.

Paper
German Etching 310gsm
Frame
Solid ash, 20mm face, 33mm deep
Glazing
Standard Perspex
Sizes
A4, A3 and A2
Frame
Alḥamdulillāh · Masjid al-Nabawi on magnetic rails. A drawing, not a photograph.

Magnetic Fine Art Hanging

Nothing in front of the paper.

Solid-wood magnetic rails hold the print at the top and bottom, so the paper’s grain is open to the room. The print and the hanger are made and sent as two parts, and the rails clip onto the print at home.

Paper
German Etching 310gsm
Rails
Solid wood, magnetic, top and bottom
Glazing
None
Sizes
A4, A3 and A2
Rails
Masjid Al Haram · Soft wash as a floating framed canvas. A drawing to scale, not a photograph.

Floating framed canvas

A line of shadow, all the way round.

The stretched canvas sits inside a slim wooden frame with a 5mm gap on every side. The gap falls into shadow, so the work appears to float, and the frame holds it without covering any of the image.

Canvas
400gsm, on 38mm bars
Frame
12mm face, about 53mm deep
Shadow gap
5mm
Sizes
12 × 16 in and 16 × 24 in
Frame

Why there is no mount

A mount sets a border of card between you and the work. We leave it out. In the box frame the print meets the glazing edge to edge, on the rails the paper is open to the room, and on canvas the image runs right to the shadow gap.

The work comes forward. Nothing stands in front of it.

Need a larger size? Larger works are made by private commission. Enquire