All members are particularly urged to read this page carefully. These rules are necessary because, in the past,some pictures have been presented for exhibition which were unsatisfactory in various ways including: wet oil paintings (which led to a member of the seletion committee having her clothes stained); pictures in frames which were likely to collapse causing a danger of broken glass; pictures framed with glass without proper sealing-tape at the back (which are vulnerable to entry by insects or dust); pictures with 0-rings which caused damage to the frames of other pictures; pictures without proper hanging cord, or with cord held by drawing pins which were unsafe to hang. Pictures with these faults will be rejected.
There has been some confusion over what kind of creative prints are eligible to be included in the Club's exhibitions. Above all, any purchaser must be clear what they are buying.
Pictures generated by, or with the aid of, computer methods are acceptable. These must be high quality inkjet prints, not photocopies or laser prints. Otherwise only prints made from hand-made plates or stencils within the following definition will be permitted:
RELIEF (BLOCK) PRINT
Any image inked and transferred to paper from the raised surface of a block as in wood engraving, wood-cut, lino-cut or cuts from any similar material.
Any image engraved or recessed into metal or other material whereby the ink is transferred from the channels onto paper under pressure, including etching, aquatint, mezzotint and drypoint.
PLANOGRAPHIC (LITHOGRAPHIC) PRINT
Any image inked and transferred from a flat surface onto paper based on the mutual antipathy of oil and water.
STENCIL (SILKSCREEN) PRINT
Any image created by the process of stopping out (masking) certain areas of a fine-mesh material (silk) and squeezing ink through the unmasked areas onto paper or some other surface.
Any painted image transferred by pressure from one surface (usually glass) onto another surface (usually paper).
Any image made up from a collage of textured materials which is inked and transferred to paper.
All prints must be signed and numbered relative to the total print run. It is axiomatic that there can be no reprints and that the original plates are either destroyed or sufficiently altered as to constitute a different image.
Prints of high quality, which are facsimiles of originals made by the inkjet (giclee) process, but not by photocopying or laser processes, are acceptable for displaying, unframed, in browser boxes at exhibitions at Wanstead House only. They must be clearly labelled as reproduction prints. They may not be mixed in browser boxes with original prints.
More and more canvases are being hung without traditional frames: what have become known as 'box' frames. These are generally deeper than standard canvases, but have their edges finished in a neat and tidy manner. They are either painted as a continuation of the front of the canvas, or they are painted in a clean, flat colour.
The depth of the canvas must be at least 10mm.
The edges must be free of tacks, pins or other disfigurement.
The edges must be neatly finished with paint.
All other canvases or painted surfaces should be framed by traditional methods unless a cut-out shape forms part of the work's concept: e.g. some trompe l'oeil pieces.
Paintings must be dry.
Pictures using mountboard or paper must be glazed. Glazed works should be securely taped at the back with an appropriate framing tape- (not Sellotape, parcel tape or masking tape, all of which are unstable).
All frames must be securely constructed. It is imperative that D-rings or some similar device which lies flat, (not O-rings or any sort of hook) are the only hanging fixings used. These lie close to the surface of the frame and thereby cause no damage to other works when being transported or stored. D-rings in various sizes are readily available from B&Q and other DIY stores rather than art shops. They should be positioned approximately a quarter way down from the top edge and joined by a taut cord or wire.
Unframed prints or unframed paintings must be presented in stiff mounts and enclosed in a transparent protective sleeve.