Watch out for the surf

Watch Out For The Surf Print

Printed on Hahnemühle Fine Art Paper. Resistance to ageing of more than 100 years, making this the perfect paper for fine art prints.

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It’s an incredible sight to behold in Laytown, Co Meath. How many race meetings can you name where, just beyond the wattle and racing poles, children play in shallow pools of seawater left behind by the receding tide?
First held in 1868, the races have a rich and distinctive history. Charles Stewart Parnell, the great Home Rule leader, was among the earliest stewards of the strand races. By 1901, the local parish priest had become involved in organising the event, and despite the disapproval of the Bishop of Meath, the races evolved into a well-run and much-loved occasion. There is a wonderful natural vantage point on elevated ground above the beach, beside the finish line, offering racegoers a superb view of the action. In truth, Laytown as a racetrack doesn’t exist in the conventional sense.
The “course” is a stretch of the three-mile-long golden strand, closed off on race morning and used only when the tide retreats. As the sea pulls back, it leaves behind shimmering pools of water across the sand—pools the horses must gallop through.

A limited edition print from the original painting signed by the Equestrian and Landscape artist David Paton.

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    Print Size Guide

    All prints come in 3 sizes, Medium, Large & XLarge.

    Medium – 60cm (23⅔” approx.) wide

    Large – 90cm (35½” approx.) wide

    XLarge – 120cm (47¼” approx.) wide

    As the prints are exact reproduction, the heights vary depending on the canvas sizes of the original painting. Please see the size options on individual prints.

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    Print Care & Preparation

    When your print arrives in the post, do not open it straight away.
    Resisting that urge is crucial for preserving your artwork.

    Print CareYour print is a fine art product and, while robust, it’s still delicate.

    The tube it is posted in offers vital protection during transport and storage. Here’s why taking it directly to your framer is the best approach: Unrolling is easy, but re-rolling and re-inserting the artwork back into the tube without damaging it can be quite challenging.

    Professional Handling: Framers are equipped with the right tools and expertise (and often cotton gloves!) to safely unroll, inspect, and prepare your print for framing without causing any accidental creases, smudges, or tears.

    Framing

    Prints tend to look there best behind simple clean frames. The best frame colours to use are plain white, black, grey or
    ash white moulding. I would advise to leave the 40cm white border as it displays the title of the print and the artist signa-
    ture which gives a feel of authenticty your limited editon print.

    Mounts

    Always place your print behind glass. While our fine art paper is quite robust, it remains a paper-based print and requires
    the essential protection that glass provides.