Artist Feature: Willard Boepple on Printed Editions


Kip & Willard: Building with Colour

Recently, Katherine Oliver interviewed sculptor Willard Boepple and The Print Studio director Kip Gresham about their ongoing printmaking partnership. Read it on Printed Editions here.

A film project showing the process and unseen new Monoprints from the New York based sculptor is coming soon.

Contact us for more information on prints by Willard by emailing You can also sign up to our newsletter, just click here.

Print of The Month: September 2019

Gina Medcalf

Shepreth, 2017

Size (cm - unframed): 75x 56 cm
Technique: Three Plate etching
Materials: Somerset Velvet 300gsm
Edition size: 30
Publisher: The Print Studio
Copyright: The Artist

Soft swathes of rust and ochre cut across a gradient of turquoise in this three-plate abstract etching by South London-based painter Gina Medcalf. Born in North Wales (1941) and was a graduate of the Central School, London the artist has also lived and worked and exhibited in the USA (1973 – 86).

Typically working in acrylic upon canvas, she again explored an abstract approach to making the streaks of vertical colour in her collaborative print with the studio. Thoughtful and soft, there is a genuine organic ‘air’ to the result of the colour combinations, inspired by the Japanese woodblock artists Hiroshige and Utamaro. Her appreciation of Italian frescos and the marshland passed through on her journey to the studio perhaps also played a part, Shepreth and Meldreth being points on the line from London. Meldreth, another resulting print was produced using red, orange and yellow inks. The entire collaboration was a result of the artist receiving her second Pollock Krasner Award.

The image for the print was made with wide, trimmed brushes, using a mixture of gouache, PVA medium and water working on textured Truegrain drafting film. She made many trials from which two related drawings were chosen. Photo-polymer etching plates were made from the drawings and proofing began. A third plate was then required to produce the soft gradient that forms the ground behind the drawings. This was achieved by rolling a seamless blend with a large hand roller. In the final print this was delivered in Cobalt blue running into pure extender, that is from colour into nothing.

Due to the concentration of ink landing upon the paper during proofing, amendments and a slowing down of the process was required to prevent the surface of the paper from ‘picking’ - that is the ink was not flat but spotted as it reacted to the surface texture of the paper. The problem was overcome by a pre-damping of the sheets followed by running them through the press under high pressure to ‘iron’ one side of the paper. In consequence the back of the sheet is interestingly much more textured than the front.

The prints were then dried and pressed for over a month.

This print is being featured as part of Prints: In Situ and listed upon our Shop.

Prints: In Situ | 14th & 15th September 2019

Mali Morris RA,  Called  (2018)

Mali Morris RA, Called (2018)

Willard Boepple,  1.12.17  (2016)

Willard Boepple, 1.12.17 (2016)

PRINTS: IN SITU will present new and recently made limited edition prints in a special show at the home of the studio’s founder and Director, Kip Gresham. This will be a unique opportunity to see the work exhibited in a non-gallery domestic context. The exhibition will include pieces by internationally renowned and emerging artists who have made work in collaboration with the Studio.

Saturday 14 Sept 10.00 - 18.00
Sunday 15 Sept 11.00 - 17.00

Private View Friday 13 Sept 18.00 - 20.00 (invite only)

Contact us for the exhibition location

Around 40 works will be on display including as yet unseen new prints by Willard Boepple & Tim Gresham (Penfold) in addition to recent work from Royal Academicians Humphrey Ocean, Mali Morris, Stephen Chambers and Nigel Hall. All works will be available for sale through The Print Studio and in our online shop.

The event will also provide the perfect opportunity to gain first-hand knowledge upon our popular Daedalus Print Club. Membership entitles access to not only two exclusively commissioned prints a year from our internationally renowned collaborating artists, but also individual opportunities, 20% discount in our shop and invites to events run by the studio. Speak to us for more information.

With just two weeks until PRINTS: IN SITU, final preparations are underway. Flyers and invites are out and the exciting curation of final framing and hanging is incoming.

For further information, contact the studio on

Print of The Month: July 2019


Stephen Chambers RA

The Moon is Down

Date: 2012

Size (cm - unframed): 74.5 x 90.5
Technique: Screenprint
Materials: Somerset Cream 300gsm
Edition size: 30

A veil of distinctive pattern covers the collaborative work made with Stephen Chambers. An intricately woven motif is lifted by a wash made on Truegrain. The effect creates a billowing, hot haze - reminiscent of the summer heatwaves that have hit us this month here in Cambridge. The idea was to ‘print air’, Chambers praises the precision achieved in the ‘threaded web’ as a ‘perfect fusion of the digital and the analogue’ in the printmaking process.

The perplexing narrative of this nighttime scene includes a secretive meeting of horse riders - Chambers describing a connection to Washington crossing the Delaware.

Copies of the print are available. Contact the Studio for more information.

Stephen Chambers RA signing his edition with Kip in the Studio

Stephen Chambers RA signing his edition with Kip in the Studio

Print of The Month: June 2019

Mali Morris RA

Mardis Gras

Over the years The Print Studio Cambridge has produced many prints with Mali Morris RA . Primarily a painter, but fascinated by how her usual ways of working can be translated into the medium of print, Mali again collaborated with Kip Gresham at The Print Studio, earlier in 2019, to produce Mardi Gras. Featuring in this year’s RA Summer Exhibition, which runs until 12th August, the print can be found in Gallery VII, curated by fellow RA Anne Desmet.

Date: 2019

Size(cm unframed): 96 x 46

Technique: Screenprint

Materials: Somerset Soft White

300 gsm

Edition Size: 30

In fitting with her practice, the print began with a brush in hand. Deep black shapes were created using the application of viscous paint to paper. They balance on each other’s corners, and the challenge was to make them seem precariously piled up, but not collapsing – and for the column to ultimately have balance, or poise. Coloured dots and circles were added, to animate the white spaces, but these were gradually removed, with just one red shape remaining – it was enough to create the tension needed.


As discussed in an article in the RA Magazine in 2014, the artist acknowledges the influence of Matisse, describing the ‘chromatic orchestration’ [1] in his work that can undoubtedly be seen in much of her own, both in painting and printmaking. Colour is of primary interest, as is the pictorial and spatial possibility in translucency and opacity. The recent monograph, Mali Morris: Painting, published by the RA in March, with a text by Sam Cornish, gives a detailed account of these developments in her work.

Learning more about the art of layering in printmaking has sometimes opened up new processes for her work. Since making prints such as ‘Bridge’ and ‘Crossings’ in 2014, she went on to create paintings that develop, in painting terms, some of the discoveries made through her collaboration with The Print Studio.

[1] Cutting it fine – RA Magazine, Spring 2014

Similar in style to Mardi Gras, Toussaint I - IV (below) are available to buy from us at the Studio. These four silk screen prints, to be seen individually or in any combination, are in editions of 30. Their titles are a kind of homage to the American musician Allen Toussaint, whose music Morris first heard as a young art student in the 1960s.

Limited edition works by Mali Morris are available through The Print Studio Shop and through consultation with us, just drop us an email at

Pictured below: Crossings (2014) & Staith (2018)

Crossings , 2014

Crossings, 2014

Staith , 2018

Staith, 2018

Posted by Karina Sawyer, in collaboration with Mali Morris RA

Willard Boepple: Studio WIP

Kip opened up a whole world for me by layering thin colors, building up forms with layer upon layer of translucent colors that mixed, blended and built up on the page, like sorcery.
— Willard Boepple [1]

The past couple of weeks has brought into existence some new work with sculptor Willard Boepple. Building form with colour, a series of works are being made to explore perspective, space and solidity. The collaboration has covered some new ground, experimenting in approaches with line and colour gradients.

Monoprints with Willard consistently excite, toying with a dialogue between the effects of colour and depth. Entering a new phase in his process, the shards of ink laid down on paper are being accented with graphic lines. Real wonders are happening with every new day in the Studio, the monoprint process allowing immense room for experimentation. The New York-based artist is returning again in a little over a week for the collaborative work to continue.

For sales enquiries, contact the Studio at

9.7.13, 2013

[1] Quote taken from Willards article ‘Collaborators in Toft’ included in the accompanying Catalogue for The Art of Collaboration, The Heong Gallery

Posted by Karina Sawyer

Previous Collaborators @ The RA Summer Exhibition

RA Summer Exhibition

This year's exhibition is now open at the Royal Academy and features a strong line up of our previous collaborating artists...


Mardi Gras.png



Mardi Gras was produced in the Studio earlier this year and can be found in Gallery VII, which has been curated by fellow RA Anne Desmet.

Stephen Chambers RA is also among this year’s selection and hanging committee for the Summer Exhibition, taking over The Lecture Room. The show runs until 12th August 2019.

Pictured Centre: Oceania  (taken from  The Big Country ) - Stephen Chambers RA

Pictured Centre: Oceania (taken from The Big Country) - Stephen Chambers RA

Print of The Month: May 2019

Jo Taylor Totem small.jpg

Jo Taylor, Totem

Date: 2014

Size (cm - unframed): 62 x 50 cm

Technique: Screenprint

Materials: Somerset Velvet 300gsm

Edition size: 50

Publisher: The Print Studio

Copyright: The Artist

Through direct observation informing her practice, Jo Taylor fluently captures both dynamic movement alongside the technical anatomy of her equine subjects. Her work is fuelled by an intrinsic knowledge of her subject, gained - in part - from many hours making studies uncomfortably stooped within stables in addition to attending post-mortem examinations within residency at a Department of Veterinary Science. The energy and fluidity to her large-scale work reflects a genuine compassion for the Horse, achieving both dramatic, thundering gallops and moments of quiet solace and grace.

“[Jo] knows her subject inside out, both literally and metaphorically. The transparency of her drawings is there in the musculature that underlies the outer appearance and in the way that the piece is constructed. These are not just drawings of description, these animals are alive."

Kip Gresham [1]

Linework and multiple layers can be seen in both her paintings and prints created in The Studio – flat paper is given a three-dimensional surface. Her approach typically assembles an almost skeletal framework to each animal using media such as charcoal, chalks, watercolour, acrylic, bitumen and wax. The loose lines add not only texture and volatility, but are also suggestive of the internal workings and structures under the skin.

“I try to capture a sense of their power and presence… I am trying to put muscle down and breathe life into the work, so hopefully the viewer can feel as if they can see the other side of the beast in my work – as though they can walk around it.”

Jo Taylor [2]

The true understanding of her subject is accredited in Totem, the lines of the drawing showing a tautness in the muscles as the horse pulls itself back in a skittish stance. Finicky and characterful, this striking portrait is another real example of the artist’s intimate connection to the Horse.

The print is an edition of 50 of which just a few copies are available for sale. For enquiries, please contact the Studio at In 2015, it was included as part of Daedalus Print Club of which more information can be found here.

Jo has worked with Kip and the PSC for a number of years generating a collection including both screenprint and etching. Last year she exhibited in several shows including The National Horseracing Museum and The Royal Academy as well as internationally in the U.S. and Dubai. Her work is represented by Thompsons Gallery, London.

Jo & Kip in The Studio

Jo & Kip in The Studio

The Studio will be welcoming her back to work upon a new print in coming months. Last month - in preparation for her return - the artist revealed exciting experiments upon Truegrain, the surface coveted by Kip himself that allows incredible texture, wash and detail to be achieved in print. Follow this link to her Instagram for a sneak preview.

Quotes & Information for this post is taken from:

[1] Watt’s Gallery Page

[2] Jo’s website

Follow The Print Studio, Cambridge for more stuff from ‘Behind-The-Screen’:


Posted by Karina Sawyer

Print of The Month: April 2019

John McLean, Balkaskie.jpg

John McLean, Balkaskie

Date: 2013
Size (cm - unframed): 40.5 x 34.5
Technique: etching and screenprint
Materials: Somerset Velvet Cream 300gsm
Edition size: 10
Publisher: The Print Studio
Copyright: The Artist

Scottish painter John McLean’s work has been described as ‘sensual’ and a ‘colour experience’. His portfolio of work created at PSC hints at his playful and spontaneous approach to all his image-making. Absorbing himself in ‘the magic of colour’, the artist uses every precious moment in creative application to ask all the right questions in order to direct the journey of where to take a picture.

“What if? What if? But now - to hell! Just do it and see.”

Two techniques converge in ‘Balkaskie’, a mixture of drypoint and screenprint that captures a sense of both the texture of the hard-bristled brushstrokes and energetic pop of colour typical of a work by McLean. The application skilfully explores tonality, colour and shape relationships to create an image that dances across the surface of the paper.

“What I’m hoping for is a punchy little b*****d…”

This month marks the anniversary of a film documentary following the inspiring resilience of the artist. ‘Which Way Up’ captures a sensitive view of the intelligence and humour that he refuses to surrender, along with his desire to paint. Quotes from John above are taken from the documentary, below you will find the trailer.

Kip & John working on the series produced at the Studio in 2013

Kip & John working on the series produced at the Studio in 2013

‘Balkaskie’ is an edition of just 10. The few remaining copies are available for sale at £720 including VAT and shipping within the U.K. For shipping outside the U.K., please contact the Studio at

You can find a link to the print listing on our Shop here:

You can see more of John McLean’s work with Kip and The Print Studio in The Art of Collaboration at The Heong Gallery.

To see more WIP at The Studio, Follow us on Instagram:


Studio Update...

The past few months have been an intense and busy time. The Art of Collaboration is in full swing, but the work never ceases! 

The opening night of the show was a real success, and the gallery space was packed to bursting! A whirlwind of an evening, thank you to all who were there and those who have since paid a visit. You have until 19th May, if you are yet to see the work.

It is also worth noting, Dr Prerona Prasad - the excellent curator of the show - is holding free tours 'after hours’ on two further occasions, each session exploring a theme surrounding the exhibition. On Wednesday 3rd April, the evening will focus conversation upon the history of Screenprinting and its transition as an art form. Wednesday 17th April will explore originality and editioning of prints.



The exhibition was recently reviewed by Studio International, one of the world’s leading art journals. Boasting a worldwide readership with more than 200,000 readers a month and over 4.5 million page views a year, its undoubtedly a great feature. You can find and read the review following this link:

Back in The Studio, recent work includes new pieces with Willard Boepple. 6 days with the sculptor has produced 3 configurations of work exploring colour ways, paper surface and shape - the quintessential, three-dimensional and punchy forms have got us reeling to push further. ‘Underwrap’, ‘Fold’ and ‘Jug’ in construction from shades of deep purple, cyan and reds.

This week, work for Nigel Hall’s series continues. Appointed a month of the year, the 12 works already created are now being paired with poetry. The series has been an incredible journey so far, with approximately 90 colours, 1200 individual prints will result in an edition of 100 copies.

Commencing next week, we have the proofing of Anthony Green’s ‘The Clock. We also have John Carter’s print for Daedalus finished and ready for signing. Stay tuned for its release. Carter's show ’Sight Lines’ opens in just over a week at Jerwood Gallery, Hastings. It runs 30 March - 9 June.

We have just heard that the new monograph Mali Morris: Painting, published by the RA, is now available. With a text by Sam Cornish and a preface by Mel Gooding, as well as some writings by the artist, this hardback book presents a survey of Morris’s work from the late 70s to the present day. A solo show of 27 early works On Paper is at the Tennant Gallery, Royal Academy, 28 March — 4 August 2019, and Mali Morris RA Selects is at the Collections Room Cabinet, Royal Academy, 6 April – 4 August 2019.

A few of her prints created with Kip in The Studio are in RA Collection;  Toussaint I ( 2014) is pictured above.

A few of her prints created with Kip in The Studio are in RA Collection; Toussaint I (2014) is pictured above.

“What I love about a painting is the way it becomes a world, another world that moves you and draws you in.”


Mali Morris: Painting can be purchased from the RA Shop for £30, and a limited edition of 50, including a print, is available for £450. You can find a link here:

POTM March 2019

Nick Kennedy Timecast Green.jpg

Nick Kennedy

‘Timecast (Green)’, 2013

Originally posted on St Patrick’s Day upon our Facebook page, our Print of the Month for March is from a series created in 2013 with Newcastle-based artist Nick Kennedy:

‘Timecast (Green)’
Two individual and one-off screenprints were made, one in this vivid green and another in warm oranges
‘Timecast’ relates to the artist’s work using a machine-aided drawing process...
“It is always a wonderful experience to work with Kip. His wealth of knowledge and skills are an inspiration but it is his intuative sense that really made our collaboration tick. With this series of prints we made together he was able to get inside the work and understand it, which allowed me to translate what was happening in drawing into something new and exciting. We produced a large body of work exploring a range of colour relationships without losing the essential qualities of slowness and subtle tonal trace inherent in the process of making.” .
Size (cm - unframed): 40 x 40
Technique: Screenprint
Materials: Somerset TS 410gsm
Edition size: Unique
Publisher: The Print Studio, Cambridge/The Artist
© Copyright: The Artist

For more information on his work, visit his website:
He is represented by Platform A, Middlesbrough @platform_a_gallery , please direct sales enquiries to them.




CAROL ROBERTSON, 2014 - 2016

In 2014, Carol Robertson made a trip to Central America, taking particular interest in sites of Mayan archaeology and culture. In the subsequent two years, Robertson made a number of monoprints at PSC.

The artist’s concern for the emblematic shape of the circle hints towards Mayan calendars from which solar, lunar, stellar and mythological readings could traditionally be made. With her use of the circle, Robertson not only makes a visual parallel to these cultural influences, but also uses the shape to imbue her own memories and observations. The layers of context are reflected in the application of colour where up to nine different screens were used to lay down the concentric rings. Compressed into precise spherical confines, the image is constructed and unlocked through layers of transparent ink, each one scrutinisingly placed to allow registration with its predecessor below. This process allowed the experimentation with many colour configurations, cross-referencing each other – these animations revealing a rhythm and vibration to the series, the circles appearing to expand and contract.

I. ‘Edzná’ (2014), is named after a Maya site located in Mexico



II. ‘Copán’ (2016), takes its reference to another site in Honduras

‘Maya’ seen in-situ. Image: @becshomestyle

‘Maya’ seen in-situ. Image: @becshomestyle

A further related print seen above, ‘Maya’ (2014), is featured as an exclusive Daedalus Print Club edition. For more information


Robertson's 2011 print 'Starcross' will be included as part of the upcoming exhibition, The Art of Collaboration. Opening in less than two weeks time at The Heong Gallery, and runs 1 March – 19 May. The artist holds the edition, and you can contact us for sales through our email

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TAOC Event Banner Email.jpg

TAOC Event Banner Email.jpg

As you may already be aware, the upcoming exhibition at The Heong Gallery is just two short weeks away...

The catalogue is in print and flyers will be distributed very shortly, so share the word. Enjoying these prints cannot be encouraged enough as many have been kept ‘under wraps’ and can be truly appreciated at depth in person. We hope you will find your way there in the next few months.

More information can be found upon The Heong Gallery website here.

POTM January 2019 - Alison Wilding RA: Pheathon

Phaethon, Alison Wilding, 2016.jpg


Size (cm - unframed): 75.5 x 99.5 cm
Technique: Screenprint
Materials: Somerset Velvet 300gsm
Edition size: 30
Publisher: The Print Studio & The Artist
Copyright: The Artist

Alison Wilding RA, Phaethon, 2016

Known predominantly as a sculptor, Alison Wilding typically clashes materials in acts of balance and contrast. Combining structural forms -  often in pairs - her work suggests narratives of dark vs light, positive vs negative and hard vs soft. She again appreciates a relationship between the elements in Phaethon.

With curving movements of varying solidity and transparency, the three-dimensional quality of her sculptural practice is translated here to a work on paper using a combination of painted washes and knife-cut masking film. 

The dramatic shapes and scale of Phaethon show a direct reference to its title and associations with Greek Myth and the sun. Created with The Print Studio in 2016, the work was featured in the 249th Summer Exhibition at the Royal Academy the following year. 

The print is an edition of 30 of which copies are available for sale at £2500 inc VAT and shipping within the U.K. For shipping outside the U.K., please contact the Studio at

Last year, Wilding was again featured in the Summer Exhibition at The Royal Academy in addition to her solo exhibitions hosted in Bexhill On Sea, Manchester and most recently Cambridge: a show titled On The Edge. The work of the twice Turner-Prize nominee extends internationally having exhibited solo in the U.S. and Canada as well as having collections in locations as far away as Australia. Locally, an example of her sculptural work, Melancholia (2003), can be found within the gardens of Jesus College, Cambridge.

Wilding will also feature as part of The Art of Collaboration at The Heong Gallery, Downing College which opens March 2019. See our last post for further details.

Wilding is represented by Karsten Schubert, based in Soho, London. Further enquiries on the artist and further work can be found through

To see more WIP at The Studio, Follow us on Instagram:



The Art of Collaboration will celebrate over 40 years of artistic partnerships with giants of the British and international art world, featuring work by 21 Royal Academicians. An exhibition that documents a timeless medium and The Print Studio history, collaboration being a key element in the process.

1 March - 19 May

The Heong Gallery, Downing College

Featured Artists: Peter Blake, Susan Hiller, Antony Gormley, Richard Long, Eduardo Paolozzi, Cornelia Parker, Alison Wilding, and Paula Rego, to name but a few.

‘The day to day reality is one of dirty hands, bad backs, beautiful colours, seductive papers and, above all surprises from the artists, those magicians. That's why one does this stuff; This Is Important.’

Kip Gresham

See below for further details. More information can be found upon The Heong Gallery website here. To find the venue, enter the Main Gate on Regent Street (to see a map of the College grounds follow this link)

Hurvin Anderson

Hurvin Anderson made a print with us, Still life with artificial flowers, for The Government Art Collection.

This was the first commission for the 10 10 series.

The G.A.C. wrote:

Still Life with Artificial Flowers is an intricate print that evokes a snapshot of the artist’s mother’s front room in Birmingham.  Hurvin Anderson graduated from Wimbledon School of Art in 1994 and his distinct painting style is informed both by British painters such as Leon Kossoff, Michael Andrews and David Hockney as well as a generation of Black British artists, Sonia Boyce, Eddie Chambers and Keith Piper. The youngest of eight siblings, Anderson was the only child not to be born in Jamaica, instilling an interest in this dual identity that plays throughout his work.

For the print commission, Anderson has worked with The Print Studio’s Kip Gresham and Alan Grabham to replicate sourced and saved fabrics and wallpapers. The thirteen base colours in the print are built up from 15 stencils over 21 layers. The rich use of pattern to flatten and confuse the space references the techniques of Henri Matisse.

The vase shown belongs to Anderson’s mother, a prized possession that travelled with her from Jamaica becoming something of an iconic item. Set against the warm, deep red, flocked wallpaper and intricate lace doilies Anderson’s interest lies in the heavily patterned ‘kitsch’ aesthetic and its nod to ‘pop’ culture, elevating inexpensive everyday items. The reverence of these items are indicators of luxury and comfort, marking the front room as the best room in the house.  

Hurvin signing.jpg

Print of the month, May 2018


Carol Robertson, Maya

Maya is a screenprint, made in 2014. The sheet size is 45 x 44cm. It is pencil signed by the artist in the lower right margin, numbered on the left. It carries the Print Studio chop mark also at lower right.This image was printed by The studio on a sheet of white, wove Somerset Velvet 300gsm paper. The edges are all hand torn. The sheets are in perfect condition.


The print, published by the Print Studio, is one of an edition of 50, of which a few copies are available for sale for £660.00 inc vat and shipping in the UK.  For shipping outside the UK, please contact The Studio at

A medium sized screenprint, the image of which  which emerged form an extended group of monoprints made after a journey to Latin America. The colours derived from local influences such as textiles and the light in the landscape. It is a tour de force of fine registration with many layers of transparent white modulation the palette.

Carol Robertson is a painter & printmaker working in London. She was born in Berkshire, England in 1955, studied at Cardiff College of Art & Chelsea School of Art. She has won many awards, presented 36 one-person international exhibitions and undertaken many residencies. Her work is held in many public and corporate collections.

The Print Studio has collaborated with her on a number of occasions, generally exploring her ideas through mono printing. Each project is the distillation of a long series of paintings and drawings in which the structure, the palette and the layering are gradually refined.

Maya was made as part of The Studio’s print club, Daedalus which started in 2009. 

Stephen Chambers RA at Christies 'Multiplied 2015'

Our very own RA Stephen Chambers is showing with the Emma Hill Eagle Gallery at Christies in London's Print fait, Multiplied 2015. Many of the prints we have made with him will be on show, along with the recent edition Journey without Maps, East and West, shown at the RA Summer show of 2015. We are also very excited that Carol Robertson's monoprints Copán will also be shown with Flowers Gallery. We made the Copán series with Carol earlier this year.

View our Daedalus collection at new cafe 'Stir'

Next Monday Stir, a new cafe on the corner of Chesterton Road and Hawthorn Way, Cambridge, will be exhibiting some of our prints from the Daedalus Print Club collection. Details of how to join the club can be found on our website. Do bring friends along who might be interested in joining our affordable collectors club... and of course anyone who likes good coffee in the presence of good art.