Original Bespoke Oil Paintings — By Commission
A totally unique oil painting of the highest quality, of something you love. I take commissions across two disciplines — Yachting Commissions or Cornish Seascape Commissions (other places considered too). Whichever you’re considering, my aim is the same: for it to be an enjoyable process from start to finish, and a permanent & treasured reminder of something special & personal to you. A painting never leaves the studio until I’m completely happy with it — and as the fussiest person ever, if I’m happy, hopefully you will be too.
Have you ever thought about it?
Many people assume it’s complicated, but it may be easier than you think. Every commission is tailored to you and completely personal — and the aim is an enjoyable process from start to finish.
Dimensions, budget, media and content — all shaped around exactly what you’re after.
A technical-illustration background means accuracy, observation and attention to detail underpin every painting.
A 100% acceptance rate across 40 years in maritime art — a record I’m incredibly proud of.
The commissioning process is completely unique to you, and pricing can normally be tailored to suit your requirements and budget (within reason) — the aim is simply that you get exactly what you want.
In good company
Commissions from Royalty, J-Class & Classic Yacht owners, Super-Yacht owners and a rockstar — alongside many others commissioning Cornish seascapes, family boats, favourite anchorages and places of personal meaning.
Commission types
Select the type of commission you’re interested in to find out a little more about the process.
Commissioning a painting
It might be your (or your partner’s) boat — often commissioned as a reminder of a special or epic trip, or for a special occasion. A favourite view you’ve looked at for years. A favourite beach, a view from your favourite walk, somewhere connected to family memories. Or simply ‘your go-to place’ that means something very personal to you.
Every commission is different, and the process is tailored to what you’re looking for — size, subject matter and budget can all be discussed from the outset.
The aim is straightforward enough: to create a painting you’ll be proud of and want to live with for many years to come — a permanent reminder of something special to you.
Why clients commission me
“You’re only as good as your last painting.”
There are plenty of artists who can paint a boat, a harbour or a landscape. My approach has always been slightly different — accuracy really matters to me.
If I’m painting a yacht, everything needs to be correct: the proportions, rigging, deck detail, crew, wind & sail shape, any lettering or sail numbers, background landfall, water, bow-waves, wakes & wash, and lighting. If it’s not, it’ll stand out a mile. Sailors are notoriously particular and know every inch of their boat — if it’s wrong, they’ll spot it.
My understanding of light, combined with technical knowledge and a ridiculous attention to detail, produces paintings that are technically correct but also carry the mood & atmosphere that make you feel you could be there, witnessing the scene. When you have the amount of detail there is in a large classic yacht, squeezing it all onto a canvas takes painstaking work, accurate to fractions of a millimetre.
If I’m painting a location, I want it to feel like that exact place rather than a generic version of it — I want you to feel like you’re standing there. I won’t paint something that isn’t factually correct.
This level of detail & accuracy can sometimes make the process longer, but it produces a better painting. I am the fussiest person ever — too fussy — but the upside is that a painting doesn’t leave the studio until I’m happy with it. If I’m happy, my clients should be too.
The commission process
The first step is simply getting in touch and telling me what you’re considering. You may already have the perfect photograph, several photographs to merge into one scene, or simply an idea that needs developing. We’ll discuss what’s possible and how best to approach the painting.
Ideally there’ll be good reference photographs, though that isn’t always the case. Sometimes clients provide the images, sometimes new photographs are taken, and occasionally we need permission to use a professional photographer’s image — if so, I deal directly with the photographer and any usage rights to avoid copyright issues (usually a reasonable cost). Whatever the situation, we’ll work out the best reference and develop the composition from there.
Once we know what we’re painting, I can recommend an appropriate size and provide a quotation. If necessary, adjustments can be made to suit your budget (within reason) — there are several ways to reduce the amount of work in a composition, and therefore reduce the quote accordingly.
When everything is agreed, a 50% non-refundable deposit is payable. This covers our discussions, often many hours of research and preparation, materials and reference printing — and, importantly, it secures your place in the schedule. There have been occasions where clients have changed their minds after weeks of discussions, which leaves a big hole in the diary — as a ‘one-man band’ that can be incredibly costly, so I hope you’ll understand. Larger paintings can take several months and my diary is often planned well in advance, so early enquiries are always advisable, particularly for a special occasion with a deadline. I can occasionally move things around for late requests, but please remember I’m an artist, not a magician.
My paintings can take several months. I work carefully and deliberately — I’d rather spend the extra time getting something right than rush it. What you see is only the top coat; there are many layers of underpainting beneath (my record for a top coat was a ‘sunflare’ in Sunrise over the Carrick Roads — the 35th attempt!). It doesn’t leave the studio until it’s right. If you’d like updates, I’m happy to share progress photographs as it develops.
Once complete, you’ll receive a professionally photographed high-resolution image for approval. If you’re happy, the final balance becomes payable. If you’re not happy, you don’t pay the balance (thankfully that hasn’t happened in 40 years of commissions). We can discuss framing if needed, timed to tie in with completion — then collection or delivery can be arranged.
Pricing
Every commission is priced individually according to size, subject matter, complexity and the sheer amount of work. As a guide, smaller commissions (around 14″ wide) generally start at around £5,000, with larger works increasing significantly according to scale and complexity.
My work isn’t quick — it’s a painstaking process, often taking many hundreds (and for larger, complex paintings, thousands) of hours. This also means it isn’t inexpensive. Each painting requires considerable time, research and attention to detail, along with 40 years of experience.
The price quoted is a final price. Unless there are significant composition changes, it’s fixed — it won’t go up if I take longer than planned. If budget is the primary consideration, there are ways to reduce the work to suit: a simpler sky, a more distant background, fewer boats, or viewing a yacht from the windward rather than leeward side — all reduce the work while still producing a lovely painting.
There are also other artists who can produce a perfectly respectable painting for less, and I’m always happy to point people in the right direction if I think that’s the better option.
For full, size-by-size price guides, see Yacht & Superyacht Commissions or Cornish Seascape Commissions.
Let’s talk
Whether it’s a yacht, a favourite place, or something with personal significance, feel free to get in touch for a no-obligation chat. Even if you’re still exploring ideas, I’m always happy to discuss what’s possible.
