Permanent ink on Kozuke paper archivally glued to panel, with a beeswax glaze. Custom framed by the artist in oak wood finished matte white
Delivery by express courier normally with 5 working days of order.
Delivery & Purchase Information
The safe and timely delivery of a client’s original artwork is a key priority for White Court Art, we pride ourselves on the quality of the packaging of the pictures we sell. Over 70% of our sales go to the USA. Specialist Art Insurance is included in final quote as standard.
The transport of your painting will be arranged as soon as full payment has been received and cleared. Tracking numbers will also be forwarded on to client .We endeavor to keep costs as low as possible, as a guide and dependent upon picture size courier costs are as follows:
All import duties and local taxes are the responsibility of the purchaser.
- Free UK Delivery
- Free EU Delivery purchases over £1000
- Free USA and Canada delivery purchase over £1000
- For all other regions please contact gallery
- Dispatch normally within 5 working days
Safe and secure payment methods Payment methods currently accepted by White Court Art are as follows:
- Wire Transfer to UK or USA banks, account details sent upon request.
- Credit Cards: Visa and MasterCard by secure emailed payment link
- Debit Cards
- Cheques made payable to White Court Art Ltd
Unconditional Returns Policy
If for any reason you are not happy with your purchase you can return it within 14 days of receipt. In the unlikely event of damage in transit White Court Art must be informed immediately upon receipt. A full refund for the price of the work exclusive of postage and packaging costs will be made upon return. Clients are responsible for the safe return of the item in its original condition and packaging to claim a refund. We are only too happy to assist in this process and offer advice on sending the artwork back to avoid damage in transit.
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Born 1961 USA
Bill Zima resides with his family in Edinburgh, the landscape that took Bill back to his earliest work, his drawings of hills. This re-connection inspired the current body of work Trees. Each of the trees in this body of work began as contour drawings, outlined first with the image built up with repetitive marks resembling bark, reptile skin, or even ancient armor like liquid chain mail.
Each image's composition is carefully determined by the physicality of the tree. "I find bonsai trees to be particularly interesting when given a larger scale. They assume a presence. Once the drawing phase is complete the paper is permanently bonded to a panel and a wax/resin layer encases the whole piece providing the final image with a tactile atmosphere."