Jake Baddeley

Great Goddess Limited Edition Art Prints

Last time, I shared the exciting news about the Great Goddess Oracle Deck, a project I co-created with Lucy Cavendish. Your positive responses and support were overwhelming, and I am deeply grateful for the recognition.

If you missed my previous post, you can learn more about the project here.

I’m thrilled to announce that we are transforming the original paintings from the Great Goddess Oracle Deck into limited edition art prints. In collaboration with Marcel Salome of Re-Art, we have produced two distinct and unique editions.

Collectors Edition

– Certified Giclee Print on 300 grams etching paper
– Signed and limited to 150 pieces
– Image size: 25 x 36 cm (approx. 10 x 14 inches) with a 5 cm white border
– Certificate of Authenticity

Luxury Edition

– Certified Giclee Print on 300 grams etching paper
– Hand-embellished with gold pen/gold leaf, adding an extra dimension to each print
– Signed and limited to only 15 pieces
– Image size: 30 x 40 cm (approx. 11.8 x 15.75 inches) with a 5 cm white border
– Certificate of Authenticity

What is a certified giclée art print?

The Giclée printing technique is now the State of the Art process for producing oil painting reproductions. Giclee prints in limited editions are appreciated by fine art collectors and connoisseurs. Limited edition, museum quality reproductions are included in the collections of many of the worlds finest museums, including the Louvre, the Smithsonian, the New York Metropolitan Museum and the British Museum.

The giclée printing process is a high tech method of printing which can generate prints of digital images of unrivaled quality. As in traditional printmaking and fine art photography, sheets are printed one at a time, and images printed at the highest settings can require more than one hour each. Again, as in traditional printmaking and photography, extensive hand work is required to produce the final print. Like proofing an intaglio or stone lithograph, each digital file must be proofed then adjusted and proofed again. Since the colors of the image on a computer monitor cannot fully match printing inks, it is generally only after extensive proofing, tweaking the digital file, then printing, then tweaking the digital file again, etc., that the final image emerge.
The resulting digital file in essence then can be compared to the printing plate in intaglio or film negative in photography. This time consuming, often tedious proofing ensures that the final print is true to the intent of the artist.

The results are amazing in my view and an art work in itself.