Original and Fine Art Prints from Direct Observation

The Gillan Gallery presents original and fine art prints by two artists working from direct observation: Tony Parsons and Kirsten van Schreven. Parsons paints en plein air — on location, in the moment — capturing coastlines, harbours, and open water from Britain and further afield, where light, weather, and tide shape every composition. Van Schreven's work takes a quieter, more exploratory approach, examining creation and decay, construction and destruction, through prints that reward slow looking.

Each print is produced to museum-quality standards and hand-signed by the artist, using archival inks and papers built to last for generations. Whether you're drawn to a dramatic seascape, a study of coastal wildlife, or a mixed-media drawing, every piece in the collection began as a real place, observed and painted first-hand — not generated, not copied, not mass-produced.

Prints start from £130, with hand-embellished editions from £175. Browse by subject — coastal, water & waves, mountains, wildlife, sunsets, and cityscape — or explore the full collection to find a piece that belongs in your home.

Coastal Prints from £130

Meet the Artist

Tony Parsons

Before he was a painter, Tony Parsons spent 26 years as an RNLI lifeboat skipper — reading tides, weather, and danger for a living. That instinct now shapes every canvas: luminous plein air seascapes and coastal landscapes painted on location, alongside bold, large-scale animal paintings built in the studio. He's set up his easel beside wrecks on the Nile, in dinghies on the Solent, and on the dust-worn streets of Cairo — always painting from life.

Kirsten van Schreven

Kirsten van Schreven trained as a printmaker, earning a first-class degree from Maidstone College of Art and a Master's from Chelsea School of Art. Before turning to printmaking full-time, she spent years working internationally in design for feature film and computer games — an eye for structure and atmosphere that now shapes her prints. Elected to the Royal Society of British Artists in 2022, her work explores skeletal, part-built, and abandoned structures — strong yet fragile, caught between construction and collapse.