A.Bliss are photographic mounting specialists with over 50 years experience. Their workshop in Clerkenwell, Central London is equipped with the largest mounting machinery available. They also retain a traditional hot mounting press essential for the long term conservation of photographs and artwork.
We have pioneered techniques including bonding photographs to aluminium, face mounting on glass and various hanging systems. We are delighted that that such an innovative and diverse company will be mounting our Photo Postcards for Photo London this year. To give you a more in depth idea of the work we do, see what Will, head of Production, Logistics and Consultancy, had to say in our interview.
Will, could you give us a brief description of the work A.Bliss does?
A.Bliss is a third generation, family-owned and operated business that specialises in conservation quality photographic mounting and framing that has been trading since the 1800’s. It was bought by my great-grandfather in the 1940’s and at that point, before the advent of mass colour printing, A.Bliss hand coloured maps and architectural plans.
The business formed into what it is today over many years, now supplying the fine art market with the assurance of quality that comes with being considered as the trusted experts in our field. We are proud to work for some of the most respected galleries and institutions in the UK, and to collaborate with artists on varied, unusual and challenging projects.
What separates A.Bliss from other photographic services?
We have retained the expertise and equipment to deal with the mounting of any print type, such as hand prints, silver gelatine, high gloss and resin coated papers. Our brand new cold mounting machines, coupled with our 8x4ft traditional hot press gives us the opportunity to offer a huge variety of display requests, while working to the highest standards of production and practice.
How are A.Bliss involved in the art world, other than from a production perspective?
We think actively supporting and contributing to the market we operate in is very important. Be that through sponsorship of events and exhibitions, student support and discounts or participating in discussion directly with artists and galleries. We were particularly excited to announce our support of the second instalment of pic. london, which offers a varied, multi-venue roster of talks, exhibitions, workshops (including one run by A.Bliss), markets, critiques and more. Pic aspires to support emerging artists and engage the public in thinking about photography in different ways. The event is run on a not-for-profit basis, a photo festival that is initiated, led and delivered by artists and photographers alike. These ideals run directly parallel with our ethos here at A.Bliss.
In what ways can students use your services?
We welcome students from all the major London art universities but also further afield, especially institutions such as Bournemouth and Middlesex, proving the capital isn’t the only place to access world class tutoring and to contribute to a compelling artistic output. We offer a 20% student discount across the board and of course, we’re happy to impart our years of experience in artwork display and exhibition management which can be daunting for artists at the beginning of their career.
Why do you think Art on a Postcard and A.Bliss are a good match?
I really like the unique qualities of AOAP. Firstly, the anonymity - in such a saturated market where the name of an artist can sometimes eclipse the work itself, it’s a refreshing take on how to sell art in a more approachable manner. Secondly, the affordability - price is another way the art world can be a little exclusory and seem out of reach to the public. With each piece listed at £55, no one can argue the postcards are overpriced, especially considering the roster of artists involved. Thirdly, it’s a fantastic opportunity to support a charitable foundation through our dry mounting service, and hopefully we will see some happy buyers on the night. We are delighted to be involved and helping where we can, while raising public awareness of hepatitis C and the trust itself.
You can find A.Bliss online here: