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Eric Treacy art prints and posters

Born in 1907 and educated at Haberdasher’s Aske’s School in Hampstead, London, Eric Treacy began his clerical career as a deacon in Liverpool in 1932. Shortly afterwards his interest in railways was sparked when he made friends with railwaymen of Edge Hill sheds, who became ‘willing co-operators’ in his photographic pursuits.


In 1940 Treacy joined the Royal Artillery as a chaplain and was awarded the MBE for his services in North West Europe. On demobilisation he became Rector of Keighley and in 1949 Archdeacon of Halifax, both locations providing Treacy ample opportunity to photograph trains on the old LMS and LNER routes in the north of England. His career, culminating as Bishop of Wakefield, enabled him to stay in the North until his retirement in 1976. As a man of the Church, his parishes embraced railway stations and locomotive depots and throughout his career he always found the time to relax behind his camera, latterly pointing at diesels and electrics as well as steam locomotives.


Treacy always planned his desired shot well in advance, paying particular attention to the scenic setting, the performance of the locomotive, the weather and the position of the sun. He was a perfectionist and would not take a photograph unless all his requirements were met. In 1935 he joined the prestigious Railway Photographic Society. His early photographic work shows conformity with the Society’s favoured three-quarter view of locomotive and train but he yearned to show more of the spirit of the railways, and believed that the landscape played a significant part in the overall picture. As a result his photographs can stand alongside that of top landscape photographers as well as that of locomotive enthusiasts.


Eric Treacy’s photographic career spanned 40 years and he was behind the camera, photographing the last BR steam locomotive Evening Star at Appleby Station, when he collapsed and died in 1978.


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Moulding

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Perspex or glass

Protects the artwork from dust and wilting so that it can be admired for many years.

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We partner with the world's top museums and galleries to bring you exclusive prints of the highest quality. Our teams of designers ensure the colours are accurate, papers are well suited and the best frames are suggested.

Colour Perfecting in the Print Room

In the printing room, artworks are printed on state-of-the-art machines with a team of technicians checking colour and quality every step of the way.

Measuring Up

After being cut down to size, our team carefully finish any stray edges, check measurements and prepare the prints for mounting and framing.

Assembling Frames in the Framing Workshop

We have a team of master framers who work with high-quality, responsibly-sourced wood to create our vast range of framing combinations - each frame is bespoke and made to order for every print.

Hand-finishing in the Framing Workshop

Our selection of hand-finished frames are painted or stained by hand in a variety of colours, and finished with a layer of wax - the end result is a uniquely crafted, beautiful frame that is made to last.

The Last Stop

In this workshop everything comes together - the print, the frame and the glass - in a seamless and stream-lined process.

Mounting the Prints

The artwork is carefully mounted in preparation for framing.

Laying the Glass

Once mounted, the print is ready to be covered by glass or perspex - a delicate procedure but expertly done with not a fingerprint in sight.

The Final Product

After a final, thorough check, the framed print is ready to be carefully packaged up and shipped to the customer.

Transferring to Canvas

For those who order their art as canvas prints, the same amount of attention and care goes into the process. Here, the print is being transferred to a wooden frame.

Finishing the Canvas Edging

As with the framed prints, our canvases are all hand-finished in the workshop - a labour of love from start to finish.