Overview
Description
Specifications
Delivery & Returns
FAQs
Knowledge Hub
A Coastal Seascape With a Light-Catching Finish
An 820mm square framed seascape by Misha Smelt, showing surf running up wet sand toward a luminous horizon: the artwork for a wall where a flat print would fall short. No strong colour to work the room around. No static, matt surface that looks the same at every hour of the day. Raised acrylic gloss is applied over the foam and the wet sand with subtle glitter highlights, so those areas catch light and shift as you move past them or as the daylight changes, in the way the real thing does. The image itself stays in calm bands of grey, taupe and charcoal, and a warm gold frame supplies the only colour in the piece. Set behind plain glass at 38mm deep, with D-ring fixings. Works in living rooms, bedrooms, hallways and dining rooms equally.
What the Raised Gloss and Gold Frame Do
- Raised acrylic gloss: Applied over the surf and wet sand rather than across the whole image. Those areas hold light while the rest stays matt, which is what gives the water its sheen.
- Subtle glitter highlights: Fine and restrained, worked into the foam. Enough to catch a lamp or a low sun without turning the piece decorative.
- A picture that moves: Because the finish is directional, the artwork reads differently from across a room than from beside it, and differently in morning light than under lamplight.
- Grey, taupe and charcoal: A near-monochrome image, so it sits in almost any palette without introducing a colour the room has to answer.
- Warm gold frame: The only warmth in the piece. It lifts a cool image and stops a grey seascape reading as cold on a grey wall.
- 6.19 kg on D-rings: Glazed and framed, so heavier than an unglazed canvas of the same size. Use fixings rated accordingly.
Pairing the Artwork in the Room
A gold frame is easier to place when something else in the room carries the same metal: the round gold wall mirror repeats the warm tone in a slim, plain circle, so hung on a facing wall the two hold the metallic thread between them without either competing for attention. The grey and taupe palette works against white, chalk, warm grey, greige, sage and deeper charcoal walls, and the gold sits comfortably with brass, antique brass and warm timber rather than chrome. For rooms where a warm metallic accent is used deliberately across several pieces, our home bar and drinks cabinet guide covers how the thread is carried through a space.
A Coastal Scene That Changes With the Light
Most framed art looks the same at nine in the morning as it does at nine at night. The surface is flat, it takes light evenly, and what you see is fixed. This piece is finished differently. Raised acrylic gloss has been applied over the foam and the wet sand, so those parts of the image sit slightly proud of the rest and return light instead of absorbing it. The dry sand and the sky stay matt. What that produces is a picture with two surfaces, and only one of them responds to what is happening in the room.
The effect is closest to what it is describing. Wet sand is reflective and dry sand is not, which is exactly the contrast the finish reproduces, and the subtle glitter worked into the foam catches a lamp or a low sun the way broken water does. Walk past it and the bright areas travel across the image. Turn a light on in the evening and the shoreline lifts while the horizon stays soft. Misha Smelt has kept the underlying image quiet enough for that to be the interesting part, in calm bands of grey, taupe and charcoal running back to a pale horizon.
820 mm square, 38 mm deep, 6.19 kg, glazed with plain glass and finished in a warm gold frame. The frame is doing deliberate work: the image is effectively monochrome, and the gold supplies the only warmth in the piece. For a warm metallic circle to answer it elsewhere in the room, the Simplistic Round Wall Mirror in Gold repeats the tone in a plain slim frame.
What the Finish and Frame Bring to a Wall
- Raised gloss where it matters. Applied over the surf and wet sand, not across the whole image. The selective finish is what makes the water read as wet.
- Restrained glitter highlights. Fine and worked into the foam. Enough to catch a lamp or low sun without tipping the piece into decoration.
- An image that shifts. The bright areas travel as you move past, and the shoreline lifts under evening lamplight while the horizon stays soft.
- A near-monochrome palette. Grey, taupe and charcoal. The piece sits in almost any scheme without adding a colour to work around.
- Warm gold frame. The only warmth in the piece, and what stops a cool seascape reading as cold on a grey wall.
- Glazed and framed at 6.19 kg. Heavier than an unglazed canvas the same size, so fixings need to be rated for it.
What a Gold Frame Adds to a Grey Picture
A grey image in a grey or black frame is a coherent thing, and it can also be a cold one, particularly on a pale grey wall where nothing in view carries any warmth at all. The gold frame here solves that without touching the artwork. It puts a warm border around a cool image, which lets the piece hang in a cool room without dragging the temperature down, and it gives the greys something to sit against so they read as deliberate rather than washed out. It also links the artwork to anything brass, antique brass or warm timber already in the room, which is usually easier than finding something to answer a colour.
Where to Put It and What It Will Do to the Room
Above a sofa in a living room, hung low enough to relate to the seat, where evening lamplight will work across the gloss. On a wall that catches side light from a window rather than facing it head on, since raking light shows the raised finish best. Over a sideboard in a dining room. In a bedroom opposite the window, or in a hallway where you pass it at an angle rather than looking at it straight on. The palette works against white, chalk, warm grey, greige, sage and deeper charcoal.
The Practical Details Before You Buy
- Fixings rated for 6.19 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. A glazed frame at 820mm square is not a picture hook job.
- Hangs landscape. The composition runs to a horizon, so there is one way up. Level the fixings carefully, as a horizon line shows any error immediately.
- Think about reflections. The piece is glazed, so it will pick up a window or a bright lamp opposite it. A wall that takes light from the side rather than straight on avoids glare and shows the raised finish better.
- Clean the glass, not the artwork. Dust the frame with a dry, soft cloth and dampen a cloth away from the piece for the glass. Never spray anything directly at a framed artwork, as liquid can run behind the glazing.
Delivery
| Service | Timescale | Cost |
|---|---|---|
| Standard | 3-5 working days | Free |
| Next working day | Order before 4pm | £5.95 |
UK mainland only. Orders placed on weekends or bank holidays are dispatched the next working day.
We are unable to deliver to Northern Ireland, the Scottish Isles, Jersey, Guernsey, the Isle of Wight, the Isle of Man, or the Isles of Scilly. Full delivery information.
Returns
28-day returns policy. Contact us within 28 days of receipt if you are not happy with your order.
Items must be returned unused and in their original packaging. Our UK-based team will guide you through the process. Full returns information.
Coastal Seascape Framed Artwork WA183: Questions Answered
The WA183 coastal seascape is by Misha Smelt. The composition shows surf running up wet sand toward a pale, luminous horizon, worked in calm bands of grey, taupe and charcoal.
A layer of acrylic gloss applied over specific parts of the image rather than across the whole surface. On the WA183 it covers the foam and the wet sand, so those areas sit slightly proud and return light while the dry sand and sky stay matt. It is the same contrast that exists on a real beach between wet and dry sand.
Subtle. The glitter on the WA183 is fine and worked into the foam only, so it catches a lamp or a low sun rather than sparkling across the whole picture. At a distance it reads as light on water rather than as a decorative finish.
Yes, because the finish is directional. The glossed areas of the WA183 return light at particular angles, so the bright parts of the image travel as you move past it, and the shoreline lifts under evening lamplight while the horizon stays soft. A flat matt print looks the same from every position.
Because the image carries no warmth of its own. The gold frame on the WA183 puts a warm border around a cool, near-monochrome picture, which keeps it from reading as cold on a pale grey wall and links the piece to brass, antique brass or warm timber already in the room.
Yes, the WA183 is framed behind plain glass. Position it where light arrives from the side rather than straight on, which both avoids glare on the glazing and shows the raised gloss finish to better effect.
Landscape. The composition of the WA183 runs to a horizon, so there is only one orientation that makes sense of the image. Level the fixings carefully, since a horizon line makes even a slight error obvious.
Above furniture, leave roughly 150 mm to 200 mm between the top of the piece below and the bottom of the frame so the two read as related. On an empty wall, centre the WA183 at about eye level for a standing adult. Above a sofa, hang it lower than you would on a bare wall.
Fixings rated for 6.19 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. The WA183 is glazed and framed, so it is heavier than an unglazed canvas of the same size and a picture hook is not adequate.
Dimensions: 820 mm (H) x 820 mm (W) x 38 mm (D). Artist: Misha Smelt. Finish: raised acrylic gloss with subtle glitter highlights. Frame colour: gold. Glazing: plain glass. Materials: MDF, glass, plastic. Hanging orientation: landscape. Fixing: D-ring. Weight: 6.19 kg.
Getting the Light Right on Textured Art
Hang it on a wall that takes light from the side rather than facing a window straight on. Raking light is what reveals a raised finish, and side light also keeps reflections off the glazing. A lamp nearby will do the same job after dark. For rooms built on tonal layering and warm metallic accents:
Overview
A Coastal Seascape With a Light-Catching Finish
An 820mm square framed seascape by Misha Smelt, showing surf running up wet sand toward a luminous horizon: the artwork for a wall where a flat print would fall short. No strong colour to work the room around. No static, matt surface that looks the same at every hour of the day. Raised acrylic gloss is applied over the foam and the wet sand with subtle glitter highlights, so those areas catch light and shift as you move past them or as the daylight changes, in the way the real thing does. The image itself stays in calm bands of grey, taupe and charcoal, and a warm gold frame supplies the only colour in the piece. Set behind plain glass at 38mm deep, with D-ring fixings. Works in living rooms, bedrooms, hallways and dining rooms equally.
What the Raised Gloss and Gold Frame Do
- Raised acrylic gloss: Applied over the surf and wet sand rather than across the whole image. Those areas hold light while the rest stays matt, which is what gives the water its sheen.
- Subtle glitter highlights: Fine and restrained, worked into the foam. Enough to catch a lamp or a low sun without turning the piece decorative.
- A picture that moves: Because the finish is directional, the artwork reads differently from across a room than from beside it, and differently in morning light than under lamplight.
- Grey, taupe and charcoal: A near-monochrome image, so it sits in almost any palette without introducing a colour the room has to answer.
- Warm gold frame: The only warmth in the piece. It lifts a cool image and stops a grey seascape reading as cold on a grey wall.
- 6.19 kg on D-rings: Glazed and framed, so heavier than an unglazed canvas of the same size. Use fixings rated accordingly.
Pairing the Artwork in the Room
A gold frame is easier to place when something else in the room carries the same metal: the round gold wall mirror repeats the warm tone in a slim, plain circle, so hung on a facing wall the two hold the metallic thread between them without either competing for attention. The grey and taupe palette works against white, chalk, warm grey, greige, sage and deeper charcoal walls, and the gold sits comfortably with brass, antique brass and warm timber rather than chrome. For rooms where a warm metallic accent is used deliberately across several pieces, our home bar and drinks cabinet guide covers how the thread is carried through a space.
Description
A Coastal Scene That Changes With the Light
Most framed art looks the same at nine in the morning as it does at nine at night. The surface is flat, it takes light evenly, and what you see is fixed. This piece is finished differently. Raised acrylic gloss has been applied over the foam and the wet sand, so those parts of the image sit slightly proud of the rest and return light instead of absorbing it. The dry sand and the sky stay matt. What that produces is a picture with two surfaces, and only one of them responds to what is happening in the room.
The effect is closest to what it is describing. Wet sand is reflective and dry sand is not, which is exactly the contrast the finish reproduces, and the subtle glitter worked into the foam catches a lamp or a low sun the way broken water does. Walk past it and the bright areas travel across the image. Turn a light on in the evening and the shoreline lifts while the horizon stays soft. Misha Smelt has kept the underlying image quiet enough for that to be the interesting part, in calm bands of grey, taupe and charcoal running back to a pale horizon.
820 mm square, 38 mm deep, 6.19 kg, glazed with plain glass and finished in a warm gold frame. The frame is doing deliberate work: the image is effectively monochrome, and the gold supplies the only warmth in the piece. For a warm metallic circle to answer it elsewhere in the room, the Simplistic Round Wall Mirror in Gold repeats the tone in a plain slim frame.
What the Finish and Frame Bring to a Wall
- Raised gloss where it matters. Applied over the surf and wet sand, not across the whole image. The selective finish is what makes the water read as wet.
- Restrained glitter highlights. Fine and worked into the foam. Enough to catch a lamp or low sun without tipping the piece into decoration.
- An image that shifts. The bright areas travel as you move past, and the shoreline lifts under evening lamplight while the horizon stays soft.
- A near-monochrome palette. Grey, taupe and charcoal. The piece sits in almost any scheme without adding a colour to work around.
- Warm gold frame. The only warmth in the piece, and what stops a cool seascape reading as cold on a grey wall.
- Glazed and framed at 6.19 kg. Heavier than an unglazed canvas the same size, so fixings need to be rated for it.
What a Gold Frame Adds to a Grey Picture
A grey image in a grey or black frame is a coherent thing, and it can also be a cold one, particularly on a pale grey wall where nothing in view carries any warmth at all. The gold frame here solves that without touching the artwork. It puts a warm border around a cool image, which lets the piece hang in a cool room without dragging the temperature down, and it gives the greys something to sit against so they read as deliberate rather than washed out. It also links the artwork to anything brass, antique brass or warm timber already in the room, which is usually easier than finding something to answer a colour.
Where to Put It and What It Will Do to the Room
Above a sofa in a living room, hung low enough to relate to the seat, where evening lamplight will work across the gloss. On a wall that catches side light from a window rather than facing it head on, since raking light shows the raised finish best. Over a sideboard in a dining room. In a bedroom opposite the window, or in a hallway where you pass it at an angle rather than looking at it straight on. The palette works against white, chalk, warm grey, greige, sage and deeper charcoal.
The Practical Details Before You Buy
- Fixings rated for 6.19 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. A glazed frame at 820mm square is not a picture hook job.
- Hangs landscape. The composition runs to a horizon, so there is one way up. Level the fixings carefully, as a horizon line shows any error immediately.
- Think about reflections. The piece is glazed, so it will pick up a window or a bright lamp opposite it. A wall that takes light from the side rather than straight on avoids glare and shows the raised finish better.
- Clean the glass, not the artwork. Dust the frame with a dry, soft cloth and dampen a cloth away from the piece for the glass. Never spray anything directly at a framed artwork, as liquid can run behind the glazing.
Specifications
Delivery & Returns
Delivery
| Service | Timescale | Cost |
|---|---|---|
| Standard | 3-5 working days | Free |
| Next working day | Order before 4pm | £5.95 |
UK mainland only. Orders placed on weekends or bank holidays are dispatched the next working day.
We are unable to deliver to Northern Ireland, the Scottish Isles, Jersey, Guernsey, the Isle of Wight, the Isle of Man, or the Isles of Scilly. Full delivery information.
Returns
28-day returns policy. Contact us within 28 days of receipt if you are not happy with your order.
Items must be returned unused and in their original packaging. Our UK-based team will guide you through the process. Full returns information.
FAQs
Coastal Seascape Framed Artwork WA183: Questions Answered
The WA183 coastal seascape is by Misha Smelt. The composition shows surf running up wet sand toward a pale, luminous horizon, worked in calm bands of grey, taupe and charcoal.
A layer of acrylic gloss applied over specific parts of the image rather than across the whole surface. On the WA183 it covers the foam and the wet sand, so those areas sit slightly proud and return light while the dry sand and sky stay matt. It is the same contrast that exists on a real beach between wet and dry sand.
Subtle. The glitter on the WA183 is fine and worked into the foam only, so it catches a lamp or a low sun rather than sparkling across the whole picture. At a distance it reads as light on water rather than as a decorative finish.
Yes, because the finish is directional. The glossed areas of the WA183 return light at particular angles, so the bright parts of the image travel as you move past it, and the shoreline lifts under evening lamplight while the horizon stays soft. A flat matt print looks the same from every position.
Because the image carries no warmth of its own. The gold frame on the WA183 puts a warm border around a cool, near-monochrome picture, which keeps it from reading as cold on a pale grey wall and links the piece to brass, antique brass or warm timber already in the room.
Yes, the WA183 is framed behind plain glass. Position it where light arrives from the side rather than straight on, which both avoids glare on the glazing and shows the raised gloss finish to better effect.
Landscape. The composition of the WA183 runs to a horizon, so there is only one orientation that makes sense of the image. Level the fixings carefully, since a horizon line makes even a slight error obvious.
Above furniture, leave roughly 150 mm to 200 mm between the top of the piece below and the bottom of the frame so the two read as related. On an empty wall, centre the WA183 at about eye level for a standing adult. Above a sofa, hang it lower than you would on a bare wall.
Fixings rated for 6.19 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. The WA183 is glazed and framed, so it is heavier than an unglazed canvas of the same size and a picture hook is not adequate.
Dimensions: 820 mm (H) x 820 mm (W) x 38 mm (D). Artist: Misha Smelt. Finish: raised acrylic gloss with subtle glitter highlights. Frame colour: gold. Glazing: plain glass. Materials: MDF, glass, plastic. Hanging orientation: landscape. Fixing: D-ring. Weight: 6.19 kg.
Knowledge Hub
Getting the Light Right on Textured Art
Hang it on a wall that takes light from the side rather than facing a window straight on. Raking light is what reveals a raised finish, and side light also keeps reflections off the glazing. A lamp nearby will do the same job after dark. For rooms built on tonal layering and warm metallic accents:
Framed Coastal Shoreline Wall Art
Overview
Description
Specifications
Delivery & Returns
FAQs
Knowledge Hub
A Coastal Seascape With a Light-Catching Finish
An 820mm square framed seascape by Misha Smelt, showing surf running up wet sand toward a luminous horizon: the artwork for a wall where a flat print would fall short. No strong colour to work the room around. No static, matt surface that looks the same at every hour of the day. Raised acrylic gloss is applied over the foam and the wet sand with subtle glitter highlights, so those areas catch light and shift as you move past them or as the daylight changes, in the way the real thing does. The image itself stays in calm bands of grey, taupe and charcoal, and a warm gold frame supplies the only colour in the piece. Set behind plain glass at 38mm deep, with D-ring fixings. Works in living rooms, bedrooms, hallways and dining rooms equally.
What the Raised Gloss and Gold Frame Do
- Raised acrylic gloss: Applied over the surf and wet sand rather than across the whole image. Those areas hold light while the rest stays matt, which is what gives the water its sheen.
- Subtle glitter highlights: Fine and restrained, worked into the foam. Enough to catch a lamp or a low sun without turning the piece decorative.
- A picture that moves: Because the finish is directional, the artwork reads differently from across a room than from beside it, and differently in morning light than under lamplight.
- Grey, taupe and charcoal: A near-monochrome image, so it sits in almost any palette without introducing a colour the room has to answer.
- Warm gold frame: The only warmth in the piece. It lifts a cool image and stops a grey seascape reading as cold on a grey wall.
- 6.19 kg on D-rings: Glazed and framed, so heavier than an unglazed canvas of the same size. Use fixings rated accordingly.
Pairing the Artwork in the Room
A gold frame is easier to place when something else in the room carries the same metal: the round gold wall mirror repeats the warm tone in a slim, plain circle, so hung on a facing wall the two hold the metallic thread between them without either competing for attention. The grey and taupe palette works against white, chalk, warm grey, greige, sage and deeper charcoal walls, and the gold sits comfortably with brass, antique brass and warm timber rather than chrome. For rooms where a warm metallic accent is used deliberately across several pieces, our home bar and drinks cabinet guide covers how the thread is carried through a space.
A Coastal Scene That Changes With the Light
Most framed art looks the same at nine in the morning as it does at nine at night. The surface is flat, it takes light evenly, and what you see is fixed. This piece is finished differently. Raised acrylic gloss has been applied over the foam and the wet sand, so those parts of the image sit slightly proud of the rest and return light instead of absorbing it. The dry sand and the sky stay matt. What that produces is a picture with two surfaces, and only one of them responds to what is happening in the room.
The effect is closest to what it is describing. Wet sand is reflective and dry sand is not, which is exactly the contrast the finish reproduces, and the subtle glitter worked into the foam catches a lamp or a low sun the way broken water does. Walk past it and the bright areas travel across the image. Turn a light on in the evening and the shoreline lifts while the horizon stays soft. Misha Smelt has kept the underlying image quiet enough for that to be the interesting part, in calm bands of grey, taupe and charcoal running back to a pale horizon.
820 mm square, 38 mm deep, 6.19 kg, glazed with plain glass and finished in a warm gold frame. The frame is doing deliberate work: the image is effectively monochrome, and the gold supplies the only warmth in the piece. For a warm metallic circle to answer it elsewhere in the room, the Simplistic Round Wall Mirror in Gold repeats the tone in a plain slim frame.
What the Finish and Frame Bring to a Wall
- Raised gloss where it matters. Applied over the surf and wet sand, not across the whole image. The selective finish is what makes the water read as wet.
- Restrained glitter highlights. Fine and worked into the foam. Enough to catch a lamp or low sun without tipping the piece into decoration.
- An image that shifts. The bright areas travel as you move past, and the shoreline lifts under evening lamplight while the horizon stays soft.
- A near-monochrome palette. Grey, taupe and charcoal. The piece sits in almost any scheme without adding a colour to work around.
- Warm gold frame. The only warmth in the piece, and what stops a cool seascape reading as cold on a grey wall.
- Glazed and framed at 6.19 kg. Heavier than an unglazed canvas the same size, so fixings need to be rated for it.
What a Gold Frame Adds to a Grey Picture
A grey image in a grey or black frame is a coherent thing, and it can also be a cold one, particularly on a pale grey wall where nothing in view carries any warmth at all. The gold frame here solves that without touching the artwork. It puts a warm border around a cool image, which lets the piece hang in a cool room without dragging the temperature down, and it gives the greys something to sit against so they read as deliberate rather than washed out. It also links the artwork to anything brass, antique brass or warm timber already in the room, which is usually easier than finding something to answer a colour.
Where to Put It and What It Will Do to the Room
Above a sofa in a living room, hung low enough to relate to the seat, where evening lamplight will work across the gloss. On a wall that catches side light from a window rather than facing it head on, since raking light shows the raised finish best. Over a sideboard in a dining room. In a bedroom opposite the window, or in a hallway where you pass it at an angle rather than looking at it straight on. The palette works against white, chalk, warm grey, greige, sage and deeper charcoal.
The Practical Details Before You Buy
- Fixings rated for 6.19 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. A glazed frame at 820mm square is not a picture hook job.
- Hangs landscape. The composition runs to a horizon, so there is one way up. Level the fixings carefully, as a horizon line shows any error immediately.
- Think about reflections. The piece is glazed, so it will pick up a window or a bright lamp opposite it. A wall that takes light from the side rather than straight on avoids glare and shows the raised finish better.
- Clean the glass, not the artwork. Dust the frame with a dry, soft cloth and dampen a cloth away from the piece for the glass. Never spray anything directly at a framed artwork, as liquid can run behind the glazing.
Delivery
| Service | Timescale | Cost |
|---|---|---|
| Standard | 3-5 working days | Free |
| Next working day | Order before 4pm | £5.95 |
UK mainland only. Orders placed on weekends or bank holidays are dispatched the next working day.
We are unable to deliver to Northern Ireland, the Scottish Isles, Jersey, Guernsey, the Isle of Wight, the Isle of Man, or the Isles of Scilly. Full delivery information.
Returns
28-day returns policy. Contact us within 28 days of receipt if you are not happy with your order.
Items must be returned unused and in their original packaging. Our UK-based team will guide you through the process. Full returns information.
Coastal Seascape Framed Artwork WA183: Questions Answered
The WA183 coastal seascape is by Misha Smelt. The composition shows surf running up wet sand toward a pale, luminous horizon, worked in calm bands of grey, taupe and charcoal.
A layer of acrylic gloss applied over specific parts of the image rather than across the whole surface. On the WA183 it covers the foam and the wet sand, so those areas sit slightly proud and return light while the dry sand and sky stay matt. It is the same contrast that exists on a real beach between wet and dry sand.
Subtle. The glitter on the WA183 is fine and worked into the foam only, so it catches a lamp or a low sun rather than sparkling across the whole picture. At a distance it reads as light on water rather than as a decorative finish.
Yes, because the finish is directional. The glossed areas of the WA183 return light at particular angles, so the bright parts of the image travel as you move past it, and the shoreline lifts under evening lamplight while the horizon stays soft. A flat matt print looks the same from every position.
Because the image carries no warmth of its own. The gold frame on the WA183 puts a warm border around a cool, near-monochrome picture, which keeps it from reading as cold on a pale grey wall and links the piece to brass, antique brass or warm timber already in the room.
Yes, the WA183 is framed behind plain glass. Position it where light arrives from the side rather than straight on, which both avoids glare on the glazing and shows the raised gloss finish to better effect.
Landscape. The composition of the WA183 runs to a horizon, so there is only one orientation that makes sense of the image. Level the fixings carefully, since a horizon line makes even a slight error obvious.
Above furniture, leave roughly 150 mm to 200 mm between the top of the piece below and the bottom of the frame so the two read as related. On an empty wall, centre the WA183 at about eye level for a standing adult. Above a sofa, hang it lower than you would on a bare wall.
Fixings rated for 6.19 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. The WA183 is glazed and framed, so it is heavier than an unglazed canvas of the same size and a picture hook is not adequate.
Dimensions: 820 mm (H) x 820 mm (W) x 38 mm (D). Artist: Misha Smelt. Finish: raised acrylic gloss with subtle glitter highlights. Frame colour: gold. Glazing: plain glass. Materials: MDF, glass, plastic. Hanging orientation: landscape. Fixing: D-ring. Weight: 6.19 kg.
Getting the Light Right on Textured Art
Hang it on a wall that takes light from the side rather than facing a window straight on. Raking light is what reveals a raised finish, and side light also keeps reflections off the glazing. A lamp nearby will do the same job after dark. For rooms built on tonal layering and warm metallic accents:
Overview
A Coastal Seascape With a Light-Catching Finish
An 820mm square framed seascape by Misha Smelt, showing surf running up wet sand toward a luminous horizon: the artwork for a wall where a flat print would fall short. No strong colour to work the room around. No static, matt surface that looks the same at every hour of the day. Raised acrylic gloss is applied over the foam and the wet sand with subtle glitter highlights, so those areas catch light and shift as you move past them or as the daylight changes, in the way the real thing does. The image itself stays in calm bands of grey, taupe and charcoal, and a warm gold frame supplies the only colour in the piece. Set behind plain glass at 38mm deep, with D-ring fixings. Works in living rooms, bedrooms, hallways and dining rooms equally.
What the Raised Gloss and Gold Frame Do
- Raised acrylic gloss: Applied over the surf and wet sand rather than across the whole image. Those areas hold light while the rest stays matt, which is what gives the water its sheen.
- Subtle glitter highlights: Fine and restrained, worked into the foam. Enough to catch a lamp or a low sun without turning the piece decorative.
- A picture that moves: Because the finish is directional, the artwork reads differently from across a room than from beside it, and differently in morning light than under lamplight.
- Grey, taupe and charcoal: A near-monochrome image, so it sits in almost any palette without introducing a colour the room has to answer.
- Warm gold frame: The only warmth in the piece. It lifts a cool image and stops a grey seascape reading as cold on a grey wall.
- 6.19 kg on D-rings: Glazed and framed, so heavier than an unglazed canvas of the same size. Use fixings rated accordingly.
Pairing the Artwork in the Room
A gold frame is easier to place when something else in the room carries the same metal: the round gold wall mirror repeats the warm tone in a slim, plain circle, so hung on a facing wall the two hold the metallic thread between them without either competing for attention. The grey and taupe palette works against white, chalk, warm grey, greige, sage and deeper charcoal walls, and the gold sits comfortably with brass, antique brass and warm timber rather than chrome. For rooms where a warm metallic accent is used deliberately across several pieces, our home bar and drinks cabinet guide covers how the thread is carried through a space.
Description
A Coastal Scene That Changes With the Light
Most framed art looks the same at nine in the morning as it does at nine at night. The surface is flat, it takes light evenly, and what you see is fixed. This piece is finished differently. Raised acrylic gloss has been applied over the foam and the wet sand, so those parts of the image sit slightly proud of the rest and return light instead of absorbing it. The dry sand and the sky stay matt. What that produces is a picture with two surfaces, and only one of them responds to what is happening in the room.
The effect is closest to what it is describing. Wet sand is reflective and dry sand is not, which is exactly the contrast the finish reproduces, and the subtle glitter worked into the foam catches a lamp or a low sun the way broken water does. Walk past it and the bright areas travel across the image. Turn a light on in the evening and the shoreline lifts while the horizon stays soft. Misha Smelt has kept the underlying image quiet enough for that to be the interesting part, in calm bands of grey, taupe and charcoal running back to a pale horizon.
820 mm square, 38 mm deep, 6.19 kg, glazed with plain glass and finished in a warm gold frame. The frame is doing deliberate work: the image is effectively monochrome, and the gold supplies the only warmth in the piece. For a warm metallic circle to answer it elsewhere in the room, the Simplistic Round Wall Mirror in Gold repeats the tone in a plain slim frame.
What the Finish and Frame Bring to a Wall
- Raised gloss where it matters. Applied over the surf and wet sand, not across the whole image. The selective finish is what makes the water read as wet.
- Restrained glitter highlights. Fine and worked into the foam. Enough to catch a lamp or low sun without tipping the piece into decoration.
- An image that shifts. The bright areas travel as you move past, and the shoreline lifts under evening lamplight while the horizon stays soft.
- A near-monochrome palette. Grey, taupe and charcoal. The piece sits in almost any scheme without adding a colour to work around.
- Warm gold frame. The only warmth in the piece, and what stops a cool seascape reading as cold on a grey wall.
- Glazed and framed at 6.19 kg. Heavier than an unglazed canvas the same size, so fixings need to be rated for it.
What a Gold Frame Adds to a Grey Picture
A grey image in a grey or black frame is a coherent thing, and it can also be a cold one, particularly on a pale grey wall where nothing in view carries any warmth at all. The gold frame here solves that without touching the artwork. It puts a warm border around a cool image, which lets the piece hang in a cool room without dragging the temperature down, and it gives the greys something to sit against so they read as deliberate rather than washed out. It also links the artwork to anything brass, antique brass or warm timber already in the room, which is usually easier than finding something to answer a colour.
Where to Put It and What It Will Do to the Room
Above a sofa in a living room, hung low enough to relate to the seat, where evening lamplight will work across the gloss. On a wall that catches side light from a window rather than facing it head on, since raking light shows the raised finish best. Over a sideboard in a dining room. In a bedroom opposite the window, or in a hallway where you pass it at an angle rather than looking at it straight on. The palette works against white, chalk, warm grey, greige, sage and deeper charcoal.
The Practical Details Before You Buy
- Fixings rated for 6.19 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. A glazed frame at 820mm square is not a picture hook job.
- Hangs landscape. The composition runs to a horizon, so there is one way up. Level the fixings carefully, as a horizon line shows any error immediately.
- Think about reflections. The piece is glazed, so it will pick up a window or a bright lamp opposite it. A wall that takes light from the side rather than straight on avoids glare and shows the raised finish better.
- Clean the glass, not the artwork. Dust the frame with a dry, soft cloth and dampen a cloth away from the piece for the glass. Never spray anything directly at a framed artwork, as liquid can run behind the glazing.
Specifications
Delivery & Returns
Delivery
| Service | Timescale | Cost |
|---|---|---|
| Standard | 3-5 working days | Free |
| Next working day | Order before 4pm | £5.95 |
UK mainland only. Orders placed on weekends or bank holidays are dispatched the next working day.
We are unable to deliver to Northern Ireland, the Scottish Isles, Jersey, Guernsey, the Isle of Wight, the Isle of Man, or the Isles of Scilly. Full delivery information.
Returns
28-day returns policy. Contact us within 28 days of receipt if you are not happy with your order.
Items must be returned unused and in their original packaging. Our UK-based team will guide you through the process. Full returns information.
FAQs
Coastal Seascape Framed Artwork WA183: Questions Answered
The WA183 coastal seascape is by Misha Smelt. The composition shows surf running up wet sand toward a pale, luminous horizon, worked in calm bands of grey, taupe and charcoal.
A layer of acrylic gloss applied over specific parts of the image rather than across the whole surface. On the WA183 it covers the foam and the wet sand, so those areas sit slightly proud and return light while the dry sand and sky stay matt. It is the same contrast that exists on a real beach between wet and dry sand.
Subtle. The glitter on the WA183 is fine and worked into the foam only, so it catches a lamp or a low sun rather than sparkling across the whole picture. At a distance it reads as light on water rather than as a decorative finish.
Yes, because the finish is directional. The glossed areas of the WA183 return light at particular angles, so the bright parts of the image travel as you move past it, and the shoreline lifts under evening lamplight while the horizon stays soft. A flat matt print looks the same from every position.
Because the image carries no warmth of its own. The gold frame on the WA183 puts a warm border around a cool, near-monochrome picture, which keeps it from reading as cold on a pale grey wall and links the piece to brass, antique brass or warm timber already in the room.
Yes, the WA183 is framed behind plain glass. Position it where light arrives from the side rather than straight on, which both avoids glare on the glazing and shows the raised gloss finish to better effect.
Landscape. The composition of the WA183 runs to a horizon, so there is only one orientation that makes sense of the image. Level the fixings carefully, since a horizon line makes even a slight error obvious.
Above furniture, leave roughly 150 mm to 200 mm between the top of the piece below and the bottom of the frame so the two read as related. On an empty wall, centre the WA183 at about eye level for a standing adult. Above a sofa, hang it lower than you would on a bare wall.
Fixings rated for 6.19 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. The WA183 is glazed and framed, so it is heavier than an unglazed canvas of the same size and a picture hook is not adequate.
Dimensions: 820 mm (H) x 820 mm (W) x 38 mm (D). Artist: Misha Smelt. Finish: raised acrylic gloss with subtle glitter highlights. Frame colour: gold. Glazing: plain glass. Materials: MDF, glass, plastic. Hanging orientation: landscape. Fixing: D-ring. Weight: 6.19 kg.
Knowledge Hub
Getting the Light Right on Textured Art
Hang it on a wall that takes light from the side rather than facing a window straight on. Raking light is what reveals a raised finish, and side light also keeps reflections off the glazing. A lamp nearby will do the same job after dark. For rooms built on tonal layering and warm metallic accents:
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