Overview
Description
Specifications
Delivery & Returns
FAQs
Knowledge Hub
A Muted Mountain Landscape in a Pale Oak Frame
A 920mm square framed canvas by Sabrina Roscino, showing soft peaks rising out of mist above still water: the artwork for a wall that needs depth rather than colour. No strong palette dictating what else can go in the room. No busy composition competing with the furniture beneath it. The tones stay within a narrow range of chalk, stone, warm grey and pale ochre, so the piece reads as atmosphere rather than as a picture demanding attention, and layers of hand-painted detail give the surface texture that a flat print does not have. Set inside a pale oak-toned frame with a white inner border and a 60mm depth. Plain D-ring fixings. Works in living rooms, bedrooms, hallways and dining rooms equally.
What the Framed Canvas Brings to a Wall
- A narrow tonal range: Chalk, stone, warm grey and pale ochre. The piece adds depth to a wall without introducing a colour the rest of the room has to work around.
- Hand-painted detail: Worked in layers over the canvas, so the surface carries texture and catches light rather than sitting flat. No two pieces are identical.
- Pale oak-toned frame: Warm enough to soften the cool greys in the artwork, quiet enough not to compete with them.
- White inner border: A margin of clear space between the frame and the image, which is what lets a soft composition breathe instead of being crowded by its own edge.
- Square format at 920mm: Large enough to hold a wall on its own above a sofa or a sideboard, and a shape that suits both a single hang and a symmetrical pair.
- 4 kg on D-rings: Light for the size, so fixings are straightforward and one person can position and level it.
Pairing the Artwork in the Room
A soft square landscape sits well beside a hard-edged circle: the round black wall mirror contrasts in shape, tone and material without adding any colour of its own, so hung on the same wall the two read as a considered arrangement rather than a collection. The palette works against white, chalk, stone, warm grey, sage and clay, and takes pale timber, linen and wool more comfortably than high-gloss or bright metallic finishes. For how muted artwork, natural materials and restrained colour are combined in a pared-back room, our guide to Scandinavian living room design covers the palette this piece belongs to.
Soft Tones That Suit Almost Any Room
Art with a strong palette makes decisions for the rest of the room. A red or a deep blue in a painting has to be answered somewhere else, and once it is on the wall the cushions, the rug and the paint colour are all working around it. This piece asks for none of that. Sabrina Roscino keeps the whole composition inside a narrow band of chalk, stone, warm grey and pale ochre, so what it adds to a wall is depth and atmosphere rather than colour.
That restraint is also what makes it work at a distance and up close. From across a room the soft peaks and the still water below them read as tone and light, a suggestion of a landscape rather than a detailed account of one. Standing near it, the layers of hand-painted detail show: worked texture across the surface that catches light and gives the canvas a physical quality a flat print cannot produce. It rewards a second look without ever demanding the first.
The frame supports the same idea. Pale oak-toned moulding, 60mm deep, with a white inner border between the frame and the image. The oak warms the cool greys in the painting, and the border gives a soft composition room to sit rather than pressing it against the edge. 920mm square, 4 kg, with D-rings fitted. For a piece of similar scale that works on light instead of pigment, the Walnut Wooden Oval Wall Mirror brings timber and reflection to the same kind of wall.
What the Artwork and Frame Do Together
- A narrow tonal range. Chalk, stone, warm grey and pale ochre throughout. The piece adds depth to a wall without committing the room to a colour.
- Hand-painted detail in layers. Texture worked over the canvas so the surface catches light. It gives the piece a physical presence that a flat print does not have.
- Pale oak-toned frame. Warm enough to soften the cool greys in the composition, quiet enough to stay out of its way.
- A white inner border. Clear space between the image and the frame, so a soft composition is not crowded by its own edge.
- Square format. Holds a wall alone above a sofa or sideboard, and hangs as a symmetrical pair more easily than a portrait or landscape piece.
- 4 kg on D-rings. Light for its size. One person can hold it against the wall, mark the fixings and level it.
How the Canvas Sits Within the Frame
A canvas taken right to the edge of its moulding has nowhere to end. The composition runs into the frame and the frame becomes part of the picture, which suits bold graphic work and does soft, tonal work no favours. Here there is a white border between the two. It functions the way a mount does on a paper print: a pause between the artwork and the wall that lets the eye settle on the image on its own terms. On a landscape built from mist and low contrast, that margin is doing real work, because the composition needs space around it to read as open rather than cramped.
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 rather than float above it. Over a sideboard or console in a hallway or dining room. On a bedroom wall opposite the window, where the soft tones take the changing daylight. In a stairwell or on a landing, where a square format handles an awkward wall better than a tall or wide one. As one of a pair on a broad wall, since the square shape hangs symmetrically without looking contrived. The palette works against white, chalk, stone, warm grey, sage and clay.
The Practical Details Before You Buy
- Hang it the way the landscape reads. D-rings are fitted for both orientations, but the composition has a horizon and a sky, so there is only one way up that makes sense of the image. Check the canvas before deciding which pair to use.
- Fixings rated for 4 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. Modest weight, but a picture hook is not adequate at 920mm square.
- Keep it out of direct sun and damp. Canvas, paper and an MDF frame all react to strong sunlight and humidity over time. Avoid hanging it in full sun all day, and keep it out of bathrooms and utility rooms.
- Dust the frame, leave the canvas alone. A dry, soft cloth on the moulding. Do not wipe the painted surface, and never use damp cloths, sprays or cleaning products on the artwork.
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.
Mountain Landscape Framed Canvas WA107: Questions Answered
The WA107 mountain landscape is by Sabrina Roscino. The composition shows soft peaks rising out of mist above still water, built from tone and light rather than detail, which is what gives the piece its sense of stillness and distance.
The WA107 carries layers of hand-painted detail worked over the canvas, so the surface has genuine texture and catches light rather than sitting flat. Because that detail is applied by hand, small differences exist between individual pieces and against the product photography.
The palette of the WA107 stays within a narrow range of chalk, stone, warm grey and pale ochre, with darker charcoal tones in the peaks. There is no strong colour in the piece, which is why it adds depth to a wall without committing the room to a scheme.
A pale oak tone, on an MDF moulding 60mm deep, with a white inner border between the frame and the image. The warmth of the oak softens the cool greys in the artwork, and the border gives the composition space to sit rather than pressing it against the edge.
At 920mm square the WA107 is a large piece, a little wider than a standard interior door. It will hold a wall on its own above a sofa, sideboard or console, and does not need other pieces around it to look complete.
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 WA107 at about eye level for a standing adult. Above a sofa, hang it lower than you would on a bare wall so it relates to the seat.
D-rings are fitted for both portrait and landscape, but the WA107 is a landscape composition with a horizon and a sky, so only one orientation makes sense of the image. Check the canvas before deciding which pair of rings to use, and note that each orientation needs its own holes in the wall.
Fixings rated for 4 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. The WA107 is light for its size, but at 920mm square a standard picture hook is not adequate.
Dust the frame of the WA107 with a dry, soft cloth and leave the painted surface alone. Never use damp cloths, sprays or cleaning products on the canvas. Canvas, paper and an MDF frame all react to strong sunlight and humidity over time, so avoid hanging the piece in full sun all day or in a bathroom or utility room.
Dimensions: 920 mm (H) x 920 mm (W) x 60 mm (D). Artist: Sabrina Roscino. Surface: canvas with hand-painted detail. Frame: oak-toned MDF moulding with a white inner border. Materials: MDF, canvas, paper. Hanging orientation: portrait or landscape. Fixing: D-ring. Weight: 4 kg.
Living With Quiet Artwork
Hang it where the light moves across the room during the day, since a low-contrast piece changes more with the light than a bold one does. Keep the wall behind it plain, and let the texture of the canvas be the detail rather than adding pattern around it. For rooms built on soft colour and natural materials:
Overview
A Muted Mountain Landscape in a Pale Oak Frame
A 920mm square framed canvas by Sabrina Roscino, showing soft peaks rising out of mist above still water: the artwork for a wall that needs depth rather than colour. No strong palette dictating what else can go in the room. No busy composition competing with the furniture beneath it. The tones stay within a narrow range of chalk, stone, warm grey and pale ochre, so the piece reads as atmosphere rather than as a picture demanding attention, and layers of hand-painted detail give the surface texture that a flat print does not have. Set inside a pale oak-toned frame with a white inner border and a 60mm depth. Plain D-ring fixings. Works in living rooms, bedrooms, hallways and dining rooms equally.
What the Framed Canvas Brings to a Wall
- A narrow tonal range: Chalk, stone, warm grey and pale ochre. The piece adds depth to a wall without introducing a colour the rest of the room has to work around.
- Hand-painted detail: Worked in layers over the canvas, so the surface carries texture and catches light rather than sitting flat. No two pieces are identical.
- Pale oak-toned frame: Warm enough to soften the cool greys in the artwork, quiet enough not to compete with them.
- White inner border: A margin of clear space between the frame and the image, which is what lets a soft composition breathe instead of being crowded by its own edge.
- Square format at 920mm: Large enough to hold a wall on its own above a sofa or a sideboard, and a shape that suits both a single hang and a symmetrical pair.
- 4 kg on D-rings: Light for the size, so fixings are straightforward and one person can position and level it.
Pairing the Artwork in the Room
A soft square landscape sits well beside a hard-edged circle: the round black wall mirror contrasts in shape, tone and material without adding any colour of its own, so hung on the same wall the two read as a considered arrangement rather than a collection. The palette works against white, chalk, stone, warm grey, sage and clay, and takes pale timber, linen and wool more comfortably than high-gloss or bright metallic finishes. For how muted artwork, natural materials and restrained colour are combined in a pared-back room, our guide to Scandinavian living room design covers the palette this piece belongs to.
Description
Soft Tones That Suit Almost Any Room
Art with a strong palette makes decisions for the rest of the room. A red or a deep blue in a painting has to be answered somewhere else, and once it is on the wall the cushions, the rug and the paint colour are all working around it. This piece asks for none of that. Sabrina Roscino keeps the whole composition inside a narrow band of chalk, stone, warm grey and pale ochre, so what it adds to a wall is depth and atmosphere rather than colour.
That restraint is also what makes it work at a distance and up close. From across a room the soft peaks and the still water below them read as tone and light, a suggestion of a landscape rather than a detailed account of one. Standing near it, the layers of hand-painted detail show: worked texture across the surface that catches light and gives the canvas a physical quality a flat print cannot produce. It rewards a second look without ever demanding the first.
The frame supports the same idea. Pale oak-toned moulding, 60mm deep, with a white inner border between the frame and the image. The oak warms the cool greys in the painting, and the border gives a soft composition room to sit rather than pressing it against the edge. 920mm square, 4 kg, with D-rings fitted. For a piece of similar scale that works on light instead of pigment, the Walnut Wooden Oval Wall Mirror brings timber and reflection to the same kind of wall.
What the Artwork and Frame Do Together
- A narrow tonal range. Chalk, stone, warm grey and pale ochre throughout. The piece adds depth to a wall without committing the room to a colour.
- Hand-painted detail in layers. Texture worked over the canvas so the surface catches light. It gives the piece a physical presence that a flat print does not have.
- Pale oak-toned frame. Warm enough to soften the cool greys in the composition, quiet enough to stay out of its way.
- A white inner border. Clear space between the image and the frame, so a soft composition is not crowded by its own edge.
- Square format. Holds a wall alone above a sofa or sideboard, and hangs as a symmetrical pair more easily than a portrait or landscape piece.
- 4 kg on D-rings. Light for its size. One person can hold it against the wall, mark the fixings and level it.
How the Canvas Sits Within the Frame
A canvas taken right to the edge of its moulding has nowhere to end. The composition runs into the frame and the frame becomes part of the picture, which suits bold graphic work and does soft, tonal work no favours. Here there is a white border between the two. It functions the way a mount does on a paper print: a pause between the artwork and the wall that lets the eye settle on the image on its own terms. On a landscape built from mist and low contrast, that margin is doing real work, because the composition needs space around it to read as open rather than cramped.
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 rather than float above it. Over a sideboard or console in a hallway or dining room. On a bedroom wall opposite the window, where the soft tones take the changing daylight. In a stairwell or on a landing, where a square format handles an awkward wall better than a tall or wide one. As one of a pair on a broad wall, since the square shape hangs symmetrically without looking contrived. The palette works against white, chalk, stone, warm grey, sage and clay.
The Practical Details Before You Buy
- Hang it the way the landscape reads. D-rings are fitted for both orientations, but the composition has a horizon and a sky, so there is only one way up that makes sense of the image. Check the canvas before deciding which pair to use.
- Fixings rated for 4 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. Modest weight, but a picture hook is not adequate at 920mm square.
- Keep it out of direct sun and damp. Canvas, paper and an MDF frame all react to strong sunlight and humidity over time. Avoid hanging it in full sun all day, and keep it out of bathrooms and utility rooms.
- Dust the frame, leave the canvas alone. A dry, soft cloth on the moulding. Do not wipe the painted surface, and never use damp cloths, sprays or cleaning products on the artwork.
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
Mountain Landscape Framed Canvas WA107: Questions Answered
The WA107 mountain landscape is by Sabrina Roscino. The composition shows soft peaks rising out of mist above still water, built from tone and light rather than detail, which is what gives the piece its sense of stillness and distance.
The WA107 carries layers of hand-painted detail worked over the canvas, so the surface has genuine texture and catches light rather than sitting flat. Because that detail is applied by hand, small differences exist between individual pieces and against the product photography.
The palette of the WA107 stays within a narrow range of chalk, stone, warm grey and pale ochre, with darker charcoal tones in the peaks. There is no strong colour in the piece, which is why it adds depth to a wall without committing the room to a scheme.
A pale oak tone, on an MDF moulding 60mm deep, with a white inner border between the frame and the image. The warmth of the oak softens the cool greys in the artwork, and the border gives the composition space to sit rather than pressing it against the edge.
At 920mm square the WA107 is a large piece, a little wider than a standard interior door. It will hold a wall on its own above a sofa, sideboard or console, and does not need other pieces around it to look complete.
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 WA107 at about eye level for a standing adult. Above a sofa, hang it lower than you would on a bare wall so it relates to the seat.
D-rings are fitted for both portrait and landscape, but the WA107 is a landscape composition with a horizon and a sky, so only one orientation makes sense of the image. Check the canvas before deciding which pair of rings to use, and note that each orientation needs its own holes in the wall.
Fixings rated for 4 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. The WA107 is light for its size, but at 920mm square a standard picture hook is not adequate.
Dust the frame of the WA107 with a dry, soft cloth and leave the painted surface alone. Never use damp cloths, sprays or cleaning products on the canvas. Canvas, paper and an MDF frame all react to strong sunlight and humidity over time, so avoid hanging the piece in full sun all day or in a bathroom or utility room.
Dimensions: 920 mm (H) x 920 mm (W) x 60 mm (D). Artist: Sabrina Roscino. Surface: canvas with hand-painted detail. Frame: oak-toned MDF moulding with a white inner border. Materials: MDF, canvas, paper. Hanging orientation: portrait or landscape. Fixing: D-ring. Weight: 4 kg.
Knowledge Hub
Living With Quiet Artwork
Hang it where the light moves across the room during the day, since a low-contrast piece changes more with the light than a bold one does. Keep the wall behind it plain, and let the texture of the canvas be the detail rather than adding pattern around it. For rooms built on soft colour and natural materials:
Large Framed Misty Mountain Landscape Wall Art
Overview
Description
Specifications
Delivery & Returns
FAQs
Knowledge Hub
A Muted Mountain Landscape in a Pale Oak Frame
A 920mm square framed canvas by Sabrina Roscino, showing soft peaks rising out of mist above still water: the artwork for a wall that needs depth rather than colour. No strong palette dictating what else can go in the room. No busy composition competing with the furniture beneath it. The tones stay within a narrow range of chalk, stone, warm grey and pale ochre, so the piece reads as atmosphere rather than as a picture demanding attention, and layers of hand-painted detail give the surface texture that a flat print does not have. Set inside a pale oak-toned frame with a white inner border and a 60mm depth. Plain D-ring fixings. Works in living rooms, bedrooms, hallways and dining rooms equally.
What the Framed Canvas Brings to a Wall
- A narrow tonal range: Chalk, stone, warm grey and pale ochre. The piece adds depth to a wall without introducing a colour the rest of the room has to work around.
- Hand-painted detail: Worked in layers over the canvas, so the surface carries texture and catches light rather than sitting flat. No two pieces are identical.
- Pale oak-toned frame: Warm enough to soften the cool greys in the artwork, quiet enough not to compete with them.
- White inner border: A margin of clear space between the frame and the image, which is what lets a soft composition breathe instead of being crowded by its own edge.
- Square format at 920mm: Large enough to hold a wall on its own above a sofa or a sideboard, and a shape that suits both a single hang and a symmetrical pair.
- 4 kg on D-rings: Light for the size, so fixings are straightforward and one person can position and level it.
Pairing the Artwork in the Room
A soft square landscape sits well beside a hard-edged circle: the round black wall mirror contrasts in shape, tone and material without adding any colour of its own, so hung on the same wall the two read as a considered arrangement rather than a collection. The palette works against white, chalk, stone, warm grey, sage and clay, and takes pale timber, linen and wool more comfortably than high-gloss or bright metallic finishes. For how muted artwork, natural materials and restrained colour are combined in a pared-back room, our guide to Scandinavian living room design covers the palette this piece belongs to.
Soft Tones That Suit Almost Any Room
Art with a strong palette makes decisions for the rest of the room. A red or a deep blue in a painting has to be answered somewhere else, and once it is on the wall the cushions, the rug and the paint colour are all working around it. This piece asks for none of that. Sabrina Roscino keeps the whole composition inside a narrow band of chalk, stone, warm grey and pale ochre, so what it adds to a wall is depth and atmosphere rather than colour.
That restraint is also what makes it work at a distance and up close. From across a room the soft peaks and the still water below them read as tone and light, a suggestion of a landscape rather than a detailed account of one. Standing near it, the layers of hand-painted detail show: worked texture across the surface that catches light and gives the canvas a physical quality a flat print cannot produce. It rewards a second look without ever demanding the first.
The frame supports the same idea. Pale oak-toned moulding, 60mm deep, with a white inner border between the frame and the image. The oak warms the cool greys in the painting, and the border gives a soft composition room to sit rather than pressing it against the edge. 920mm square, 4 kg, with D-rings fitted. For a piece of similar scale that works on light instead of pigment, the Walnut Wooden Oval Wall Mirror brings timber and reflection to the same kind of wall.
What the Artwork and Frame Do Together
- A narrow tonal range. Chalk, stone, warm grey and pale ochre throughout. The piece adds depth to a wall without committing the room to a colour.
- Hand-painted detail in layers. Texture worked over the canvas so the surface catches light. It gives the piece a physical presence that a flat print does not have.
- Pale oak-toned frame. Warm enough to soften the cool greys in the composition, quiet enough to stay out of its way.
- A white inner border. Clear space between the image and the frame, so a soft composition is not crowded by its own edge.
- Square format. Holds a wall alone above a sofa or sideboard, and hangs as a symmetrical pair more easily than a portrait or landscape piece.
- 4 kg on D-rings. Light for its size. One person can hold it against the wall, mark the fixings and level it.
How the Canvas Sits Within the Frame
A canvas taken right to the edge of its moulding has nowhere to end. The composition runs into the frame and the frame becomes part of the picture, which suits bold graphic work and does soft, tonal work no favours. Here there is a white border between the two. It functions the way a mount does on a paper print: a pause between the artwork and the wall that lets the eye settle on the image on its own terms. On a landscape built from mist and low contrast, that margin is doing real work, because the composition needs space around it to read as open rather than cramped.
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 rather than float above it. Over a sideboard or console in a hallway or dining room. On a bedroom wall opposite the window, where the soft tones take the changing daylight. In a stairwell or on a landing, where a square format handles an awkward wall better than a tall or wide one. As one of a pair on a broad wall, since the square shape hangs symmetrically without looking contrived. The palette works against white, chalk, stone, warm grey, sage and clay.
The Practical Details Before You Buy
- Hang it the way the landscape reads. D-rings are fitted for both orientations, but the composition has a horizon and a sky, so there is only one way up that makes sense of the image. Check the canvas before deciding which pair to use.
- Fixings rated for 4 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. Modest weight, but a picture hook is not adequate at 920mm square.
- Keep it out of direct sun and damp. Canvas, paper and an MDF frame all react to strong sunlight and humidity over time. Avoid hanging it in full sun all day, and keep it out of bathrooms and utility rooms.
- Dust the frame, leave the canvas alone. A dry, soft cloth on the moulding. Do not wipe the painted surface, and never use damp cloths, sprays or cleaning products on the artwork.
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.
Mountain Landscape Framed Canvas WA107: Questions Answered
The WA107 mountain landscape is by Sabrina Roscino. The composition shows soft peaks rising out of mist above still water, built from tone and light rather than detail, which is what gives the piece its sense of stillness and distance.
The WA107 carries layers of hand-painted detail worked over the canvas, so the surface has genuine texture and catches light rather than sitting flat. Because that detail is applied by hand, small differences exist between individual pieces and against the product photography.
The palette of the WA107 stays within a narrow range of chalk, stone, warm grey and pale ochre, with darker charcoal tones in the peaks. There is no strong colour in the piece, which is why it adds depth to a wall without committing the room to a scheme.
A pale oak tone, on an MDF moulding 60mm deep, with a white inner border between the frame and the image. The warmth of the oak softens the cool greys in the artwork, and the border gives the composition space to sit rather than pressing it against the edge.
At 920mm square the WA107 is a large piece, a little wider than a standard interior door. It will hold a wall on its own above a sofa, sideboard or console, and does not need other pieces around it to look complete.
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 WA107 at about eye level for a standing adult. Above a sofa, hang it lower than you would on a bare wall so it relates to the seat.
D-rings are fitted for both portrait and landscape, but the WA107 is a landscape composition with a horizon and a sky, so only one orientation makes sense of the image. Check the canvas before deciding which pair of rings to use, and note that each orientation needs its own holes in the wall.
Fixings rated for 4 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. The WA107 is light for its size, but at 920mm square a standard picture hook is not adequate.
Dust the frame of the WA107 with a dry, soft cloth and leave the painted surface alone. Never use damp cloths, sprays or cleaning products on the canvas. Canvas, paper and an MDF frame all react to strong sunlight and humidity over time, so avoid hanging the piece in full sun all day or in a bathroom or utility room.
Dimensions: 920 mm (H) x 920 mm (W) x 60 mm (D). Artist: Sabrina Roscino. Surface: canvas with hand-painted detail. Frame: oak-toned MDF moulding with a white inner border. Materials: MDF, canvas, paper. Hanging orientation: portrait or landscape. Fixing: D-ring. Weight: 4 kg.
Living With Quiet Artwork
Hang it where the light moves across the room during the day, since a low-contrast piece changes more with the light than a bold one does. Keep the wall behind it plain, and let the texture of the canvas be the detail rather than adding pattern around it. For rooms built on soft colour and natural materials:
Overview
A Muted Mountain Landscape in a Pale Oak Frame
A 920mm square framed canvas by Sabrina Roscino, showing soft peaks rising out of mist above still water: the artwork for a wall that needs depth rather than colour. No strong palette dictating what else can go in the room. No busy composition competing with the furniture beneath it. The tones stay within a narrow range of chalk, stone, warm grey and pale ochre, so the piece reads as atmosphere rather than as a picture demanding attention, and layers of hand-painted detail give the surface texture that a flat print does not have. Set inside a pale oak-toned frame with a white inner border and a 60mm depth. Plain D-ring fixings. Works in living rooms, bedrooms, hallways and dining rooms equally.
What the Framed Canvas Brings to a Wall
- A narrow tonal range: Chalk, stone, warm grey and pale ochre. The piece adds depth to a wall without introducing a colour the rest of the room has to work around.
- Hand-painted detail: Worked in layers over the canvas, so the surface carries texture and catches light rather than sitting flat. No two pieces are identical.
- Pale oak-toned frame: Warm enough to soften the cool greys in the artwork, quiet enough not to compete with them.
- White inner border: A margin of clear space between the frame and the image, which is what lets a soft composition breathe instead of being crowded by its own edge.
- Square format at 920mm: Large enough to hold a wall on its own above a sofa or a sideboard, and a shape that suits both a single hang and a symmetrical pair.
- 4 kg on D-rings: Light for the size, so fixings are straightforward and one person can position and level it.
Pairing the Artwork in the Room
A soft square landscape sits well beside a hard-edged circle: the round black wall mirror contrasts in shape, tone and material without adding any colour of its own, so hung on the same wall the two read as a considered arrangement rather than a collection. The palette works against white, chalk, stone, warm grey, sage and clay, and takes pale timber, linen and wool more comfortably than high-gloss or bright metallic finishes. For how muted artwork, natural materials and restrained colour are combined in a pared-back room, our guide to Scandinavian living room design covers the palette this piece belongs to.
Description
Soft Tones That Suit Almost Any Room
Art with a strong palette makes decisions for the rest of the room. A red or a deep blue in a painting has to be answered somewhere else, and once it is on the wall the cushions, the rug and the paint colour are all working around it. This piece asks for none of that. Sabrina Roscino keeps the whole composition inside a narrow band of chalk, stone, warm grey and pale ochre, so what it adds to a wall is depth and atmosphere rather than colour.
That restraint is also what makes it work at a distance and up close. From across a room the soft peaks and the still water below them read as tone and light, a suggestion of a landscape rather than a detailed account of one. Standing near it, the layers of hand-painted detail show: worked texture across the surface that catches light and gives the canvas a physical quality a flat print cannot produce. It rewards a second look without ever demanding the first.
The frame supports the same idea. Pale oak-toned moulding, 60mm deep, with a white inner border between the frame and the image. The oak warms the cool greys in the painting, and the border gives a soft composition room to sit rather than pressing it against the edge. 920mm square, 4 kg, with D-rings fitted. For a piece of similar scale that works on light instead of pigment, the Walnut Wooden Oval Wall Mirror brings timber and reflection to the same kind of wall.
What the Artwork and Frame Do Together
- A narrow tonal range. Chalk, stone, warm grey and pale ochre throughout. The piece adds depth to a wall without committing the room to a colour.
- Hand-painted detail in layers. Texture worked over the canvas so the surface catches light. It gives the piece a physical presence that a flat print does not have.
- Pale oak-toned frame. Warm enough to soften the cool greys in the composition, quiet enough to stay out of its way.
- A white inner border. Clear space between the image and the frame, so a soft composition is not crowded by its own edge.
- Square format. Holds a wall alone above a sofa or sideboard, and hangs as a symmetrical pair more easily than a portrait or landscape piece.
- 4 kg on D-rings. Light for its size. One person can hold it against the wall, mark the fixings and level it.
How the Canvas Sits Within the Frame
A canvas taken right to the edge of its moulding has nowhere to end. The composition runs into the frame and the frame becomes part of the picture, which suits bold graphic work and does soft, tonal work no favours. Here there is a white border between the two. It functions the way a mount does on a paper print: a pause between the artwork and the wall that lets the eye settle on the image on its own terms. On a landscape built from mist and low contrast, that margin is doing real work, because the composition needs space around it to read as open rather than cramped.
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 rather than float above it. Over a sideboard or console in a hallway or dining room. On a bedroom wall opposite the window, where the soft tones take the changing daylight. In a stairwell or on a landing, where a square format handles an awkward wall better than a tall or wide one. As one of a pair on a broad wall, since the square shape hangs symmetrically without looking contrived. The palette works against white, chalk, stone, warm grey, sage and clay.
The Practical Details Before You Buy
- Hang it the way the landscape reads. D-rings are fitted for both orientations, but the composition has a horizon and a sky, so there is only one way up that makes sense of the image. Check the canvas before deciding which pair to use.
- Fixings rated for 4 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. Modest weight, but a picture hook is not adequate at 920mm square.
- Keep it out of direct sun and damp. Canvas, paper and an MDF frame all react to strong sunlight and humidity over time. Avoid hanging it in full sun all day, and keep it out of bathrooms and utility rooms.
- Dust the frame, leave the canvas alone. A dry, soft cloth on the moulding. Do not wipe the painted surface, and never use damp cloths, sprays or cleaning products on the artwork.
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
Mountain Landscape Framed Canvas WA107: Questions Answered
The WA107 mountain landscape is by Sabrina Roscino. The composition shows soft peaks rising out of mist above still water, built from tone and light rather than detail, which is what gives the piece its sense of stillness and distance.
The WA107 carries layers of hand-painted detail worked over the canvas, so the surface has genuine texture and catches light rather than sitting flat. Because that detail is applied by hand, small differences exist between individual pieces and against the product photography.
The palette of the WA107 stays within a narrow range of chalk, stone, warm grey and pale ochre, with darker charcoal tones in the peaks. There is no strong colour in the piece, which is why it adds depth to a wall without committing the room to a scheme.
A pale oak tone, on an MDF moulding 60mm deep, with a white inner border between the frame and the image. The warmth of the oak softens the cool greys in the artwork, and the border gives the composition space to sit rather than pressing it against the edge.
At 920mm square the WA107 is a large piece, a little wider than a standard interior door. It will hold a wall on its own above a sofa, sideboard or console, and does not need other pieces around it to look complete.
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 WA107 at about eye level for a standing adult. Above a sofa, hang it lower than you would on a bare wall so it relates to the seat.
D-rings are fitted for both portrait and landscape, but the WA107 is a landscape composition with a horizon and a sky, so only one orientation makes sense of the image. Check the canvas before deciding which pair of rings to use, and note that each orientation needs its own holes in the wall.
Fixings rated for 4 kg. Wall plugs and suitable screws into masonry, or hollow-wall anchors or a fixing into a stud on plasterboard. The WA107 is light for its size, but at 920mm square a standard picture hook is not adequate.
Dust the frame of the WA107 with a dry, soft cloth and leave the painted surface alone. Never use damp cloths, sprays or cleaning products on the canvas. Canvas, paper and an MDF frame all react to strong sunlight and humidity over time, so avoid hanging the piece in full sun all day or in a bathroom or utility room.
Dimensions: 920 mm (H) x 920 mm (W) x 60 mm (D). Artist: Sabrina Roscino. Surface: canvas with hand-painted detail. Frame: oak-toned MDF moulding with a white inner border. Materials: MDF, canvas, paper. Hanging orientation: portrait or landscape. Fixing: D-ring. Weight: 4 kg.
Knowledge Hub
Living With Quiet Artwork
Hang it where the light moves across the room during the day, since a low-contrast piece changes more with the light than a bold one does. Keep the wall behind it plain, and let the texture of the canvas be the detail rather than adding pattern around it. For rooms built on soft colour and natural materials:
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