The Boathouse is an original rowing art print from the studio of Tremolo A Tiempo, drawn in Faber-Castell Polychromos pencils and Japanese sumi ink on paper. A lone sculler stands between two oars beneath the pitched beams of the boathouse, the timbers pulling the eye toward the water beyond. Flashes of red, white and blue run through the background, a quiet nod to British club rowing tradition.

Manhattan, Imagined is the second plate in The George Files, an ongoing series of figure studies and character portraits by Alexander Paul Burton, working as Tremolo A Tiempo. Drawn in Faber-Castell pencil and Japanese sumi ink, the piece places its subject against a half-rendered New York skyline, the Chrysler Building rising behind him more as a thought than as a building. The handwritten subtitle reads "Projection Vs. Reality", the question the plate quietly asks of its subject and of anyone who has ever pictured a city before setting foot in it. The figure stands turned away, a sash of teal and rose tied loose at the waist, the only true colour in an otherwise graphite world. He is looking at the skyline. Whether he is seeing it or remembering it is left to the viewer. A considered piece for readers, collectors of literary art, figure drawing enthusiasts, New York lovers, and anyone drawn to work that carries a narrative inside the image. Printed on demand by Gelato on museum-grade paper, produced fresh to order and shipped from a facility near you.

High Line is the third plate in The George Files, an ongoing series of figure studies and character portraits by Alexander Paul Burton, working as Tremolo A Tiempo. Drawn in Faber-Castell pencil and Japanese sumi ink, the piece finds its subject folded into a corner, arms wrapped around his knees, one sock striped red and white, a pool of pink pastel spreading beneath him like a shadow that forgot to be grey. Where the earlier plates placed George inside frames and against skylines, High Line strips the room away. There is no window view, no ornament, no city. Only the corner, the floor, and a figure the viewer arrives too late to comfort. It is the quiet middle beat of the series, the plate where the projection meets the reality. A considered piece for readers, collectors of literary art, figure drawing enthusiasts, and anyone drawn to work that carries a narrative inside the image. Printed on demand by Gelato on museum-grade paper, produced fresh to order and shipped from a facility near you.

Influencer Culture is a figure study art print from the Silverbourne collection by Alexander Paul Burton, published under the imprint Tremolo A Tiempo. Drawn in Faber-Castell pencil and Japanese sumi ink, the piece stages its subject in front of a mirror or a large framed panel, one arm raised behind the head in the geometry the phone camera has taught a generation to fall into, a mauve robe slipping off one shoulder, white briefs, ankle socks. In his other hand, a phone with a red case. His gaze is on the screen, not on the room. Where the earlier Silverbourne plates carried a torch and then a lyre, Influencer Culture hands the modern archetype the instrument he actually uses. The pose is the point. The mirror is the point. The audience is somewhere outside the frame, and the classical body has learned to arrange itself accordingly. The joke is affectionate. Silverbourne's argument, plate by plate, is that the vocabulary of self-presentation has not changed anywhere near as much as we think it has, only the tools. A considered piece for readers, collectors of literary art, figure drawing enthusiasts, classicists with a sense of humour, and anyone drawn to work that carries a narrative inside the image. Printed on demand by Gelato on museum-grade paper, produced fresh to order and shipped from a facility near you.

Regarding Work is the fourth plate in The George Files, an ongoing series of figure studies and character portraits by Alexander Paul Burton, working as Tremolo A Tiempo. Drawn in Faber-Castell pencil and Japanese sumi ink, the piece catches its subject mid-bend, shoulders forward, weight over the front foot, the muscles of the back and thigh doing the quiet arithmetic of a body at work. Behind him, a mirror or doorway holds a second view of the same room, as though the labour and the reflection of it are happening at the same time. The handwritten subtitle reads "Labour Vs. Identity". It is the question the plate puts to its subject and, by extension, to anyone who has ever caught themselves in a doorway and wondered whether the work is the person or only the thing the person does to fill the day. A considered piece for readers, collectors of literary art, figure drawing enthusiasts, and anyone drawn to work that carries a narrative inside the image. Printed on demand by Gelato on museum-grade paper, produced fresh to order and shipped from a facility near you.

An American Man is the fifth plate in The George Files, an ongoing series of figure studies and character portraits by Alexander Paul Burton, working as Tremolo A Tiempo. Drawn in Faber-Castell pencil and Japanese sumi ink, the piece strips the setting away entirely and lets its subject perform. George stands centred on the page, one arm raised in a flex, sunglasses on, grin unmistakable even beneath the shades, a single flash of cobalt at the waist the only colour in the composition. The blank field behind him is the plate's quiet joke. There is no room, no city, no work, no window, only the pose. He has arrived somewhere, and the somewhere is a performance of himself. It is the plate in the series where the mask is on and the mask is the point. A considered piece for readers, collectors of literary art, figure drawing enthusiasts, and anyone drawn to work that carries a narrative inside the image. Printed on demand by Gelato on museum-grade paper, produced fresh to order and shipped from a facility near you.

Company Kept is the sixth plate in The George Files, an ongoing series of figure studies and character portraits by Alexander Paul Burton, working as Tremolo A Tiempo. Drawn in Faber-Castell pencil and Japanese sumi ink, the piece places its subject at the edge of a window, one hand on the shutter, the other resting near the hip, looking down at a full-length mirror propped against the sill. Only the lower half of the reflection returns his gaze, briefs and thigh, the honest fraction of himself he came to check. Where An American Man let George perform his pose to an imagined audience, Company Kept turns him back toward himself. The mirror is the company of the title. The window is open. The pane behind him holds the cool light of a morning that has already decided what kind of morning it is going to be. A considered piece for readers, collectors of literary art, figure drawing enthusiasts, and anyone drawn to work that carries a narrative inside the image. Printed on demand by Gelato on museum-grade paper, produced fresh to order and shipped from a facility near you.

Amongst Others is the seventh plate in The George Files, an ongoing series of figure studies and character portraits by Alexander Paul Burton, working as Tremolo A Tiempo. Drawn in Faber-Castell pencil and Japanese sumi ink, the piece marks the first appearance in the series of another figure alongside George. Two men stand in a doorway, one turned toward the viewer with a half-smile and blue trunks, the other in profile with an arm braced against the frame, the staircase falling away between them and out into the light. Where the earlier plates followed George alone (framed, projected, folded, working, posing, reflecting), Amongst Others opens the room. It does not tell us who the other figure is, whether he arrived, was already there, or is only passing through. The plate keeps that question to itself. What it does say is that the door is open and George is no longer the only person in the frame. A considered piece for readers, collectors of literary art, figure drawing enthusiasts, and anyone drawn to work that carries a narrative inside the image. Printed on demand by Gelato on museum-grade paper, produced fresh to order and shipped from a facility near you.

Classicism 2.0 is a figure study art print from the Silverbourne collection by Alexander Paul Burton, published under the imprint Tremolo A Tiempo. Drawn in Faber-Castell pencil and Japanese sumi ink, the piece stages a classical hero in full contrapposto, a toga draped from one shoulder, a torch or sceptre raised in one hand and a phone held loosely in the other. He wears trainers. He wears a pair of boxer-briefs. He is standing on a stage of pink shadow, and he has all the poise of an antique statue with none of the marble. The subtitle, "The Modern Man", is the piece's quiet punchline. Classicism 2.0 is what you get when the version number keeps ticking over but the pose does not. It is a figure study, a period joke, and a small, affectionate portrait of the way contemporary manhood still borrows its silhouette from a plinth two thousand years old. A considered piece for readers, collectors of literary art, figure drawing enthusiasts, classicists with a sense of humour, and anyone drawn to work that carries a narrative inside the image. Printed on demand by Gelato on museum-grade paper, produced fresh to order and shipped from a facility near you.

Classical "Player" is a figure study art print from the Silverbourne collection by Alexander Paul Burton, published under the imprint Tremolo A Tiempo. Drawn in Faber-Castell pencil and Japanese sumi ink, the piece leans its subject against a stone plinth, one foot crossed over the other, boxer briefs low on the hips, a laurel crown resting slightly askew at the brow. In his right hand he holds a lyre. The quotation marks around the title do the rest of the work. The plate is Silverbourne's small argument that the archetype has been around a very long time. The lyre-player of the classical world (Apollo tuning up, Orpheus about to make trouble) is the same figure who leans against the same wall two thousand years later with a slightly different instrument and the same expression. The crimson wash pooling around his feet reads as stage light, as spilled wine, as whatever else you want it to read as. The plate does not choose for you. A considered piece for readers, collectors of literary art, figure drawing enthusiasts, classicists with a sense of humour, and anyone drawn to work that carries a narrative inside the image. Printed on demand by Gelato on museum-grade paper, produced fresh to order and shipped from a facility near you.