Selected from specific exhibitions, the tabs below provide an opportunity to own James Straffon original artworks, limited edition prints or published books.
Each connects to a new page, featuring detailed images, and pricing.
For buying enquiries and orders send an email HERE.
For buying enquiries and orders send an email HERE.
Thirty-five tales.
A special limited edition print in aid of Farm Sanctuary - commemorating their thirty-fifth year.
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Don't Be Koi
A limited edition print depicting the unbalanced tao of global water through dumped plastic and toxins.
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On Yeah? Wham!
A series of anchor tattoo artworks as part of the Coastal Chic project.
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Seraph Series
Angelic artworks on canvas,
for the wall or altar.
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HARK #1-15
A special series of hand sprayed
prints produced as part of
the Angels of Southwold project.
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When The Fox met The Rooster
A limited edition print series taken
from the sellout exhibition at
the British Embassy Luxembourg.
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MITOLOGIA ITALIANA
An exploration of the Italian
Cultural landscape; a work of
fiction for modern times.
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100e
A unique collection of limited edition
prints celebrating the 100th edition of
the Tour de France [2013].
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LE TOUR Book
Published by Rapha racing, as a
lavish accompaniment to the
LE TOUR exhibition.
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The Blank Canvas
The artist is available to create bespoke artworks to fit the client's desired brief.
If you have an idea for a street art piece, or personal commission for a portrait etc, send an email.
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All artwork, text and images © James Straffon 2022.
James Straffon
James Straffon is an acclaimed British artist, who lives and works in London.
He works across a wide range of media, creating large-scale public art installations,
private commissions and gallery exhibitions.
CONTACT
He is co-founder, and lead artist of the Turnpike Art Group.
For a miscellany of press links and articles, click HERE
All artwork, text and images © James Straffon 2022.
Charity work for Dimension Data

Following a company-wide draw, 22,100 € were raised from this unique artwork.
“That’s a lot of bicycles for children in Africa!!”
Marta Duponselle, Senior Marketing Manager, Dimension Data.
Forming a valuable part of the When the Fox met The Rooster project, a special artwork was created specific to Team Dimension Data, as a mechanism to generate focus and potential revenue for the Qhubeka Charity.
Team Dimension Data for Qhubeka raises funds for the Qhubeka to mobilise people on bicycles in Africa, as part of the #BicyclesChangeLives Campaign.
All artwork, text and images © James Straffon 2022.
100e - the prints
The Race of Time
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Now to th’ ascent of that steep savage hill
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Chase anguish and doubt and fear and sorrow and pain
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Ministers of Vengeance and Pursuit
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Of Patience and Heroic Martyrdom
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
The Verdurous wall of Paradise
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Majestic though in ruin
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Till Pride and worse Ambition threw me down
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Demy-Gods on golden seats
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Pandaemonium
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Our torments also may in length of time become our elements
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Of darkness do we dread?
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
Archival pigment print on Hahnmühle German Etching 310 gsm
Size 1: 20 x 16 inches / 50 x 40 cm. A limited edition of 20, signed and numbered on the front. £595
Size 2: 38 x 30 inches / 95 x 76 cm. A limited edition of 5, signed and numbered on the front. £1,950
100e - celebrating 100 editions of the Tour de France.
The 100e is an allegorical monograph, comprising twelve plates; each individually capturing a phase of the Tour's history - montaging the places, faces, moments, phrases, language that form its overall chronology. Beneath the competition itself, lies a framework built around three creative icons - John Milton (1608–1674), Francisco Goya (1746–1828), and Salvador Dali (1904–1989). For context, Milton’s epic poem Paradise Lost (originally published in 1667) provides the fundamental themes: Descent and ascent; Light and dark; Immortality; Conflict; The fall; Restoration; Chaos; Rebellious angels; the anti-hero; temptation; vanity; self-deification; the pursuit of Paradise. Critically, it also introduces the theological concept of ‘felix culpa’ - or ‘fortunate fall’ - which suggests evils occur in order to bring about a greater good. Structurally, Milton’s ‘poem in twelve books’ provides the schema, from which the twelve titles that comprise 100e are extracted:
Of darkness do we dread?
Now to th’ ascent of that steep savage hill
Chase anguish and doubt and fear and sorrow and pain
Pandaemonium
Demy-Gods on golden seats
Majestic though in ruin
Our torments also may in length of time become our elements
The Race of Time
Till Pride and worse Ambition threw me down
Ministers of Vengeance and Pursuit
The verdurous wall of paradise
Of Patience and Heroic Martyrdom
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In 1974, artist Salvador Dali further explored the books of Milton’s Paradise Lost, culminating in Paradis Perdu - a set of ten prints, published by the L’Automobile Club de France.
Finally, 100e revisists Francisco Goya’s Los Caprichos - eighty aquatint prints created by the Spanish artist; published as an album in 1799. Los Caprichos functioned as a satirical critique of the society in which he lived. Here, American art historian David Rosand suggests “Goya turned the inventive powers of the artist back upon his audience with indicting moral force”, simultaneously “Pressing the limits of poetic license”. This ‘caricature’ portrayal maps how 100e is illustrated - the Tour de France, with all its many facets, reworked with the fidelity of a Lichenstein Pop Art cartoon; both as a study, and a critique. In addition, the photo-montaged image of each 100e plate faithfully embodies the working method of the Dadaist ‘monteurs’ (mechanics), who incorporated actual press photography into their artwork. From L’Auto to L’Équipe, 100e extracts its core content from the very press pages circulated throughout the Tour’s epic history.
This exhibition carries a unique foreword - Imaging the Century - written by Graeme Fife, author of The Beautiful Machine.
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All artwork, text and images © James Straffon 2022.
FABER
FABER
Acrylic, mixed media, spray paint and graffiti marker on 14oz primed acid-free canvas. 150cm x 120cm.
COMMISSION
COMMISSION
François Faber, aka Le Géant de Colombes (The Giant of Colombes) was a Luxembourgian racing cyclist who won the 1909 Tour de France, winning five consecutive stages [still a record]. Although born in France, his father was born in Wiltz, Luxembourg, giving François Luxembourg nationality.
This artwork features an original 1909 edition of La Vie au Grand Air - a French sports illustrated magazine launched on April 1, 1898.
This private commission is linked to When the Fox Met the Rooster project.
This private commission is linked to When the Fox Met the Rooster project.
All artwork, text and images © James Straffon 2022.
Herne Hill - limited edition print

To commemorate the inaugural World Cycling Revival Festival the Herne Hill print pays homage to the world famous Herne Hill Velodrome - the host venue for the festival.
Located along the steep banks of this iconic track lay some of the great and good who have graced the boards - Fausto Coppi, Jacques Anquetil, Tom Simpson, Reg Harris and the inimitable Beryl Burton.
Herne Hill
Print size: 65 x 45cm.
The artwork is a pigment print on archive standard Hahnemuhle German Etching Fine Art Paper.
65 x 45cm
£250 [print]
The artwork is a pigment print on archive standard Hahnemuhle German Etching Fine Art Paper.
All artwork, text and images © James Straffon 2022.
Mitologia Italiana - nel testo
No.19. King Crin
In the following years, la punzonatura would annually occur outside La Gazzetta, on Via Galileo Galilei. Numbers were given to race entrants. And a race was run. During this time, the artistically-inclined Bugatti family would entrust one of their clan to bring to life an iconic motorcar company; some time in fusion with Prinetti & Stucchi, Stucchi & Co., who produced machines for sewing. At the same time, in nearby Turin, a Lancia Beta would roll off onto the roadway. Paradoxically, within this automobile revolution, something of a bicycle renaissance also began to emerge, aided by the outlook of the Touring Club Italiano. Deep in the kingdom of Lombardia there was a grand celebration.
No.39. The Happy Man’s Shirt
The wizard king’s wise words would all play out in truth. And Angelo would ultimately lose his final battle. At the same time, far off in another kingdom, neorealism competed with fantasy. A young woman from Sweden called Ingrid told an older man called Roberto “I am ready to come and make a film with you”. Their scandalous fate is soon sealed on an exploding volcanic rock called Stromboli. And another man of pictures exposes a naive young boy carved from wood, who tries to escape a life under the control of others. Along the way he joins a circus, becomes transformed into a donkey and ultimately is reborn through a miraculous metamorphosis. Where those seeking the allure of the maglia rosa fight to the bitter end, it is rumoured the truly happy man wore no shirt.
No.53. The Devil’s Breeches
At the same time, the beast with horns had his fingers in many pies. In Rome, a group of future-gazing visionaries opened the Cabaret del Diavolo - borrowing from the Florentine Dante Alighieri, the three main rooms went by the names Paradise, Purgatory and Inferno. Other kindred spirits included Fortunato Depero, who founded the Casa d'Arte Futurista. Further devotees joined the movement formed around a ground swell called Futurista. Back in the kingdom of Lombardia Alfonsina had traded her simple bicycle for one with its own power. This new beast, called Guzzi, was coloured scarlet. And he growled the most throaty thunder. One day, returning home from a town in the north, Guzzi became uncontrollable. His grease-splashed bulk fell against Alfonsina. Unable to move she pleaded for air. But the beast took no heed, the Devil had taken the place of him.
No.74. The Daughter of the Sun
No.76. The Florentine
No.95. Water in the Basket
Legend has it the king from the north and the king from the south went head to head for many days and nights. Both were battle-hardened warriors. Both displayed ingenuity, endurance and cunning. Rumour has it the king from the north once declared “Age and treachery will overcome youth and skill.” Furthermore, the king from the south did not trust the methods of his rival. He believed a sly medicine man had bequeathed his foe with some explosive potion, which when imbibed increased the consumer’s powers tenfold. The battle raged on. And on. Eventually, the two passionate kings were almost at a standstill. This is the point where the mists of time grow murky. Some say the king from the south grew pity for his exhausted adversary. Others suggest the king from the north was actually winning, but decided to spare his opposer and offer an olive branch. The only aperture of shared clarity into this tale is a moment witnessed by a man who had no name. And who since has disappeared into thin air. But it is said, he saw through one eye the two kings clutching the same drinking vessel, each in desperate need of libation. But was the king from the south offering his spirit to the man in front? Or was the king from the north reaching back to bequeath a life saving mouthful from his? To this day the myth known as the bottiglia d'acqua remains unresolved. What is understood is their shared moment of kind-hearted altruism saved the land. The outcome was a close one. The kings returned to their queens, and a gifted inventor from the creative hot-bed known as Milano, through his love of a flame-haired temptress called Gilda, built a device which allowed all in the kingdom to express themselves through the drinking of a stimulating dark beverage. Elsewhere, Gilda’s legacy was also strapped to a catalyst of greater potency. But as the storm clouds settled, all lived happily ever after.
No.126. The Five Scapegraces
During his time without trumpeting, Alfredo had wed and produced a family. Encouraged by the need to provide for his offspring he picked up his instrument and returned to the competition, racing this time with a new sound in his ear - the cries of that mad daughter of his.
No.137. The Thirteen Bandits
No. 145. The Widow and the Brigand
The demise of the king, some say, was a metaphor for change. His actions represented the desire for a more modern morality. When white turned to black, his partiality to the allure of women and power was played out across the front pages of popular culture. But then, from the ruins and poverty a new horizon grew. A man called Gio would build a glorious blue and white palace high up on a cliff overlooking an island in the same Tyrrhenian Sea. And a man of cheap words would openly pursue a saccharine pastime in order to to seek his fortune.
No.160. The Left-Hand Squire
Years later, as he took his battle to the highest mountain in the land, which went by the name of Pordoi, whispers spread that extra gregari had been brought in from far and wide, and these allegiant scamps had assisted, against the race rules, to push and drag the exhausted competitor to the mountain peak. Despite proclaiming “In life, defeats are more likely to happen than wins”, the Third Man’s victories seemed more likely to happen if he deceived. One one similar occasion, he even managed to cheat Death himself - for despite breaking many bones he continued competing in a long and arduous race against the champions of the time. All the healers from the land were sent away, as the challenger rode on, falling again and again; breaking more limbs with each advancement. Unable to properly control his chariot with his hands, he cleverly fashioned a harness that he gripped between his teeth. It was this act of insane, spirited gallantry which eventually melted the animosity of his doubters. The Third Man finished second in the race. Afterwards, slumped in an infirmary bed, he looked down at his broken body and apologised to his wrecked limbs, saying “scusa for the grief I have caused you”.
No.179. The Captain and the General
With eating now a favourite pastime of most people, sharp-eyed members of a family called Salvarani went into business selling boxes, which when connected together could convert any room into a place in which to cook and prepare meals. This brave new apparatus had everyone talking about things which were ‘modular’. The Salvarani family became prosperous beyond their dreams. And everyone in the land turned modular. With more money than they knew what to do with, some was spent bringing music to the populace. In a giant round bowl called Vignorelli they introduced four insects from a far away island, who played their instruments and sang about girls. They also hired a small battalion of skilled riders to capture prizes, riding all the while in a fetching pale blue livery. This legion had both a Captain and a General (neither of which were from Sicilies), and both were very popular victors, much due to their merry disposition. As the people enjoyed the success of this blue battalion, they also were sad at the loss of a brilliant innovator called Enrico, who had lived in a big house called Varramista. Enrico had changed the landscape across the land by designing a small and affordable vehicle with a bulbous rear end and spiky handles for steering. “It looks like a wasp!” declared Enrico. It wasn’t long before everyone was riding on wasps, from Sicily (now in the south) to the north. In recognition of his great idea he was made Commander of all the regiments.
No.194. The Lion’s Grass
Returning to rapturous fanfare, the lion opened a special wooden crate made by the carpenter and out spilled the victor’s spoils. Suddenly the fanfare stopped. The crowd drew back. All was quiet. “Is there a problem?” enquired the lion. The town’s Mayor stepped forward. “Toothpaste? Hand cream? We were expecting sustenance, and rare victuals on which to feast and make merry.” The gentle lion leaned against the wooden box and lit up a cigarette. He had heard the story of the Left-Hand Squire, where this face and hand cream was an alternate currency for people of high culture. Not so those of a rural upbringing, he surmised. “Never mind,” said the carpenter. “Perhaps white teeth and rosy cheeks aren’t for everyone.”
The carpenter returned to making things with wood, and the lion took up residency in the artisan’s workshop attic, painting landscapes of his homeland. “I wouldn’t worry about those folks in the hinterland Mr Lion. You are still king of the beasts to me.” Putting down a brush, and lighting up a cigarette, the lion smiled. In his mind he remained king of the seven crowns.
[Titles, First and Last sentences after 'Italian Folktales' by Italo Calvino]
[Titles, First and Last sentences after 'Italian Folktales' by Italo Calvino]
All artwork, text and images © James Straffon 2022.
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