Impossibly Real Gallery - Fine Art Prints

Coming Soon - Limited Edition Archival Prints


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Limited Edition

"Glowing White" on Plexi

Modern print technology has finally caught up to Maier’s painting process
— Dr. Louis A. Zona, Director of The Butler Institure of American Art

For the First Time in Peter Maier's long and distinguished career, we are offering Archival Fine Art Prints in both Aluminum and Plexi.  After years of trial and error, Pete has finally found not one but two substrates that he feels can compare to his unique original works and offers the highest quality of Print available on the market today.

Teaming with the best print makers in the industry from Duggal Visuals, and building a brand with his business partner Deb Rice and Impossibly Real Gallery.  Pete is excited to unveil his first collection of Archival Fine Art Prints.

Please read below to find out more information 


If you are interested in a print or have any questions please Contact Deb Rice. 

Email - impossiblyrealart@gmail.com   


Take a closer look at How Duggal Visuals Produces our Plexi Prints. 


Two Print Variations Offered by Impossibly Real Gallery

Vibrachrome ™: Two Machines in Motion

In the Vibrachrome ™ process, a special coated paper printed on the Texart is transferred to the TRITON, which heats the print against the face of the metal at 400 degrees F. As the water in the ink evaporates, the ink transitions from a solid to gaseous state.

After the metal cools, the ink becomes permanent and scratch-resistant–no lamination needed. The Texart’s distinguishing features–high-resolution, 8-color CMYK printing with an extended gamut including light cyan, light magenta, orange and violet–allow for photographic quality with enhanced PANTONE color matching.

C-Print / Plexi

The original digital photo printing process was introduced in the 1950s by Kodak as the “chromogenic color print” or “C-print.” These prints use silver halide and dye couplers. The light sensitive plastic papers were originally exposed using enlargers to project negatives onto the C-paper. Most C-prints now are exposed by digital printers from digital files using lasers or LED. After the C-Print paper is exposed, the paper must be processed in photographic chemicals that develop the image.