Buying
Authenticity
Every painting sold here is an original, made by hand by Santiago Aburto, and exists exactly once.
One of one
There are no editions, no giclée prints, no reproductions, and no second version of any painting on this site. When a work is marked sold, it is gone — it is not reprinted, and a similar piece is never presented as the same one.
This is enforced in the system itself, not only as a promise. Each painting exists as a single record with a single status. From the moment a collector begins checkout the work is locked to them, and it cannot be sold twice even if two people click at the same instant.
Certificate of authenticity
Every painting ships with a signed certificate recording:
- The title, year, medium and exact dimensions of the work
- Confirmation that it is an original and unique piece
- The date of sale and the name of the acquiring collector
- The artist's signature
Keep this document. It is what establishes provenance if you ever insure, lend, or resell the work.
Signature
Works are signed by the artist. Depending on the piece the signature may be on the face, on the edge of the canvas, or on the reverse — placement is an aesthetic decision, and its location is noted on the certificate. Where the signature is a visible part of the work, a photograph of it is included among the images on the artwork page.
Provenance
Every work here is sold directly by the artist from his studio. There is no intermediary, no gallery consignment and no prior ownership to trace: you are the first owner, and the chain of provenance begins with you.
Verifying a work
If you are offered a painting attributed to Santiago Aburto by a third party and want it confirmed, write to the studio with photographs including the reverse and any signature. Confirmation is given without charge — misattribution damages the artist more than it damages anyone else.
Condition and care
Acrylic on canvas is durable but not indestructible. Keep work out of direct sunlight, away from radiators and damp, and dust the surface with a dry, soft brush rather than a cloth, which can catch on impasto. Do not use cleaning products of any kind. Heavily textured passages and gold leaf should not be touched.
Last updated 1 August 2026
Questions? Write to the studio →