Cheers guys, much appreciated!
Matt, thanks!! Some more great work there too, especially the French rally, Ducati, and 'Chrissy' pieces (particularly the 3D effect of the Ducati though!)
Erich, thanks too mate! And I do hear ya...
Have posted a pic of current status of original, larger than the paper to show exactly what we're playing with (although the 'lost' effect isn't as obvious 'in the flesh' as it is here, even when using US watercolourist Philip Jamison's method of checking composition - mounting the picture on the easel and viewing in reverse from a distance by way of a mirror)
I think part of the problem is the stark whiteness of the paper itself, heightening the contrast between light and dark areas. The '34 Ford for example looks better as it's a little larger, and the paper has the more usual very faint hue to it, creating a warmer and more subtle effect.
I think this is the reason I've never liked the copies made from my work either, printed as they usually were on straight white paper.
But what to do with this one... still playing with ideas.
Pic attached of one lamp post idea as suggested by Erich and Terry. Curb should be lower (IMO), maybe in line with centre of smaller lamp (but not touching), composition moved down accordingly, and lamp head remaining at car top height.
Another idea is to carefully heighten the cobble effect a little at rear wheel, and make the signature a little larger and reposition it at number plate height, starting in line with (the car's) left indicator...
Or maybe I should just cut the bloody paper down to improve composition!
Your further thoughts/ ideas please!