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The Art Buying Hierocracy
By Deborah | January 9, 2008
1. Buy Originals
2. Buy Original Prints (Signed by the artist, numbered, small editions)
3. Reproductions (Signed, numbered, small editions)
4. Reproductions (Signed, open editions)
It goes without saying that if you can buy an original piece of art…do so! The reality is, however, that budgets and art buying tastes aren’t always in balance.
For those of you who aren’t ready to invest in an original, but love an artist’s work and are considering an original print or a reproduction of that work, let me offer some guidance regarding the world of reproductions and prints.
Not all prints are created equal as you will quickly see. And, unlike what some writers would have you think…there is no concerted effort by the major publishers coming up with ways to mislead the marketplace with confusing jargon. Misleading the public is a surefire way to end a career in publishing very quickly. The short-term gains would never measure up to the long-term relationship a publisher has with its clients.
The truth is that print publishing technology and the technical ability of artists using the computer as a medium to create original works has changed so much over the past twenty years that the industry terms used to describe the difference between an original print and reproductions have become blurred, misused, and confusing.
To simplify, think of it this way. A print is either an original or a reproduction. Both original prints and reproductions can be printed on canvas or paper. Giclee prints are most often reproductions, but they can also be original prints. Confusing enough for you? To understand the difference in terms, one needs to consider the print making process.
Original Prints:
The artist is personally involved throughout the process of making an original print, thus in the eyes of collectors giving it the highest value in the print market. The artist begins the process by making the plate. This is often done by painting, drawing or etching on a block of wood, stone, metal, etc. The block is then used by the print-maker to make a plate from which individual prints can be pulled. The artist monitors the entire process and approves each print as it is pulled. As a final task, the artist personally signs and numbers his/her original print edition. Edition sizes are typically low in this process as it is very labor intensive. And, yes…crazy as it sounds…the word original does not mean that only one is printed as you may assume. The word original means that this image never existed in an identical form in any other medium. These numbered original prints are called ‘multiples.’ A Provenance Card or Certificate of Authenticity should accompany an original print with the information about the artist, publisher, edition size, and in the case of a Provenance Card an ownership history of the print.
Reproductions:
Conversely, if the artist were to create a painting, photograph it, make a plate, and have it run off on a press, the result would be reproductions or copies of the original. Reproductions can be limited in edition size or open editions, numbered and signed by the artist. Limited editions with lower numbers typically have a greater perceived value in the eyes of a collector than open editions. The same applies to the artist’s signature. If each copy is individually signed and numbered by the artist, it will hold a higher perceived value than those that were signed only on the original and copies made of that signature. Also, reproductions that are numbered under 10 hold a special appeal as they would with original prints. For this reason, you will find many artists reserving the first five of an edition rather than releasing them to the market.
A reproduction also holds a lesser value compared to an original print in the eyes of a collector because it has little or no involvement from the artist in the making of a print. That being said, most reputable publishers will have the artist or artist’s agent ‘sign off’ or approve color and consistency as an accurate representation of the original work if the artist is living and the estate whenever possible if the artist is deceased. In such case, this information would be stated on the Certificate of Authenticity that would be included with your purchase of a print.
Now that we have built a foundation of understanding comparing an original print to a reproduction, let us mix it up a bit to see if you have been following along.
What would you call a print made by an artist who uses the computer as his/her medium to create an original image, and then personally prints each print with no other person involved in the process?
What if they create the original work on the computer and hire a service to print the work out for them, as is often done with Giclees?
If you are thinking it is not a reproduction because it does not exist in any other form, you are correct. The artist is involved in the first question from beginning to end. In this case, it would have to fall into the original print category.
What about when the artist creates the original using the computer as his medium, and then takes it off to have someone else print it? This is where it becomes a bit more complicated from my perspective. I would want to know how involved the artist was in the selection of paper, size, edition size, color, etc. Did they stand by and approve every step of the process much as if the artist traditionally has done working with a print-maker? If so, it would lend credence to the belief that this work should fall within the original print category, especially if it is a limited edition size, signed and numbered by the artist. Some would argue that it should be valued as an original print on the fact that it does not exist in any other form, and perhaps they have a point. I personally place a higher value the more involved the artist is in the process. This is certainly a point for debate.
Can’t tell the difference between a Giclee print on canvas and an original?
You’re not alone. The quality can be so good that even curators can be fooled at first glance. The first thing I would recommend is to look for brush strokes by viewing the piece from the sides. This can be a bit misleading because some Giclee prints are now embellished with brushstrokes. However, you will notice that the embellished vanish strokes tend to be done randomly rather than the intentional brushstrokes of an original. If you’re still not sure, ask for the frame to be removed so that you can inspect it further. You will notice the uncoated paint around the edges of an original. On a giclee, the image will have a razor sharp edge…a true indication of a print or reproduction. Also, you can hold an original up to the light and often notice the artist’s drawings under the paint.
If you are causing a scene at the gallery or artist’s booth with your Inspector Kluso analysis, it may be wise to revert to your questioning… at least until the crowd disappears!
It doesn’t take long to see how confusing the world of prints can be. If you take away one tip from this blog, remember to work with people you trust. If you know of a reputable gallery owner or print dealer ask questions. Always insist on a Certificate of Authenticity when buying limited edition prints. And, if you are buying directly from the artist, do your homework and inquire as to how the print was created. Many artists are not as knowledgeable as they should be when it comes to selling reproductions of their work and often miscommunication rather than intentionally mislead.
Whether you buy an original, an original print, or a reproduction take the time to ask questions. If a gallery owner or an artist doesn’t jump at the opportunity to answer your questions…walk away.
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