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jrmartinez
Posts:2
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| 09/26/2007 7:31 AM |
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I am new to the Art Fair circuit and have a few questions about prints from originals. At this point in time I have pencil drawings, watercolor, and digital art, I would like to know if there is any set number of prints/gliclee that an artist should make of their work?
If I decide to make 10 prints, should that be 10 prints of each size such as 10 - 4x6, 10 - 5x7, 10 - 8x10, etc. and number each size 1 through 10? Or, in the three sizes mentioned, should that be 30 prints and number the prints 1 through 30? What is the general consensus of the Art world out there?
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Llarian
Posts:44
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| 10/01/2007 4:26 PM |
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Here's what I think, for what it is worth.
In general, unless you are a "collected" artist that is well represented in galleries, museums and the like, your prints really do not have a "secondary market"- by that I mean that Joe Blow buys it because he likes it, not because he figures he can hold on to it for a year or two and then sell it at a profit.
Andrew Wyeth or Thomas Kinkade or Guy Harvey, regardless what you think of their talents, need to worry about limiting their editions because they are collected artists. Also photographers like Clyde Butcher who actually still print it out the old fashioned way need to do editions to give their work added value.
So, to answer your question, if you are, right now, a collected artist whose work is considered so important and valuable that your prints are increasing in value as time goes on, and your originals are unattainable by the average collector, then by all means do limited editions. There are arguments for doing limited editions the same size as the original, but I suggest somewhat smaller so that #1 the original work is easily distinguished from the copy, and #2, in most people's eyes, bigger is better- i.e. the bigger one is the most valuable. This ensures that your customer who purchases the original 11 x 14 is not upset when she sees all those big beautiful 16 x 20 prints you're selling for a fraction of the cost of her original. However I would not do the same image in a bunch of sizes, because the idea behind the signed, numbered print is the exclusivity of it- not every tom dick and harry can have one. So choose the size you think best complements the work, but is still smaller than the original, and go with it. Then choose an edition size (one you are likely to attain, but if the work really takes off, one that doesn't limit your income too much) and number the prints that way. I would stay away from the idea of offering too many choices because by doing so you are basically "unlimiting" the limited edition by offering something for everyone and taking the exclusivity out of it.
Now, on the other hand, if you are like most of the rest of us out here who have not "made it" yet, the print you produce is a lot like furniture. The person who buys your print, even a limited edition print, is buying for his own enjoyment and the resale value of the print is probably nil, sort of like the value of a used la-z- boy. Like the used recliner, he won't be able to take his print back to the store in five years and get twice the original purchase price for it. However, if the furniture goes on to become a collectible item, he could expect to make money. Likewise, if you become a rich and famous artist, the prints of your earlier work may still retain some value based on limited surviving quantities, and you are still free to limit editions of your new work. In fact, most artists' early work is not as good as their later, more mature work, so to have offered early works in an unlimited open stock would not, to my mind, decrease the value of later, more mature work offered as a limited edition. So, in the beginning, when bills are high and income is low, don't limit yourself- sell whatever you can to whomever will buy, and sell as many as possible. You can still sign and number your prints in an open edition, you just would do it as 101 or 101OE, instead of 101/250.
Now on to the thing you might not have considered that might make a difference to a collector should you become well known: Every print that leaves your studio, whether open edition print, or limited edition, should probably have a certificate of authenticity. With the advent of the computer, forgery is all too easy and common these days. The certificate should include such details as the the brand, size and weight of the paper used to print the series. You could also include the name of the printmaker, the number of copies if it is a limited edition, the date completed, the title, the medium, your name and address or your gallery address. Also include the date that the original file or plate was destroyed, if applicable. In general, the more info the better. You might even choose to include a fingerprint along with your signature to ensure your work is not knocked off. And don't forget to keep a log of what prints went where, so that the info could possibly be used to verify authenticity at a later date, even a hundred years from now.
So that's what I think. I hope it helps! |
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