caruso
Junior Member
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August 2017
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Interesting article: 5 Essential Tips for Collecting Prints, by caruso on Aug 22, 2018 15:02:07 GMT 1, 5 Essential Tips for Collecting Prints
Nate Freeman
Source: www.artsy.net/article/artsy-editorial-5-essential-tips-collecting-prints
Artist have long supplemented their larger practice by making prints: original works, usually on paper, created in numbered editions and produced in collaboration with some kind of press. For would-be collectors intimidated by the impenetrable price points of the runaway train that is the contemporary art market, the print market can be a godsend. Jeff Koonsโs Balloon Dog (Orange) (1994โ2000) may have sold for $58.4 million at auction, but smaller porcelain multiples of the iconic work published in an edition of 2,300 sell for just $10,000. And itโs still a Koons. But diving into collecting print works can also be daunting, as thereโs a whole constellation of print galleries, print fairs, and print auctions to navigate. Here, a few experts in the field answer key questions new print collectors should ask.
So, arenโt prints just, like, copies of an artistโs big, famous works?
Nope! Prints are neither copies nor posters. Rather, they are distinct works independent from any other body of the artistโs work, an image that is made, usually with a plate, and then transferred to paper via ink as many times as the edition requires. And while the fact that they are made in multiples can make the whole endeavor feel a bit less special than the romance of a painting forged from the hand of the artist, print dealers who work directly with artists say itโs a medium that allows for exciting and fresh experimentation.
โA lot of people really just think that prints are reproductions of existing paintings, which is really not the case at all,โ says Rachel Gladfelter, a director at Pace Prints Chelsea. โWith a place like us, we have studios where artists will come in and work with incredible master printmakers, and maybe theyโll have an idea of a drawing that they start from, but a lot of times they donโt. They just sort of experiment.โ
Alexandra Slattery, a sales manager at SoHo print gallery Two Palms, says that priority number one is educating new print collectors on the merits of the form, so they understand that itโs not just a cheaper version of an original work on paper, or a smaller reproduction of a painting.
โWe deal with a lot of people who come in and say, โOh my god, thatโs $30,000? Why! Itโs a reproduction,โโ Slattery says. โWe spend a lot of time explaining to people that prints are their own medium, and that artists take printmaking very seriouslyโthat it adds to and contributes to their work as a whole. Itโs not just a scan of a painting thatโs been made, thatโs been printed out so that people can get it for cheaper.โ
Gladfelter mentions that some artists sheโs worked with get inspired by the process and integrate it into their larger practice. Shara Hughes got hooked on ghost printingโwhere translucent color gets scattered on the print after the second transfer. And Leonardo Drew, an artist who shows with Sikkema Jenkins & Co. and usually makes sculptures, adopted a new material into his arsenal.
โ[Drew] had an idea to work with paper pulp and make it into a sculptural form, and he made them into small editions,โ Gladfelter says. โItโs really become a part of his work as a whole.โ
Is a print labeled โ1โ more valuable than a print labeled โ100โ?
Not in the slightest. Works are printed one at a time, and each is assigned an individual number, but the print labeled โ1/100โ has the same value as the print labeled โ100/100โ.
โThereโs the myth thatโs floating around that weโre always trying to dispel: that a lower edition number is better,โ says Slattery of Two Palms, which is a reliable presence at fairs such as Art Basel in Hong Kong and The Armory Show, and has collaborated with artists such as Koons, Matthew Barney, and Peter Doig on exclusive new prints, which range in price from $2,500 to $100,000.
โThe misconception actually dates back to more than 100 years ago, when prints were made using copper plates,โ explains Slattery. โBecause copper is a soft metal, as the edition was printed, the plate would compress in the press, and so the higher edition numbers would lack some of the detail of the first few editions.โ
Presses no longer use copper, Slattery explains, and the updated process is able to create editions where each work is perfectly identical, rendering them equal in value, as long as they donโt get damaged.
โPeople still think that getting the first or the second edition is going to be worth more, or [that] itโs a better print, but thatโs not the case,โ Slattery says.
After the full printing, the gallery goes over all the prints to make sure they are all identical, and the artist authenticates them as their work, all of it, equally.
So, where do I hang prints in my house? And how do I take care of them?
Having accompanied a number of her New York-based clients to their homes for the installation of their new prints, Gladfelter recognizes a key advantage to collecting prints: They fit in a typically tiny urban abode.
โItโs New York City, thereโs not a ton of wallspace, so prints provide a scale thatโs really great for people,โ she says. โYou know, you have very well-known artists, like James Turrellโyou canโt necessarily really have one of his installations in your home, but you can have a print by him.โ
Lindsay Griffith, a prints and multiples specialist at Christieโs, notes that because theyโre typically on paper, prints require some degree of care, whether theyโre in storage or on a wall. Because works on paper are fragile, prints must be kept in a frame when on display and stored properly in appropriate temperatures to ensure they donโt get damaged.
โThe first thing is, when youโre buying works of edition, you should keep condition in mind,โ she says. โYou need to remember that works on paper are living, breathing things, and they need to be handled with care and framed properly, no matter how much youโre spending on it. Itโs very worth it for the long-term value.โ
Why are some prints pretty cheap, while others are as expensive as original works?
Itโs the same reason why the contemporary market has such a wide range: Some works are of eye-popping quality and scarcity, and others are of middling quality and easy to source. The different price points entice even the big game hunters to wade into the print collecting scene and pick up the high-priced items.
โTraditionally, itโs been seen as a gateway point to the art world, and itโs certainly still perceived that way by many, but I think thatโs a bit of a misconception, because people collect prints at any stage of their collecting career,โ Griffith says.
Griffith mentions that the world record for a print is $5.12 million, achieved in 2011 when Pablo Picassoโs La femme qui pleure, I (1938) sold at Christieโs for more than double its high estimate. There were 15 made at the time; it commanded this mind-boggling price simply due to its quality.
โThe reason for a higher value in the printmaking field is the same as they are in other categories: rarity, the complexity of how it was made, and then the nature of how commercial the composition is,โ Griffith says.
Such range is evident in the biannual prints and multiples evening auctionsโthe prints and multiples sale at Christieโs in April raised a total of $7.68 million, with prices ranging from $3,000 for a series of prints by Takashi Murakami to $516,500 for a series of nine signed engravings by Louise Bourgeois. Andy Warhol had a good showing, too, with 11 works selling in the six-figure range, including The Scream (After Munch) (1984). The screenprint version of the Edvard Munch classic was intended as an edition that was never produced in full, resulting in what the lot essay referred to as โa small number of unique impressions.โ It sold for $275,000.
โIt was an edition that was never realized, and each color combination is unique, so obviously for the Warhol market, thatโs going to give you a bit more of a premium that something when itโs an edition of 250, for example,โ Griffith says.
5 Essential Tips for Collecting Prints Nate Freeman Source: www.artsy.net/article/artsy-editorial-5-essential-tips-collecting-prints Artist have long supplemented their larger practice by making prints: original works, usually on paper, created in numbered editions and produced in collaboration with some kind of press. For would-be collectors intimidated by the impenetrable price points of the runaway train that is the contemporary art market, the print market can be a godsend. Jeff Koonsโs Balloon Dog (Orange) (1994โ2000) may have sold for $58.4 million at auction, but smaller porcelain multiples of the iconic work published in an edition of 2,300 sell for just $10,000. And itโs still a Koons. But diving into collecting print works can also be daunting, as thereโs a whole constellation of print galleries, print fairs, and print auctions to navigate. Here, a few experts in the field answer key questions new print collectors should ask. So, arenโt prints just, like, copies of an artistโs big, famous works? Nope! Prints are neither copies nor posters. Rather, they are distinct works independent from any other body of the artistโs work, an image that is made, usually with a plate, and then transferred to paper via ink as many times as the edition requires. And while the fact that they are made in multiples can make the whole endeavor feel a bit less special than the romance of a painting forged from the hand of the artist, print dealers who work directly with artists say itโs a medium that allows for exciting and fresh experimentation. โA lot of people really just think that prints are reproductions of existing paintings, which is really not the case at all,โ says Rachel Gladfelter, a director at Pace Prints Chelsea. โWith a place like us, we have studios where artists will come in and work with incredible master printmakers, and maybe theyโll have an idea of a drawing that they start from, but a lot of times they donโt. They just sort of experiment.โ Alexandra Slattery, a sales manager at SoHo print gallery Two Palms, says that priority number one is educating new print collectors on the merits of the form, so they understand that itโs not just a cheaper version of an original work on paper, or a smaller reproduction of a painting. โWe deal with a lot of people who come in and say, โOh my god, thatโs $30,000? Why! Itโs a reproduction,โโ Slattery says. โWe spend a lot of time explaining to people that prints are their own medium, and that artists take printmaking very seriouslyโthat it adds to and contributes to their work as a whole. Itโs not just a scan of a painting thatโs been made, thatโs been printed out so that people can get it for cheaper.โ Gladfelter mentions that some artists sheโs worked with get inspired by the process and integrate it into their larger practice. Shara Hughes got hooked on ghost printingโwhere translucent color gets scattered on the print after the second transfer. And Leonardo Drew, an artist who shows with Sikkema Jenkins & Co. and usually makes sculptures, adopted a new material into his arsenal. โ[Drew] had an idea to work with paper pulp and make it into a sculptural form, and he made them into small editions,โ Gladfelter says. โItโs really become a part of his work as a whole.โ Is a print labeled โ1โ more valuable than a print labeled โ100โ? Not in the slightest. Works are printed one at a time, and each is assigned an individual number, but the print labeled โ1/100โ has the same value as the print labeled โ100/100โ. โThereโs the myth thatโs floating around that weโre always trying to dispel: that a lower edition number is better,โ says Slattery of Two Palms, which is a reliable presence at fairs such as Art Basel in Hong Kong and The Armory Show, and has collaborated with artists such as Koons, Matthew Barney, and Peter Doig on exclusive new prints, which range in price from $2,500 to $100,000. โThe misconception actually dates back to more than 100 years ago, when prints were made using copper plates,โ explains Slattery. โBecause copper is a soft metal, as the edition was printed, the plate would compress in the press, and so the higher edition numbers would lack some of the detail of the first few editions.โ Presses no longer use copper, Slattery explains, and the updated process is able to create editions where each work is perfectly identical, rendering them equal in value, as long as they donโt get damaged. โPeople still think that getting the first or the second edition is going to be worth more, or [that] itโs a better print, but thatโs not the case,โ Slattery says. After the full printing, the gallery goes over all the prints to make sure they are all identical, and the artist authenticates them as their work, all of it, equally. So, where do I hang prints in my house? And how do I take care of them? Having accompanied a number of her New York-based clients to their homes for the installation of their new prints, Gladfelter recognizes a key advantage to collecting prints: They fit in a typically tiny urban abode. โItโs New York City, thereโs not a ton of wallspace, so prints provide a scale thatโs really great for people,โ she says. โYou know, you have very well-known artists, like James Turrellโyou canโt necessarily really have one of his installations in your home, but you can have a print by him.โ Lindsay Griffith, a prints and multiples specialist at Christieโs, notes that because theyโre typically on paper, prints require some degree of care, whether theyโre in storage or on a wall. Because works on paper are fragile, prints must be kept in a frame when on display and stored properly in appropriate temperatures to ensure they donโt get damaged. โThe first thing is, when youโre buying works of edition, you should keep condition in mind,โ she says. โYou need to remember that works on paper are living, breathing things, and they need to be handled with care and framed properly, no matter how much youโre spending on it. Itโs very worth it for the long-term value.โ Why are some prints pretty cheap, while others are as expensive as original works? Itโs the same reason why the contemporary market has such a wide range: Some works are of eye-popping quality and scarcity, and others are of middling quality and easy to source. The different price points entice even the big game hunters to wade into the print collecting scene and pick up the high-priced items. โTraditionally, itโs been seen as a gateway point to the art world, and itโs certainly still perceived that way by many, but I think thatโs a bit of a misconception, because people collect prints at any stage of their collecting career,โ Griffith says. Griffith mentions that the world record for a print is $5.12 million, achieved in 2011 when Pablo Picassoโs La femme qui pleure, I (1938) sold at Christieโs for more than double its high estimate. There were 15 made at the time; it commanded this mind-boggling price simply due to its quality. โThe reason for a higher value in the printmaking field is the same as they are in other categories: rarity, the complexity of how it was made, and then the nature of how commercial the composition is,โ Griffith says. Such range is evident in the biannual prints and multiples evening auctionsโthe prints and multiples sale at Christieโs in April raised a total of $7.68 million, with prices ranging from $3,000 for a series of prints by Takashi Murakami to $516,500 for a series of nine signed engravings by Louise Bourgeois. Andy Warhol had a good showing, too, with 11 works selling in the six-figure range, including The Scream (After Munch) (1984). The screenprint version of the Edvard Munch classic was intended as an edition that was never produced in full, resulting in what the lot essay referred to as โa small number of unique impressions.โ It sold for $275,000. โIt was an edition that was never realized, and each color combination is unique, so obviously for the Warhol market, thatโs going to give you a bit more of a premium that something when itโs an edition of 250, for example,โ Griffith says.
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Interesting article: 5 Essential Tips for Collecting Prints, by Coach on Aug 22, 2018 16:46:55 GMT 1, Enjoyed the read. I would argue that a print numbered 1/n would command a slight premium over a random higher number. Why?
Because number 1 of an edition is rarely seen for sale as itโs usually kept by the artist. I would say that number 1 of an edition does command a small premium. But I emphasise the word โsmallโ. Many collectors would pay a little more for it, in my opinion. That said, I donโt understand any premium being paid for โa low numberโ or a โsingle digit numberโ as is sometimes advertised here.
Enjoyed the read. I would argue that a print numbered 1/n would command a slight premium over a random higher number. Why? Because number 1 of an edition is rarely seen for sale as itโs usually kept by the artist. I would say that number 1 of an edition does command a small premium. But I emphasise the word โsmallโ. Many collectors would pay a little more for it, in my opinion. That said, I donโt understand any premium being paid for โa low numberโ or a โsingle digit numberโ as is sometimes advertised here.
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Icesay
Junior Member
Posts โข 2,426
Likes โข 1,796
March 2010
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Interesting article: 5 Essential Tips for Collecting Prints, by Icesay on Aug 22, 2018 18:54:47 GMT 1, That article is incredibly pro print....all the quotes are from print makers or houses so obviously they will 'big up' the print scene. An artist would rarely make 200 paintings of the same image so prints are just an accessible way to have a close representation of a piece. Printing is just a way for an artist to supplement their income which is fine by me. Let's be honest only a few artists can make a good living from original paintings or sculptures especially in urban art. There's a lot of bs around prints. It's just my personal view but id rather have one original than 50 prints. Although I have a few prints I've never really shaken the feeling they are just copies. If the print house or artist wanted to they could print 10000, just because they stop at 200 doesn't really mean shit to me. It's an artificial market. As soon as you can't have something you want it more.
That article is incredibly pro print....all the quotes are from print makers or houses so obviously they will 'big up' the print scene. An artist would rarely make 200 paintings of the same image so prints are just an accessible way to have a close representation of a piece. Printing is just a way for an artist to supplement their income which is fine by me. Let's be honest only a few artists can make a good living from original paintings or sculptures especially in urban art. There's a lot of bs around prints. It's just my personal view but id rather have one original than 50 prints. Although I have a few prints I've never really shaken the feeling they are just copies. If the print house or artist wanted to they could print 10000, just because they stop at 200 doesn't really mean shit to me. It's an artificial market. As soon as you can't have something you want it more.
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sfnyc
Junior Member
Posts โข 1,111
Likes โข 1,126
August 2017
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Interesting article: 5 Essential Tips for Collecting Prints, by sfnyc on Aug 24, 2018 18:32:14 GMT 1, Yes its pro print. Artsy, artnet etc they all offer fluff stories to member galleries, its part of their subscription package
Yes its pro print. Artsy, artnet etc they all offer fluff stories to member galleries, its part of their subscription package
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mack
New Member
Posts โข 288
Likes โข 179
July 2018
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Interesting article: 5 Essential Tips for Collecting Prints, by mack on Aug 24, 2018 19:04:23 GMT 1, Yes, it's very "pro-print", but have in mind it is an introduction to print as an art form. I mean, why would they slam it? If you read any article introducing you to Curling they will probably say that it's awesome.
Yes, it's very "pro-print", but have in mind it is an introduction to print as an art form. I mean, why would they slam it? If you read any article introducing you to Curling they will probably say that it's awesome.
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blerd
Junior Member
Posts โข 1,350
Likes โข 1,203
November 2016
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Interesting article: 5 Essential Tips for Collecting Prints, by blerd on Aug 24, 2018 23:27:55 GMT 1, That was an interesting read, thanks. I loved the bit about how value is added by complexity of the print making, scarcity and subject. Made me think if the current Manifold Harland Miller Tonight.
That was an interesting read, thanks. I loved the bit about how value is added by complexity of the print making, scarcity and subject. Made me think if the current Manifold Harland Miller Tonight.
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tonys
New Member
Posts โข 424
Likes โข 344
July 2012
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Interesting article: 5 Essential Tips for Collecting Prints, by tonys on Aug 29, 2018 16:42:08 GMT 1, Enjoyed the read. I would argue that a print numbered 1/n would command a slight premium over a random higher number. But everyone knows that 1 doesn't equal the first to be made/printed. Ergo, it's the same value at the rest.
Case in point, a friend has a collection of Hockneys, all signed and number 1/50, the entire set. When recently valued, the question was asked about the low number, the Auctioneer suggested that they all having the same number had more cache than being number 1..... but then went onto say, he didn't even notice that they were all numbered 1 as it didn't add to the value.
Enjoyed the read. I would argue that a print numbered 1/n would command a slight premium over a random higher number. But everyone knows that 1 doesn't equal the first to be made/printed. Ergo, it's the same value at the rest. Case in point, a friend has a collection of Hockneys, all signed and number 1/50, the entire set. When recently valued, the question was asked about the low number, the Auctioneer suggested that they all having the same number had more cache than being number 1..... but then went onto say, he didn't even notice that they were all numbered 1 as it didn't add to the value.
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Interesting article: 5 Essential Tips for Collecting Prints, by Jeezuz Jones Snr on Aug 29, 2018 17:00:35 GMT 1, That article is incredibly pro print....all the quotes are from print makers or houses so obviously they will 'big up' the print scene. An artist would rarely make 200 paintings of the same image so prints are just an accessible way to have a close representation of a piece. Printing is just a way for an artist to supplement their income which is fine by me. Let's be honest only a few artists can make a good living from original paintings or sculptures especially in urban art. There's a lot of bs around prints. It's just my personal view but id rather have one original than 50 prints. Although I have a few prints I've never really shaken the feeling they are just copies. If the print house or artist wanted to they could print 10000, just because they stop at 200 doesn't really means**t to me. It's an artificial market. As soon as you can't have something you want it more.
Agree very pro print as you say. If Pace prints were selling Mr Brianwashโs prints theyโd be saying itโs important to have a thumb print Etc..
That article is incredibly pro print....all the quotes are from print makers or houses so obviously they will 'big up' the print scene. An artist would rarely make 200 paintings of the same image so prints are just an accessible way to have a close representation of a piece. Printing is just a way for an artist to supplement their income which is fine by me. Let's be honest only a few artists can make a good living from original paintings or sculptures especially in urban art. There's a lot of bs around prints. It's just my personal view but id rather have one original than 50 prints. Although I have a few prints I've never really shaken the feeling they are just copies. If the print house or artist wanted to they could print 10000, just because they stop at 200 doesn't really means**t to me. It's an artificial market. As soon as you can't have something you want it more. Agree very pro print as you say. If Pace prints were selling Mr Brianwashโs prints theyโd be saying itโs important to have a thumb print Etc..
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silvermyn
Junior Member
Posts โข 1,611
Likes โข 781
April 2008
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Interesting article: 5 Essential Tips for Collecting Prints, by silvermyn on Aug 29, 2018 17:17:36 GMT 1, Because number 1 of an edition is rarely seen for sale as itโs usually kept by the artist. I would say that number 1 of an edition does command a small premium. But I emphasise the word โsmallโ. Many collectors would pay a little more for it, in my opinion. That said, I donโt understand any premium being paid for โa low numberโ or a โsingle digit numberโ as is sometimes advertised here. I would also add that the low numbers following #1 are often given to friends or agents. I would imagine that the history of a print will add to it's value, depending on who owned it. Celebrity owned prints will no doubt command a premium.
On a seperate point, I was given a #1 Nick Walker print because the number I had actually been given (#6) was intended for a specific client who collected the #6's from each edition. Not sure if Nick gave up his print for me but if he did then I am very grateful.
Because number 1 of an edition is rarely seen for sale as itโs usually kept by the artist. I would say that number 1 of an edition does command a small premium. But I emphasise the word โsmallโ. Many collectors would pay a little more for it, in my opinion. That said, I donโt understand any premium being paid for โa low numberโ or a โsingle digit numberโ as is sometimes advertised here. I would also add that the low numbers following #1 are often given to friends or agents. I would imagine that the history of a print will add to it's value, depending on who owned it. Celebrity owned prints will no doubt command a premium.
On a seperate point, I was given a #1 Nick Walker print because the number I had actually been given (#6) was intended for a specific client who collected the #6's from each edition. Not sure if Nick gave up his print for me but if he did then I am very grateful.
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