philw
New Member
Posts โข 168
Likes โข 49
March 2013
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New print by Lucian Freud , by philw on Sept 27, 2016 15:23:00 GMT 1, New Limited Edition Release from Heni Productions
John Minton by Lucien Freud
41 x 26cm, diasec-mounted giclee print on aluminium (original oil on canvas)
We are writing to you following your purchase of a previous Heni Edition. Can't tell if this is a good bye or frivolous lol
Heni is delighted to be collaborating jointly with the Estate of Lucien Freud and the Royal College of Art (RCA) in London to produce a limited edition of 500, numbered, prints of 'John Mintonโ. All profits from sale will go towards funding scholarships at the RCA.
Lucian Freud was one of the worldโs greatest realist painters and his 1952 portrait of RCA painting tutor John Minton is among his noted works. Art historian Frances Spalding described the work as โone of the centuryโs most emotional portraitsโ. In 1957, John Minton took his own life, bequeathing the painting to the RCA. It is one of the most popular works in the RCAโs collection, and is frequently requested for inclusion in Freud exhibitions in museums around the world. 2017 will be Mintonโs centenary and there will be considerable interest in the artist and his work.
New Limited Edition Release from Heni Productions
John Minton by Lucien Freud
41 x 26cm, diasec-mounted giclee print on aluminium (original oil on canvas)
We are writing to you following your purchase of a previous Heni Edition. Can't tell if this is a good bye or frivolous lol
Heni is delighted to be collaborating jointly with the Estate of Lucien Freud and the Royal College of Art (RCA) in London to produce a limited edition of 500, numbered, prints of 'John Mintonโ. All profits from sale will go towards funding scholarships at the RCA.
Lucian Freud was one of the worldโs greatest realist painters and his 1952 portrait of RCA painting tutor John Minton is among his noted works. Art historian Frances Spalding described the work as โone of the centuryโs most emotional portraitsโ. In 1957, John Minton took his own life, bequeathing the painting to the RCA. It is one of the most popular works in the RCAโs collection, and is frequently requested for inclusion in Freud exhibitions in museums around the world. 2017 will be Mintonโs centenary and there will be considerable interest in the artist and his work.
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nobokov
Junior Member
Posts โข 4,940
Likes โข 6,886
February 2016
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New print by Lucian Freud , by nobokov on Sept 27, 2016 15:58:13 GMT 1, Thanks, I'd imagine my kids would love this face to be staring them down every night.
The Royal College of Art has today announced that one of Lucian Freudโs most notable works, and one of the jewels in the Collegeโs collection โ John Minton, 1952 โ has been made available as a full-size reproduction in an edition of 500 digital prints, thanks to independent publisher HENI and the Lucian Freud Archive.
The print (diasec mounted giclรฉe on aluminum) will be sold through HENI Productions and proceeds will go towards the RCAโs scholarship funds, to ensure that the worldโs best and brightest art and design students are able to study here at the RCA, the number one University for Art and Design in the world.
John Minton was described by art historian Frances Spalding as โone of [the] centuryโs most emotional portraitsโ. Minton (1917โ57) commissioned this portrait after seeing Freudโs 1952 portrait of Francis Bacon. The portrait combines the raw technical brilliance and emotional acuity that are representative of Freudโs maturing style. Each print is available for ยฃ1,250 (plus VAT).
John Minton was a tutor at the RCA between 1949 and 1956 โ a role that he combined with an active practice as an artist and illustrator โ having been a key figure of Neo-Romanticism in the 1940s. This portrait holds a unique place in the Royal College of Artโs Collection, both for its outstanding quality and its subject, whose influence was felt over a generation of artists.
Fellow painter Bridget Riley remembers: โthe warmth and heart of the school was John Minton, whose compassion, sophistication and wit were immensely reassuring. You realised at once that the problems he faced were in essence common ones. He was much loved by the students.โ
In โSome Thoughts on Paintingโ published in Encounter magazine, July 1954, Freud said: โPainters who use life itself as their subject-matter, working with the object in front of them, or constantly in mind, do so in order to translate life into art almost literally, as it wereโฆ The painter makes real to others his innermost feelings about all that he cares for.'
Contemporary and Royal College of Art alumnus Frank Auerbach said of these early works, โThe subject is raw, not cooked to be more digestible as art, not covered in a gravy of ostentatious tone or colour, not arranged on a plate as a "composition". The paintings live because their creator has been passionately attentive to their theme, and his attention has left something for us to look at. It seems a sort of miracle.'
In 1957, John Minton took his own life, bequeathing this painting to the RCA. It remains one of the most popular works in the collection, and is frequently requested for inclusion in Freud exhibitions in museums around the world. 2017 will be Mintonโs centenary and there will be considerable interest in the artist and his work, with various exhibitions and publications.
Dean of Fine Art, Professor Juan Cruz of the RCA said: 'It is thanks to the trustees of the Freud Archive, Bridgeman Images and HENI that we were granted the exceptional opportunity reproduce this, most treasured, painting from the RCA Collection as a print of such outstanding quality. The painting resonates with many people on many different levels; for me, it is the realisation of the relationship between artist and model, as Freud has so tenderly captured both sides of Minton โ the gentle and generous teacher, and the pensive outsider.'
For more information, or to purchase a print, please email editions@heni.com
Thanks, I'd imagine my kids would love this face to be staring them down every night. The Royal College of Art has today announced that one of Lucian Freudโs most notable works, and one of the jewels in the Collegeโs collection โ John Minton, 1952 โ has been made available as a full-size reproduction in an edition of 500 digital prints, thanks to independent publisher HENI and the Lucian Freud Archive. The print (diasec mounted giclรฉe on aluminum) will be sold through HENI Productions and proceeds will go towards the RCAโs scholarship funds, to ensure that the worldโs best and brightest art and design students are able to study here at the RCA, the number one University for Art and Design in the world. John Minton was described by art historian Frances Spalding as โone of [the] centuryโs most emotional portraitsโ. Minton (1917โ57) commissioned this portrait after seeing Freudโs 1952 portrait of Francis Bacon. The portrait combines the raw technical brilliance and emotional acuity that are representative of Freudโs maturing style. Each print is available for ยฃ1,250 (plus VAT). John Minton was a tutor at the RCA between 1949 and 1956 โ a role that he combined with an active practice as an artist and illustrator โ having been a key figure of Neo-Romanticism in the 1940s. This portrait holds a unique place in the Royal College of Artโs Collection, both for its outstanding quality and its subject, whose influence was felt over a generation of artists. Fellow painter Bridget Riley remembers: โthe warmth and heart of the school was John Minton, whose compassion, sophistication and wit were immensely reassuring. You realised at once that the problems he faced were in essence common ones. He was much loved by the students.โ In โSome Thoughts on Paintingโ published in Encounter magazine, July 1954, Freud said: โPainters who use life itself as their subject-matter, working with the object in front of them, or constantly in mind, do so in order to translate life into art almost literally, as it wereโฆ The painter makes real to others his innermost feelings about all that he cares for.' Contemporary and Royal College of Art alumnus Frank Auerbach said of these early works, โThe subject is raw, not cooked to be more digestible as art, not covered in a gravy of ostentatious tone or colour, not arranged on a plate as a "composition". The paintings live because their creator has been passionately attentive to their theme, and his attention has left something for us to look at. It seems a sort of miracle.' In 1957, John Minton took his own life, bequeathing this painting to the RCA. It remains one of the most popular works in the collection, and is frequently requested for inclusion in Freud exhibitions in museums around the world. 2017 will be Mintonโs centenary and there will be considerable interest in the artist and his work, with various exhibitions and publications. Dean of Fine Art, Professor Juan Cruz of the RCA said: 'It is thanks to the trustees of the Freud Archive, Bridgeman Images and HENI that we were granted the exceptional opportunity reproduce this, most treasured, painting from the RCA Collection as a print of such outstanding quality. The painting resonates with many people on many different levels; for me, it is the realisation of the relationship between artist and model, as Freud has so tenderly captured both sides of Minton โ the gentle and generous teacher, and the pensive outsider.' For more information, or to purchase a print, please email editions@heni.com
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New print by Lucian Freud , by Coach on Sept 27, 2016 16:08:15 GMT 1, The painting is stunning.
The painting is stunning.
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njr911
Junior Member
Posts โข 2,379
Likes โข 416
April 2007
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New print by Lucian Freud , by njr911 on Sept 28, 2016 11:08:47 GMT 1, how much ?
how much ?
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Pawel
Junior Member
Posts โข 3,773
Likes โข 3,257
June 2015
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New print by Lucian Freud , by Pawel on Sept 28, 2016 11:20:48 GMT 1, 1250GBP + vat
1250GBP + vat
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New print by Lucian Freud , by Coach on Sept 28, 2016 11:21:19 GMT 1,
ยฃ1500 plus delivery.
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.dappy
Full Member
Posts โข 9,841
Likes โข 9,462
December 2010
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New print by Lucian Freud , by .dappy on Sept 28, 2016 11:50:08 GMT 1, ... is it singed?
... is it singed?
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rob
New Member
Posts โข 163
Likes โข 122
December 2007
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New print by Lucian Freud , by rob on Sept 28, 2016 13:25:40 GMT 1, He looks like the bloke off Eggheads that's up for murder!
He looks like the bloke off Eggheads that's up for murder!
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superman
New Member
Posts โข 421
Likes โข 21
January 2008
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New print by Lucian Freud , by superman on Sept 28, 2016 13:44:35 GMT 1, yes, signed by me in permanent felt tip marker
yes, signed by me in permanent felt tip marker
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Dice
Junior Member
Posts โข 2,228
Likes โข 1,518
October 2011
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New print by Lucian Freud , by Dice on Sept 28, 2016 17:21:03 GMT 1, Would this print be classified as 'After lucien freud'?
There are lots of 'After' Francis bacon prints around but no Freud as far as I know?
Would this print be classified as 'After lucien freud'?
There are lots of 'After' Francis bacon prints around but no Freud as far as I know?
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RolexDave
New Member
Posts โข 795
Likes โข 130
September 2009
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New print by Lucian Freud , by RolexDave on Sept 28, 2016 17:24:30 GMT 1, Handsome chappy... he never was... Crikey, staring at that last thing at night before bedtime!
Handsome chappy... he never was... Crikey, staring at that last thing at night before bedtime!
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Poster Bob
Junior Member
Posts โข 5,874
Likes โข 5,488
September 2013
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New print by Lucian Freud , by Poster Bob on Sept 28, 2016 17:26:05 GMT 1, It definitely should be classified as such and in my eyes is virtually worthless as it's a post-mortem release. Worst of all it's a giclee. Yuck.
It definitely should be classified as such and in my eyes is virtually worthless as it's a post-mortem release. Worst of all it's a giclee. Yuck.
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New print by Lucian Freud , by Coach on Sept 28, 2016 19:08:07 GMT 1, Handsome chappy... he never was... Crikey, staring at that last thing at night before bedtime!
Honestly? I think it's a beautiful painting. I'd hang it in a second.
Handsome chappy... he never was... Crikey, staring at that last thing at night before bedtime! Honestly? I think it's a beautiful painting. I'd hang it in a second.
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New print by Lucian Freud , by Coach on Sept 28, 2016 19:10:18 GMT 1, Would this print be classified as 'After lucien freud'? There are lots of 'After' Francis bacon prints around but no Freud as far as I know?
If it's released by the RA and the Lucian Freud Archive does that not put it in a similar class to the Basquiat recent release? Genuine question. I don't know the answer.
Would this print be classified as 'After lucien freud'? There are lots of 'After' Francis bacon prints around but no Freud as far as I know? If it's released by the RA and the Lucian Freud Archive does that not put it in a similar class to the Basquiat recent release? Genuine question. I don't know the answer.
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Dice
Junior Member
Posts โข 2,228
Likes โข 1,518
October 2011
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New print by Lucian Freud , by Dice on Sept 28, 2016 19:43:48 GMT 1, Would this print be classified as 'After lucien freud'? There are lots of 'After' Francis bacon prints around but no Freud as far as I know? If it's released by the RA and the Lucian Freud Archive does that not put it in a similar class to the Basquiat recent release? Genuine question. I don't know the answer.
I would guess so. All of these 'after' prints ie published post mortem seem so popular at auction, especially the bacons
Would this print be classified as 'After lucien freud'? There are lots of 'After' Francis bacon prints around but no Freud as far as I know? If it's released by the RA and the Lucian Freud Archive does that not put it in a similar class to the Basquiat recent release? Genuine question. I don't know the answer. I would guess so. All of these 'after' prints ie published post mortem seem so popular at auction, especially the bacons
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Poster Bob
Junior Member
Posts โข 5,874
Likes โข 5,488
September 2013
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New print by Lucian Freud , by Poster Bob on Sept 28, 2016 20:11:52 GMT 1, It definitely should be classified as such and in my eyes is virtually worthless as it's a post-mortem release. Worst of all it's a giclee. Yuck. Exactly the same production method as the Heni Richter P15 and P16 giclees on aluminium you just bought, no? C-prints are not giclees, yes?
It definitely should be classified as such and in my eyes is virtually worthless as it's a post-mortem release. Worst of all it's a giclee. Yuck. Exactly the same production method as the Heni Richter P15 and P16 giclees on aluminium you just bought, no? C-prints are not giclees, yes?
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.dappy
Full Member
Posts โข 9,841
Likes โข 9,462
December 2010
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New print by Lucian Freud , by .dappy on Sept 28, 2016 21:12:33 GMT 1, ... I understood that if a piece was 'after [insert artists name]' it meant that it was a piece that could not be attributed to 'him' but was very similar to his work?
... or on occasion came from someone within his 'studio' ...
... ie not meant 'after' his death ...
... I understood that if a piece was 'after [insert artists name]' it meant that it was a piece that could not be attributed to 'him' but was very similar to his work?
... or on occasion came from someone within his 'studio' ...
... ie not meant 'after' his death ...
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Poster Bob
Junior Member
Posts โข 5,874
Likes โข 5,488
September 2013
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New print by Lucian Freud , by Poster Bob on Sept 28, 2016 21:24:00 GMT 1, C-prints are not giclees, yes? Have to admit I thought the entire P series was giclee. Majority seem to be. You think there's more artistic merit in a c-print? I think there is more value in a c-print as opposed to a giclee because of the far greater quality. That said, HENI do very nice giclees. The quality of the Q3 Lucien Freud portait I have by them is amazing.
C-prints are not giclees, yes? Have to admit I thought the entire P series was giclee. Majority seem to be. You think there's more artistic merit in a c-print? I think there is more value in a c-print as opposed to a giclee because of the far greater quality. That said, HENI do very nice giclees. The quality of the Q3 Lucien Freud portait I have by them is amazing.
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Poster Bob
Junior Member
Posts โข 5,874
Likes โข 5,488
September 2013
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New print by Lucian Freud , by Poster Bob on Sept 28, 2016 21:29:57 GMT 1, ... I understood that if a piece was 'after [insert artists name]' it meant that it was a piece that could not be attributed to 'him' but was very similar to his work? ... or on occasion came from someone within his 'studio' ... ... ie not meant 'after' his death ... I'm used to after meaning in the style of but this other use is also quite common at auction houses.
... I understood that if a piece was 'after [insert artists name]' it meant that it was a piece that could not be attributed to 'him' but was very similar to his work? ... or on occasion came from someone within his 'studio' ... ... ie not meant 'after' his death ... I'm used to after meaning in the style of but this other use is also quite common at auction houses.
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New print by Lucian Freud , by Coach on Sept 28, 2016 21:44:28 GMT 1, Have to admit I thought the entire P series was giclee. Majority seem to be. You think there's more artistic merit in a c-print? I think there is more value in a c-print as opposed to a giclee because of the far greater quality. That said, HENI do very nice giclees. The quality of the Q3 Lucien Freud portait I have by them is amazing.ย
Bob, do you have a link to a picture of that print? When was that released? Thanks.
Have to admit I thought the entire P series was giclee. Majority seem to be. You think there's more artistic merit in a c-print? I think there is more value in a c-print as opposed to a giclee because of the far greater quality. That said, HENI do very nice giclees. The quality of the Q3 Lucien Freud portait I have by them is amazing.ย Bob, do you have a link to a picture of that print? When was that released? Thanks.
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Poster Bob
Junior Member
Posts โข 5,874
Likes โข 5,488
September 2013
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New print by Lucian Freud , by Poster Bob on Sept 28, 2016 21:47:01 GMT 1, I think there is more value in a c-print as opposed to a giclee because of the far greater quality. That said, HENI do very nice giclees. The quality of the Q3 Lucien Freud portait I have by them is amazing. Bob, do you have a link to a picture of that print? When was that released? Thanks. www.artsy.net/artwork/francis-bacon-study-for-head-of-lucian-freud-q3
The quality is insane. When you look at it, it truly appears to be textured.
I think there is more value in a c-print as opposed to a giclee because of the far greater quality. That said, HENI do very nice giclees. The quality of the Q3 Lucien Freud portait I have by them is amazing. Bob, do you have a link to a picture of that print? When was that released? Thanks. www.artsy.net/artwork/francis-bacon-study-for-head-of-lucian-freud-q3The quality is insane. When you look at it, it truly appears to be textured.
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Pattycakes
Junior Member
Posts โข 1,379
Likes โข 423
June 2007
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New print by Lucian Freud , by Pattycakes on Sept 28, 2016 21:57:15 GMT 1, It is indeed after, and in my opinion complete crap. At least the P series are done with the blessing of the artist and are included in his canon of work and in the catalogue raisonne. This is just a rather nicely printed poster on Aluminium. Complete and utter garbage.
It is indeed after, and in my opinion complete crap. At least the P series are done with the blessing of the artist and are included in his canon of work and in the catalogue raisonne. This is just a rather nicely printed poster on Aluminium. Complete and utter garbage.
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New print by Lucian Freud , by Coach on Sept 28, 2016 22:07:49 GMT 1,
Thank you Bob. Truly a thing of great beauty.
Thank you Bob. Truly a thing of great beauty.
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New print by Lucian Freud , by Coach on Sept 28, 2016 23:34:05 GMT 1, It is indeed after, and in my opinion complete crap. At least the P series are done with the blessing of the artist and are included in his canon of work and in the catalogue raisonne. This is just a rather nicely printed poster on Aluminium. Complete and utter garbage.
The recent Basquiat release was not done with the artist's blessing (for the same reason). Does that render that release garbage too? I'm surprised at the extreme reaction.
It is indeed after, and in my opinion complete crap. At least the P series are done with the blessing of the artist and are included in his canon of work and in the catalogue raisonne. This is just a rather nicely printed poster on Aluminium. Complete and utter garbage. The recent Basquiat release was not done with the artist's blessing (for the same reason). Does that render that release garbage too? I'm surprised at the extreme reaction.
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met
Junior Member
Posts โข 2,782
Likes โข 6,706
June 2009
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New print by Lucian Freud , by met on Sept 29, 2016 19:01:38 GMT 1, If it's released by the RA and the Lucian Freud Archive does that not put it in a similar class to the Bas quiat recent release? Genuine question. I don't know the answer. I would guess so. All of these 'after' prints ie published post mortem seem so popular at auction, especially the bacons You are confusing after prints with posthumous releases. They're not the same.
An after print can be produced both during the lifetime of the artist and following their death.
"After" relates to a third party's hand creating the image made into a print, and the image being based on (i.e. after) an existing work by another artist. The print is therefore in the style of the artist, rather than being by them.
When the artist is still living, they are generally involved with and sometimes directing the process. But rather than doing the artistic part themselves, they outsource this to someone they trust โ like an artisan or master printer at a print studio. The edition is usually signed by the artist. It can also be countersigned by the relevant third party, who may be recognised and even famous in their own right.
NB: The term "after print" is only relevant for traditional printmaking methods (e.g. lithography or etching) involving hand artistry and an interpretative element. It isn't appropriate for reproductions using contemporary, photo-mechanical or digital printing methods like screen prints, c-type prints and giclรฉes.
So the Lucian Freud John Minton digital print published by HENI would be described as an unsigned posthumous release, but not an after print.
If it's released by the RA and the Lucian Freud Archive does that not put it in a similar class to the Bas quiat recent release? Genuine question. I don't know the answer. I would guess so. All of these 'after' prints ie published post mortem seem so popular at auction, especially the bacons You are confusing after prints with posthumous releases. They're not the same. An after print can be produced both during the lifetime of the artist and following their death. "After" relates to a third party's hand creating the image made into a print, and the image being based on (i.e. after) an existing work by another artist. The print is therefore in the style of the artist, rather than being by them. When the artist is still living, they are generally involved with and sometimes directing the process. But rather than doing the artistic part themselves, they outsource this to someone they trust โ like an artisan or master printer at a print studio. The edition is usually signed by the artist. It can also be countersigned by the relevant third party, who may be recognised and even famous in their own right. NB: The term "after print" is only relevant for traditional printmaking methods (e.g. lithography or etching) involving hand artistry and an interpretative element. It isn't appropriate for reproductions using contemporary, photo-mechanical or digital printing methods like screen prints, c-type prints and giclรฉes. So the Lucian Freud John Minton digital print published by HENI would be described as an unsigned posthumous release, but not an after print.
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Dice
Junior Member
Posts โข 2,228
Likes โข 1,518
October 2011
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New print by Lucian Freud , by Dice on Sept 29, 2016 22:00:00 GMT 1, I would guess so. All of these 'after' prints ie published post mortem seem so popular at auction, especially the bacons You are confusing after prints with posthumous releases. They're not the same. An after print can be produced both during the lifetime of the artist and following their death. "After" relates to a third party's hand creating the image made into a print, and the image being based on (i.e. after) an existing work by another artist. The print is therefore in the style of the artist, rather than being by them. When the artist is still living, they are generally involved with and sometimes directing the process. But rather than doing the artistic part themselves, they outsource this to someone they trust โ like an artisan or master printer at a print studio. The edition is usually signed by the artist. It can also be countersigned by the relevant third party, who may be recognised and even famous in their own right. NB: The term "after print" is only relevant for traditional printmaking methods (e.g. lithography or etching) involving hand artistry and an interpretative element. It isn't appropriate for reproductions using contemporary, photo-mechanical or digital printing methods like screen prints, c-type prints and giclรฉes. So the Lucian Freud John Minton digital print published by HENI would be described as an unsigned posthumous release, but not an after print.
Thanks but I'm very confused. Aren't the bacon and basquiat 'after' prints simply prints taken from existing artworks posthumously?
I would guess so. All of these 'after' prints ie published post mortem seem so popular at auction, especially the bacons You are confusing after prints with posthumous releases. They're not the same. An after print can be produced both during the lifetime of the artist and following their death. "After" relates to a third party's hand creating the image made into a print, and the image being based on (i.e. after) an existing work by another artist. The print is therefore in the style of the artist, rather than being by them. When the artist is still living, they are generally involved with and sometimes directing the process. But rather than doing the artistic part themselves, they outsource this to someone they trust โ like an artisan or master printer at a print studio. The edition is usually signed by the artist. It can also be countersigned by the relevant third party, who may be recognised and even famous in their own right. NB: The term "after print" is only relevant for traditional printmaking methods (e.g. lithography or etching) involving hand artistry and an interpretative element. It isn't appropriate for reproductions using contemporary, photo-mechanical or digital printing methods like screen prints, c-type prints and giclรฉes. So the Lucian Freud John Minton digital print published by HENI would be described as an unsigned posthumous release, but not an after print. Thanks but I'm very confused. Aren't the bacon and basquiat 'after' prints simply prints taken from existing artworks posthumously?
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met
Junior Member
Posts โข 2,782
Likes โข 6,706
June 2009
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New print by Lucian Freud , by met on Sept 30, 2016 6:20:24 GMT 1, You are confusing after prints with posthumous releases. They're not the same. An after print can be produced both during the lifetime of the artist and following their death. "After" relates to a third party's hand creating the image made into a print, and the image being based on (i.e. after) an existing work by another artist. The print is therefore in the style of the artist, rather than being by them. When the artist is still living, they are generally involved with and sometimes directing the process. But rather than doing the artistic part themselves, they outsource this to someone they trust โ like an artisan or master printer at a print studio. The edition is usually signed by the artist. It can also be countersigned by the relevant third party, who may be recognised and even famous in their own right. NB: The term "after print" is only relevant for traditional printmaking methods (e.g. lithography or etching) involving hand artistry and an interpretative element. It isn't appropriate for reproductions using contemporary, photo-mechanical or digital printing methods like screen prints, c-type prints and giclรฉes. So the Lucian Freud John Minton digital print published by HENI would be described as an unsigned posthumous release, but not an after print. Thanks but I'm very confused. Aren't the bacon and basquiat 'after' prints simply prints taken from existing artworks posthumously? For what it's worth, you're far from alone when it comes to uncertainty. I include many dealers, publishers and auction houses in this mix, not just collectors or general art enthusiasts.
Research is time-consuming, and precision often seems less valued than distributing information quickly. Especially online, errors risk being readily accepted as accurate and further disseminated.
While it was years ago, some members on this forum used to constantly refer to "Sotherbys", or to an artwork's "providence" (praise the lord). Even a decade after release, the title for the Banksy print Flag is on many occasions still mentioned in the plural. It's like a self-perpetuating tic.
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Coming back to your question, when correctly used, the description of "after print" is unrelated to the artist being alive or dead. As mentioned above, what's key is that:
(i) the print edition is based on an existing artwork; (ii) someone separate from the original artist has created it; and (iii) the print creation involved a hand-drawn or painted element (human, artistic intervention).
If you see photo-mechanical or digital reproductions of images (like giclรฉes) referred to as "after prints", I would argue that's a misdescription. [Screen prints are more of a grey area and depend on the specific techniques used. To illustrate, in the case of the Frank Romero 32-colour serigraph from 2010, Arrest of the Paleteros, the colour separations were painstakingly done by Modern Multiples by hand.]
All that said, members with an interest in historical linguistics will know that when words are misused long enough by a critical mass, they take on new or additional meanings. Depending on your perspective, this is either a goddamn perversion, or a beautiful demonstration that languages are alive and constantly evolving.
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I haven't followed the Jean-Michel Basquiat releases or their source imagery.
However, in relation to Francis Bacon, each and every lithograph, etching or aquatint he ever released is an after print (even if not always described as such for marketing or other reasons). All of that work was contracted out and done by professional printmakers. Bacon's involvement was to add his signature. He couldn't really care less about prints. For him, they were simply reproductions of his paintings, akin to glorified photocopies.
Here's an example of a signed after print from 1983 which sold at Phillips, London in June this year:
www.phillips.com/detail/FRANCIS-BACON/UK030216/17
Bacon's attitude on the subject is in stark contrast to that of other artists who genuinely respected printmaking, like Rembrandt and Picasso. For the latter two, prints were integral to their artistic output. They held the craft in high regard โ rather than viewing it dismissively as just an extra source of income.
You are confusing after prints with posthumous releases. They're not the same. An after print can be produced both during the lifetime of the artist and following their death. "After" relates to a third party's hand creating the image made into a print, and the image being based on (i.e. after) an existing work by another artist. The print is therefore in the style of the artist, rather than being by them. When the artist is still living, they are generally involved with and sometimes directing the process. But rather than doing the artistic part themselves, they outsource this to someone they trust โ like an artisan or master printer at a print studio. The edition is usually signed by the artist. It can also be countersigned by the relevant third party, who may be recognised and even famous in their own right. NB: The term "after print" is only relevant for traditional printmaking methods (e.g. lithography or etching) involving hand artistry and an interpretative element. It isn't appropriate for reproductions using contemporary, photo-mechanical or digital printing methods like screen prints, c-type prints and giclรฉes. So the Lucian Freud John Minton digital print published by HENI would be described as an unsigned posthumous release, but not an after print. Thanks but I'm very confused. Aren't the bacon and basquiat 'after' prints simply prints taken from existing artworks posthumously? For what it's worth, you're far from alone when it comes to uncertainty. I include many dealers, publishers and auction houses in this mix, not just collectors or general art enthusiasts. Research is time-consuming, and precision often seems less valued than distributing information quickly. Especially online, errors risk being readily accepted as accurate and further disseminated. While it was years ago, some members on this forum used to constantly refer to "Sotherbys", or to an artwork's "providence" (praise the lord). Even a decade after release, the title for the Banksy print Flag is on many occasions still mentioned in the plural. It's like a self-perpetuating tic. -------- Coming back to your question, when correctly used, the description of "after print" is unrelated to the artist being alive or dead. As mentioned ab ove, what's key is that: (i) the print edition is based on an existing artwork; (ii) someone separate from the original artist has created it; and (iii) the print creation involved a hand-drawn or painted element (human, artistic intervention). If you see photo-mechanical or digital reproductions of images (like giclรฉes) referred to as "after prints", I would argue that's a misdescription. [Screen prints are more of a grey area and depend on the specific techniques used. To illustrate, in the case of the Frank Romero 32-colour serigraph from 2010, Arrest of the Paleteros, the colour separations were painstakingly done by Modern Multiples by hand.] All that said, members with an interest in historical linguistics will know that when words are misused long enough by a critical mass, they take on new or additional meanings. Depending on your perspective, this is either a goddamn perversion, or a beautiful demonstration that languages are alive and constantly evolving. -------- I haven't followed the Jean-Michel Basquiat releases or their source imagery. However, in relation to Francis Bacon, each and every lithograph, etching or aquatint he ever released is an after print (even if not always described as such for marketing or other reasons). All of that work was contracted out and done by professional printmakers. Bacon's involvement was to add his signature. He couldn't really care less about prints. For him, they were simply reproductions of his paintings, akin to glorified photocopies. Here's an example of a signed after print from 1983 which sold at Phillips, London in June this year: www.phillips.com/detail/FRANCIS-BACON/UK030216/17Bacon's attitude on the subject is in stark contrast to that of other artists who genuinely respected printmaking, like Rembrandt and Picasso. For the latter two, prints were integral to their artistic output. They held the craft in high regard โ rather than viewing it dismissively as just an extra source of income.
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Viking Surfer
Junior Member
Posts โข 2,390
Likes โข 3,508
February 2015
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New print by Lucian Freud , by Viking Surfer on Sept 30, 2016 6:40:07 GMT 1, I would guess so. All of these 'after' prints ie published post mortem seem so popular at auction, especially the bacons You are confusing after prints with posthumous releases. They're not the same. An after print can be produced both during the lifetime of the artist and following their death. "After" relates to a third party's hand creating the image made into a print, and the image being based on (i.e. after) an existing work by another artist. The print is therefore in the style of the artist, rather than being by them. When the artist is still living, they are generally involved with and sometimes directing the process. But rather than doing the artistic part themselves, they outsource this to someone they trust โ like an artisan or master printer at a print studio. The edition is usually signed by the artist. It can also be countersigned by the relevant third party, who may be recognised and even famous in their own right. NB: The term "after print" is only relevant for traditional printmaking methods (e.g. lithography or etching) involving hand artistry and an interpretative element. It isn't appropriate for reproductions using contemporary, photo-mechanical or digital printing methods like screen prints, c-type prints and giclรฉes. So the Lucian Freud John Minton digital print published by HENI would be described as an unsigned posthumous release, but not an after print.
When MET posts, I actually stop scrolling and take the time to read thoroughly. Always excellent, well informed content.
I would guess so. All of these 'after' prints ie published post mortem seem so popular at auction, especially the bacons You are confusing after prints with posthumous releases. They're not the same. An after print can be produced both during the lifetime of the artist and following their death. "After" relates to a third party's hand creating the image made into a print, and the image being based on (i.e. after) an existing work by another artist. The print is therefore in the style of the artist, rather than being by them. When the artist is still living, they are generally involved with and sometimes directing the process. But rather than doing the artistic part themselves, they outsource this to someone they trust โ like an artisan or master printer at a print studio. The edition is usually signed by the artist. It can also be countersigned by the relevant third party, who may be recognised and even famous in their own right. NB: The term "after print" is only relevant for traditional printmaking methods (e.g. lithography or etching) involving hand artistry and an interpretative element. It isn't appropriate for reproductions using contemporary, photo-mechanical or digital printing methods like screen prints, c-type prints and giclรฉes. So the Lucian Freud John Minton digital print published by HENI would be described as an unsigned posthumous release, but not an after print. When MET posts, I actually stop scrolling and take the time to read thoroughly. Always excellent, well informed content.
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New print by Lucian Freud , by Coach on Sept 30, 2016 8:56:25 GMT 1, You are confusing after prints with posthumous releases. They're not the same. An after print can be produced both during the lifetime of the artist and following their death. "After" relates to a third party's hand creating the image made into a print, and the image being based on (i.e. after) an existing work by another artist. The print is therefore in the style of the artist, rather than being by them. When the artist is still living, they are generally involved with and sometimes directing the process. But rather than doing the artistic part themselves, they outsource this to someone they trust โ like an artisan or master printer at a print studio. The edition is usually signed by the artist. It can also be countersigned by the relevant third party, who may be recognised and even famous in their own right. NB: The term "after print" is only relevant for traditional printmaking methods (e.g. lithography or etching) involving hand artistry and an interpretative element. It isn't appropriate for reproductions using contemporary, photo-mechanical or digital printing methods like screen prints, c-type prints and giclรฉes. So the Lucian Freud John Minton digital print published by HENI would be described as an unsigned posthumous release, but not an after print. When MET posts, I actually stop scrolling and take the time to read thoroughly. Always excellent, well informed content.
Could not agree more.
You are confusing after prints with posthumous releases. They're not the same. An after print can be produced both during the lifetime of the artist and following their death. "After" relates to a third party's hand creating the image made into a print, and the image being based on (i.e. after) an existing work by another artist. The print is therefore in the style of the artist, rather than being by them. When the artist is still living, they are generally involved with and sometimes directing the process. But rather than doing the artistic part themselves, they outsource this to someone they trust โ like an artisan or master printer at a print studio. The edition is usually signed by the artist. It can also be countersigned by the relevant third party, who may be recognised and even famous in their own right. NB: The term "after print" is only relevant for traditional printmaking methods (e.g. lithography or etching) involving hand artistry and an interpretative element. It isn't appropriate for reproductions using contemporary, photo-mechanical or digital printing methods like screen prints, c-type prints and giclรฉes. So the Lucian Freud John Minton digital print published by HENI would be described as an unsigned posthumous release, but not an after print. When MET posts, I actually stop scrolling and take the time to read thoroughly. Always excellent, well informed content. Could not agree more.
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New print by Lucian Freud , by Global Art Traders on Oct 19, 2016 21:22:03 GMT 1, Met, great info and very correct! Thanks
Met, great info and very correct! Thanks
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