Art Faqs - Frequently Asked Questions
What is a Limited Edition?
A limited edition is a series of identical prints
which are limited to a one-time printing of a certain number of pieces.
The artist determines the size of the edition and usually signs and numbers each individual piece.
When introduced for sale, they are sold at an issue price realizing that often demand exceeds the supply of the limited edition prints and a secondary market will be created for the sold out pieces.
For example, once the final print in the edition is sold, the print is designated as “sold out” and will never be reproduced again in lithograph print form no matter how great the demand. The lithograph plates are destroyed thus assuring the collector’s investment.
What is a Lithograph?
A lithograph is created using a printing technique based on the principal that oil and water do not mix. Using oil-based or a grease crayon, an image is drawn on a flat stone or metal plate. Water is applied to the surface and is repelled on the areas where oil-based images have been drawn. The entire surface is then coated with an oil-based ink that adheres only to the areas drawn in oil, ink or crayon. The image is then printed on paper.
Lithography became a popular printing technique because thousands of exact replicas could be made that were like the drawings on paper without degradation of the image.
A lithograph is the least manually intensive reproduction technique and in turn, is not as expensive as a serigraph or giclee.
Although images can have a high resolution and excellent appearance, they will not have the same degree or resolution or color density as a serigraph or giclee.
What is a Color Lithograph?
Color lithography is essentially the same process as basic lithography. In this process, however, the application of each color is printed separately through the alignment or registration.
This process is typically done by computer analysis, and is most frequently used in the production of posters and open edition prints.
What is a Serigraph or Silk-creen?
Silk-screening , which was introduced around 1907, presses ink through a fine screen onto paper. A stencil of an image is placed on a taut screen with paper underneath. Ink is then spread on top and forced through the screen onto the paper with a squeegee. A different screen is used for each color in the print and this results in a print with great color density and many qualities of the original piece in terms of color saturation. This process also adds some texture to the final product. Unlike photo-offset silkscreen’s (also called serigraphs) allow the artist to vary the colors and patterns while printing.
What is a Giclee?
Giclee (pronounced “zhee-clay”) is a French word meaning “ a spraying of ink”. With the advent of giclee, the art of reproducing fine art has become even more precise. Giclee’s have the lightest apparent resolution available today as high as 1,800 dots per inch. In addition, since no screens are used, the prints have a higher apparent resolution than lithographs and a color range that exceeds that of a serigraphy. This is a digital high quality print process that has been recognized by the art community as an acceptable technique for reproducing color correct artwork from digital scans. It allows the artist to limit the cost risk of long run print production by enabling the printing of the image on demand. Each accepted and signed print is considered an artist proof one of a kind. Displaying a full color spectrum, giclee prints capture every nuance of an original and have gained wide acceptance from artists and galleries throughout the world. Depending on the size of the giclee, these prints offer a very affordable alternative to original art.
What does “S / N” mean?
S / N is a symbol used to indicate that a limited edition has been signed and numbered by the artist himself/herself.
What is an Artist Proof (A /P) ?
A small group of prints set aside from an edition for an artist or printer’s use. Typically some of the first prints pulled from an edition of prints are marked as an A/P and (sometimes) left unnumbered. Artist’s Proofs usually number 10% of the limited edition size with the normal range being 50 to 75 prints. Because of their low number Artist’s Proofs are slightly more expensive than the regular limited editions. When the limited edition prints have sold out and are available only through the secondary market. The Artist’s Proofs should go up in value at a higher percentage rate than the limited edition prints. Normally, Artist’s Proofs sell out well before the limited edition is sold out. Artist’s Proofs are signed A.P., A/P, or Artist Proof. They may or may not be numbered.
What are Secondary Market prints?
Once a limited edition lithograph print is designated as “sold out”, the publisher, dealers or collectors may sell one of their prints on the secondary market to a collector who desires to own the print. Thus, the secondary market is the resale of a print by a collector after the print is designated as sold out. Secondary market prints generally sell at prices above the original retail price and increase with demand on the market.
What is a Remarque?
A remarque is an original sketch, either in pencil, paint, or ink, done by the artist on the border of the lithograph print. The remarque is usually an item that deals with the subject matter in the print, or follows the theme of the print. Only a few re-marques are done or a small number of prints in the edition which greatly increases the value of the print, thus, this service which is performed by the artist commands a higher price.
What are Certificates of Authenticity?
Some lithographs are accompanied by a Certificate of Authenticity, which is a certificate that is numbered and signed by the artist and in some instances, reproduces the art in a miniature format. It is important to make a copy and keep the original in a safe place for insurance reasons in case of damage.
We provide this information because we believe in and practice Conservation Framing.Over many years we have taken apart hundreds of framed paintings and prints prior to re-framing. Some frames were put together more than a hundred years ago, some within the last few years. Again and again we see the same damage to valuable prints and paintings caused by poor framing. Some of the damage is irreversible and some involves expensive restoration work…..almost all of it is avoidable.
What Is Conservation Framing?
As consumers, we bring valuables in to be framed for a number of different reasons. Sometimes we frame an item to create an attractive decoration for our homes or office. On the other hand, sometimes we frame the very things we value most – whether that be commercial or sentimental value – in order to protect them from damage. When the subject you are framing is something that you treasure, you need to ask for “Conservation Framing”.
Put simply, conservation framing employs the use of materials that have been proven to protect and maintain art in as close to its original condition a possible. Value, is at best a subjective thing. One way to measure it is in monetary terms; if the item you are framing represents an investment and has resale value, it should most certainly be conservation framed. A seldom-recognized fact is that most pieces that we bring to a framer should be framed with conservation in mind. As a rule of thumb, if the item you are framing is an irreplaceable, one-of-a-kind photograph, document or piece of memorabilia, or if it is an original work of art or a limited edition, it should be framed using conservation techniques and materials. The cost premium is marginal – and certainly well worth it.
The majority of damage is caused by the use of wood and straw pulp products which contain acids harmful to paper. Artwork is placed in contact with a cardboard mount or is glued down using ordinary glues and adhesive tapes. Very often there is nothing between the artwork and the wooden backing board, and this leads to discoloration of the work and an embrittling of the paper.
Ill-fitting or broken backboards allow light and air pollutants to penetrate through even thick cardboard to damage the artwork itself with tell-tale characteristic dark brown streaks or spots.
Some irreversible damage is caused to artworks and papers by the action of light in particular ultraviolet light, and UV rays can damage artwork in two ways. Strong fluorescent lights or direct sunlight may fade colors. Paper also tends to absorb high-energy photons which causes chemical reaction in the paper, breaking it down and causing it to turn brittle. The effects of light on materials can be reduced by the use of glazing that filters out harmful ultraviolet rays.
We also advise where necessary on the use of a variety of conservation UV protection glass. Ordinary glass only provides limited UV protection but is safe in normal lighting conditions.
Other problems causing damage to artworks can include high temperatures and humidity levels. These will accelerate growth of mold inside frames. Mold is often seen as a ghostly image or brownish areas on the glazing material and matting and/or print area. This is sometimes also referred to as “foxing”.
Problems can also come from atmospheric pollution and dirt or pollution. These can combine with moisture in the air to form harmful acids that will attack the paper.
Everything deteriorates over time and exposure to the environment.
Conservation framing is designed to minimize deterioration by the materials that surround the artwork.
At Skinner’s Frames & Art Gallery Inc., we try to prevent this damage by using the best conservation techniques and materials available. We use acid-free mounts, barrier boards, acid free tapes and glues whenever necessary.
It is important that you entrust your valuable framing projects only to a trained professional who cares about the conservation process, has experience and the necessary skills and techniques and who is committed to using high quality conservation materials throughout your entire project.
What is a Limited Edition?
A limited edition is a series of identical prints
which are limited to a one-time printing of a certain number of pieces.
The artist determines the size of the edition and usually signs and numbers each individual piece.
When introduced for sale, they are sold at an issue price realizing that often demand exceeds the supply of the limited edition prints and a secondary market will be created for the sold out pieces.
For example, once the final print in the edition is sold, the print is designated as “sold out” and will never be reproduced again in lithograph print form no matter how great the demand. The lithograph plates are destroyed thus assuring the collector’s investment.
What is a Lithograph?
A lithograph is created using a printing technique based on the principal that oil and water do not mix. Using oil-based or a grease crayon, an image is drawn on a flat stone or metal plate. Water is applied to the surface and is repelled on the areas where oil-based images have been drawn. The entire surface is then coated with an oil-based ink that adheres only to the areas drawn in oil, ink or crayon. The image is then printed on paper.
Lithography became a popular printing technique because thousands of exact replicas could be made that were like the drawings on paper without degradation of the image.
A lithograph is the least manually intensive reproduction technique and in turn, is not as expensive as a serigraph or giclee.
Although images can have a high resolution and excellent appearance, they will not have the same degree or resolution or color density as a serigraph or giclee.
What is a Color Lithograph?
Color lithography is essentially the same process as basic lithography. In this process, however, the application of each color is printed separately through the alignment or registration.
This process is typically done by computer analysis, and is most frequently used in the production of posters and open edition prints.
What is a Serigraph or Silk-creen?
Silk-screening , which was introduced around 1907, presses ink through a fine screen onto paper. A stencil of an image is placed on a taut screen with paper underneath. Ink is then spread on top and forced through the screen onto the paper with a squeegee. A different screen is used for each color in the print and this results in a print with great color density and many qualities of the original piece in terms of color saturation. This process also adds some texture to the final product. Unlike photo-offset silkscreen’s (also called serigraphs) allow the artist to vary the colors and patterns while printing.
What is a Giclee?
Giclee (pronounced “zhee-clay”) is a French word meaning “ a spraying of ink”. With the advent of giclee, the art of reproducing fine art has become even more precise. Giclee’s have the lightest apparent resolution available today as high as 1,800 dots per inch. In addition, since no screens are used, the prints have a higher apparent resolution than lithographs and a color range that exceeds that of a serigraphy. This is a digital high quality print process that has been recognized by the art community as an acceptable technique for reproducing color correct artwork from digital scans. It allows the artist to limit the cost risk of long run print production by enabling the printing of the image on demand. Each accepted and signed print is considered an artist proof one of a kind. Displaying a full color spectrum, giclee prints capture every nuance of an original and have gained wide acceptance from artists and galleries throughout the world. Depending on the size of the giclee, these prints offer a very affordable alternative to original art.
What does “S / N” mean?
S / N is a symbol used to indicate that a limited edition has been signed and numbered by the artist himself/herself.
What is an Artist Proof (A /P) ?
A small group of prints set aside from an edition for an artist or printer’s use. Typically some of the first prints pulled from an edition of prints are marked as an A/P and (sometimes) left unnumbered. Artist’s Proofs usually number 10% of the limited edition size with the normal range being 50 to 75 prints. Because of their low number Artist’s Proofs are slightly more expensive than the regular limited editions. When the limited edition prints have sold out and are available only through the secondary market. The Artist’s Proofs should go up in value at a higher percentage rate than the limited edition prints. Normally, Artist’s Proofs sell out well before the limited edition is sold out. Artist’s Proofs are signed A.P., A/P, or Artist Proof. They may or may not be numbered.
What are Secondary Market prints?
Once a limited edition lithograph print is designated as “sold out”, the publisher, dealers or collectors may sell one of their prints on the secondary market to a collector who desires to own the print. Thus, the secondary market is the resale of a print by a collector after the print is designated as sold out. Secondary market prints generally sell at prices above the original retail price and increase with demand on the market.
What is a Remarque?
A remarque is an original sketch, either in pencil, paint, or ink, done by the artist on the border of the lithograph print. The remarque is usually an item that deals with the subject matter in the print, or follows the theme of the print. Only a few re-marques are done or a small number of prints in the edition which greatly increases the value of the print, thus, this service which is performed by the artist commands a higher price.
What are Certificates of Authenticity?
Some lithographs are accompanied by a Certificate of Authenticity, which is a certificate that is numbered and signed by the artist and in some instances, reproduces the art in a miniature format. It is important to make a copy and keep the original in a safe place for insurance reasons in case of damage.
We provide this information because we believe in and practice Conservation Framing.Over many years we have taken apart hundreds of framed paintings and prints prior to re-framing. Some frames were put together more than a hundred years ago, some within the last few years. Again and again we see the same damage to valuable prints and paintings caused by poor framing. Some of the damage is irreversible and some involves expensive restoration work…..almost all of it is avoidable.
What Is Conservation Framing?
As consumers, we bring valuables in to be framed for a number of different reasons. Sometimes we frame an item to create an attractive decoration for our homes or office. On the other hand, sometimes we frame the very things we value most – whether that be commercial or sentimental value – in order to protect them from damage. When the subject you are framing is something that you treasure, you need to ask for “Conservation Framing”.
Put simply, conservation framing employs the use of materials that have been proven to protect and maintain art in as close to its original condition a possible. Value, is at best a subjective thing. One way to measure it is in monetary terms; if the item you are framing represents an investment and has resale value, it should most certainly be conservation framed. A seldom-recognized fact is that most pieces that we bring to a framer should be framed with conservation in mind. As a rule of thumb, if the item you are framing is an irreplaceable, one-of-a-kind photograph, document or piece of memorabilia, or if it is an original work of art or a limited edition, it should be framed using conservation techniques and materials. The cost premium is marginal – and certainly well worth it.
The majority of damage is caused by the use of wood and straw pulp products which contain acids harmful to paper. Artwork is placed in contact with a cardboard mount or is glued down using ordinary glues and adhesive tapes. Very often there is nothing between the artwork and the wooden backing board, and this leads to discoloration of the work and an embrittling of the paper.
Ill-fitting or broken backboards allow light and air pollutants to penetrate through even thick cardboard to damage the artwork itself with tell-tale characteristic dark brown streaks or spots.
Some irreversible damage is caused to artworks and papers by the action of light in particular ultraviolet light, and UV rays can damage artwork in two ways. Strong fluorescent lights or direct sunlight may fade colors. Paper also tends to absorb high-energy photons which causes chemical reaction in the paper, breaking it down and causing it to turn brittle. The effects of light on materials can be reduced by the use of glazing that filters out harmful ultraviolet rays.
We also advise where necessary on the use of a variety of conservation UV protection glass. Ordinary glass only provides limited UV protection but is safe in normal lighting conditions.
Other problems causing damage to artworks can include high temperatures and humidity levels. These will accelerate growth of mold inside frames. Mold is often seen as a ghostly image or brownish areas on the glazing material and matting and/or print area. This is sometimes also referred to as “foxing”.
Problems can also come from atmospheric pollution and dirt or pollution. These can combine with moisture in the air to form harmful acids that will attack the paper.
Everything deteriorates over time and exposure to the environment.
Conservation framing is designed to minimize deterioration by the materials that surround the artwork.
At Skinner’s Frames & Art Gallery Inc., we try to prevent this damage by using the best conservation techniques and materials available. We use acid-free mounts, barrier boards, acid free tapes and glues whenever necessary.
It is important that you entrust your valuable framing projects only to a trained professional who cares about the conservation process, has experience and the necessary skills and techniques and who is committed to using high quality conservation materials throughout your entire project.
