I am crazy about prints! In addition to a love of the esoteric nature of the various processes, they completely fascinate me in their immense detail, variety and endless possibilities.
Moreover, I don’t have a bottomless pit of money so buying prints enables me to both expose and display the eccentric side of my character. As you know I also love, admire and write about interior design and architecture; with a particular love of eclectic interior environments being truly individual. Having said that some stand-out interiors, on the whole, are relatively conservative while displaying a uniquely unconventional contemporary art collection: one that shows the true character of the inhabitants as both traditional and idiosyncratic at a glance – one intersection I find truly intriguing.
Prints come in many genres and types; both single and multiple editions.
When I say prints, I mean Limited Edition Prints (LEP), they range from overt abstraction to fully representational; from the mundane to the scientific, from still life to portraits and everything between. The amount of prints I want at any one time is endless, always on the look out for complexity and unique characteristics in some form. And, most of them are affordable: for example in Australia they are predominantly priced from $300 to under $5k. The history of the print is equally fascinating and dates as a genre from at least the early 15th century. A striking exception is the Diamond Sutra a Mahayana Buddhist text dating from 868AD.
Laurie Mossuto, City Trip, giclee print on archival paper, 2015, image: 300 x 300cm (11.81″ x 11.81″) / paper: 375 x 475cm
The following are all examples of prints: linocut, etching, woodcut, screenprint, lithograph, aquatint, monotype, coloured monotype and on-and-on-and-on. Photographs are a unique fine art genre in their own right, they can either be an open edition or a limited edition according to the discretion of the photographer.
Many ‘print artists’ perpetually experiment with the type of printing process, as well as often merging more than one type of process in a single image.
Prints can be multi-editioned; anything from 10 to 1000 (occasionally more), of which you might buy number 1/10, 5/250, or 200/1000.
Generally speaking, the smaller the print run the better for you because there are not as many in circulation; this is especially relevant if the artist is well known and the subject is particularly worthy of the artist. Additionally, the more the print run (250 is quite a large print run) the less the price is likely to be because there are a lot more of them on offer.
The lower the print run, say 1/10 the more it will cost because there are only a few of them circulating; if you can afford it, it is preferable to buy from a small print run.
A qualification is required – if the artist is well known at the time the print is produced, the prints are likely to cost more irrespective, especially when compared to a novice print artist producing their first-ever edition.
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LEP’s are an excellent way to buy unique artworks because self-evidently they are cheaper than the original one-off artwork.
Laurie Mossuto, City Trip, clearly showing the artist’s signature and print edition (detail)
Genuine LEP’s are always signed and numbered by the artist, and sometimes dated. This is an important point; they must display the artist’s original signature and the edition number.
If the seller is claiming it is a LEP and it doesn’t have the artist’s signature and print number (usually in pencil in the white space at the bottom, as above), I might buy it, but I definitely wouldn’t pay much for it because the seller cannot genuinely claim it is a limited edition print, on one hand, and the seller’s practice and intent are questionable, on the other.
Similarly, if the you can see that the signature, title and edition number are ‘printed on’ rather than pencilled on, you would have to question why that is because that puts the print outside conventional LEP printing traditions, and outside the practices of reputable dealer galleries. It cannot reasonably be called a limited edition print, rather it is a ‘print of a print’. It lacks authenticity for the simple reason that it is not a ‘unique print from a limited edition run’ as the artist’s signature, date and edition are ‘printed on’ rather than applied by hand by the artist in pencil or ink.
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Whilst this may seem insensitive, it is a self-evident truth – like us, great artists are mortal and won’t be around forever. If you can afford a print by a renowned artist, it is a relatively small print run, and it is an excellent example of their work (is signed and numbered), and you love it – buy it! If you do not have the money up front see if you can pay it off – I have done this many times, however, obviously, it is up to the discretion of the gallery. You have the dual benefits of displaying in your home a print that will definitely increase in value upon the death of the artist, as long as you look after it (see below). There are many examples of this today, for example prints by famed Australian artist Fred Williams, and canonical New Zealand artist Ralph Hotere sell for considerable prices – their prints will continue to go up as they are finite.
Have fun putting together your print collection!
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TERMINOLOGY – Click on each word for more detailed descriptions
Print: Fine-art prints (limited edition prints – LEP) come in many genres, types, and editions, as well as artist’s proofs. The following are all examples of prints: photograph, linocut, etching, screenprint, c-type print, lithograph, mezzotint, giclee print, aquatint, monotype, coloured monotype and on-and-on-and-on. Typically, they are high quality on archival-paper (resists fading and damage), and more often than not, started life as an original artwork, although that is not strictly the case in contemporary life. Intaglio in visual arts, one of the four major classes of printmaking techniques, distinguished from the other three methods (relief printing, stenciling and lithography) by the fact that the ink forming the design is printed only from recessed areas of the plate. Among intaglio techniques are engraving, etching, drypoint, and mezzotint.
ALERT! There are also posters and ‘decorative art prints’; not to be confused with genuine LEP prints – these will be very cheap and are definitely not worth the $200 – $300 dollars customarily charged. Images of art works rolled off a printer in huge numbers, ‘usually’ on poor quality paper, with no inherent monetary value. Since we are talking about collecting worthy art, the best money is spent on LEP’s, these are prints officially signed and editioned by the artist (say 1 of 10, or 1 of 100) usually in pencil at the bottom of the print. If they are not signed and editioned, it can’t be considered a genuine limited editioned print – it may be quality paper or not, but in any case it is a poster not a LEP. There are many variables and qualifications related to buying a LEP.
Artist Proof: Limited edition prints are numbered copies of an artwork, while artist’s proofs are additional prints the printer is rolling off to check quality, colour and depth for example. Artist’s proofs are rarer and more sought after; they are conventionally priced higher than those in the print run because they are one-offs.
Frank Pottinger RSA (1922 – 2022), Small Overland, Lithograph
with chine collé, 41.5 x 36cm (16.33″ x 14.17″)
1 x artist’s proof
Aquatint: Aquatint is a printmaking technique that produces tonal effects by using acid to eat into the printing plate creating sunken areas which hold the ink.
Aquatint – Spit Bite: Spit bite aquatint differs from the other aquatint techniques insofar as the printing plate is not put into acid. Instead, the acid is applied to the plate with a brush. First a normal aquatint ground is applied to the plate, and then the artist paints on the plate with a thick acid solution. Traditionally, the acid was thickened with spit to make it more controllable when brushing it on the plate. The motif is thus etched on the plate in different tones, depending on the thickness of the applied acid. Spit bite aquatint creates a visual effect similar to watercolour.
Udo Sellbach (1927 – 2006), (Untitled 29) (from Night watch, a print cycle of thirty etchings’ portfolio), 1990, etching and aquatint on Arches paper, Edition 11/25
Etching: Etching is an intaglio printmaking process in which lines or areas are incised using acid into a metal plate in order to hold the ink. In etching, the plate can be made of iron, copper, or zinc.To prepare the plate for etching, it is first polished to remove all scratches and imperfections from the surface. When the surface is completely smooth, it is covered evenly with a layer of acid-resistant varnish or wax, which is called the ground. Using a blunt stylus called an etching needle, the printmaker gently scratches away parts of the ground following the design, thereby exposing the metal beneath. Once the entire design has been drawn into the ground, acid is poured over the plate or the plate is dipped in acid.
Murray Griffin, Blue parrots, (c. 1952 – 1958), colour linocut, 27.8 x 35.4cm (10.94” x 13.93”), Ed. 5/23, inscribed in pencil with name, title, edition / In the collection of NGV
Linocut: Linocut is an art medium and a form of relief printmaking. It is when a design is carefully carved into a sheet of linoleum using sharp specialised carving tools (Hence, lino – cut!). The lino is then inked up and pressed against paper with some pressure. The image that is transferred onto the paper forms the linocut print. The ‘pressing’ can be done by hand or with a printing press…The areas carved away are the negative areas that will not be inked up – a mirror image of the final design…The lino is inked with a brayer, or roller, and then the paper is pressed against it with a bit of pressure to transfer the design. The simplest way to apply pressure is by hand, or using a professional printing press. When the paper is removed, the print is revealed on the paper. The same lino block can be used again and again to print as many prints as you want.
Lithograph: Lithography is a planographic printmaking process in which a design is drawn onto a flat stone (or prepared metal plate, usually zinc or aluminum) and affixed by means of a chemical reaction. First, the design for the lithograph is drawn directly onto a polished slab of limestone using an oil-based lithographic crayon or ink. Once the design is complete, the stone is ready to be processed or etched. A layer of powdered rosin (solid form of resin) is rubbed onto the stone, followed by a layer of powdered talc.
Gordon Bennett (Australia 1955 – 2014), Home Decor (counter composition), Black Swan, 1998, from the portfolio The Sydney 2000 Olympic Fine Art Collection, five colour lithograph from 5 aluminium plates on white wove paper, 76.0 x 56.1cm (29.92” x 22.08”), Produced in Melbourne Australia /Collection of AGNSW
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Monotype: A monotype is a one-of-a-kind print that will exist in its own ‘unique state’. It starts with a clean surface (for example: glass, gelatin plate, perspex), then adding ink or paint and working the surface to create an image before taking an impression on paper. This technique works beautifully when adding layers of colour and texture to the one print. Monotype and Monoprint are slightly different concepts.
Margaret Preston, Hibiscus, 1925, hand-coloured woodcut, 24.5 × 24.5cm (9.64″ x 9.64″), Edition of 50 / 6th proof, inscribed in pencil / In the collection of NGV
Woodcut: The oldest form of printmaking, woodcut is a relief process in which knives and other tools are used to carve a design into the surface of a wooden block. The raised areas that remain after the block has been cut are inked and printed, while the recessed areas that are cut away do not retain ink, and will remain blank in the final print.The wooden block is usually made from pear wood, which is sawn along the grain and planed smooth…The size of the woodblock is determined by the image, but is ultimately limited by the size of the printing press. This means that for a large-scale print, multiple blocks are cut and printed separately, after which the image is assembled…The thickness of the block is also important for ease of use and the prevention of wear; the ideal thickness is around one inch.
Screenprint: A variety of stencil printing, using a screen made from fabric (silk or synthetic) stretched tightly over a frame. The non-printing areas on the fabric are blocked out by a stencil. This can be created by painting on glue or lacquer, by applying adhesive film or paper, or painting a light-sensitive resist onto the screen which is then developed as a photograph (photo-screenprint). Ink or paint is then forced through the (non-blocked areas of) open fabric with a rubber blade, known as a squeegee, onto the paper. Screenprinting has been used commercially since the 1920s. It first began to be used by artists in 1930s America and the term ‘serigraph’ was initially used to denote an artist’s print, as opposed to commercial work. It has been widely used by artists as a printmaking technique since the 1950s.
Digital print: When artists use computers to create and manipulate their works, a large-scale ink jet printer can be used to print the works. These complex printers use a sophisticated print head to disperse the ink on the paper in a fine mist in order to deliver a consistently toned image. A digital print is only considered an ‘original print’ if it was created by the artist to be realised specifically as a print. A digital print which is a copy of a work that originated in another medium, such as painting or drawing, is a reproduction and therefore is not an original print.
Collagraph (collograph): ‘Collagraph’ (sometimes ‘collograph’) is derived from the Greek ‘colla’, meaning glue, and ‘graph,’ meaning to draw. A collograph is essentially a collage of materials of various textures glued on to a printing plate, often a thin wood or cardboard. The plate is inked up, usually by hand, and then printed on to paper either manually or via a press. It is a form of relief printing that allows artists to create interesting marks and tonal effects due to the use of different materials – anything from lace to leaves, fabrics, card, yarn and so on. It can be used alone or in conjunction with other printing processes, such as etching. Collagraphs, due to the delicate nature of the card or thin wood plate, are often monoprints or short varied editions.
Borch Editions provides a complete guide to printing techniques.
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CARING FOR AND DISPLAYING YOUR PRINTS
Prints are particularly susceptible to damage for the following reasons
- Prints are typically printed onto paper, and paper is easily damaged. The harsh drying-out effects of light, in particular sunlight: especially relevant if the print is left in situ over a long period in any kind of sunlight. UV and ultraviolet light also account for damaging the content of the paper itself from some types of spotlight for example.
- Hang them out of direct sunlight, and away from strong ambient light. Whilst they may not be in the path of direct sunlight even proximity to a powerful source of sun will damage them. For example, on a wall near a glass doorway. So strong sunlight comes through the glass door yet does not fall directly onto your print; the print will still become damaged due to the strong ‘ambient light’ nearby. This has happened to me – something I deeply regret now.
- The colours applied to your print will fade over time from the effects of light (especially the colour blue): this is a major and common problem for an art collection: See MGNSW for great light affecting advice and tips
- Ensure all artworks are hung in areas with good airflow: trapped heat is a big problem for an art collection.
- Additionally, acid in wood, adhesive and tape damage a paper support.
- Moisture (and ambient) in all its forms damages paper: humidity, steam, and direct atmospheric.
THE BOTTOM LINE
If you are starting a print collection, buying from worthy artists and galleries, it is pointless compromising on the framing. Ensure you get expert advise about framing your print.
Go to a reputable gallery; one that has been in business for a long time – ask them who does their framing. And go there. You don’t want advice from a novice gallery owner just starting out. Ensure you obtain advice from gallery owners who have been around a long time and know their stuff about solid reputable framers.
You need to be cognisant of, ‘What can go wrong?’ Everything can go wrong! Reputable framers will use high quality acid-free materials and supports; they will charge more, but it is worth it.
Here is a great website to refer to: Heritage Auctions Blog for correct framing essentials: make a list of what you need to ensure goes into ‘your faming’ request and take it to the framers with you.
My oldest print (27 years old) has nothing whatsoever wrong with it. No foxing, marks, deterioration, thus the paper itself must be good quality and it must have been framed by a reputable framer. I’m saying this because I live in north Queensland which is routinely hot almost the full year: it has endured very hot conditions (albeit with good air flow and out of direct sunlight) for long periods. Others I have bought have had to have foxing removed that are no where near as old as my first ever print purchase. Thus the framing of them was undoubtedly compromised from the outset in some form.
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GLASS
UV glass conservation clear
A clear glass which provides 99% protection against UV light. UV light is present in sunlight from windows as well as fluorescent and halogen lights commonly found inside. This is the minimum level of protection used for conservation grade framing. UV glazing also protects other elements within the frame ensuring mount boards and other materials remain in good condition for as long as possible. Available in sizes up to 1000 x 1500mm. Suitable for conservation archival grade framing.
Anti reflective glass 2mm
A clear glass with anti reflective coating that minimises reflections without altering the clarity of the work. The water white nature of the glass reduces colour tints often associated with glass. Especially suited to dark images where reflections can overwhelm the work. Our most economical anti reflective glazing option. Available in sizes up to 1200 x 1600mm. Suitable for use with lightfast media.
Museum grade anti reflective glass
A premium glazing with similar properties and appearance to the anti reflective glass with an added 99% UV filtering. Works with dark tones and those that will be installed bright areas benefit from this glazing. Available in sizes up to 1220mm x 1720mm. Suitable for conservation archival grade framing.
Obviously museum grade glass is the most expensive. I guess I would choose glass in accordance with the notoreity of the artist, the price paid, and the quality of the print. Irrespective, always use UV glass, and if the print is by a renowned artist, if you can afford it put museum grade glass on it.
For more information about the qualities of glass or perspex for your artwork see Arten
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Featured image: Rachel Duckhouse, Over and Out (Newlyn), 2022, Etching with pen and ink drawing, varied edition, 53cm x 45cm (20.86″ x 17.71″)
Laurie Mossuto’s City Trip is available from Walcha Gallery of Art
Frank Pottinger prints are available from RSA Academicians Gallery
Rachel Duckhouse prints available from Glasgow Print Studio
QAGOMA (Queensland Art Gallery / Gallery of Modern Art):
NGV (National Gallery of Victoria)
AGNSW (Art Gallery of NSW)
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Disclaimer: The images within the text have been chosen because they are personal favourites. A great part of the fun of operating one’s own website is that you can pretty much put what you like up as imagery and text as long as it is referenced professionally. Always let me know if I have made any genuine mistakes via: le@liberaleclectic.com.au
