Print Collecting 101
Everything you’ve always wanted to know about prints but were too afraid to ask.
W e sat down with Sotheby’s Prints Department to discuss the basics on technique, condition, and other common questions about prints and multiples.
What are some common types of prints?
A print is a multiple original, meaning there is more than one, unlike a unique painting or work on paper. Prints may be lithographs, screenprints, woodcuts, linoleum cuts, or intaglios (etchings, engravings, aquatints, and drypoints).
Can you give more information on edition sizes, artist proofs, and printer proofs?
The word “edition” refers to the number of examples printed of an image or fabricated of an object, and this might range from a very few impressions to several hundred. A print is often numbered like a fraction (e.g. 1/50), however you may instead see an inscription indicating that it is a type of proof, as defined below.
Can you elaborate on all of the abbreviations that accompany prints?
Examples outside the numbered edition are customarily annotated with abbreviations, such as the following:
- A.P: Artist’s Proof. Examples set aside for the artist, identical to the numbered edition.
- P.P.: Printer’s Proof. Examples set aside for the collaborating printer or publisher, identical to the numbered edition.
- T.P.: Trial Proof. An example pulled while the artist is actively working on the composition, thus differing from the regular edition. Artists and printers use trial proofs to see how work is progressing.
- E.P.: Experimental Proof. As with trial proofs, artists use experimental proofs as part of their process in achieving the final image to be made into an edition.
- C.T.P.: Color Trial Proof. A trial proof that employs colors differing from those inks used for the final edition. Andy Warhol frequently executed color trial proofs when deciding the final color combinations for his editioned work.
- H.C.: Hors Commerce. Translating to “not for sale,” an hors commerce proof is similar to an artist’s proof in that it is identical to the final edition. Historically hors commerce proofs were intended for the artist and their collaborators, hence the implication that they are not to be sold. However, in practice, these proofs were often part of the artist’s compensation and were frequently sold with the rest of the edition.
- B.A.T.: Bon à tirer. Meaning “good to pull,” a B.A.T. proof is the final proof pulled after the artist has finished working on the printing matrix, but before the printing of the edition has begun. There is typically only one B.A.T. proof and it is used by the printer to ensure the final edition appears as the artist intended.
How does edition size affect value?
The smaller the edition, the more rare the work, oftentimes increasing the value. Other factors that influence a selling price include the artist’s market, how the print fits into their overall body of work, and of course, the condition of the example being considered.
How involved are printers and publishers with the printmaking process?
The printer collaborates closely with the artist to execute the work of art, their technical expertise often influencing the end result.
The publisher funds the project and oversees the sale of the edition; they are responsible for how a print is initially introduced to collectors, galleries, and institutions.
What are some condition issues to look out for that affect the value of a print or multiple?
When a work is not unique, the condition can be compared to other impressions from the edition and a collector may decide to wait and acquire an example in better shape. For this reason, the condition report is a vital consideration and the most commonly noted imperfections are as follows :
- Fading: This is the most serious issue as once colors have diminished, they cannot be restored. Note: The word “attenuated” may be used to indicate minor fading.
- Trimming: The paper (referred to as the “sheet”) has been cut down or reduced from its original size. Like fading, this is a condition issue that cannot be rectified.
- Discoloration: A darkening of the paper tone caused by prolonged exposure to light, contact with non-archival mat board or the presence of another acidic element such as certain adhesives or framing materials. Note: “Light-stain,” “mat-stain,” and “adhesive-stain” are all phrases used to describe discoloration
- Fox mark: A type of mold that grows in paper fibers, caused by age or environment. Note: Foxing resembles freckles.
- Crease: A wrinkle, fold or dimple in the sheet, often caused by handling.
- Tear: A split or break in the sheet. Tears can be serious issues, particularly if they affect the image.
Who are some artists that are known for their unique work but who also experimented with editions?
Many important painters of the last 150 years also made prints. Among the best known and most prolific are Pablo Picasso, Edvard Munch, Henri de Toulouse-Lautrec, Andy Warhol, Jasper Johns, Frank Stella, and David Hockney.
Painters who are the most successful printmakers are those that take advantage of and experiment with print media to enhance or reflect the qualities of their unique work.
Authentication
Given the strength and accessibility of the print market, reproductions of original prints are an unfortunate reality.
Happily, many artists' complete bodies of printed and editioned work are documented in catalogue raisonnés. While the level of detail in these texts varies, many include the correct medium, dimensions, complete edition size, paper type, and the location of signatures and inscriptions. These are all elements that can be compared to assist in determining authenticity, however it is not possible to confirm anything simply from a photograph, and close firsthand inspection by an expert is incredibly important.
Please note that Sotheby’s is not an authenticating body.
