Today's postings

  1. [Baren 43299] Re: Help! Need advice on ethical printmaking things... kind of woodblock (andrea #
  2. [Baren 43300] editioning prints ("Phare-Camp")
  3. [Baren 43301] Re: editioning prints (Barbara Mason)
  4. [Baren 43302] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: andrea #
Date: Mon, 02 May 2011 15:03:37 GMT
Subject: [Baren 43299] Re: Help! Need advice on ethical printmaking things... kind of woodblock
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Thanks to those who responded regarding my inquiry about editioning. My gut instinct was to go ahead and sell them for what I had initially planned and not worry about the auction, but I think I needed some backup that it was OK to do so from people with more experience in similar situations.Thanks Again,Andrea
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Message 2
From: "Phare-Camp"
Date: Mon, 02 May 2011 19:26:27 GMT
Subject: [Baren 43300] editioning prints
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I'm with Barbara on this one and want to add...

An A/P,artist's proof, or W/P, working proof is rarer than an edition print
and therefore more valuable in the long run so a $900 auction sale for a
$400-$500 editioned multiple is not unreasonable. Pricing a print should be
based on average selling price, size and number of multiples. The proofs
are also more valuable because of the variations tended until the artist
decides on the final for editioning. So again the auction sale price is not
outrageous. But perhaps you need to consider a moderate rise in your

One thing I do is research on Etsy, AbsoluteArts and other artists websites.
I look at artists whose educational backgrounds, talent, skills and imagery
is similar to mine. I like Etsy because I can research the sales of an
artist and get a good idea of the prices a comparable artist's works
actually sell for. When pricing I also take into consideration the size of
the print and the number of colors.

I was lucky to have a mentor who was dating a Christy's buyer. He gave me
an expert's opinion of reasonable asking price early in my career for a
9x12" monotone print ($175 framed and matted in early 1990's; the framed
print sold for $275 at auction a week later). I've compared that expert's
advice, actual sales of my work and comparable artist's sales while also
accounting for inflation and find that my current prices, although not much
higher than the early '90s prices, are reasonable within a current market.
And my proofs and variations, though higher priced, tend to sell sooner. I
suspect because art buyers like the idea of having one of a kinds...

Hope this helps you,
Patti P-C
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Message 3
From: Barbara Mason
Date: Mon, 02 May 2011 21:05:18 GMT
Subject: [Baren 43301] Re: editioning prints
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You are right about the working proof, that can be widely different from the
edition, however, artist proofs are to be no more than 10% of an edition and
exactly like the edition, so if you printed 100 numbered prints, you could print
10 artist proofs that would not be numbered. This whole thing started in Europe
and England years ago when an artist would take their edition to the publisher
or seller to sell for them. They did not pay the artist till the entire edition
was sold, so the artist proofs were prints the artist could sell themselves to
make some quick money to eat and pay the rent!
My best to all

Digest Appendix

Postings made on [Baren] members' blogs
over the past 24 hours ...

Subject: Glue and Sizing questions ...
Posted by: Dave Bull

It has been nearly a year since I made the decision to take on the job of sizing the paper for my printmaking. As I wrote early last year, the quality of the sizing work from the professional workshop I was using had degraded to the point where the paper was becoming unusable, so I felt that I had no choice. Last summer I prepared some tools and materials, made some initial experiments, and since then have been sizing the paper batch by batch for each particular job that comes up. So far, so good. Problem faced, problem basically solved.

But a couple of months ago I got a phone call from printer Numabe-san that seemed to put me back to square one.

(entry continues here ...)

This item is taken from the blog Woodblock RoundTable.
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Subject: Carrot

Because my last bookmark was so well received I have made another one. This time it is a carrot! I figure it would be nice in a cookbook but I’d probably use mine in novels… It’s a simple image but I am very happy with how it came out. It is just nice to carve something reasonable and not monstrously difficult for a change. I also like the long narrow format. Grab one on Etsy

In other news my printmaking studio had their 2nd Annual Print Big Steamroller print event. And it was awesome. We had a bunch of the local Atlanta colleges, some art groups and high schools each submitted a 4 foot x 8 foot block which we printed in an outdoor festival atmosphere with a steamroller. This is a photo of the SCAD block which was particularly good.

This item is taken from the blog Hannah Skoonberg.
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