Digital BW, The Print

Artists proofs are just the first pulling of a litho, silk screen etc.Has
nothing to do with quality. Some people collect them for whatever reason
they have like First Editions of a book It's a pretentious piece of jive
which might make someone happy for a while. Book First Editions do glom more
bread sometimes though. I have a/p's etc. and am not especially thrilled
except that they were given to me as gifts. I did have an art gallery for
about 5 years----a great way to have the government pay for champagne, wine
and a lot of other booze for shows. After it's over you quietly fold up your
tent and split. And you can end up with a pretty good art collection.

Anonymous........nah.....bgs
----- Original Message -----
From: <sdmey4@...>
To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
Sent: Thursday, November 21, 2002 10:54 PM
Subject: Re: [Digital BW] Edition Quantities (and where they go)


> In a message dated 11/21/2002 5:53:51 PM Pacific Standard Time,
> mark@... writes:
>
> > What actually *IS* an artist proof? Can it be sold, or must it be
> > "given away"? What is a printer's proof, and I guess it would not
> > be destroyed, thus it enters circulation?
> >
> > -MT, http://marktucker.com/
> >
> "artist proof"  hum? practice prints? General rule is to allow 10% of the
> edition as proofs, just away of being up front about how many prints there
> will be. Every buyer must assume there are a few unnumbered proofs out
there
> if purchasing an editioned piece. I recently read they are much more
valuable
> to a collector as they are more rare. Signed and lettered a/p! I use them
as
> away to send a sample that may be close to my finals or a very slight
blem.
> Too nice to throw away but nice enough for a sample. Can be sold or not,
> dealers choice. They are NOT GIFTS.
> That's just what I use them for, to give a dealer a look at another image
in
> addition to regular numbered prints I send. My intention is for the dealer
to
> use them as samples, and get customers interested. something unmatted they
> can handle. Let them feel the paper I spend so much on.I usually don't
charge
> for them if the dealer is someone I have solicited. Just last week a
> potential client asked for my price list as she had seen my sucky 2003
> calendar. She was going to use the calendar to show some higher ups, work
she
> thought was appropriate for there space.
> I quickly overnighted some unmatted full size prints marked as  a/p
"proofs"
> for her to present, as I knew the calendar reproduction isn't even close
to
> the real thing and not impressive at all. These "proofs" blew them away
and
> they ordered 14 16x20's.
> I keep quite a few prints around that are not quite perfect and I use them
as
> samples. and proofs. The last one I sent out was just a slight tad too
dark,
> (I thought.)
> Others can see nothing wrong with the print.
> I just found out a gallery in Cleveland sold one of these "proofs" for
> 450.00. I sent them some stuff 18 months ago. The only reason I know, is
the
> buyer came into a frame shop with my print to get it framed and the frame
> shop owner e-mailed me looking for a price list herself. Naturally I knew
> exactly where the print came from as I don't send stuff to OHIO everyday.
So
> now I have a gallery selling my stuff without telling me, and I have to
> confront them about my un paid commission. Mark, worry more about the
> business practices of the dealer rather than your standards which will
almost
> always be  higher than the dealer moving your work.
> When I send an "artist proof" I clearly state that finals may be slightly
> different from proofs, and they could even be a different inkset.
> Steve M.
>
>
> [Non-text portions of this message have been removed]
>
>
>
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