Digital BW, The Print

Daniel,

Why don't you make it a habit of signing your prints so that in the
future this sort of thing does not happen again. You should become in
the habit of signing your works in a similar manner. These habits of
signing will enable people to authenticate your work one day when
there is a question in regards to it authenticity. Practice on reject
prints a manner of signature. Decide how you date. Decide if you
title the work. Then stick to it!


-Della


--- In DigitalBlackandWhiteThePrint@y..., SKID Photography
<skid@b...> wrote:
> Daniel Perez wrote:
> 
> >  Hello list,
> > I have a matted, framed, dry mounted print that is
> > going to be auctioned off by a gallery in NYC.  Since
> > the print was a mono-print the gallery said it must be
> > signed to be auctioned at the reserve price they set.
> >
> >   Here's the thing..  They already have the framed
> > print.  They got it from another gallery that was
> > showing it.  I'm in Dallas. I suggested that I open it
> > up and sign it when I go up to NYC for the opening
> > reception.
> >   My question is, where can I sign it?  There is some
> > white space around the image on the paper, but the mat
> > board covers it.  Anyone sign prints, then cover the
> > signature with a mat?  What about signing the back of
> > the board? (I usually leave space for this when
> > matting, but I didn't think this one would end up
> > getting auctioned!)
> >
> > Your help and suggestions are greatly appreciated!
> > Thanks,
> > Daniel Perez
> > Dallas, TX
> 
> Daniel,
> You should sign the print itself, whether it shows or not.  The
point of signing
> the print vs. the mat is that in the future, the mat might be
changed and no
> longer be part of the image.
> 
> By signing the image itself you are 'authenticating' it.
> 
> Harvey Ferdschneider
> partner, SKID Photography, NYC
> 
> 
> [Non-text portions of this message have been removed]