Fine Art Terms & Care
Open Edition
An edition issued without limit, individual number, or artist's signature.
Limited Edition Print
An edition of identical prints, numbered sequentially and individually signed by the artist, having a stated limit to the quantity in the edition. Following publication the printing plates are destroyed. A large majority of limited editions available in Stan Stokes Art are authenticated with the original signatures of distinguished military personnel.
Artist's Proof
An old tradition of reserving a quantity of prints for the artist's use, usually equal to about 10% of the edition. In the early days of printing, these prints were the only remuneration the poor artist received. Proofs are signed by the artist and numbered showing the quantity of Artist's Proofs issued in the edition. Because of their highly restricted number, Artist's Proofs are sold at a higher value than the regular prints in the edition.
Publishers Proof
A quantity of prints, not always announced or issued at the time of publication, usually equal to no more than 10% of the edition. These are reserved for the publisher's use, mostly for donation to Museums, Service establishments, Service Associations, and the like. Quantities of Publishers Proofs, sometimes issued with a supplementary print, may be made available to collectors either at the time of publication, or at a later date, depending upon availability.
Remarqued Print
A print issued with an original pencil drawing by the artist in the margin, each numbered out of the quantity of individually remarqued prints in the edition. The quantity of remarqued prints in any one edition generally is between 25 and 50. Each remarque drawing made by the artist is slightly different, thus making each print totally unique. Remarqued prints may be available at the time of publication, or announced at a later date, depending upon the artist's work load at the time. An artist remarqued print is the ultimate collector item in terms of reproduced work. Each Stan Stokes Signature Series print includes an original pen and ink drawing by Stan in the lower border.
Giclee
Giclee (pronounced "Jee-Klay") is a French word that approximately translates to "spray fluid." Giclees are produced one at a time using a very expensive sophisticated machine that operates similarly to an ink jet printer on a personal computer. An extensive proofing process is done to make sure each image is acceptable to the artist, and then the correct settings are stored digitally. This allows Giclees to be produced one at a time. This has advantages to the publisher (limited inventory) and to the customer (multiple number of size combinations or output medium.) Giclee canvases are stretched on wooden stretcher bars (identical to an original painting), and then are framed just like an original. No glass or matting is used. Giclees done on 200 pound watercolor paper are framed like lithographs to protect the surface. In either case, there is absolutely no grainy appearance such as what you get when enlarging a photograph. Unlike canvas transfers Giclees can be produced in many sizes (you may request up to 30 X 45 inches.) They are easily modifiable by the artist, and any changes cannot be detected. For example, we receive many requests to modify aircraft or aircraft carrier markings to ones that our customers flew or served aboard. This results in a truly personal piece of beautiful artwork that will last a lifetime. Although more expensive than prints on paper, Giclees sell for a small fraction of the cost of an original painting.
Canvas Transfer
A canvas transfer, which is the most widely used method of reproducing an artist’s painting on canvas is an old technology which has been around for many years. A print on paper is utilized in the transfer process, and the inks are “transferred” to the canvas. While reasonable in cost, disadvantages include a limited life due to fading, cracking, or peeling, and the fact that only one size is available (the same as the print used in the process.) Also, modifications of canvas transfers by the artist are more noticeable than those made to a Giclee.
Companion Print
An additional print, usually issued with smaller dimensions, published to compliment a limited edition, and usually issued at the same time.
Original Drawing
An original work individually drawn by the artist, completed in pencil, ink, or other medium, and personally signed by the artist. Being an original work each drawing is unique and different.
Certificate of Authenticity
A certificate issued by the publisher stating the total quantity of prints issued in the edition, confirming authenticity of the signatures, and in the case of a limited edition, inscribed with the matching unique number inscribed on the individual print. Collectors are advised to keep certificates safely as a future means of provenance.
Secondary Market
A market, largely operated by retail galleries, where limited edition prints are bought and sold by collectors after the edition is sold out at the publisher. Generally prints offered for sale on the secondary market are at values above the original published price. Prices are governed by supply and demand on the open market, and are not set by the publisher. Prints in strong demand can change hands at many times the original published price. Only a very small number of aviation artists command a secondary market for their prints.
Sold-Out Prints
Where a print is shown as "sold out", this means sold-out at the publisher. "Sold-out" prints are sometimes available from galleries at the original publisher's price, depending upon the length of time elapsed following publication. Prints in strong demand often appear on the secondary market at increased prices quite quickly after becoming sold out at the publisher.
Acid-Free Paper
Most or all paper used in publication of fine aviation art prints is specially treated to neutralize its natural acidity. This protects prints from discoloration and deterioration.
CARE AND PROTECTION OF FINE ART PRINTS
Limited edition prints by leading artists usually maintain their initial published value, and of course many increase in worth, so it is important to care for them appropriately.
The best quality art deserves the best quality materials when it comes to reproduction, which is why our artists' publishers use heavyweight fine art quality acid-free paper for their lithographs. Costing almost twice as much as most papers used for limited edition printing, this superb quality paper enables the finest possible standard of reproduction.
When handling prints collectors are advised to take care to avoid bending or kinking the paper. The less handling the better between leaving the publisher and having the print framed. Care should also be taken to use acid-free or conservation materials when framing, and collectors are advised always to use qualified professional picture framers to ensure their prints are mounted properly. Be sure to hang fine art where it will not be exposed to bright lights or direct sunlight.
PRINT STORAGE AND CONSERVATION
Many collectors have more prints than they can display at any one time, keeping part of their collection in storage. When storing prints we recommend laying them flat inside stiff cardboard outer packaging so as to avoid any bending. Separate individual prints using acid free card or tissue paper, or other acid-free materials all usually available from good art materials shops. Ideally prints should be stored at comfortable room temperature, avoiding high humidity, or large changes in temperature.
INSURANCE
It's not unusual for a collection of fine art prints to grow in value to many thosands of dollars. Collectors are advised to obtain valuations from time to time, and to make sure their collections are adequately insured. Most insurance companies will insure art, but may ask for a written valuation.
An edition issued without limit, individual number, or artist's signature.
Limited Edition Print
An edition of identical prints, numbered sequentially and individually signed by the artist, having a stated limit to the quantity in the edition. Following publication the printing plates are destroyed. A large majority of limited editions available in Stan Stokes Art are authenticated with the original signatures of distinguished military personnel.
Artist's Proof
An old tradition of reserving a quantity of prints for the artist's use, usually equal to about 10% of the edition. In the early days of printing, these prints were the only remuneration the poor artist received. Proofs are signed by the artist and numbered showing the quantity of Artist's Proofs issued in the edition. Because of their highly restricted number, Artist's Proofs are sold at a higher value than the regular prints in the edition.
Publishers Proof
A quantity of prints, not always announced or issued at the time of publication, usually equal to no more than 10% of the edition. These are reserved for the publisher's use, mostly for donation to Museums, Service establishments, Service Associations, and the like. Quantities of Publishers Proofs, sometimes issued with a supplementary print, may be made available to collectors either at the time of publication, or at a later date, depending upon availability.
Remarqued Print
A print issued with an original pencil drawing by the artist in the margin, each numbered out of the quantity of individually remarqued prints in the edition. The quantity of remarqued prints in any one edition generally is between 25 and 50. Each remarque drawing made by the artist is slightly different, thus making each print totally unique. Remarqued prints may be available at the time of publication, or announced at a later date, depending upon the artist's work load at the time. An artist remarqued print is the ultimate collector item in terms of reproduced work. Each Stan Stokes Signature Series print includes an original pen and ink drawing by Stan in the lower border.
Giclee
Giclee (pronounced "Jee-Klay") is a French word that approximately translates to "spray fluid." Giclees are produced one at a time using a very expensive sophisticated machine that operates similarly to an ink jet printer on a personal computer. An extensive proofing process is done to make sure each image is acceptable to the artist, and then the correct settings are stored digitally. This allows Giclees to be produced one at a time. This has advantages to the publisher (limited inventory) and to the customer (multiple number of size combinations or output medium.) Giclee canvases are stretched on wooden stretcher bars (identical to an original painting), and then are framed just like an original. No glass or matting is used. Giclees done on 200 pound watercolor paper are framed like lithographs to protect the surface. In either case, there is absolutely no grainy appearance such as what you get when enlarging a photograph. Unlike canvas transfers Giclees can be produced in many sizes (you may request up to 30 X 45 inches.) They are easily modifiable by the artist, and any changes cannot be detected. For example, we receive many requests to modify aircraft or aircraft carrier markings to ones that our customers flew or served aboard. This results in a truly personal piece of beautiful artwork that will last a lifetime. Although more expensive than prints on paper, Giclees sell for a small fraction of the cost of an original painting.
Canvas Transfer
A canvas transfer, which is the most widely used method of reproducing an artist’s painting on canvas is an old technology which has been around for many years. A print on paper is utilized in the transfer process, and the inks are “transferred” to the canvas. While reasonable in cost, disadvantages include a limited life due to fading, cracking, or peeling, and the fact that only one size is available (the same as the print used in the process.) Also, modifications of canvas transfers by the artist are more noticeable than those made to a Giclee.
Companion Print
An additional print, usually issued with smaller dimensions, published to compliment a limited edition, and usually issued at the same time.
Original Drawing
An original work individually drawn by the artist, completed in pencil, ink, or other medium, and personally signed by the artist. Being an original work each drawing is unique and different.
Certificate of Authenticity
A certificate issued by the publisher stating the total quantity of prints issued in the edition, confirming authenticity of the signatures, and in the case of a limited edition, inscribed with the matching unique number inscribed on the individual print. Collectors are advised to keep certificates safely as a future means of provenance.
Secondary Market
A market, largely operated by retail galleries, where limited edition prints are bought and sold by collectors after the edition is sold out at the publisher. Generally prints offered for sale on the secondary market are at values above the original published price. Prices are governed by supply and demand on the open market, and are not set by the publisher. Prints in strong demand can change hands at many times the original published price. Only a very small number of aviation artists command a secondary market for their prints.
Sold-Out Prints
Where a print is shown as "sold out", this means sold-out at the publisher. "Sold-out" prints are sometimes available from galleries at the original publisher's price, depending upon the length of time elapsed following publication. Prints in strong demand often appear on the secondary market at increased prices quite quickly after becoming sold out at the publisher.
Acid-Free Paper
Most or all paper used in publication of fine aviation art prints is specially treated to neutralize its natural acidity. This protects prints from discoloration and deterioration.
Limited edition prints by leading artists usually maintain their initial published value, and of course many increase in worth, so it is important to care for them appropriately.
The best quality art deserves the best quality materials when it comes to reproduction, which is why our artists' publishers use heavyweight fine art quality acid-free paper for their lithographs. Costing almost twice as much as most papers used for limited edition printing, this superb quality paper enables the finest possible standard of reproduction.
When handling prints collectors are advised to take care to avoid bending or kinking the paper. The less handling the better between leaving the publisher and having the print framed. Care should also be taken to use acid-free or conservation materials when framing, and collectors are advised always to use qualified professional picture framers to ensure their prints are mounted properly. Be sure to hang fine art where it will not be exposed to bright lights or direct sunlight.
Many collectors have more prints than they can display at any one time, keeping part of their collection in storage. When storing prints we recommend laying them flat inside stiff cardboard outer packaging so as to avoid any bending. Separate individual prints using acid free card or tissue paper, or other acid-free materials all usually available from good art materials shops. Ideally prints should be stored at comfortable room temperature, avoiding high humidity, or large changes in temperature.
It's not unusual for a collection of fine art prints to grow in value to many thosands of dollars. Collectors are advised to obtain valuations from time to time, and to make sure their collections are adequately insured. Most insurance companies will insure art, but may ask for a written valuation.
"Stan Stokes" used with permission.
