GLOSSARY OF TERMS
An original painting or drawing from which prints are produced.
A batch of identical prints with no limit on the number that may be produced. If the publisher runs out of an open edition they will just print more. Some open editions are signed by the artist, but in many cases they are not.
A batch of identical prints, limited to a given number of copies. For instance, a limited edition of 500 simply means that only five hundred copies of the print will ever be produced. Each print in a limited edition is signed by the artist and individually numbered.
Essentially identical to the description above, except the edition size is generally no more than 10% of the regular limited edition. Occasionally an artist proof will bear an extra signature or two, but in the vast majority of cases the only difference between the regular limited edition and an artist's proof is the serial number and price.
Just about the same thing as an artist's proof, although it is slightly more common for a publisher's proof to be issued with additional signatures, and /or companion prints. This is by no means universal, many publishers proofs are no different from an artist proof or a limited edition except for serial number and price.
Essentially identical to the limited edition (including all signatures), but lack a serial number and certificate of authenticity. They are usually presented to the aircrew who have signed the print.
An original drawing, drawn directly onto a print. In most cases these drawings appear just beneath the image area of a print, in the signature border.
Giclée is a French word meaning, "a spraying of pigments" (pronounced "zhee-clay"). In terms of art work, a giclée is a piece that has been produced using bubble jet printing technology, although the printers used for this are of a much higher grade than the normal home computer version, and produce superior image quality when compared to lithographs. Giclées are most commonly offered on canvas, or on water colour paper.
When all copies of a print have been sold, the only way to obtain a copy is to purchase it from a collector who is offering one for sale, or from a dealer who has bought one from a collector, these transactions are termed 'secondary market'. Almost invariably, secondary market prints are sold at a higher price than the original issue price, in some cases many times higher.
This simply means that all available copies of the particular print edition have been sold.
CARE OF FINE ART PRINTS
Caring for your artwork should begin as you open the shipping container, it's best to choose a flat, clean, dry area in which to unwrap the package.
Most prints are rolled for shipping, as tubes are the strongest practical container for this purpose. Great care should be taken when removing a print from it's tube, and when removing the paper wrapping from the print. We do not to use an excessive amount tape when packaging prints, as this can make it difficult to unwrap the print without causing damage.
Once the print has been un-rolled it's preferable to avoid re-rolling it, not only because it's easy to cause damage during this process, but also because prints should be stored flat to avoid warping. Never store a print in it's shipping tube for an extended period of time (months or years) as the paper will acquire a curve that no amount of flattening with weights will cure, this would result in a gentle ripple across the surface of the print when framed.
There are many choices to be made when framing a print, mat colour, number of mats, frame style and colour, type of glazing etc. There are as many different opinions on what looks best as there are art collectors, but in one area there is only one logical choice.
If you want to preserve your artwork in the best possible condition, you should ask your framer to use 'conservation' materials and methods.
This means that no acidic materials will be used in the mounting (acid will eventually burn the paper, turning it brown), the print will not be cut, nor glued down, and that a mat or mats will be used to prevent the print from coming into contact with the glass.
Exposure to direct sunlight or fluorescent lighting will cause any artwork to fade. It's highly recommended that either ultraviolet filtering (UV) glass or UV plexiglass be used in your framing. It's still wise however to avoid exposure to sunlight or fluorescent lighting even if you take the above mentioned precautions, UV glass filters out most, but not all of the harmful UV rays.