TAMARIND
INSTITUTE| TAMARIND
INSTITUTE |
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| caring for prints |
are some prints in the edition more valuable or better
than others?
No. In contemporary print editions, an impression with
a lower number is no more valuable or better than an impression with a higher
number. This popular misconception probably stems from the time when very large
editions of prints were made and impressions were sometimes pulled after the
printing element began to wear out, resulting in impressions that were not as
"crisp" as the first few printed.
Prints are not signed and numbered in the order in which they were printed. Uniformity among impressions at Tamarind is assured because the curator checks each impression against the bon à tirer. Only those impressions meeting Tamarind's standards are embossed with the chops of the workshop and the printer; any flawed impressions are destroyed.
if I'm buying a print, is it important that they have
chops?
The chops are important identifying features, but not
all original, limited-edition prints will have them. Artists who print their
own work may not use them. You should also always ask for documentation.
what kind of documentation should I ask for?
Most reputable printshops have a documentation paper for
each of their prints, giving a complete description of the print and the steps
involved in its making. These documentation papers are available to anyone who
asks; in fact, some states have laws that require the seller to provide this
information.
The evolution of every lithograph made at Tamarind is carefully tracked by the printer and curator. Details such as what materials were used to create the image, the edition size, and information about all the proofs are recorded on a sheet that is signed by both the printer and the artist.
Tamarind maintains complete documentation records on all of the editions printed at Tamarind Lithography Workshop, Inc., and at Tamarind Institute. A copy of the documentation record is provided with each print that is sold.
does documentation guarantee a print's originality?
Not necessarily. Unfortunately, documentation papers can
be misleading. Read the papers carefully and ask questions about anything that
is unclear. If you are in doubt about a print's authenticity or value, it's
best to check with a reputable dealer (such as one belonging to the International
Fine Print Dealers Association) or a museum print department.
how do you define originality?
Originality is difficult to define; it is a complex concept
and has become almost meaningless with respect to prints because it has come
into such broad and general use. The term is often used in order to imply that
the print is more valuable than it may actually be. An important consideration
is the degree to which the artist has participated in the concept and execution
of the image.
are photomechanically produced prints "fakes"?
Not necessarily. The important distinction here is between
the words "produced" and "reproduced". If an artist and a printer agree to use
photographic means to print an image originally conceived for that particular
print, which is both limited and documented, then it falls within Tamarind's
concept of an original print. However, a print that exactly reproduces an existing
image in another medium (such as a painting), would not normally be considered
an "original work of art."
if I buy a fine art print, where would I go to get
it framed properly?
Ask for references from knowledgeable friends, print dealers,
or museums. Since improper framing can permanently damage your print, it's important
that you find a professional framer who uses archival materials.
what does "archival" mean?
Basically, the framer is assuring you that everything
that comes in contact with the print is pH neutral, or acid-free. Nothing in
the framing materials will alter or destroy the paper or inks of the lithograph.
why is it important that my framing materials be acid-free?
Matboard which is not chemically inert and free of acid
transfers its acidity to the paper, which over time causes it to turn brown
(known as mat burn), become brittle, and even to disintegrate when removed from
the mat. Museums recommend that mats be made from 100-percent cotton rag matboard,
at least two-ply in thickness.
A less expensive alternative is "conservamat," or conservation board, which
is made from highly purified pH neutral wood pulp. Some fabrics like linen,
cotton, and silk are also safe to use.
do I need to have a mat around my print?
No. A window mat is a matter of personal taste. Often
a print with a large border is simply hinged to a backing-this is called "floating
the print". This technique requires a spacer, hidden by the edges of the frame,
to keep the print from touching the glass in the same way that a window mat
does. A window mat may cover the edges of the paper if you prefer (although
the edges are considered to be an integral part of the print) or the print may
float within the window.
what are hinges?
Prints are never glued or taped directly to a backing
with pressure-sensitive tapes; hinges made of linen or fine Japanese paper hold
the print to the backing with non-acidic, non-staining, reversible adhesives.
why shouldn't my print touch the glass?
Both glass and acrylic sheeting (plexiglas) condense moisture
from the air; if your print touches either, it may actually stick to the surface
and be ruined.
which is better: glass, or plexiglas?
Both will protect your print and filter some of the harmful
rays of light. Glass is cheaper, but it breaks easily. Since glass is heavier
than plastic, it may be impractical for very large prints. Ultraviolet filtering
is available at a higher cost.
Plexiglas, although lighter, is more expensive than ordinary glass, scratches easily, and carries an electrostatic charge which causes it to attract dust. Sometimes this charge can even cause drawing materials like charcoal and pastels to crumble.
can light hurt my print?
Bright daylight and even bright artificial light can cause
colors to fade and papers to discolor and become brittle. Too much light is
harmful even when ultraviolet rays are filtered out, so make sure your print
is exposed to moderate light for limited hours at a time. Consider rotating
your prints from time to time to give them a rest.
what if I want to store my prints?
When handling unframed prints, make sure you work with
gloves or very clean hands. Finger smudges, dirt, or dents and tears caused
by carelessness will affect the value of your print. If you must handle your
print, lift it by diagonally opposite corners to avoid creasing.
Prints should be stored flat, either in or out of mats,
layered between sheets of non-acidic interleaving tissue. Never put your prints
on surfaces like corrugated board or wood; not only are the materials acidic,
they also have textures that can can imprint themselves on your artwork.
Your storage area should be clean, dry, and protected from insects and vermin.
Roaches, silverfish, and mice are common despoilers of paper. Simple, relatively
inexpensive non-acidic boxes will protect your prints from environmental damage;
they are avail able from art and preservation suppliers.
how can I keep up with the current value of my print?
Most reliable printshops keep records. Tamarind updates
its current retail value records annually and provides the information to collectors
for insurance purposes. Galleries, art appraisers, and large auction houses
that handle prints may also be of assistance.
Antreasian,
G. and Adams, C. The Tamarind Book of Lithography: Art and Techniques.
New York: Harry N. Abrams, 1971.
A Code of Ethics for the Original Print. Quebec: Conseil quebecois de l'estampe, 1990.
Clapp, Anne F. Curatorial Care of Works on Paper. Oberlin, Ohio: Intermuseum Conservation Association, 1978.
Four Stones for Kanemitsu. VHS, 28 min. Produced by Tamarind Lithography Workshop, Inc., Los Angeles; distributed by Tamarind Institute, Albuquerque. 1973.
Gasciogne, Bamber. How to Identify Prints. New York: Thames and Hudson, 1986.
How to Care for Works on Paper. Boston: Museum of Fine Arts, 1985.
International Fine Print Dealers Association Directory. Available from IFPDA, 485 Madison Avenue, New York, NY, 10022,212-759-4469.
Ivins, W.M., Jr. How Prints Look. New York: The Metropolitan Museum of Art, 1943.
The Art of the Lithograph: Working on Stone. VHS, 26 min. Produced and distributed by Tamarind Institute, Albuquerque. 1990.
The Art of the Lithograph: Working on Aluminum Plate.
VHS, 23 min. Produced and distributed by Tamarind Institute, Albuquerque. 1990.
We welcome your questions and comments: tamarind@unm.edu
All contents ©1998 Tamarind Institute All rights reserved.
Last updated:
11/10/08