An original limited edition fine art print, and for our purpose a lithograph, is an original artwork, as much as the drawing, the painting, the sculpture or the photograph, conceived and developed by the artist with an aim of creating an edition.
The "ORIGINAL FINE ART PRINT" is perfectly defined today in the print charter established in 1996 by the French trade-union "Chambre Syndicale de l'Estampe"; this charter was essential to the profession, as the term "original print" had been usurped in France in the previous decades. This charter applies to lithography which is one of the technical processes of print.
What is an original limited edition fine art print ?
An original work of art
Single and multiple
An original fine art print is at the same time single in its matrix, and multiple in its copies. It is an image which was transferred from the matrix onto a medium by an adequate means of printing.
The matrix here is only a transitory stage in the creation, and is usually destroyed after printing. It is of course the printed fine art print, the consequent piece of art, which must be considered as an original artwork created by the artist's desire.
For the print there is not, as there is for the sculpture, a limitation of numbering imposed by law in France, only a voluntary limitation by the artists and publishers. In Europe total impressions rarely exceed 100-150 copies for original fine art prints, and up to 200-300 copies for prints known as "commercial prints". In the United States, you can find on the market "commercial prints" with total impressions of 800 to 1000 copies signed and numbered, which is more akin to the signed poster than the fine art print.
The matrix here is only a transitory stage in the creation, and is usually destroyed after printing. It is of course the printed fine art print, the consequent piece of art, which must be considered as an original artwork created by the artist's desire.
For the print there is not, as there is for the sculpture, a limitation of numbering imposed by law in France, only a voluntary limitation by the artists and publishers. In Europe total impressions rarely exceed 100-150 copies for original fine art prints, and up to 200-300 copies for prints known as "commercial prints". In the United States, you can find on the market "commercial prints" with total impressions of 800 to 1000 copies signed and numbered, which is more akin to the signed poster than the fine art print.
Conceived and developed by the artist
The basis of the original lithograph is the manual intervention of the artist in the design of the matrix (stone, zinc, tracing paper) being used to print the lithograph. The lithographer must encourage the artist to master this new artistic technique for himself. From there is born a close cooperation, sometimes even a collusion between the artist and his lithographer. The artist can therefore concentrate his talent and effort to the end : the creation of a lithograph known as "original".
It is not a reproduction
The original limited edition lithograph is not a photomechanical reproduction of an existing artwork. The majority of posters and museum reproductions are photomechanical reproductions faithful to the original.
The final aim of the lithograph is not to be faithful to an original work; for the painter it must be an original expression and creation in itself.
The final aim of the lithograph is not to be faithful to an original work; for the painter it must be an original expression and creation in itself.
Conclusion
The original lithograph has all the characteristics of an original fine art print as defined in the Print Charter introduced by the French "Chambre Syndicale de l'Estampe" :
The Print Charter
• The original fine art print is a plastic expression intentionaly chosen by the artist, in the same way as a painting, drawing, photograph or sculpture.
• The artist creates a matrix on a medium which might be of metal, wood, stone or another material. The artist may use one or several different media or different techniques, to create an original print.
• The original print is an artwork of which there may be several examples, according to the artist's whishes.
• Prints which have not been produced by the signatory or under his constant supervision must clearly be notified as "interpretation prints ".
• The original fine art print is the wholly owned creation of the artist, often done for a publisher's account, in collaboration with a printer or a printmaking workshop.
• The contemporary original fine art print is usually signed and numbered, unlike old prints (and also sometimes modern prints). However, you can find unsigned prints in bibliophilism, which are no less original.
• The authenticity of the signature, the reliability of the numbering and the integrity of the documentation are the responsability of the printer, the publisher and the artist himself or the owner of the work.
• Therefore, it is up to the seller, whoever he is, to check the authenticity, and to guarantee the documentation of the work which he is currently selling. This charter was introduced in 1996 by the French trade-union "Chambre Syndicale de l'Estampe" based in Paris.
• The artist creates a matrix on a medium which might be of metal, wood, stone or another material. The artist may use one or several different media or different techniques, to create an original print.
• The original print is an artwork of which there may be several examples, according to the artist's whishes.
• Prints which have not been produced by the signatory or under his constant supervision must clearly be notified as "interpretation prints ".
• The original fine art print is the wholly owned creation of the artist, often done for a publisher's account, in collaboration with a printer or a printmaking workshop.
• The contemporary original fine art print is usually signed and numbered, unlike old prints (and also sometimes modern prints). However, you can find unsigned prints in bibliophilism, which are no less original.
• The authenticity of the signature, the reliability of the numbering and the integrity of the documentation are the responsability of the printer, the publisher and the artist himself or the owner of the work.
• Therefore, it is up to the seller, whoever he is, to check the authenticity, and to guarantee the documentation of the work which he is currently selling. This charter was introduced in 1996 by the French trade-union "Chambre Syndicale de l'Estampe" based in Paris.
The interpretation lithography
When an artist for various reasons does not wish to create his lithograph himself, the work is interpreted by another artist called a drawer or chromist, whose work consists of redrawing the artist's work by breaking up the colors of the polychromatic work using his own interpretation. The lithograph created in this way, is called an interpretation or execution lithograph. Sorlier for Chagall and Deschamps for Picasso were famous interpreters. Between 1920 and 1930, Jacques Villon created interpretation prints from Picasso, Braque, Van Dongen artworks... which today are worth thousands of dollars !
The limited interpretation prints are thus not photomechanical reproductions of existing artworks, as the manual intervention of a drawer to the design of the matrix is necessary. Usually, the artist closely follows each stage of the creation, in particular the drawing and the colour passes. Since he signs the BAT (approval proof), he approves the work of the drawer and lithographer who have interpreted his work. Sometimes, the artist even takes part in the work : with such collaborative work the distinction between the artist and his lithographer is narrow.
The interpretation print, often called a "commercial print", has its audience and its artists, it can be regarded as an aesthetic presentation in the same way as an interpretation of a musical score or the staging of a play in a theater.
The limited interpretation prints are thus not photomechanical reproductions of existing artworks, as the manual intervention of a drawer to the design of the matrix is necessary. Usually, the artist closely follows each stage of the creation, in particular the drawing and the colour passes. Since he signs the BAT (approval proof), he approves the work of the drawer and lithographer who have interpreted his work. Sometimes, the artist even takes part in the work : with such collaborative work the distinction between the artist and his lithographer is narrow.
The interpretation print, often called a "commercial print", has its audience and its artists, it can be regarded as an aesthetic presentation in the same way as an interpretation of a musical score or the staging of a play in a theater.
FAQ
how to distinguish a quadrichromatic reproduction from a lithograph ? take a large magnifying glass : if you see a screen, i.e. multiple small colour points of varying diameters, you are in the presence of a quadrichromatic reproduction, if you do not see a screen, but instead fields of colours, you are in the presence of a lithograph.
However, you can find lithographs printed using mixed techniques (quadrichromy/lithography), when for example photographs are incorporated in the drawing of a lithograph, these are no less original lithographs.
However, you can find lithographs printed using mixed techniques (quadrichromy/lithography), when for example photographs are incorporated in the drawing of a lithograph, these are no less original lithographs.