What is the difference between SN, AP, APP and PP’s?
SN — Signed & Numbered (a typically larger edition of a published piece)
AP — Artist Proof
APP — Artist Press Proof
PP — Press Proof
A brief history as we understand it – During the 1970’s and early 1980’s, there were only two editions – SN (regular edition) and press proofs. The artist would be shown what the first few pieces coming off the printing press and the quality of the color, saturation, and integrity of the ink would be examined by the artist or printmaker.
Sometimes there would be any number of press proofs (close, but not perfect, sometimes 3 or 4, sometimes more) before the printmaker and artist would be satisfied that everything was ready to print. Then the regular edition would be printed, using the press proofs as a guide to match the quality the printmaker and artist required. If the press proofs were good enough, the artist would sign them and they would be certified as press proofs and sold through print dealers. Over time, collectors began asking for the press proofs and they were willing to pay a little more if they could get the “press proof”. The publishers began producing subsets of the SN as Artist Proofs and Artist Press Proofs allowing there to be various levels of collectability in fixed sizes of editions to satisfy dealer demands by collectors. Honestly, thanks to modern graphic production technology, there is no difference between the various editions, but the perceived value by collectors is real, and many times AP’s, APP’s, and Press Proofs do sell for more than the SN edition.
What is the difference between Prints, Lithographs, Etchings, Serigraphs, and Giclee’s?
Prints / Lithographs —
To make a print (most G. Harvey graphics prior to 1994) a photograph is made of the original and the photograph is printed using offset lithography with a 4 or 8 color transparency of the original. All paper prints are on 100% archival paper.
Etchings —
Two of G. Harveys graphics are etchings that were produced by the artist creating the image on a hard medium like a soapstone. Ink is applied to the stone and it is pressed on paper hard, thus creating an ink sketch. Then the artist hand colors the etching with watercolor. Most reproductions created before the camera were this type of process.
Serigraphs —
Serigraphs are produced by a process much like silk screening. An original painting is photographed and printed the same size as the original, then a serigrapher outlines every color to form a template and each color of ink is applied separately in layers on either 100% cotton paper or rice paper. It is a very labor intensive process that has the advantage of being able to reproduce images as large as the original, which is often larger than most printing presses. Serigraphs should be handled like an original watercolor and kept away from moisture as the ink will run if water is applied.
Giclee —
Giclee’s are a product of the digital age where originals are scanned by a very large computer scanner rather than photographed, and the image can be placed on paper or canvas by an very sophisticated ink-jet printer that can make reproductions as large as there are printers. The ink is stable with UV protection and the advantage of canvas giclee’s that they do not require glass when framed.
Posters —
Posters are images printed on poster paper, not limited, not signed by the artist except the signature in the photo.
Can I get a replacement certificate for a print that I have?
No – G. Harvey ended his relationship with his publishers prior to his death in 2017. The Studio Collection has no way to generate replacement certificates.
How can you authenticate an original G. Harvey painting?
A backhanded compliment to any artist is when forgers think that an artist’s work is good enough to copy. We have only identified a few forgeries of G. Harvey paintings, but it does happen. Most reputable auction houses already know to contact us about any G. Harvey painting that may be questionable. We can provide a Letter of Authenticity that will guarantee that G. Harvey painted it with background information about the painting. You must provide us with a photograph of the piece (both front and back, and close up of the signature), the size of the canvas (not including the frame), title, and any information written on the back. The fee for such a service is $250/painting. If an appraisal is needed for estate planning, insurance, or gifting purposes, the fee is an additional $250/painting.
Contact via e-mail only.