Letters

Art Business News, March, 2003

ABN's recent cover story, "Artist's Proofs May Cause Controversy" (February 2003), has sparked an influx of reader responses. Here, readers weigh in with their thoughts on the topic:

I found your article on the value of so-called artist's proofs extremely interesting. The numbering system that now exists is nothing more than a marketing gimmick. Anyone who thinks a lower number of an edition will be more valuable or that an AP has any more value than the numbered edition is misinformed.

Over the years I have watched printers at work. The first print [on the drying rack], which should be number one of the edition, is never on top of the pile. The print that ends up being number one of the edition might actually have been number 180 printed.

As for publishers, they usually have a number of extra un-numbered prints that the artist has signed. These are labeled artist's proofs. I have seen publishers take [these] extra prints and, when the edition is already sold out, add "AP" to these extras.

But for these people out there who really think an artist's proof is worth more and pay accordingly for it, an old adage comes to mind: A fool and his money are soon parted.

J. Stevens
Wholesale Framer

I recently advised an emerging artist to keep the edition size consistent ... you are better off doing a change as a unique than an AP. I have never felt really comfortable with an artist increasing the edition size that way. It seems like a ploy ... Unless the AP is different and special, there should be no difference in price. There is no more value there than a low-numbered limited edition, which is no difference at all!

Patricia Barnett
Barnett Fine Art, New Orleans

I have always maintained a deliciously irreverent attitude towards artist's proofs. In the 23 years of being in the business of publishing and promoting artists, we have never charged more for APs or any other additional runs of that edition.

I do, however, feel that fine art should be part of any financial portfolio. My clients are always encouraged to do so, and I am always available to advise them on fine art acquisitions. Why would anyone not consider art an investment?

Olga O. Pina
El Taller Gallery, Austin, Texas