Fine-art Etchings and Engravings

Enduring, distinctive and original works of art

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Fine-art prints have many virtues, including aesthetic beauty, a long and proud past in the annals of art history, and the element of spontaneity that figures so largely in their making. But for many collectors, one particularly enticing feature is the price tag.

"Prints give people who might not be able to afford a painting by a particular artist access to original art," notes Marjorie Devon, director of Tamarind Institute, a center for fine-art printing at the University of New Mexico. "Paintings by artists we work with range from $10,000 to $50,000, while a print might sell for $500. A lot of people who buy prints are learning more about art and may not have the confidence to spend a lot of money. Or, it may be their entry into the market."

"Printmaking" is a broad term that refers to dozens of processes, from lithography to collography to monotype, in which an artist makes images from a master. These procedures are complex, frequently used in combination, and are in a constant state of revision and refinement, but regardless of type, share common characteristics. A fine-art print must be originally created for the genre, not copied from work in another medium. (For example, a reproduction of a painting is not a fine art print). Artist involvement in the creation and execution is an integral part of determining originality. Such prints are made in limited editions—in other words, a specified number from a single master—and written documentation accompanies each impression.

Two of the most enduring, and distinctive, printmaking formats are etchings and engravings. Both are "intaglio" (Italian for "cut in") methods in which damp sheets of paper, held under great pressure, draw ink out of recessed areas of masters or plates. These plates are generally copper but can also be zinc or steel. The difference between these methods is how the plates are made. In engraving, special tools of varying thicknesses and shapes are used to cut lines in the plate. Etchings, on the other hand, use a chemical process in which the plate is first covered with an acid-resistant "ground," and then worked with an etching needle. The metal exposed by the needle is recessed by the action of an acid bath. Newer techniques include photo etchings, such as those made by John Paul Caponigro, in which film images are exposed on sensitized plates, and solar etchings, used by landscape artist Betsy Bauer and others, in which sunlight exposes the images. In all these processes, the artist may transfer the image onto the plate from a drawing or work directly on the metal.

Adams

Image: ©2004 Ron Adams
"Blackburn"
Lithograph, 29" x 41"
Courtesy LewAllen Contemporary remote
Santa Fe

"In engraving, you'll have lines of varying thickness and generally a slightly richer line quality. Engravings are traditionally made up mostly of lines," comments master printer Michael Costello, owner of Hand Graphics remote in Santa Fe. Artist Ron Adams, who says he is attracted to engraving because of its graphic, black-and-white quality and its close relationship to drafting, uses engraving to create meticulously detailed human figures. Etchings are noted for their range of tones, bright highlights, and dense areas of light. Perhaps the most famous etchers were Rembrandt and Goya, though etching is favored by myriad contemporary artists from Santa Feans Michael Bergt and Ron Pokrasso to Eastern Europeans Nele Zirnite and Traian Filip (1955–1993).

One of the most prominent New Mexican printmakers, Gene Kloss (1903–1996), used etching in combination with other intaglio processes, notably aquatint, to create moody, mysterious depictions of the Southwest.

"Etchings attract me because of their immensely beautiful graphic quality," says Santa Fe artist and dealer Frank Croft. "It's an age-old medium and artists create such a spirit in their pieces."

"Many artists have a real reverence for etching," echoes Tonya Turner Carroll, co-owner of Turner Carroll Gallery remote . "It's a complicated process. It's interactive. And there are many things beyond your own hand that factor into the final product."

Distinguishing between an etching and an engraving can be difficult for those with an untrained eye, but is not necessary to make a good purchasing decision. Print collectors should use the same criteria as with other genres, assessing subject, composition, palette, and so on, while being aware that subtle variations between prints are integral to printmaking. "If you're comparing two prints within the same edition, look for quality indicators," Turner Carroll emphasizes. "Make sure the ink is not darker or thicker in one section. I look to see which of two prints has a higher contrast, which tells me it's a better impression, and you can sometimes see that pretty easily."

"You want the print to be rich," says Santa Fe artist and master printer Joel Greene. "If it looks dry, grainy, or weak, there's something wrong." At Tamarind, a curator analyzes every print that comes off the press to make sure it is of requisite quality. Study the piece to make sure there are no water stains or tears. Except in rare cases, such as the wood block prints of Gustave Baumann which the artist cut to fit his frames, prints should have full margins. Mats and frames must be made of acid-free, or archival, materials to prevent mat burn and even, in the worst cases, paper disintegration.

Size of the edition is a key determinant of value. At the bottom of each print there will be two numbers separated by a line, similar to a fraction. The bottom number indicates the total prints in the edition while the top number is the specific designation for that impression. Contemporary prints are numbered in the order they are signed so there is no particular significance to the top number. However a print will be more valuable if the total edition is small. At Tamarind, for instance, editions are rarely larger than 20 prints. Each print must be accompanied by a certificate of authenticity that delineates the size of the edition, size of the plate and paper, and how the plate was canceled. Artists prevent their masters from re-use by cutting them in half, etching a large "x" over the image, or punching holes.

Collectors considering the purchase of a print would be wise to buy from a reputable dealer who can clearly explain how the print was made. Questions about edition size, ethics, and other issues can also be directed to the International Fine Print Dealers Association in New York City.

"Print buyers should do their research," says Tamarind's Marge Devon. "If they're concerned about investment value, they should research the reputation of the artist, where the artist shows, and where the print was made. What processes were used to make the print? They can call a local fine art publisher, if there is one. Certain publishers print reproductions but represent them as fine art."

Once the homework is done, however, a print should be judged based on its beauty and how much it moves the viewer. "Printmaking is like a game of tennis," comments Tonya Turner Carroll. "You make a drawing and you give the drawing to a plate with a tool or to acid. A lot is left to chance. And that can be thrilling."

Tamarind Institute
108 Cornell Drive SE, Albuquerque, NM 505-277-3901
tamarind.unm.edu remote

International Fine Print Dealers Association
485 Madison Avenue, New York, NY 212-759-4469
www.printdealers.com remote

How to Identify Prints
by Bamber Gasciogne
Thames and Hudson, New York, 1986


Thanks to Dottie Indyke who lives in Santa Fe and writes about art and culture for numerous magazines and newspapers, including ARTnews, Southwest Art and Albuquerque Journal North.

Originally appeared in
The Collector’s Guide to Santa Fe, Taos and Albuquerque - Volume 17


Related Pages

Contemporary Prints and Drawings article
Historic Prints and Drawings article
The Tamarind Institute: A Dynamic Past article
White Gloves: Behind the Scenes . . .
article

Collecting Antique Prints article
Contemporary Lithography article
Glossary of Prints & Original Graphics article
Reproduction or Print - What's the Difference? article


Collector’s Resources

Albuquerque

New Grounds Print Workshop & Gallery rem 3812 Central Ave SE #100B | 505-268-8952
Tamarind Institute rem 2500 Central Ave SE | 505-277-3901

Santa Fe

Alan Barnes Fine Art rem 402 Old Santa Fe Trail - next to The Pink | 505.989.3599
Addison Rowe Gallery rem 924 Paseo de Peralta | 505-982-1533
Giacobbe-Fritz Fine Art rem 702 Canyon Road | 505-986-1156
Hirsch Fine Art rem 141 Camino Escondido | 505-988-1166
LewAllen Galleries rem 129 West Palace Ave | 505-988-8997
Nuart Gallery rem 670 Canyon Road | 505-988-3888
Turner Carroll Gallery rem 725 Canyon Road | 505-986-9800

Taos

Act I Gallery & Sculpture Garden rem 218 Paseo del Pueblo Norte | 575-758-7831
Fenix ONLINE Gallery rem Online Only | 575-758-9120

RESOURCE LISTS UPDATED WHEN VIEWED | ARTICLE CONTENT REVISED October 14, 2009

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