matted to image edge, sign on mat
matted to 1/4-1/2 inch white image border, sign in border
my black and white photos of the Mendocino Coast: jonshiu.zenfolio.com
Boards shouldn't be trimmed down. Sexton wouldn't allow it and if he heard that a gallery permanently modified one of his consignment prints (which still belong to him), it would get ugly really fast. He would just replace the whole piece and that takes time.
Sexton, Ross, Jablonski, etc...those guys want their fine print customers to get the best and that means a pristine print. That means perfect (or as close as any can get) with an archival slip sheet protecting the print surface.
There was a person selling an old AA Special Edition on eBay recently. It was initialed (so Ted Orland printed it somewhere between 1972-73). Those were 13x16 or so and this one had been ripped down to 11x14 to fit inside a cheesy metal frame. Unbelievable.
No...mounts being altered in any way is very much frowned upon. If the gallery owned that print, then they can do whatever they want and some do, but generally consignments shouldn't be altered.
CH
Carlos, what's a like sized border? Is the image the same size as the board, I mean is the image flush mounted on the board or is there a white border around the image on the printing paper?
Your right, Sexton would not allow it, on consignment. He has also had prints damaged by galleries and that's one of the reasons he doesn't do consignment.
Jon
my black and white photos of the Mendocino Coast: jonshiu.zenfolio.com
QT,
I wouldn't sign the overmat because it is serves a function of protecting the print and can become damaged as time passes. Signing the front below the print area is up to the artist and I see it done about 50% of the time. I have signed prints on the front in the past, but I don't with current work.
Regardless of the front signature, I would sign the back of the print, or mat if dry mounted, with a studio stamp or simply hand print the title, edition, print type, date, etc. with a signature.
Greg
Related question: for those of us who dry mount our prints, would a studio stamp and/or signature on the board the print is matted on, but covered by the hinged window matte be acceptable? Or would most galleries/collectors/etc prefer a visible signature?
(When I hang my own work around the house, I prefer unsigned, as it's cleaner and less pretentious. I'm always considering ways around the "in-your-face" signature presentation.)
"I love my Verito lens, but I always have to sharpen everything in Photoshop..."
I dry mount and then float mat my images. I leave a 3/8" border showing the edge of the print and the mount mat and then sign in that border using a very hard pencil (which makes for a very fine and light signature to deflect how badly my handwriting is) To be honest I'd prefer not to sign the front but the galleries have always requested I sign the front so it's become my standard way of working.
It's all a matter of personal preference but I prefer the smoothness of a dry mounted print for my work and by float matting don't have to worry about the window mat making impressions on the print itself.
I like the signed mats
>>I think you may need to go back and read the bible, err "The Print" again
"..and then sign them lightly in pencil on the mount below the lower right corner of the print"
A. Adams - The Print - Chapter 7 ( not sure which verse)<<
Hmmm. But didn't Adams make clear that he expected his signature (on the mat) to be permanently affixed next to the print (dry mounted on the mat). What would he do if the print was not dry mounted (as is common today)?
--Darin
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