Art Terms Decoded: What does "Stoned Signed" or "Plate Signed" Mean?

Andy Warhol "Marilyn Monroe Castelli Invitation" signed in felt pen.

 

As you begin to delve deeper into the world of fine art collecting you will find that one of the most important indicators of value and potential worth is the artist's signature. Some might even say that this is the most important aspect of an artwork that makes it a desirable luxury commodity.

The reasoning behind the incredible value of the artist's signature above all else, is that a signature is the easiest way to determine the authenticity of a work of art. Many have tried to fake the signature of the great master artists throughout time and sometimes people are fooled - but often expert art dealers, gallerists, curators and appraisers are able to catch a fraudulent mark. A fake signature automatically calls in question the authenticity of the work itself whether it is a painting or original
print.

 



Picasso "Le Vieux Roi" hand-signed in Blue

Picasso "Le Vieux Roi" Plate Signed in Red



From a pure collectorship stand point a hand-signed artwork is going to be the most valuable investment. That is not to say that an unsigned artwork does not have value, it just means the MOST valuable artworks are hand-signed ones.

 

Picasso "Ronde de la Jeunesse" Signed in the Stone

So this brings us to our term "Plate Signed" sometimes also known as "Stone Signed". A plate signed work is specifically referring to an original print or graphic on paper with a printed signature. This is precisely what it sounds like; a plate signature is a signature that is part of the composition and is printed along with the art image. As an example scenario: Pablo Picasso draws an etching composition onto a metal plate - he then signs the plate and dates it - the plate is inked and pressed onto paper and along with his etching Picasso's signature is printed. This would be a "plate signed" original etching.

 

The term "stone signed" is exactly the same but specifically references the stone slabs that might have been used to create an original lithograph. Sometimes artist catalogue raisonnes reference that an edition is "sign in the stone," which is also the same. 

 

The most important take-away in terms of collecting a plate or stoned signed artwork is that it is not equivalent to a hand-signed work and should be valued as such.

 

You can see more of our hand-signed, plate signed, and stoned signed original prints on our website:

www.denisbloch.com

Art Terms Decoded - What does "Acid Free" Mean?

Pablo Picasso Linocut - Perfect Margin Conditions

Have you ever bought an original art print and encountered the term "Acid Free"?  Probably your art dealer or framer mentioned it? Well here is a useful definition of this important art term to give you some insight into protecting and preserving your fine art print investments:


Example of Acid Burn from non-archival framing

The term "Acid Free" refers to the materials used to frame an original artwork. When you frame a work of art - particularly a work on paper you must be extremely careful about the framing materials. Cardboard or regular tape have acidic properties that will eventually over time "burn" the paper or canvas that is exposed to them. The exposure to acidic matting, paper, or even storage materials causes a brown discoloration and deterioration of the paper. Many times the discoloration may occur underneath a frame and cannot be seen.

Pablo Picasso Etching with acid mat burn

When an artwork has been exposed to acidic materials and discolored it seriously devalues the piece. As mentioned in previous posts the investment quality of an artwork is heavily determined by the excellent condition of the piece. That is not to say that a damaged piece has no value, sometimes prints can be restored by a professional paper conservator depending on the level of damage, however this can be an expensive process.

To safely protect your fine art prints and artworks specify to your framer that you want only Acid Free or Archival matting, backboard, and hinging. We additionally recommend UV protective plexi-glas to further preserve your artwork.


For More Information on Art Conservation and Professional Art Terms visit our website: www.denisbloch.com/art_terms.php

 

We also welcome comments and questions regarding archival acid free preservation!

 

info@denisbloch.com / 310-270-4880

Francisco Toledo - Arte Grafica

Francisco Toledo, Nesting Birds, 2009

The Art of Francisco Toledo is deeply influenced by Toledo´s Mexican heritage. Many of Francisco Toledo´s artworks illustrate his Oaxacan roots, exemplified by Toledo´s paintings, sculptures, lithographs, etchings, and drawings of Mexican animals and scenery as well as Mexican History & Mythology.

Mexican artist, Francisco Toledo, was born in Oaxaca, Mexico in 1940. At the age of 12, Francisco Toledo learned the art of engraving at the Escuela de Bellas Artes de Oaxaca. Under the instruction of Guillermo Silva Santamaria at the Centro Superior de Artes Aplicadas del Instituto Nacional de Bellas Artes, Francisco Toledo continued his studies of the graphic arts including: etching, lithography, and engraving.

Francisco Toledo, Sapos Con Frijoles, Etching

In 1959, Francisco Toledo had his first solo art exhibition in Mexico City at Galeria Antonio Souza. Soon after, Toledo traveled to Europe where he began to work at the shop of the renowned British printmaker Stanley William Hayter in Paris. In 1963 Francisco Toledo´s first International art exhibitions were held in Paris at the Galerie Karl Flinker and the Daniel Gervis Gallery. By 1965 Francisco Toledo had exhibited his art in Galleries in Switzerland, Germany, England, Norway and the U.S.A.

Francisco Toledo´s first prints exhibition entitled Toledo Obra Grafica was held in 1969 at the Galeria Juan Martin in Mexico City. As an art medium, graphics (original prints) particularly intrigued Toledo from early in his career because of the extraordinary range of effects available through printing and etching. Among Francisco Toledo´s notable graphic artworks, are Toledo´s series of illustrated art books on Mayan myths.

Francisco Toledo's unique artistic aesthetic is based on a fantastic reality that Toledo finds residing in nature and life. Anthropomorphized animals (that are not often associated with beauty, such as insects, toads, and bats) are often the center–point of Francisco Toledo´s original artworks. Always juxtaposing the beautiful (the grain of the paper beneath Francisco Toledo´s washes of watercolor, or how deep the chroma illuminating Toledo´s small gouaches) with the disturbing.

Francisco Toledo, Crabs & Dogs, Lithograph

Francisco Toledo´s social and cultural concerns about his native state led to his life–long participation in the cultural revitalization within the Mexican community. Francisco Toledo became integrally involved in the establishment of a number of cultural and art institutions including: the Casa de la Cultura in Juchitan 1972, the Instituto de Artes Graficas de Oaxaca (IAGO) 1989, Museo de Arte Contemporaneo de Oaxaca (MACO) 1992, Patronato pro Defensa y Conservacion del Patrimonio Cultural y Natural de Oaxaca (PROOAX) 1993, Centro de la Imagen Manuel Alvarez Bravo, the Biblioteca Jorge Luis Borges for the blind in Oaxaca and the Inaugurates Fonoteca Eduardo Mata in the Centro Fotografico Manuel Alvarez Bravo. Francisco Toledo has also received several accolades for his contributions to the Mexican community including, Mexican National Prize in 1998, the Prince Claus Award in 2000, and the Right Livelihood Award in 2005.

In 1980 the Museo de Arte Moderno in Mexico City held a retrospective of Francisco Toledo´s art. Francisco Toledo´s art is found in the permanent collection of major Art Museums across the globe. Francisco Toledo continues his artistic and humanitarian efforts from Oaxaca City, Mexico.

Select Museum & Institutional Collections:

Metropolitan Museum of Art, New York, NY
Museum of Modern Art, New York, NY
Museo de Arte Contemporaneo de Oaxaca, Oaxaca, Mexico
Museo Tamayo, Mexico City, Mexico
Santa Barbara Museum of Art, Santa Barbara, CA
Fundacion Proa, Buenos Aires, Argentina
Museum of Latin American Art, Long Beach, CA

Developing the Abstract - Frank Stella Biography

Frank Stella - Cantahar - 1998

American Abstract Artist Frank Stella was born in Malden, MA in 1936. Frank Stella is a highly regarded and collected Abstract artist known for his large–scale freestanding sculptures, architectural structures, and the most complex original prints ever realized in the medium of printmaking.

 

Frank Stella began painting in his sophomore year of high school at the Philips Academy in Andover, MA. Stella continued taking fine art courses at Princeton University, while majoring in history. While in school, Frank Stella visited numerous influential art exhibitions in the galleries of New York City. Frank Stella´s artistic development was directly shaped by the Abstract Expressionism of Jackson Pollock and Franz Kline, and in 1958 Stella moved to New York.  

Frank Stella - Untitled - 1967

Upon moving to New York City, Stella reacted against the expressive use of paint by most painters of the abstract expressionist movement, instead finding himself drawn towards the "flatter" surfaces of Barnett Newman's art and the "Target" paintings by Jasper Johns. Stella gained early and immediate recognition in 1959 with his series of black pinstriped paintings that turned the gestural brushwork and existential angst of Abstract Expressionism on its head. Several of Frank Stella´s "black paintings" were included in major art exhibitions including: "Three Young Americans" at the Allen Memorial Museum at Oberlin College, and "Sixteen Americans" at the Museum of Modern Art (MOMA) in New York. The Black Paintings served as an important catalyst for Minimalist art of the 1960s.

In 1959 Frank Stella joined fine art dealer Leo Castelli´s gallery of artists, and in 1960 Stella began painting artworks in aluminum and copper paint as well. Stella´s art aesthetic steadily developed as he introduced a wider range of colors, typically arranged in straight or curved lines. Stella eventually created his paintings on shaped canvases (canvases in a shape other than the traditional rectangle or square), often being in L, N, U or T–shapes. In 1965 Frank Stella´s art was included in "The Shaped Canvas" at the Solomon R. Guggenheim Museum, and "Systemic Painting" of 1966. Stella´s shape canvases developed into more elaborate designs, in the Irregular Polygon series of 1967.


Frank Stella - Harran II - 1967

In 1971 Stella developed his Protractor Series, in which arcs, sometimes overlapping, within square borders are arranged side–by–side to produce full and half circles painted in rings of concentric color. These paintings are named after circular cities he had visited while in the Middle East. Frank Stella´s Irregular Polygon canvases and Protractor Series further extended the concept of the shaped canvas. The shaped canvases took on even less regular forms in the Eccentric Polygon series as elements of collage were introduced. Stella´s artwork became more three–dimensional to the point where he started producing large, free–standing metal wall sculptures. As the 1970s and 1980s progressed, these became more elaborate and exuberant, marked by curving forms, Day–Glo colors, and scrawled brushstrokes. From the mid–1980s to the mid–1990s, Stella created a large body of paintings, sculptures, and original prints that responded in a general way to Herman Melville´s Moby–Dick.




Frank Stella - Extracts - 1993

Starting in the mid–1960s Frank Stella launched his extended involvement with printmaking, working first with master printer Kenneth Tyler at Gemini G.E.L. Stella would continue to produce original prints for the duration of his artistic career, and in 1973 he had a print studio installed in his New York house. Frank Stella's abstract prints in lithography, screenprinting, etching and offset lithography had a strong impact upon printmaking as a fine art.



Frank Stella - Sanor - 1996

Additionally Frank Stella is heralded for his large free–standing sculptures for public spaces from the 1990´s including: the 10,000–square–foot mural for Toronto´s Princess of Wales Theatre; his 5,000–square–foot "Stella Project" which serves as the centerpiece of the theater and lobby of the Moores Opera House on the campus of the University of Houston, in Houston, TX; and Frank Stella´s monumental sculpture was installed outside the National Gallery of Art in Washington, D.C.

Frank Stella's virtually relentless experimentation has made him a key figure in American modernism, helping give rise to such developments as Minimalism, Post–Painterly Abstraction, and Color Field painting. In 2009 Frank Stella was awarded the National Medal of Arts by President Barack Obama, and in 2011 he was awarded the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center. Frank Stella continues to live and work in New York.

"A sculpture is just a painting cut out and stood up somewhere." – Frank Stella

Select Museum Collections:

Art Institute of Chicago
Guggenheim Museum, New York
Hirshhorn Museum and Sculpture Garden, DC
Museum of Fine Arts, Houston
Museum of Modern Art, New York
Norton Simon Museum, Pasadena
Whitney Museum of American Art, New York
San Francisco Museum of Modern Art
Fukuoka Art Museum, Japan
Museum of Contemporary Art, Los Angeles
Tate Gallery, London

IS ART A GOOD INVESTMENT?



There are a number of indicators that prove that Fine Art, carefully selected, can be a lucrative commodity investment. Art is one of the most enticing hard asset investments, as collectors have created a hefty supply and demand system throughout the years.

According to Michael Moses, a retired New York University business school professor who co-

Marc Chagall

created the Mei Moses World All Art Index, over the past 60 years, the total return on fine art has been very similar to the return on the S&P 500-stock index. "If you use the last 30 years, the S&P substantially outperforms art," Moses says. "If you look at the most recent eight [to] 10 years, art has outperformed the S&P."

Another reason to consider investing in Art is that Fine Art has a proven track record as a good choice during hard times. Fine Art is more or less resilient to times of economic turmoil and trouble. It has outperformed during all of the wars of the 20th century, and has outperformed during the last 27 recessions. One of the biggest draws to this asset class is the fact that there is no underlying financial market to tinker with prices. There will never be a bad trade or a flash crash that will suddenly erase the value of your art investment. Though it is not a guarantee, Art also has the potential to appreciate with time.

The last and perhaps most rewarding aspect of collecting Fine Art are the emotional and aesthetic rewards. Because Art is a physical asset class, your investment is something that you can potentially enjoy every day.


COLLECTING THE RIGHT ARTIST

The greatest draw back to investing in fine art is the relative unpredictability of the performance an artist’s body of work might have. Like other markets there are artists and artworks that are highly unlikely to retain or develop future value, and so it is very important as a beginning collector to be highly selective of the artists you collect. The best advice is that you select artists with established markets. A blue-chip artist would have a major following, specifically by academic and museum interest. The Artist is your best indicator for potential value.

Pablo Picasso

Normally a museum artist like Picasso, Warhol, or Hockney would be out of range for the average
collector, but through the limited edition prints market you can attain these artists for a few thousand dollars as opposed to a few million. Many collectors and art dealers will tell you that originals will always perform better than prints, and this is half true. The original paintings for Pablo Picasso or Damien Hirst will always outperform the graphic artworks for these artists certainly, and if you have the capital to invest in high-level paintings of Museum Masters, I strongly recommend that this is the market you seek. However, an original painting by an immerging and unknown artist vs. an establish master’s print will not necessarily hold value or outperform the print. The performance of an original painting depends heavily on the current market and demand for the artist.

COLLECTING THE RIGHT PIECE

Aside from the Artist, other excellent indicators of future potential rest on the work itself. It is true that some compositions are simply more aesthetic than others. Some artworks may bear iconic images and characteristics of an artist’s specific period or style. It can be beneficial to research an artist’s backstory, as it can have a fair amount of weight in the resale value of a piece. Additionally if you are collecting sculptures or original prints the edition sizes can also play a major factor. When deciding what art to buy, the most important is that you enjoy and appreciate the art.