All posts by Kevin Vogel

Siting Sculpture: Part Two, A Case Study

Properly siting sculpture outdoors is a process that requires many considerations.  In this article titled, Siting Sculpture: Part Two, A Case Study,  I will introduce 8 categories of issues that may, or may not affect the decision on where and how an artwork is to be placed.  As most every artwork is different, each category will play a greater or lesser role in this process.

My stepmother Erika Farkac ran the Design Department of Lambert Landscape Company, once considered the finest landscaping company in Texas, for over 20 years and then worked independently for another 22.  She once told me that in every garden design she created while at Lambert’s, she always included a space for a properly sited sculpture.  She also said that only about one in a hundred design clients actually used that space for a sculpture, other than occasionally installing a fountain or something in concrete.  So, when a client used the space she provided for a sculpture, to her, it was a small victory.

Lambert Landscaping Company at their Bachman Lake offices in North Dallas, circa 1950

Siting / Lighting / Surroundings | Environment / Security / Safety / Maintenance / Disaster 

As I did in Siting Sculpture, Part One, I have listed 8 categories to think about when deciding where to place a sculpture.  Each can affect the viewer or the sculpture itself and all will affect every artwork installation in varying degrees.  And by making sure that one of the categories is as good as it can be under the circumstances, this may necessitate paying more attention to the others.  It is really about finding the best balance of the most important categories for each situation.

For example, a 5-inch-tall sculpture made of plastic that is sitting on a 40-inch stand against a wall may not be much of a safety risk in a home, but in a public place, it is a huge security risk.  A 5-ton piece of steel with sharp edges and no barriers around it sitting in a retail mall hallway may not be a security risk, but it is a huge safety risk for those who may accidentally collide with it.  Awareness and thinking through all the issues is what makes for a sculpture’s best overall placement.

Most Designers will be thinking primarily about the first three categories on the list as they deal mostly with aesthetics.  The other categories are more practical in nature and the ask is: “By placing a sculpture here, what can, and what will happen to it over time.”

Bronze sculpture interestingly sited in front of a modernist house.

As an example, I will use an image from the first blog of an outdoor sculpture, sited in front of a modern house, to discuss how each of the categories apply or why they are not overly important in this circumstance.

First off, I have to say I really like the concept of putting a large round bronze sculpture in front of this modern home that is all about rectilinear form.  Although it stands alone as a sculpture, it more importantly acts as a foil for the hard edges of the building behind while adding an appropriate shape to the building’s geometry.

Showing how the sculpture is sited in the front yard where it appears to be balancing on its edge.

Siting:

As you can see, the owners of this house decided to site the sculpture in the front yard.  They lined it up with the front window of the house so it could be easily seen from inside, and the other side could be seen from the street with the house as a backdrop.

It was also installed to sit in the grass with its supporting base hidden below ground.  By doing this, to an observer, the sculpture appears to be balancing miraculously on its edge.  One of the best street views is where the photograph above is taken because of the square section of the house that serves as a background here.

The wall to the left of the large window is also a nice background.   It would be seen behind the sculpture as a visitor walks down the portico to the front door.  As the viewer heads towards the door, a kinetic illusion is created as the sculpture appears to roll away and get bigger in relation to the long wall behind it.

This unfortunate effort to light the sculpture not only interferes with the aesthetics of the sculpture’s placement, it will be a hindrance for those who want to see the sculpture through the widow at night.

Lighting:

Three lighting fixtures were arranged in a row to light the street side of the artwork.  They were placed above ground and their color was chosen to blend in with the artwork.   With this installation, I would have recommended that the lights be recessed into the ground and that there be three more lights on the backside so the work could be seen at night from the house.

Because the three existing fixtures were placed above ground and focused up and slightly back to illuminate the street side of the sculpture properly, anyone looking out the window at night will see nothing but shadow and glare from the lights on the street side of the sculpture.  There would be no glare from any of the lights and the sculpture would be well lit if all the lights had been installed below ground level.

Surroundings:

The surroundings for this sculpture are very good.  During the day, nothing is obstructing the view of the sculpture and it is easily visible  from all directions.  Because there are no paths to, or near the sculpture, the closest view is from the portico unless you venture off into the yard.  The sculpture appears isolated, floating in the front yard’s sea of green grass.  The only oddness is the three lights poking up, interrupting the space around the sculpture.

A perfect place to mimic Leonardo da Vinci’s “Vitruvian Man” for an Instagram post.

Since there are no barriers, it can be approached by animals looking for a place to mark or relieve themselves, or humans that want to get a closer look who will unintentionally wear paths in the grass.  This type of sculpture, sited in a location like this, is what I call “Selfie Bait.”  With no barriers for protection, it is an open invitation for people to climb inside the ring to mimic Leonardo da Vinci’s Vitruvian Man for an Instagram post.

Environment:

This artwork will be in full sun most of the day and will be exposed to all the elements the weather can throw at it.  Over time, if it is a waxed bronze, left alone, its brown patina will slowly turn green.

Security:

Most people would be concerned that an artwork in such a public space would be stolen.  This is always a possibility, but if it’s insured, I would not be overly concerned.  The pleasure of living with it and sharing it with my neighbors would trump my concerns if it was mine.  There is also the possibility of vandalism, or even neighborhood kids, flying drones through it or using it as a target for any number of ball games.

Safety:

Because of the hazards and inconsiderate people mentioned above, the connection between the base and the sculpture itself needs to be strong enough to have a 200 plus pound person climb and swing from it.  The area of the base itself needs to be large and heavy enough to withstand this kind of abuse.  You don’t want a child to get hurt because it fell on them.  It is also a good idea to check that your liability insurance is paid up.

Wait till the weed whackers start to do a number on the sculpture’s patina and the lights.

Maintenance:

Most every sculpture, especially those placed outside, will need occasional maintenance.  In this case, a bronze sculpture with this level of exposure to the elements would need to be washed off and waxed at least once a year to maintain its patination.  As mentioned earlier, depending on the composition of the bronze used, it will start turning green fairly quickly when the wax has been worn off by the elements.

The idea of having the siting of this sculpture create the illusion that it is balanced on its edge is conceptually appealing.  However, having it, or any artwork for that matter, sit directly on grass is a maintenance nightmare unless you have your own private gardener who is willing to hand clip the grass around it once a week during the growing season, or you are willing to do it yourself.  In time, a maintenance crew, that may change from week to week, with weed whackers can do serious damage to both the artwork and the lights next to it.

I would have recommended that they skip the idea of balancing the work on the grass and set the work on a brick or concrete base that would accommodate the lights inside it.  This way, it would be easy to keep the grass trimmed and the work would not be accidentally damaged by the landscaping crews in the process.

A less expensive option would have been to place the artwork in a bed of ground cover.  This maintains a natural setting for the sculpture but protects it from most types of mechanical damage.  And if the ground cover was cactus, it would keep unwanted intruders away, but unfortunately, make that yearly waxing a challenge.

Disaster:

The design of this sculpture, and where it is sited, make it immune to most types of natural or man-caused disasters.  In its current location, high winds and lightning are its most likely issues but in Dallas, Texas, fire, earthquake, and flood are probably not going to be issues.  Because this sculpture has very little surface area for its size, high winds are probably not going to be an issue outside of a direct hit by a F5 tornado and there would be a low risk of a lightning strike.  It is actually more likely, that this sculpture will be hit by an out of control automobile than be damaged by any of these other issues, but it is a good idea to think through what could happen for each proposed location.

As it was with my stepmother, I am also pleased to see a house where sculpture has become part of the landscape plan, especially when a work is shared with the community by being placed in a front yard.  This is a brave and possibly dangerous act, however.  The neighbors probably don’t care about the house next door having a sculpture in their back yard where it is not on public view, but they may not like the fact that their neighbor has decided to impose their taste on them by placing a sculpture in their front yard, where it is visible to all who pass by.  It is not a bad idea to keep the neighbors in the loop if you feel the sculpture you are planning to put in a publicly viewed space might be controversial.

If you are not comfortable placing sculpture yourself, be sure to enlist the help of a professional art installation company to work with you to site the piece properly.  Many of these companies employ artists and they will be sensitive to your needs and the needs of the work.   It is not a bad idea to run through the list of items above with installers to be sure that all the issues are considered before a placement is finalized.

*****

To see all available FAE Design Blog Posts,  jump to the Design Blog Table of Contents.

To see all available FAE Collector Blog Posts, jump to the Collector Blog Table of Contents.

Sign up with FAE to receive our newsletter, and never miss a new blog post or update! 

Browse fine artworks available to purchase on FAE.  Follow us on FacebookInstagram, or Twitter to stay updated about FAE and new blog posts.

For comments about this blog or suggestions for a future post, contact Kevin at [email protected].

Other FAE informational posts you may find helpful:
Fine Art Insurance 101Broken sculpture

 

An image of a painting carefully placed in the back seat of a carPractical Tips for Safely Transporting Artwork
An image of artworks carefully placed on on a bedTemporarily Storing Artwork: A Case Study
an image of a wall of shelves holding print boxesFour Artwork Storage Solutions
Hanging and Framing FAQ’s
outdoor image of a line of figure sculptures with arms raisedSiting Sculpture, Part One: Overview

 

facade of a modern house with a round sculpture sited in the front yardSiting Sculpture: Part Two, A Case Study
image of a wall of frame samplesThe Importance of a Proper Frame

 

an image of a graphic showing the entire spectrum of viable and non-visible lightWhen to Use UV Control Glazing
Two images showing an image of a flower behind reflective and reflection free glassReflection on the Problem of Reflections

 

Siting Sculpture, Part One: Overview

I have been an art dealer now for over 45 years who has been privileged to live and work in a 4-acre sculpture garden, envisioned by my parents, Donald and Margaret Vogel in 1959.  As most of the artwork in the garden is consigned by artists and is for sale, it changes with some regularity.  As new work arrives decisions must be made as to each sculpture’s siting, presentation, and other important considerations.  To share some ideas about what I have discovered about this subject, I have written two posts.  The first is titled: Siting Sculpture, Part One: Overview.
Entrance to the Valley House Gallery Sculpture Garden

The garden is modern and informal with winding paths, a large pond, and is normally accessible to the public when the gallery is open.  Exhibitions of sculpture in the gallery often extend out into the garden.  Although for sale, sculptures in the garden are not labeled or priced, and are intentionally installed to look like they were placed permanently.

Sculpture in ground cover or flower beds requires less maintenance than sculpture surrounded by grass that must be mowed and edged regularly.

I am betting that for your residential clients you are rarely asked to help with sculpture placement indoors, and almost never outdoors.  Unless it is already owned, sculpture is not normally thought of until all the two-dimensional works have been placed on the walls of a home or office.

Among other posts, I will be writing a series of articles related to sculpture placement both inside and outside the home and office, covering tips and ideas that might be useful to you when helping your clients place sculpture.  Although some issues are unique to location, many considerations are the same and can be applied accordingly.  Below are a few of the things to consider when placing sculpture.

Accessibility:

After determining a likely location for a sculpture, look for any unacceptable physical barriers or impeded sight-lines that obstruct access to the artwork.

This sculpture is used as a focal point at the end of a long hallway. It is placed outside the home in front of a brick wall and framed by a large picture window at the hallway’s end. Although its placement does not allow the work to be viewed from any other angle but the front, it is given an exceptionally prominent spot where it can be viewed by anyone moving about the first floor of the home.

Siting:

This category encompasses the sculptures physical placement in a space and how it relates to everything around it.

Lighting:

This category involves every aspect of how the sculpture is either mechanically and/or naturally lit, 24/7.

Surroundings:

After determining a likely location for a sculpture, this category involves considering everything around the sculpture, both physical and visual, and how it might affect all the other categories now and in the future.

This sculpture is in the front privacy courtyard and is protected from view by a privacy wall and entrance gate. It can not only be seen by every visitor as they come and go, but also from the windows of the living room and the master bath bathtub window seen at the far back.  It very nicely serves as a foil to the linear aspects of the rest of the entrance.

Security:

After determining a probable location for a sculpture, what is the perceived risk it will be stolen, vandalized, or toppled over by some force of nature?

Although I am a big fan of people sharing their art by placing it in their front yards where everyone passing by can see it, today, this work is an open invitation for people to climb inside to mimic Leonardo da Vinci’s “Vitruvian Man” for an Instagram posting. There are lighting, maintenance, and liability issues with this installation I will explore in another post.

Safety:

After determining a probable location for a sculpture, is there anything about its location or stability that could cause harm to someone?

Although these plastic ice cubes floating in a swimming pool is a wonderful novel idea for a wild party, as a long term installation, it is a nightmare.

Maintenance:

After determining a probable location for a sculpture, beyond what would normally be needed to maintain the sculpture in general, it is important to determine if there are any additional maintenance issues created by siting the work in that location.

Disaster:

For any location a sculpture is sited, it is wise to take a moment and think about the area and what types of geophysical or weather related worse-case scenarios might affect the sculpture.  If there is a potential problem, planning ahead for an event can minimize possible damage if one is forewarned.

Environmental:

For any location a sculpture is sited, are there any environmental issues such as direct sunlight, excessive moisture, extreme variations in temperature, or acid rain that needs to be considered?

In this series of articles, each of the above topics will be addressed regarding the proper placement of sculpture in both indoor and outdoor settings.  I hope that forwarding my experiences with all types of sculpture installation will help you to more easily handle the issues faced when a design client wants to add sculpture to their art collection.

I am always available to discuss questions that may arise with sculpture placement.  Just send an email with images attached of the sculpture and where you would like to place the work along with your phone number and I will get back to you as soon as I can.  I may not always have a solution, but I bet I will be able to help you ask good questions.

*****

To see all available FAE Design Blog Posts,  jump to the Design Blog Table of Contents.

To see all available FAE Collector Blog Posts, jump to the Collector Blog Table of Contents.

Sign up with FAE to receive our newsletter, and never miss a new blog post or update! 

Browse fine artworks available to purchase on FAE.  Follow us on FacebookInstagram, or Twitter to stay updated about FAE and new blog posts.

For comments about this blog or suggestions for a future post, contact Kevin at [email protected].

Other FAE informational posts you may find helpful:
Fine Art Insurance 101Broken sculpture

 

An image of a painting carefully placed in the back seat of a carPractical Tips for Safely Transporting Artwork
An image of artworks carefully placed on on a bedTemporarily Storing Artwork: A Case Study
an image of a wall of shelves holding print boxesFour Artwork Storage Solutions
Hanging and Framing FAQ’s
outdoor image of a line of figure sculptures with arms raisedSiting Sculpture, Part One: Overview

 

facade of a modern house with a round sculpture sited in the front yardSiting Sculpture: Part Two, A Case Study
image of a wall of frame samplesThe Importance of a Proper Frame

 

an image of a graphic showing the entire spectrum of viable and non-visible lightWhen to Use UV Control Glazing
Two images showing an image of a flower behind reflective and reflection free glassReflection on the Problem of Reflections

 

Reflection on the Problem of Reflections

Back when our gallery had a frame shop, the only option to reduce reflection on artworks that needed glazing was to ask for Non-Glare glass.  Although this was a poor solution, it was the only solution at the time.  Non-Glare glass had one side sandblasted so any reflected light would be dispersed, making the reflection look like a blob of light on the surface of the glass rather than returning a harsh reflection.  We refused to use this glass because to actually see the artwork properly.  You had to place the glass directly on the artwork, otherwise it would appear like you were looking at it through fog, and it is never a good idea to have glass sitting directly on an artwork in a frame assembly. (1.)  So to understand what products are available today and how they work, and sometimes don’t, following are some reflections on the problem of reflections as they relate to glazed artworks.

Today, the best way to handle the problem of reflection is to use a glazing material onto which an AR (anti-reflective) coating has been applied.  This is a similar coating that is now used on eye glass lenses that allows you to actually see a person’s eyes and it all but eliminates glare from oncoming car headlights at night.

The AR coating is designed to disrupt the energy contained in light waves causing them to flow out of sync.  Under most conditions, AR glass helps reduce reflections to the point that they are not much of a problem, but it does not eliminate all reflection issues.  From my personal experience, the coating’s effectiveness is related to how well lit the artwork is and the direction of the light source.

Diagram of rooms described below. Primary reflection problem was solved by changing glazing material to AR coated glass, turning on the living room lights, and the lamp beside the artwork.

This became evident to me when a client said she had a problem with reflection on an artwork in her living room.  I suggested using AR coated glass thinking that that would most likely solve her reflection problem.  I had the glass switched out and she called to let me know that the glass was still acting like a mirror.  When I arrived to see what the problem might be, I discovered that, to my surprise, the artwork’s AR coated glass presented the exact same problem with reflection that the uncoated glass did.  I noticed the room where the artwork was hanging and the dining room, across from the artwork, were both kept dark.  At the opposite end of the dining room was a large picture window that was allowing a lot of light into the dining room.  There was a door between the kitchen and the dining room she frequently used and as she walked through the two dark rooms, all she saw when she looked at the artwork was the reflection of the picture window at the far end of the dining room.  I suggested that we turn on a lamp next to the artwork and discovered that the reflection issue was greatly reduced.

The takeaway of this story is that if an artwork has AR glazing and is well lit compared to its surrounding area, most reflection sources will be minimized and may not be noticed at all, especially if a viewer is focused on the artwork itself and not on the reflection source.  In fact, I have often looked at artworks that have AR glazing and wondered why they weren’t glazed, only to discover on close examination that they were.  If an artwork is underlit compared to its surrounding area and there is a lot of reflection, don’t be disappointed, it is just how the AR coating works.  The solution is to either put more light on the artwork or reduce the amount of light in the surrounding area compared to what is already on the artwork.

Light source and highly reflective areas will be visible in the glazing if the artwork itself is not properly lighted.

Overhead lighting also helps to reduce reflections compared to lighting with lamps that are at the same height as the viewer.  If you are standing beside an AR glazed artwork and there is a lamp on the opposite side of the artwork at the same angle and distance away from the artwork you are, you will see the lamp reflected in its glazing.  With overhead lighting, the viewer would have to be looking up from the floor to see the reflection of the light above.  AR glazing does have its limitations, but considering its old alternative, Non-Glare, it is a panacea.

Reflection is all about the light sources surrounding a glazed artwork and their relation to the viewer. The best lighting method for glazed works on paper is from above unless an artwork is hung high on a wall.

As I mentioned in our last blogpost, When to use UV control glazing, the folks at Tru Vue have a good helpdesk and their technical department can answer most any glazing related framing or installation question.  Their help desk number is 708-854-2700 and their email is [email protected].

  1.   I know of no circumstance where it is good for a glazing material to be in contact with an artwork on paper.  If there is no other framing choice than to have the glazing material in contact with the artwork, it is better to use Plexiglas rather than glass.  Quick changes in temperature and humidity can cause glass to fog over, even on the inside of a frame assembly.  If this happens with a work on paper, especially if the glass is in contact with the artwork, the paper can absorb the moisture creating a perfect environment for mold to grow, the paper to be stained, pigments to react adversely, or wrinkling; none of which are going to be good for the artwork.

*****

To see all available FAE Design Blog Posts,  jump to the Design Blog Table of Contents.

To see all available FAE Collector Blog Posts, jump to the Collector Blog Table of Contents.

Sign up with FAE to receive our newsletter, and never miss a new blog post or update! 

Browse fine artworks available to purchase on FAE.  Follow us on FacebookInstagram, or Twitter to stay updated about FAE and new blog posts.

For comments about this blog or suggestions for a future post, contact Kevin at [email protected].

Other FAE informational posts you may find helpful:
Fine Art Insurance 101Broken sculpture

 

An image of a painting carefully placed in the back seat of a carPractical Tips for Safely Transporting Artwork
An image of artworks carefully placed on on a bedTemporarily Storing Artwork: A Case Study
an image of a wall of shelves holding print boxesFour Artwork Storage Solutions
Hanging and Framing FAQ’s
outdoor image of a line of figure sculptures with arms raisedSiting Sculpture, Part One: Overview

 

facade of a modern house with a round sculpture sited in the front yardSiting Sculpture: Part Two, A Case Study
image of a wall of frame samplesThe Importance of a Proper Frame

 

an image of a graphic showing the entire spectrum of viable and non-visible lightWhen to Use UV Control Glazing
Two images showing an image of a flower behind reflective and reflection free glassReflection on the Problem of Reflections

 

When to Use UV Control Glazing

Have you ever had a framer tell you that you can protect a work on paper from fading just by putting UV (Ultraviolet) protective glass or Plexiglas on the artwork?  Even though your framer is normally the one that suggests when to use UV control glazing, what they tell you may be truthful without being accurate regarding its effectiveness in your situation.  So, here are some suggestions on when to use uv control glazing to prevent artwork fading.

What your framer should have said is that depending on where a work on paper is hung, UV protective glass and Plexiglass can help protect it from fading. Ultraviolet light is the most damaging part of the light spectrum to fugitive pigments on paper and other materials that are prone to fading, like fabrics and furniture. High end UV protective glazing material is rated to block up to 99% of the Ultraviolet rays hitting an artwork’s surface. Just remember that UV may be the worst part of the spectrum, but it is only a small part of the spectrum that can cause damage. A greater issue is the overall amount of visible light that is hitting the artwork and the amount of time it is getting hit. Think of it as slow or fast fading.

• Little light over an extended period of time = slow fading
• A lot of light over a short time = fast fading

Image of graph showing the entire know light spectrum. What is most important here is the Ultraviolet and viable sections of the light specturm.
Ultraviolet light, the most damaging part of the light spectrum to works on paper, is in the sweet spot between visible light and x-rays. This means that UV is in the part of the spectrum that is higher energy than visible light but the rays do not go through the artwork like x-rays will. The UV rays penetrate the surface and are absorbed by the paper like a sunburn on skin. Because UV light is not visible to humans, removing it from the spectrum by using UV control glazing does not have much effect on the fidelity of an artwork.

If a work on paper was to be hung in a lightless closet, with properly controlled temperature and humidity that is never opened, it does not matter if it has UV protective glazing or not as it will not fade, at least not from light exposure.

If a work on paper is hung in a bright living room with big curtain-less picture windows looking out over a lake that reflects light into the room, even with UV glazing and protective windows the artwork will fade over time and the paper will darken. In the trade, when referring to the darkening of paper by excessive light, an art dealer would say that the artwork has been “light struck.”

two images that show how exposure to light can fade colors in a print.
Left image is unfaded and right image is a composite image showing faded work on the left side and unfaded work on the right.

For most light sensitive materials, light damage is cumulative and irreversible. So, what are the best ways of minimizing the effects of light damage to an artwork on paper?

Museums have different regiments they follow regarding the amount of light exposure each work on paper can have. Each work is normally evaluated to determine how sensitive it is. It is then assigned an allowable exposure schedule, amount of time it can be on view, and a maximum allowable light level for the duration of that time. For example, a sturdy work might be allowed to be on exhibit for 4 months at a specific light level and then rest for two years, or for 6 months at that light level and rest for three years. A more fragile work may require lower light and less time on view.

Don’t Panic! The Museum protocol I have just described is designed to meet the museum’s charge to protect what they have collected or are exhibiting.  Your clients want something they can hang on the wall and enjoy for the next 20 years. So, to accomplish this goal I suggest the following:

• For works on paper that you or your client consider valuable and want to last as long as possible, definitely use UV protective glazing as it greatly reduces the most damaging aspect of the light spectrum.

• Hang in rooms with minimal light during the day like hallways or bedrooms that are not in continuous use and are normally kept dark.

• Keep lights off when rooms are not in use.

• If an artwork is hung in a room that has windows that allow a lot of light into the room during the day, add blackout curtains to the window that can be closed when no one is using the room. Codes for new buildings in most areas require that windows block a lot of the light coming in for reasons of energy conservation. This can greatly extend the life of curtains, rugs, and furniture as well as the art by reducing the amount and intensity of light entering a room and therefore slow fading.

• Have blackout fabric covers made for the artwork in rooms that window curtains are not an option or skylights let light in that cannot be blocked. They can incorporate a weighted rod at the top that can be draped over the top of the frame with the fabric hanging over the front of the artwork. This will allow quick access to works when you want to view them and they can remain hung indefinably without overexposure to light.

These two images show how opaque fabric covers can protect an artwork from fading.  

• Keep these works out of often used bedroom bathrooms and kitchens. These rooms often are subject to high humidity and temperatures, and other issues with that I will address in a future post. They are also rooms that would normally be well lit and where you would not normally want artwork that needs protective covers to keep them from fading.

• Place UV tube covers over your fluorescent lights. Of the three main light sources in homes and offices used today – Fluorescent, Incandescent, and LED – Florescent light, for the same amount of lumens output, is the most damaging because it produces the most UV light.

• If LED lights are producing the same number of lumens as your incandescent bulbs do, they are causing an equal level of fading to your works on paper.

One of the main manufacturers of conservation-grade UV protection glazing is Tru Vue. They have an excellent highly informed and well-educated customer support staff. If you need clarification, again no pun intended, as to whether UV protective glass and Plexi will work in a specific application, give them a call.
Tru Vue help line: Phone: 708-854-2700
Email: [email protected]

Note:  Not that it is my field but I was informed by the folks at Tru Vue that one of the most frequent calls they get is from signature collectors who have used their products and have had their valuable signatures fade from being out on display in rooms that have too much light.  Their glass was doing what it was supposed to but many framers are often not aware that UV glass alone will not stop fading, it only helps to slow it down.  The recommendations I have made above should help with this issue.   Another interesting thing they said is that often, ink signatures seem to fade very quickly to a certain point and then the fading process seems to slow.  So the maximum amount of damage happens in the earliest part of their exposure.

*****

To see all available FAE Design Blog Posts,  jump to the Design Blog Table of Contents.

To see all available FAE Collector Blog Posts, jump to the Collector Blog Table of Contents.

Sign up with FAE to receive our newsletter, and never miss a new blog post or update! 

Browse fine artworks available to purchase on FAE.  Follow us on FacebookInstagram, or Twitter to stay updated about FAE and new blog posts.

For comments about this blog or suggestions for a future post, contact Kevin at [email protected].

Other FAE informational posts you may find helpful:
Fine Art Insurance 101Broken sculpture

 

An image of a painting carefully placed in the back seat of a carPractical Tips for Safely Transporting Artwork
An image of artworks carefully placed on on a bedTemporarily Storing Artwork: A Case Study
an image of a wall of shelves holding print boxesFour Artwork Storage Solutions
Hanging and Framing FAQ’s
outdoor image of a line of figure sculptures with arms raisedSiting Sculpture, Part One: Overview

 

facade of a modern house with a round sculpture sited in the front yardSiting Sculpture: Part Two, A Case Study
image of a wall of frame samplesThe Importance of a Proper Frame

 

an image of a graphic showing the entire spectrum of viable and non-visible lightWhen to Use UV Control Glazing
Two images showing an image of a flower behind reflective and reflection free glassReflection on the Problem of Reflections

 

What Does That Fraction Mean on a Fine Print?

One of the most common questions asked by new clients when they purchase a find print from me is “What does that fraction mean on a fine print?”  They are referring to the fraction, often written in pencil, most commonly found at the lower-left bottom edge of the image or platemark.  I have written three short essays to hopefully bring a little clarity to the subject.  I have also provided a link to a glossary of terms related to the editioning of fine prints.

Part 1:

An overview of the things that you may find helpful to know regarding the modern editioning for fine prints and what the fraction, found in the margin under the image, actually refers to.

Part 2 :

A short case study regarding the editioning of a series of old master prints by Albrecht Dürer (German, 1471 – 1528) called the Apocalypse.

Part 3:

An overview of what I found when I was trying to determine what fine print publisher or which artist was the first to use a fraction to describe the print number and the edition size that is now the universal format.  I cannot say I found the first, but I did find an 1895 reference point that will be a benchmark to beat in the future.

Part 4:

A link to a glossary of terms related to types of proofs and related nomenclature. You are welcome to download this Word file and keep it as a reference.

Note: In conveying the information below, you will see that I have qualified almost every example I have used related to editions or a fraction’s numerator and denominator. This is because in every case described below, in the 40+ years I have been dealing with fine prints I have personally run across exceptions, but they are rare.

Part 1: Numbering and Edition Overview:

After a number of prints have been produced by or for an artist, it is a standard practice to use a fraction to identify both an individual print and the number of like prints the artist has declared that will then constitute an “edition.” With few exceptions, this fraction is written in pencil beneath a print’s image at the lower left or lower center margin by either the artist or the publisher. There are several misconceptions as to what the numerator and denominator of this fraction mean related to the edition of fine prints and I hope the following information is helpful when looking for fine prints for your clients.

Fractional edition number with date. This is the print designated as number 21 in an edition of 30.

The Numerator:
Because written definitions of what the numerator represents are often imprecise and ambiguous, they can easily lead someone to erroneously believe that the numerator indicates the sequence in which the prints of that edition were printed. (i.e. if the fraction written on an etching is 5/25, this would indicate that this print was the 5th print pulled off the plate in a total edition of 25.) In truth, this number does not relate to the print’s printing sequence but is only a cataloguing device, a way of identifying print 1 from print 2, etc. The odds of this print being the 5th one pulled from the plate is, for various reasons, more than 1 in 25.

It is most often the case that the earliest prints off a plate, stone, or block, depending on the technique used, are often considered by collectors and curators to be better and therefore more desirable impressions than those printed later. This is due to the wear and tear on the matrix from repetitive printing.  What is almost in all cases not true is that the numerator of the fraction can tell you if a print was an early impression or not; only its superior quality compared to other impressions of the same print can do that.

The Denominator:
The Denominator of the fraction relates to the total size of the artist’s declared edition of like prints. The term “like” prints is important here as it means that the only thing that is different about each print when the edition is finalized is the numerator of the fraction. Everything else, the paper type and size, the inking of the matrix, and the way it is numbered and signed are all the same. It is important to remember that the denominator just indicates the size of the allowable edition, it in no way substantiates that editioning was completed after its size was declared. It is often only the print documentation from the press that produced it, the artists print log, or a well-researched catalogue raisonné that can enlighten one as to how many prints were actually printed of an edition.

It was popular, in the case of well-known artists like Joan Miró, to have their press print multiple editions from the same plate or stone. For instance, Miró would sometimes authorize a second edition on a different type of paper. So, you might see a print by Miró on Arches paper in an edition of 250 in one place and the same print on Japan paper in an edition of 100 somewhere else. Miró would sometimes authorize a special small edition of a print to be published that was in every way like another edition except that instead of numbering the edition in Arabic Numerals, it would instead be numbered with Roman Numerals. The takeaway here is that there may be more than one edition of a print. This usually does not occur unless the artist’s market is big enough to absorb multiple editions.

With most any known declared edition, there are additional like prints called “prints outside of the edition.” Conventionally, beyond the edition defined by the denominator, a certain number of prints will be printed that will be designated as Artist Proofs. They are like the edition in most every way except rather than being numbered with a fraction, the letters “A.P.,” (épreuve d’artiste in French) or a variation thereof, are written instead. The number of A.P.’s varies with how many the artist wants to have printed but it is rare that they exceed more than 10% of the total edition size of like prints.

Again, in the case of Miró and other printmakers who were well known in the latter part of the last century, another type of print designation was used initially in Europe to boost the number of prints outside of an edition. On occasion you will see prints, instead of being inscribed A.P., inscribed “H.C.,” (Hors de Commerce) or a variant, that means amusingly “not for sale.” Prints with this designation can be found occasionally on the market but they were originally intended to be gifted and not sold commercially.

There are other print edition designations that I will not go into here as the chances of running into them while looking for art for your clients is unlikely. Below is a quick history of editions as they relate to old master prints and to the earliest usages of the fraction to indicate edition size. If you find that you have a question about something on a print that you don’t understand, send us an email with an image and we will get right back to you.

Part 2: Old Master Prints:

Dürer’s “Apocalypse” 1511 title page

Albrecht Dürer (German, 1471 – 1528) was one of the world’s most famous and important printmakers. He produced a series of fifteen large woodblock prints based on, and called, Apocalipsis cum Figuris, known today as the Apocalypse. Outside of proofs printed to test the image and those that were printed to sell or gift, in 1498 the fifteen prints that made up the series were printed with text, some in Latin and some in German on the verso of each image, and bound. Prints that appear on the market today from this edition of books are described as “from the 1498 edition.” This series brought Dürer great fame and notoriety. Because of the popularity of the series, it can be assumed that he continued to print individual proofs from the blocks until he published another bound edition of the Apocalypse in 1511. After that series, where individual prints are now known as “from the 1511 edition,” the woodblocks were printed as the market demanded until they had worn down to the point that they could no longer produce acceptable prints.

Dürer’s woodcut The four horsemen of the Apocalypse

Before Dürer’s time and well into the 19th century, the number of prints off a plate, stone, or wooden block was determined by either demand or the condition of the matrix used that allowed acceptable prints to be created. Today, we would call that an “open edition” because the edition size was not declared by the artist. In the case of Dürer’s Apocalypse, there are two actual editions from the same woodblock of each of the 15 Apocalypse prints and many prints outside of a known edition. When dealing with old master and 19th century prints, date of printing, quality of impression, condition, and notoriety of the image are directly related to the print’s value. In the case of these specific Dürer images, as well as many other old master prints, editions and other proofs can often be dated by the paper it was printed on and the watermark it may bear.

Part 3: When the Numbering of Fine Prints Became Popular…

Most likely inspired by the rare book trade, consensus leans toward the idea that it was the fine print publishers in 1890’s France that started numbering the prints of the editions they published. One of the best known and most important printmakers during that time in Paris was Toulouse Lautrec who was a prodigiously active Lithographer from 1891 to 1900. By using the catalogue raisonné Toulouse-Lautrec: The Complete Prints by Wolfgang Wittrock as a reference, a window is opened into the innovations and practices regarding print numbering and editioning during this period. Here are my takeaways:

• Lautrec signed a small number of his prints but although many of his prints are numbered, it is believed that he did not do this himself; they were most likely numbered by the publisher. In many cases, just under half or just over half of the prints were numbered. The number system most often looked like “No: X” and written in pen or pencil. In some cases, stamps were used to number the prints. It is not clear why only half of an edition was numbered as it creates a very ineffective inventory system. *1

Lautrec’s “Mademoiselle Marcelle Lender” color lithograph

• The states (prints that show developmental changes) and edition sizes of most of Lautrec’s prints are known but the edition size was rarely indicated on an individual print.  In reviewing all the print entries in Wittrock’s book, there are only five times that a fraction was used to indicate both the prints assigned number and the number of prints in the edition. The first time a fraction was used on a Lautrec print was 1895 on half of the Pan French Edition of 100 prints of Mademoiselle Marcelle Lender, en buste, (Wittrock 99.)

Wittrock’s entry for the Pan French edition of Lautrec’s “Mademoiselle Marcelle Lender” color lithograph

*1 – Today, fine art presses will often publish artists’ prints by offering them studio space, possibly room and board while they are working, and then printing an edition of what the artist produces in exchange for a percentage of the edition. This way a press will have an inventory of prints by artists they respect, and the artist keeps the rest of the edition.  It is known that most all of Lautrec’s prints were sponsored by the publisher and very few print editions were paid for by him. This may account for the fact that often, only about half of his prints’ editions were numbered by the press.

Part 4: A Glossary of Terms Related to Types of Proofs and Related Nomenclature

Back in 1989, a colleague named Frederick McElroy, who had a masters in printmaking, and I decided that we would create an exhibition that focused on both the connoisseurship and technical aspects of Intaglio printmaking.  One of the dealers we work with in Austin Texas who owns Flatbed Press suggested that this glossary would be a good addendum to the article above.

You are welcome to download the glossary as a word file by clicking Here.  You are welcome to print yourself a copy for reference if you like but if you quote any of these entries in a publication, please credit Fredrick W. McElroy and cite the exhibition catalog Connoisseurship and the Intaglio Print, 1989.

*****

To see all available FAE Design Blog Posts,  jump to the Design Blog Table of Contents.

To see all available FAE Collector Blog Posts, jump to the Collector Blog Table of Contents.

Sign up with FAE to receive our newsletter, and never miss a new blog post or update! 

Browse fine artworks available to purchase on FAE.  Follow us on FacebookInstagram, or Twitter to stay updated about FAE and new blog posts.

For comments about this blog or suggestions for a future post, contact Kevin at [email protected].

Other FAE informational posts you may find helpful:
Fine Art Insurance 101Broken sculpture

 

An image of a painting carefully placed in the back seat of a carPractical Tips for Safely Transporting Artwork
An image of artworks carefully placed on on a bedTemporarily Storing Artwork: A Case Study
an image of a wall of shelves holding print boxesFour Artwork Storage Solutions
Hanging and Framing FAQ’s
outdoor image of a line of figure sculptures with arms raisedSiting Sculpture, Part One: Overview

 

facade of a modern house with a round sculpture sited in the front yardSiting Sculpture: Part Two, A Case Study
image of a wall of frame samplesThe Importance of a Proper Frame

 

an image of a graphic showing the entire spectrum of viable and non-visible lightWhen to Use UV Control Glazing
Two images showing an image of a flower behind reflective and reflection free glassReflection on the Problem of Reflections

 

Creating Stunning Presentations with FAE

I want my presentations to look like they were pulled from the pages of a design magazine.

Placing a Live View Target

The fastest way to present an artwork from the FAE website is to place the FAE Live View target on the wall where an artwork is desired, select the artwork to be presented from ArtTracker (FAE’s favorites list),  and then use the FAE  Mobile App to show your client, using augmented reality, how the artwork fits the space.  The App will allow you to capture the View, upload it and assign it to a Project in My Views and/or email it to another party.

Although the Mobile App is the quickest way to show an artwork in your client’s space, if they prefer to see presentations that look like they were torn from a design magazine, it is much better to use FAE’s Desktop App.

A View like this can be emailed or copied and pasted into presentations
Rooms Target

To create a View with the desktop app, you will need to place a Rooms target on the wall where an artwork is needed as you did with the Live View Target described above.  Then, following FAE’s suggestions “For Best Results,” located on the second page of the Rooms target printout, photograph the room from multiple angles so the Rooms target is visible in each image.  The images can be uploaded to FAE through the Mobile App or from the file up-loader in My Rooms, depending on what device was used to capture the images.

Once the Images are uploaded to My Rooms and you have added the artworks you want to see into your ArtTracker, you can now easily create a magazine quality presentation View to show how the artwork will look in the room.

View creation is discussed in detail in the blog post Anatomy of a View and there is also a three minute video available that introduces the basics of process.  To make the View presentation as elegant as possible FAE provides a thoughtful selection of tools that make the View edit process creative and fun.  The FAE View creation tool box allows you to:

  • Place a rudimentary frame around the artwork image and select its color from the FAE color palette.
  • Balance the lighting between the artwork that was photographed under controlled lighting and the Room that most likely wasn’t.
  • Drag and drop the artwork image to a different location on the wall and then drag and drop the artwork’s corners to adjust its perspective to suit its new location.  Keep in mind that the proportional height and width of the artwork is only correct when it is centered over the target’s original placement in the Room photo.
  • Name and assign the View you are creating to a Project.

After each View is created, it appears in My Views:

Newly Created View
The My Views Page, with the “+ Create New View… ” button at upper right. Your newest View is always first in line

The View can then be emailed, printed out, or cut and pasted into a power Point Presentation.  All the Views can be filtered by Project and reviewed by clicking on the stack icon under one of the View thumbnails.

A PowerPoint can be saved as a PDF if it is to be emailed or shown on a phone, tablet or desktop to your client, or it can be saved as a PowerPoint file so it can be displayed for a group presentation.  Below is an example of a Power Point presentation showing several layout examples.

*****

To see all available FAE Design Blog Posts,  jump to the Design Blog Table of Contents.

To see all available FAE Collector Blog Posts, jump to the Collector Blog Table of Contents.

Sign up with FAE to receive our newsletter, and never miss a new blog post or update! 

Browse fine artworks available to purchase on FAE.  Follow us on FacebookInstagram, or Twitter to stay updated about FAE and new blog posts.

For comments about this blog or suggestions for a future post, contact Kevin at [email protected].

Other FAE informational posts you may find helpful:
Fine Art Insurance 101Broken sculpture

 

An image of a painting carefully placed in the back seat of a carPractical Tips for Safely Transporting Artwork
An image of artworks carefully placed on on a bedTemporarily Storing Artwork: A Case Study
an image of a wall of shelves holding print boxesFour Artwork Storage Solutions
Hanging and Framing FAQ’s
outdoor image of a line of figure sculptures with arms raisedSiting Sculpture, Part One: Overview

 

facade of a modern house with a round sculpture sited in the front yardSiting Sculpture: Part Two, A Case Study
image of a wall of frame samplesThe Importance of a Proper Frame

 

an image of a graphic showing the entire spectrum of viable and non-visible lightWhen to Use UV Control Glazing
Two images showing an image of a flower behind reflective and reflection free glassReflection on the Problem of Reflections

 

The Value in Fine and Reproductive Prints

It is fairly easy to differentiate between how a fine print, a limited edition print, and a giclée print are produced.  What is difficult, in today’s art world, is to make a call as to which should be more valued and why.

So, instead of making outright pronouncements, I will suggest some, as was explained in the Pirates of the Caribbean, “guidelines” to use in thinking about issues of intrinsic value as they relate.

Fine Print

In the creation of a Fine Print, depending on the medium, an artist works on a metal plate, stone, woodblock, cuts a stencil or alters some other material to create a matrix (design).  When ink or other pigmented material is applied in, onto, or through the matrix and then the image is mechanically transferred to a piece of, in most cases paper, a fine print is produced.   In a fine print, the paper with the transferred image is the artwork, not an exacting copy or reproduction of something else.  I certainly include photography as a fine print medium as it is historically produced through a captured matrix and manipulated to the artist’s specifications through the printing process.

The classic categories of print processes used to create fine prints are:

Intaglio Printing Press

Historically, these were the processes by which artists were able to provide original works of art in a more democratic and less expensive manner to a larger audience than with paintings or drawings.  Because each matrix is inked and mechanically printed by hand, one at a time, each print is unique.  The artist may decide to produce one unique proof from the matrix or as many prints as the matrix allows.  Fine Prints have always been of interest to collectors. If an artist becomes better known over time and their art appreciates because of collector interest, chances are their fine prints will follow suit.

Limited Edition Prints

From the 1960’s and well into the 1990’s artists discovered that they could produce a painting, watercolor, or drawing, and have it reproduced by an offset four-color printing press in large numbers to whatever size the press was capable of.   Most of the editions created this way were large because of the initial set up costs but the price per print came down with every print produced.   Editions were sometimes as low as 500 but most were between 1000 and 2000.  An edition of 2000 would cost the artist around $2.00 a print.  If they wholesaled a print at $10.00 to $20.00 dollars to a frame shop and the frame shop sold it to a client for between $40 and $100 and frame it for $150, they would walk away with a tidy profit.   The artist would often sign and number each print to generate perceived value.

Four-Color Offset Printing Press

Most successful artists, those represented by higher end art galleries and having works acquired by museums,  did not produce four-color offset limited edition reproductions of their artwork, but this type of print did provided a good income and exposure for many talented artists who did not achieve critical success with their original art.  Other than the value of enjoying an image you like on the wall, the resale market for limited edition prints of this type is most likely through garage and estate sales, or eBay, and their selling price will rarely exceed their original purchase price.

Giclée Prints

As printing technology moved on, in the 1990’s, the ink jet printer attached to a computer provided a new way that artists could produce limited edition prints.  The term Giclée was coined for high quality ink jet prints by Jack Duganne.   Duganne worked for Graham Nash, of Crosby, Stills, and Nash fame, and  Mac Holbert, the band’s road manager, who together started the fine art  printing business, Nash Editions, LTD in Nash’s Manhattan Beach, California carriage house.

The term  stuck and today, although technology has improved the giclée inkjet print to an exceptionally high level of fidelity and color quality, it is still used by many artists to make very high quality reproductive limited edition prints.  Because of these attributes some artists, especially photographers, are now using inkjet printers exclusively to print their editions.  Since these artists consider their inkjet prints to be the finished work of art, to distinguish their artworks from a giclée reproductions, some are calling their artworks’ medium “archival pigment prints.”

HP Large Format Inkjet Printer

In inkjet printing, a specific black or colored ink is blown onto the surface of a piece of paper in small droplets.  Their number and juxtaposition to other colored ink droplets determine the final color of each pixel that makes up an image.   Because of the incredibly small size of each pigment dot, there is no determinable dot pattern that is the hallmark of offset four-color printing.

Although individual inkjet prints are more expensive to produce in large editions than on a four-color offset press, they have many advantages:

  1. Inkjet color printers can work with as little as three ink colors but high-end printers can incorporate many more colored inks that allow more nuanced color and a thicker pigment density than four-color offset printing.
  2. Higher quality papers can be used in inkjet printing than in four-color offset.
  3. Because they are printed slowly one at a time, after they are proofed and ready to edition, inkjet prints are much cheaper to produce in a small edition.   An edition of 2,000 might take an hour on a high speed four-color press but an edition of 1000 inkjet prints of the same size would take days on a high-end inkjet printer.

For me personally, artwork in its conceived state has intrinsic value.  When an artwork’s medium is changed so it can be duplicated in large numbers for reasons of commerce, I am less interested in the  copy, no matter how beautiful it may be in its reproduced state.  Limited edition prints and reproductive giclée’s are certainly a blessing for those who cannot afford original art or are not interested in an artwork’s material or aesthetic aspects.  They allow one to enjoy an image and fill a space where an artwork is needed.  I have no doubt that there are many who would receive as much pleasure from a reproduction as I would get from an original.

I will caution anyone who buys a reproductive giclée or limited edition print thinking that it will turn out to be a good long term financial investment.  The odds of this happening are not in their favor.  Purchase only because you like the work or it fits your purpose at the time.  The true investment in art is the privilege of living with it.

*****

To see all available FAE Design Blog Posts,  jump to the Design Blog Table of Contents.

To see all available FAE Collector Blog Posts, jump to the Collector Blog Table of Contents.

Sign up with FAE to receive our newsletter, and never miss a new blog post or update! 

Browse fine artworks available to purchase on FAE.  Follow us on FacebookInstagram, or Twitter to stay updated about FAE and new blog posts.

For comments about this blog or suggestions for a future post, contact Kevin at [email protected].

Other FAE informational posts you may find helpful:
Fine Art Insurance 101Broken sculpture

 

An image of a painting carefully placed in the back seat of a carPractical Tips for Safely Transporting Artwork
An image of artworks carefully placed on on a bedTemporarily Storing Artwork: A Case Study
an image of a wall of shelves holding print boxesFour Artwork Storage Solutions
Hanging and Framing FAQ’s
outdoor image of a line of figure sculptures with arms raisedSiting Sculpture, Part One: Overview

 

facade of a modern house with a round sculpture sited in the front yardSiting Sculpture: Part Two, A Case Study
image of a wall of frame samplesThe Importance of a Proper Frame

 

an image of a graphic showing the entire spectrum of viable and non-visible lightWhen to Use UV Control Glazing
Two images showing an image of a flower behind reflective and reflection free glassReflection on the Problem of Reflections

 

Anatomy of a View

Everything You Ever Wanted to Know About Creating a View…

Simply Put, FAE describes a “View” as:  An image of a room that incorporates an FAE target, over which an artwork image from ArtTracker, FAE’s favorites list, appears in proper scale and perspective.

Live View Target

As discussed in the previous blog post, Will It Work In My Space, the FAE iOS iPhone and iPad App using Augmented Reality technology can efficiently help determine if an artwork from the FAE website will physically and visually fit into a client’s space.  This, along with its ability to be shared and saved in My Views makes it a powerful tool.  However, the View that is created directly in the Mobile App will not be editable.

Rooms Target

Although FAE’s Mobile App has the ability to wow, it is FAE’s Desktop App that sets us apart from any other fine art sourcing website.  Instead of using the Mobile App’s Live View Target, the Desktop App’s Rooms Target is different.   Also, unlike the Mobile App that merges the artwork and room images within the iOS device before it is automatically uploaded to My Views on the  FAE website, the Desktop version uploads a room image that incorporates a Rooms Target to My Rooms on the website where they can then be merged to create editable Views.

This system enables you to place the Rooms target on any wall where an artwork is desired and then walk around the room taking photographs that incorporate the target.  (Please read the For Best Results information that is printed out with the Rooms target before going onsite and taking images)   You can either upload each image directly to the website as they are taken or later from your device’s camera roll.

After you have uploaded the room images to My Rooms, they are available for use in creating Views using the View creation page.   From there, you are able to drop artwork images from ArtTracker, that automatically maintain their appropriate scale and perspective, over the target  in any chosen room.

Once you have decided on an appropriate artwork for a chosen room, you will not only be able to drag the artwork off the Rooms target and drop it anywhere in the image, you will also be able to drag and drop each corner of the artwork separately to manually adjust its perspective to where it has been moved.  The site also provides editing tools that enable you to add and change the color of a rudimentary frame, adjust the brightness of both the artwork and the Room, and create and/or attach the View to a Project/s.

The View you have created can be saved and emailed to a client or used to make stunning presentations which will be the subject of a future post.

In addition to a short video on how the Desktop App can help you show your clients exactly what an artwork from the FAE website will look like when it is installed on their wall, without incurring the associated expenses of trying the artwork out in person, below we have provided a detailed overview of the Edit View Page and how it works.

————————————————————

Let’s take a quick tour of how a View is created.

Go to the Main Menu button My Views.

This is where all the Views are stored that you have created.  To create a View, Click on + Create New View… at the upper right of the screen.

This will open up the Edit View Page seen below.

The Edit View page is divided into four sections:
1. View creation screen
2. The View edit and Project assignment console
3. View naming and command buttons
4. Project filtered film strips of Artworks and Rooms

No 1. The View Creation Screen

 

The FAE View Edit Screen
View Edit Screen with Room & Artwork Selected

This is where images from My Rooms and artwork images from ArtTracker are merged.  When an artwork and a room image are selected, the artwork image will appear over the target in the room image with a black frame around it and round anchors on each corner.

The image at right shows an artwork manually moved and its perspective changed.
  • The anchors can be removed using the Anchor button on the icon bar at the top of the View Edit console.
  • An artwork image can be dragged and dropped anywhere on the View Edit screen.  (demonstrated in upper right image)
  • By grabbing an anchor on a corner of any artwork image or the corner of the image itself if the anchors are turned off, it can be dragged and dropped to manually adjust the artworks perspective in relation to the wall it is on if needed.  (demonstrated in upper right image)
No 2. The View Edit and Project Assignment Console

This is where the artwork adjustments are made:


• The icon bar
A.  Shows center of target through artwork image on/off button
B.  Corner anchor off/on button
C.  Removes the frame around image button off/on
D.  Return console to default state

Shows frame color choice palette and artwork with dark gray frame color chosen

Select Color frame button


• Adjusts artwork image brightness
• Adjusts room image brightness


Add a New Project Button
• Available Projects to assign or remove from this View.

No 3. View naming and command buttons

 

Preview button will show a large image of the view that is being edited in a pop-up window
• White text box to name the View (Mandatory before save)
Save this View button
Return to My Views button will return user to the My Views page
Create Another View will allow a user to create a new view after saving without returning to the My Views page first.

No 4. Project filtered film strips of Artworks from ArtTracker and Rooms from My Rooms

(User must first choose a room before artworks are available)

ArtTracker and My Rooms film strips with room and artwork chosen, both filters are active.

• ArtTracker film strip with all available images.  Can be filtered by Project like in example above.
• My Rooms film strip with all available rooms.  Can be filtered by Project like in example above.

After a View is saved, it can be found in My Views.  Each newly created View thumbnail will look similar to the one below.  You can add or remove the view from Projects by clicking on the file folder icon or email the view using the letter icon.  Although artworks can be shared in many ways, for privacy reasons, Views can only be emailed.

*****

To see all available FAE Design Blog Posts,  jump to the Design Blog Table of Contents.

To see all available FAE Collector Blog Posts, jump to the Collector Blog Table of Contents.

Sign up with FAE to receive our newsletter, and never miss a new blog post or update! 

Browse fine artworks available to purchase on FAE.  Follow us on FacebookInstagram, or Twitter to stay updated about FAE and new blog posts.

For comments about this blog or suggestions for a future post, contact Kevin at [email protected].

Other FAE informational posts you may find helpful:
Fine Art Insurance 101Broken sculpture

 

An image of a painting carefully placed in the back seat of a carPractical Tips for Safely Transporting Artwork
An image of artworks carefully placed on on a bedTemporarily Storing Artwork: A Case Study
an image of a wall of shelves holding print boxesFour Artwork Storage Solutions
Hanging and Framing FAQ’s
outdoor image of a line of figure sculptures with arms raisedSiting Sculpture, Part One: Overview

 

facade of a modern house with a round sculpture sited in the front yardSiting Sculpture: Part Two, A Case Study
image of a wall of frame samplesThe Importance of a Proper Frame

 

an image of a graphic showing the entire spectrum of viable and non-visible lightWhen to Use UV Control Glazing
Two images showing an image of a flower behind reflective and reflection free glassReflection on the Problem of Reflections

 

Will It Work In My Space?

By using augmented reality technology, the  FAE iOS App makes it easy for you to answer that question:

There are many ways to determine if an artwork will physically and visually fit a specific space in a home or office.  After determining if the work will physically fit the space by measuring, and for those who are more visual cutting out cardboard to size, the best way to determine if it will visually fit is to try it.  This method often takes a lot of time and money.  It may involve approval paperwork, shipping and installation expenses, and any additional steps to return the artwork after finding out that it does not suit you.

Knowing these issues and what it takes to physically try an artwork, FAE has developed an iOS app with tools that allow you to see an artwork from the FAE website virtually in your space, without cost.

1.  Download the FAE iOS App on your iPhone or iPad.

FAE Mobile Target

2.  Print out the FAE Mobile App Target.

3.  Place the target on the wall where you want to see the artwork.

Place the Target where an Artwork is Desired

4.  Open the FAE App and Sign In to your FAE account.

FAE App Sign In Pages

5.  Choose Live View from the main menu and then select Choose Art from ArtTracker.

FAE App Main Menu                                                              FAE LIve View Options

6.  Select an artwork you have placed in ArtTracker and then click the Live View button at the bottom of the My Art page.

Works in ArtTracker will be listed – Select one            Review and Select Live View

7.  Hold up phone to see the target through the screen of your device.

Demonstration showing an artwork image in the view screen superimposed over the Mobile App Target.

View the target through the screen of your phone to see your chosen artwork image superimposed over it rendered to scale and in perspective.  Capture the AR image you see to create a View, name it, and then FAE provides the option to either immediately upload it to My Views, or to create a new Project, assign it to the new View, and then upload it to the website.  It also provides the option for you to either email the View you have created from the app, or later from the website, to your designer, consultant, or significant other.

If you would like to view a video demo of how the FAE Mobile App works, click here.  Since the video was produced, the app has been enhanced to allow you to create and name a new Project during the View’s upload to the website.

Have fun!

*****

To see all available FAE Design Blog Posts,  jump to the Design Blog Table of Contents.

To see all available FAE Collector Blog Posts, jump to the Collector Blog Table of Contents.

Sign up with FAE to receive our newsletter, and never miss a new blog post or update! 

Browse fine artworks available to purchase on FAE.  Follow us on FacebookInstagram, or Twitter to stay updated about FAE and new blog posts.

For comments about this blog or suggestions for a future post, contact Kevin at [email protected].

Other FAE informational posts you may find helpful:
Fine Art Insurance 101Broken sculpture

 

An image of a painting carefully placed in the back seat of a carPractical Tips for Safely Transporting Artwork
An image of artworks carefully placed on on a bedTemporarily Storing Artwork: A Case Study
an image of a wall of shelves holding print boxesFour Artwork Storage Solutions
Hanging and Framing FAQ’s
outdoor image of a line of figure sculptures with arms raisedSiting Sculpture, Part One: Overview

 

facade of a modern house with a round sculpture sited in the front yardSiting Sculpture: Part Two, A Case Study
image of a wall of frame samplesThe Importance of a Proper Frame

 

an image of a graphic showing the entire spectrum of viable and non-visible lightWhen to Use UV Control Glazing
Two images showing an image of a flower behind reflective and reflection free glassReflection on the Problem of Reflections

 

Welcome to FAE!

THE MOST DEMOCRATIC & TRANSPARENT WAY TO BUY & SELL ART THERE IS…

My name is Kevin Vogel, founder of Artist Estate, Inc. and owner of the e-commerce website FineArtEstates.com (FAE).   I come from a family of art dealers.   My parents, Margaret and Donald Vogel started Valley House Gallery in North Dallas in 1954, making it the oldest continuously operating modern art gallery in Texas.  It is uniquely situated on 4.3 acres of beautifully landscaped sculpture garden that is open to the public during gallery hours.  I haveimg_7756 been working with the gallery since 1974 and Cheryl and I have been running it for well over 30 years.  The gallery originally handled Impressionist, Post-Impressionist, Modern, and Contemporary art.  Recently, our interests have focused on the Contemporary and late 20th Century.

About 5 years ago, a dear friend of our family and an artist, passed away in California.  She had been moderately successful over her career but left a very large estate of artwork.  Her husband called me several weeks after she had passed and asked the question; “How do I sell all of this art?”  Even though I had been dealing with art and artists for over 35 years at the time, and had represented and promoted artist estates, I realized that I did not have a good answer for our friend.

Artists, whose reputations warrant a foundation looking after their art, or who have a gallery representing their estate, are the lucky ones.   Most do not have a Dealer to strategically promote and place their artwork through direct sales and/or by auction and those who do are dependent on the performance and honesty of the agents involved.  No matter how good or well-intentioned a Dealer or auction house might be, the one missing element in both (because of their inherent business structures) is transparency.

With few exceptions, artists, estate attorneys, trust officers, or those with the fiduciary responsibly of overseeing an estate of artwork are woefully unprepared to deal with art-related estate issues on their own.  For many reasons, an artist’s intellectual property often ends up in long term storage where it instantly becomes a depleting asset.

By observing and being a part of these processes myself for over 40 years, I am keenly aware of most of the issues artists and collectors face.  So, I decided to devise a solution that would provide both with a way to thoughtfully monetize their artistic assets in a timely manner, while providing all involved a maximum level of transparency.  An ecommerce site seemed the most logical solution.

Conceptually, I wanted the site to:

  • Remedy the problems inherent in most other ways of selling art, on- or offline
  • Make the process as turn-key as possible for the artist, collector, or their heirs
  • Provide every consigner 24/7 access to status information about their artwork
  • Make the transition process to an estate representative as seamless as possible
  • Archive all biographic information and images of sold works as an ongoing historical resource
  • Devise a system of selling that is democratic, and that practically guarantees each work of art will sell
  • Provide Buyers with tools that will make finding, tracking, and acquiring art simple
  • Provide professionals with special tools to create multiple “Projects” that facilitate their ability to service their clients’ fine art needs
  • Create a system of alerts that will provide each buyer timely artwork-specific information
  • Allow a search to be saved, re-run on a schedule, and alert a Buyer when new works that meet the search criteria have been added to the site
  • Provide a system for a Buyer to virtually see what an artwork will look like in their space
  • Provide everyone involved the highest level of transparency possible

With the help, guidance and support of a great many people, the FAE team has developed what I believe to be the most democratic and transparent way of selling fine art devised so far; meeting or exceeding each of the goals we set out to achieve when creating FAE.

Personally, the 5 years I’ve spent working on this project have been the most challenging and exciting I have had as a dealer in fine art.  The FAE project has created a safe and transparent conduit for artists to monetize their artistic assets while protecting and preserving their artistic legacy.   It has also provided the collector with an unequalled level of transparency and comfort in knowing their collection will sell for its true market value.

Kevin Vogel

President

Artist Estate, Inc.

[email protected]

*****

For more information about how to get the most out of the FAE website, visit these other blog posts:

See art on your wall with the app.Announcing the FAE App, now available from iTunes!
Image showing the FAE app on the apple App StoreWill It Work in My Space?

 

Composite image showing how a presentation can be made from FAE dataAnatomy of a View

 

Image showing painting over fireplaceCreating Stunning Presentations with FAE

 

Click here to see a Table of Contents for all of our Design Blog Posts.

We appreciate your input.  If you have any suggestions for a future post or ways we can make FAE even better, contact Madeleine at [email protected].

Sign up with FAE to receive our newsletter, and never miss a new blog post or update! 

Browse fine artworks available to purchase on FAE here.  Follow us on FacebookInstagram, or Twitter to stay updated about FAE and new blog posts.

Visit FAE’s Collections Blog here to learn more about artworks available on FAE.