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Open edition means it is not a numbered piece of artwork. This term is usually used in printed art. A poster is typical example of open edition artwork.

Any type of artwork that is released in a numbered edition. Also, limited edition artwork is typically hand signed as well. But, there are variations to the signature. For example, the edition may be signed by a spouse if the artist has deceased. The print may be considered limited edition but is a facsimile signature. Which means the artwork was not signed by the artist after being printed but was printed as the artwork was. There is usually a hand written number that was added after being printed and the edition size was determined. There is also a time release limited edition. This method is fortunately not seen very often. This was considered legal but shady. Here�s how it worked. The publisher would announce a new release by an artist and advertise the image. Then, would work take orders for a specified time. Once the dead line was reached they would call the edition size the number of pieces that were pre-sold. The last time released edition that I�m aware of was 76,000. Keep in mind that most open edition posters aren�t printed in that kind of quantity.

An example of a numbered print looks like this 50/200. The first number is the number in the edition of that piece and the second number is the size of the edition. Keep in mind that in some situations there are more pieces than the second number may indicate. Other pieces in the edition may include prints such as printer proofs, artist proofs, museum edition and samples for sales people or promotion. Most reputable artist and publishers will make you aware of the total edition size. This will be indicated on the certificate of authenticity.

Not necessarily, some artist sign their art to give a more personal or valuable appearance. Right or wrong if the image is not numbered it is still an open edition piece that may happen to have a signature on it. The exception to this is if it is the one and only or it is the original piece that a numbered edition is reproduced from. Then, there would not be an edition number. Some artist may put 1/1 on the art to indicate that it is the original piece. Another example is an artist may sign a piece of artwork at a gallery reception.

This could be an open edition piece that was intended to simply be an announcement of the artist�s show. Depending on the artist, a piece like this could actually end up being valuable some day.

Simply put, it is like the registration to you car. It will typically indicate the artist name, and where it was published, the medium, the number of that specific piece and the edition size, the date and any other pertinent information about the art. It will also, usually be signed by the artist and or publisher. Many times there will also be an embossed seal. There are as many types and styles of certificates as there are art.

Keep in mind that it is not suggested to keep the certificate with the artwork. Store the certificate with your other important papers. If you should have a loss you can show the certificate of authenticity for proof of ownership to your insurance company. Which brings up insurance. If you own any artwork of significant cost or importance it should always be scheduled on your insurance policy. Also, if you have bought the art as an investment, get a current appraisal from time to time to see if there has been an increase in value. Adjust your coverage accordingly. If you have replacement value you may be okay. None the less art value can be hassle when it comes to a loss.

Your artwork will always be shipped in the safest and most economical way possible. Unframed artwork will be shipped in a very strong tube. Framed art will be shipped in a corrugated custom made box with plenty of protective padding. Framed or stretched canvas will either be shipped in a corrugated box or if necessary a wooden crate. This will be determined based on size and value of the art.

We have had the best success with UPS. Most deliveries are sent the best way. Oversize shipments or crates that have to go freight will be shopped to find the best deal for you.

A litho is very similar to the kind of printing used in magazines. Done on a printing press all colors are printed at the same time in a very tiny dot pattern. There are other types of lithos, such as stone lithos but are not as popular.

A serigraph is a screen type printing where each color is usually printed one at a time. Some serigraphs may have over a hundred different colors that are printed one color at a time then dried over and over again. This is a very time consuming and expensive process.

This is a serigraph that has been retouched by the artist after it has been printed.

adding more to the image than was in the actual serigraph. Embellishing makes the serigraph more original and are unique to each other.

Derived from the French word meaning to squirt or to spray. A giclee� is an inkjet printed image and can be done on paper as well as canvas. Don�t be mislead by what you may think of an inkjet print. Good giclee�s are done on very sophisticated printers and the ink is very expensive. Usually with a UV blocker or UV coating applied to keep them color fast for years. The basic difference between a giclee� and a serigraph or litho is the giclee� image is generated from a CD. This allows the artist better control of color correction and also means that the entire edition does not have to be printed all at once, which is extremely cost saving. The other interesting part is that as long as each image is reproduced in consecutive numerical order the size of the image can vary. This allows the artist to offer the same image in a variety of sizes to accommodate a larger audience. Just as the plates of a litho or the screens of a serigraph are destroyed when an edition is printed so is the CD used for a giclee�.

A canvas transfer is when a �decal� is made of a print. With glue, pressure and heat it is bonded to canvas. When finished it looks amazingly like an original work of art. Different textures of canvas can be selected to provide a variety of looks. We can provide canvas transfers on most of our products unless they have been protected by copyright.

Etchings are printed from a carving that has been done into wood, metal or linoleum. Ink is applied to the parts of the image that the artist wants to print and then it is applied to paper. Many times the artist will hand color the images after they have been printed.

Reflection control-(nonglare) no UV filter but no reflection. However, it does glare or appear frosty. Unlike the old nonglare, reflection control is only etched on one side which makes it 50% clearer than before but, will still glare at certain vantage points.

Conservation Reflection Control-looks just like Reflection Control but also has a 98% UV filter.

Museum Glass-has a 98% UV filter and is almost invisible. Museum Glass is pricey but is the best glass to date.

Plexiglas- comes in a variety of finishes and thicknesses. Most Plexiglas over time tends to yellow with age. Although good for certain applications the down side out weighs the benefits. And the only benefit is it won�t shatter. It will turn yellow, it will scratch easily and in larger pieces will convex away from the artwork. Don�t use only because of weight. The difference is nominal. Hang your picture correctly and you should avoid any problems .NOTE: many people use Plexiglas in commercial installations thinking that it is safer than glass. Reality is, besides the above mentioned problems it will burn. To be totally safe use tempered plate glass in commercial situation like hospitals where safety is of utmost.

If you are trying to achieve a look without any reflection do a canvas transfer as described previously.

No, oils and acrylics should never be cover with any type of glazing. Paintings must breath and covering them restricts this. The result could be cracking of the paint or flaking.

Essentially everything that is framed is mounted in one way or another. Most people think of dry mounting when mounting is mentioned. The method of mounting depends on the art medium. When dealing with open edition art such as posters and prints dry mounting or vacuum mounting is used. Dry mounting is done with a heat press and a glue sheet placed between the art and backing board. Before melting the sheet of glue looks like wax paper. Once the mount cools the art is bonded to the backing. Vacuum mounting can be done with a hot or cold vacuum mounting press. The glue can be either sprayed or rolled onto the backing board and placed in a vacuum press. The combination of glue and pressure caused by the vacuum, bond the two surfaces together.

The typical terms for mounting original art is museum or conservation mounting. Basically the art is suspended in a neutral PH environment within the frame. This can vary greatly depending on the type of art. Here are some simple guidelines.

4 if matting is not used a spacer is used to space the glass from the artwork An acid-free spacer is inserted along the perimeter of the glass.

5 hinge or tip mount paper art with acid-free tapes from the top only or use acid-free milar corners to suspend the paper at each corner.

7 When framing 3 dimensional art never use any type of glue that cannot be easily be removed with water and never apply glue to an arrear that can be stained.

Note: Whenever possible use nylon filament (fishing tackle) to wrap around the object in a place where it won�t be obvious or cause stress. The backing should be acid-free as well.

8 When framing articles of clothing never use any adhesives. If it cannot be stitched to an acid-free backing suspend it from a hanger or other noninvasive means.

Fitting simply means �labor or assembly� putting the framing �package� together.

Being on top of as apposed to being matted over-exposing the edge-visually seeing the entire piece of artwork-raised up from the backing.

This style of moulding is spaced or appears to be spaced away from the artwork, usually a stretched canvas.

The base coat of real leafing is usually red. It sometimes is black, white or green depending on the effect desired for the finish. If you look at the edge of the rabbit of the frame you can see the base coat color and loose pieces of leafing. If the gold is painted or foil wrapped you will not see a base coat or leafing pieces.

Look at the back of the moulding. Real wood will look like the front without a finish on it. However, many frames are veneered. Even though they are solid wood the front will look very different from the front but it will still look like wood. If the front appears to be wood and the back looks like dense particle board it is MDF. A manufactured wood-like material that is much cheaper that real wood. The front is most likely a wood look vinyl-wrap.

There is no mathematical formula for the correct height placement. Most people tend to hang art too high. Lower is better. If your 6�5� you will hang a picture higher than someone 5�6�. So who is right? Here are some guidelines, keep pictures tighter to furniture than too far, rule of thumb; 4� to 8� over a sofa should be about right. If you are hanging on a very high wall keep the distance above the picture larger on top than the bottom.

This should really hold true in most situations. If you are totally unable to figure it out most cities have professional art installation companies. Your local gallery or framer should be able to help.

Always store in a cool dry place with a constant temperature and humidity. Never store art in your basement.