The mass marketing of fine art reproductions and art prints to multiple collectors has been a hotly debated topic since its inception in the late 19th century. The development of lithography in 1798 by Alois Senefelder created the potential to make duplicate art creations; however, it took another hundred years of extensive technical developments before quality reproductions could be produced.
These advances in lithography were combined with art dealers’ growing awareness that a new, untapped (and highly profitable) market for art had opened up, while a work of art could be sold over and over again, exponentially inflating prices. profits and exposure for both the dealer and the artist. which attracted even more collectors from all over America and Europe.
The intrinsic value of an art print, and its subsequent appreciation in financial value, was a fortuitous event that occurred with the almost immediate induction of limited edition prints: I’m sure dealers would have liked to create endless runs of art prints based on every popular original in his possession, but technical limitations (the copper and zinc printing plates gradually wore away) forced a production limit, as eventually the quality of each print deteriorated.
Except in rare cases, an art print has never and never will have the high collectible value of an original painting and the use of limited editions (usually a print run of 1000 prints or less and each individually numbered) compensates for this problem. to some extent by creating inflated value using the old marketing strategy of supply versus demand. There is a segment of the population that will purchase an art print simply because they enjoy the look of that particular piece and want to hang it on their wall for personal enjoyment. The rest consider themselves modest or serious art collectors and want a piece that they not only appreciate visually, but also has investment potential.
It’s human nature to strive to own something your neighbors don’t, and this desire can only be satisfied by offering your customers rare and exclusive items: in this case, ending a print run at a certain point and selling those numbered copies as limited. . editions. It goes without saying that the smaller the edition, the more valuable the series: Less is more in this case. It is up to the individual artist to weigh potential financial gain against distribution numbers and decide on a reasonable and attractive total number of copies to release in each edition.
The modern technology of the 21st century has muddied the waters a bit, merging the once distinct lithographic quality art print into the realm of fine art reproduction. Originally shunned by purists, artwork recreated using high-end inkjet printers has finally become a reality, now widely accepted by the public and art dealers alike due to its understandable practicality and extreme level of detail. artistically represented. Again, to maintain its appeal and create intrinsic value and investment potential, artists rely on the practice of limited editions.
The modern world offers a bright future for the advancement and distribution of fine art prints, something that previous generations could never have predicted. Telecommunications are the artist’s best friend, opening up vast international consumer markets previously unavailable to his predecessors in the late 19th century.
Following non-traditional routes, there is a growing market for limited edition art prints in public areas such as lobbies and executive offices and as high-end gifts, where the giver wants to make an impression at specific major events, passing on their sophisticated taste and knowledge of the viability for the growth of the investment for the receiver.
All of this may seem appealing to the novice artist, but it must be emphasized that, when it comes to limited edition prints, the artwork does not stand alone to be judged strictly on its own merits. The artist is just as (perhaps more) important than the art print, as an art print is only as valuable as the reputation that precedes the name scrawled on the corner of the canvas.
A limited edition art print produced by a highly regarded and successful artist is far more valuable than an original painting by an obscure or up-and-coming talent. You may have great potential as a painter, but today, successfully promoting yourself is the key to adding long-term value to your work and creating the opportunity for your limited edition pieces to be sought after, not just for their obvious looks. . the beauty and technical application presented by the artist, but for the consumer investment opportunities presented years in the future.
You need to develop an attitude of full disclosure, exposing your process and thus allowing art buyers and dealers to understand that you are fully involved in the preparation of each piece (the more hands-on, the better) and invested in the final artistic result. Being aware of the technical involvement of the artist gives the art buyer the confidence to invest their time and money in you, with the added advantage that an ongoing relationship between artist and collector will develop and spread to other parties in the circles. of the buyer.
If you, as an artist, are seriously considering making fine art a long-term, self-sufficient occupation, you will need to reflect on the benefits of creating fine art prints, and then lay out a plan of action that will enable you to compete on both a national and international scale. world. You are an artist, but also a seller. Gone are the days of the penniless and tortured painter, creating great works of art in the dark and lamenting a cold and cruel world that still does not fully understand his genius. You have the tools and the opportunities: Time to get down to business.