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Art, Giclees, Prints, Sculpture

 

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Copyright ® 2014 GicleeLTD.com  | Division of SoutheasternColor Lithographers, Inc. All rights reserved

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Featuring "The Guardian"

Artist James Darnell

Limited Edition Lithograph

» Below are only a few of the 100's of Limited Edition and Giclee art prints  we have reproduced for clients. If you are interested in purchasing any of the following, we would be pleased to put you in touch with the artist and or the publisher. Leave us a note in the Contact form.

195 Newton Bridge Road, Athens, Georgia 30607

100% Archival Papers

Fade Resistant Inks

 

800-282-7000  /  706-546-5542

Available from GicleeLtd.com

Unframed $75, Framed $225

100% Archival Paper

Limited Edition Lithograph

Signed and Numbered

Annie Laurie Dodd, Artist, in her Athens, Georgia, studio, adding finishing touches to her latest watercolor painting. Mrs. Dodd recently completed a series of paintings reproduced as Giclees, signed and numbered as a series of 125 each of four,  commissioned by the Ladies' Garden Club. The Giclees were released to commemorate the Garden Club's 125th year as a fundraiser and are titled "Iris," "Rose," "Daffodil," and "Sasanqua."

The four Giclees have been judged as "Best of Category" in the 2013 Print Excellence Awards presented by the Printing and Imaging Association of Georgia.

» Limited Edition Giclees

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» How to sell your art

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» GA Limited Edition Art Reproduction Act

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» Number of Prints in the Edition

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» Remarque, Sign and Number

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» Handling Giclees, Framing, 100% Cotton

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» Keeping Track of Your Edition

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» Consumer Protection Laws

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Consumer Protection Law

GEORGIA  LIMITED  EDITION  ART  REPRODUCTION  ACT

California became the first state to regulate the sale of limited edition art prints with the "California Print Law" of 1971. The state of Illinois later expanded on the California statute. However, it was not until 1986 that more comprehensive provisions, still in place today, were enacted with the passage of the "Georgia Print Law." That law became the template for statutes subsequently enacted by other states.

The Georgia Print Law written by (former) State Representative Chesley V. Morton, became effective July 1, 1986. The law requires art dealers, artists, or auctioneers to supply information to perspective purchasers about the nature of the print, the number of prints and editions (including HC editions) produced, and the involvement (if any) of the artist in the creation of the print. The penalty for violation of the law ranges from simple reimbursement to treble damages, in the case of a willful violation. Those found to be in violation of the law are also liable for court costs, expenses, and attorney fees. The law applies to works of art valued at more that $100.00 (not including frame). Charitable organizations are specifically exempt from the provision of the law. The statute of limitations is one year after discovery, and, if discovery of the violation is not made within three years of the sale, then the purchaser’s remedies are extinguished.

 

INTRODUCTION

The Limited Edition law which follows was enacted by the Georgia Legislature and became effective July 1, 1986. With the exception of a technical amendment in 1992, its provisions remain in full force and effect. The increased activity by the art collecting public in the purchase of fine art multiples during the last two decades led to the development of standards by print curators which then became the basis for the California Print Law passed in 1971. Subsequently, an Illinois Statute was passed which expanded upon the California Print Law. These statutes gave rise to the Georgia law. They are essentially full disclosure laws requiring vital information to be given to the purchaser putting them on an equal playing field. This kind of disclosure helps the purchaser avoid fakes, forgeries, unlimited editions and misstatements of information that may go to the scarcity and value of the limited edition artwork.

In summary, the Georgia law creates specific definitions applicable to multiples and obligates the art dealer, artist or auctioneer to supply this information to a perspective purchaser. The statute includes specific language which is required to be reproduced in advertising or at point of purchase. The remedies section of the Georgia statute allows a purchaser to recover the cost of the print with interest at the legal rate upon the return of the multiple in the same condition as when received. For willful violations, treble damages are available. The statute of limitations is one year after discovery, and, if discovery of the violation is not made within three years of the sale, then the purchaser’s remedies are extinguished. The Georgia statute also provides for the recovery of court costs, attorneys’ fees and, uniquely, expert witness fees. The purchaser retains all of his common law rights to proceed against the seller under traditional breach of warranty or fraud, or other applicable statutes. It is recommended that those potentially affected by this law should read the specific provisions of the statute.

GEORGIA LIMITED EDITION ART REPRODUCTION ACT

10-1-430. Definitions.

As used in this part, the term:

(1) “Art dealer” means a person who is in the business of dealing exclusively or non-exclusively in fine art multiples, a person who by his occupation holds himself out as having knowledge or skill peculiar to fine art multiples or persons to whom that knowledge or skill may be attributed by his employment of an agent or other intermediary who by his occupation holds himself out as having that knowledge or skill, or an auctioneer who sells fine art multiples at public auction. The term shall not include consignors or principals of auctioneers unless such consignor or principals are otherwise specifically defined as art dealers by this paragraph.

(2) “Artist” means the person who created the image which is contained in or constitutes the master or who conceived of and approved the image which is contained in or constitutes the master.

(3) “Fine art multiple” or “multiple” means any print, positive or negative photograph, or similar art object produced in more than one copy. The term includes pages or sheets taken from books or magazine but shall not include books or magazines.

(4) “Limited edition” means fine art multiples produced from a master all of which are the same image and which bear numbers or other markings to denote the limited production thereof to a stated maximum number of multiples or which are otherwise held out as limited to a maximum number of multiples.

(5) “Master” means a printing plate, stone, block, screen, photographic negative, or other device which contains an image and is used to produce fine art object in multiples.

(6) “Person” means an individual, partnership, corporation, association, or other entity.

(7) “Print” means a multiple produced by, but not limited to, engraving, etching, woodcutting, lithography, and serigraphy and a multiple produced or developed from photographic negatives.

(8) “Proofs” means multiples which are the same as and which are produced in a limited edition from the same master as the multiples but which, whether so designated or not, are set aside from and are in addition to the limited edition to which they relate.

(9) “Signed” means autographed by the artist’s own hand, and not by mechanical means of reproduction, after the multiple is produced.

(10) “Written Instrument” means a written or printed agreement, bill of sale, invoice, certificate of authenticity, catalog, note, memorandum, or label describing a multiple which is to be sold, exchanged, or consigned by an art dealer.

10-1-431. Advertising and sale of multiples.

(a) An art dealer shall not sell or consign a multiple in, into, or out of this state unless a written instrument is furnished to the purchaser or consignee prior to the sale or consignment which sets forth as to each multiple the descriptive information required by Code Section 10-1-432. If a prospective purchaser so requests, the information shall be transmitted to him prior to the payment or placing of an order for a multiple. If payment is made by a purchaser prior to delivery of such a multiple, this information shall be supplied at the time of or prior to delivery. With respect to auctions, this information may be furnished in catalogs or other written materials which are made readily available for consultation and purchase prior to sale, provided that a bill of sale, receipt, or invoice describing the transaction is then provided which makes reference to the catalog and lot number in which this information is supplied. Information supplied pursuant to this subsection shall be clearly, specifically, and distinctly addressed to each of the items listed in Code Section 10-1-432 unless the required data is not applicable. This Code section is applicable to transactions by and between art dealers and others considered to be art dealers for the purposes of this part.

(b) (1) An art dealer shall not cause a catalog, prospectus, flyer, or other written material or advertisement to be distributed in, into, or from this state which solicits a direct sale, by inviting transmittal of payment for a specific multiple, unless it clearly sets forth, in close physical proximity to the place in such material where the multiple is described, the descriptive information required by Code Section 10-1-432. In lieu of this required information, the written material or advertising may set forth the material contained in the following quoted passage, or the passage itself, if the art dealer then supplies the required information prior to or with delivery of the multiple. The nonobservance of the terms within the following passage shall constitute a violation of this part:

“Georgia law provides for disclosure in writing of information concerning certain fine prints and photographs prior to effecting a sale of them. This law requires disclosure of such matters as the identity of the artist, the artist’s signature, the medium, whether the multiple is a reproduction, the time when the multiple was produced, use of the plate which produced the multiple, and the number of multiples in a ‘limited edition.’ If a prospective purchaser so requests, the information shall be transmitted to him prior to payment or the placing of an order for a multiple. If payment is made by a purchaser prior to delivery of the multiple, this information will be supplied at the time of or prior to delivery, in which case the purchaser is entitled to a refund if, for reasons related to matter contained in such information, he returns the multiple in the condition in which received within 30 days of receiving it. In addition, if after payment and delivery, it is ascertained that the information provided is incorrect, the purchaser may be entitled to certain remedies, including refund upon return of the multiple in the condition in which received.”

(2) This requirement is not applicable to general written material or advertising which does not constitute an offer to effect a specific sale.

(c) In each place of business in the state where an art dealer is regularly engaged in sales of multiples, the art dealer shall post in a conspicuous place, a sign which, in a legible format, contains the information included in the following passage: “Georgia law provides for the disclosure in writing of certain information concerning prints and photographs. This information is available to you, and you may request to receive it prior to purchase.”

(d) If an art dealer offering multiples by means of a catalog, prospectus, flyer, or other written material or advertisement distributed in, into, or from this state disclaims knowledge as to any relevant detail referred to in Code Section 10-1-432, he shall so state specifically and categorically with regard to each such detail to the end that the purchaser shall be able to judge the degree of uniqueness or scarcity of each multiple contained in the edition so offered. Describing the edition as an edition of “reproductions” eliminates the need to furnish further informational details unless the edition was allegedly published in a signed, numbered, or limited edition, or any combination thereof, in which case all of the informational details are required to be furnished.

(e) Whenever an artist sells or consigns a multiple of his own creation or conception, the artist shall disclose the information required by Code Section 10-1-432, but an artist shall not otherwise be regarded as an art dealer.

10-1-432. Descriptive information.

(a) Except as provided in subsections (c), (d), and (e) of this Code section, the following information shall be provided as required by Code Section 10-1-431:

(1) The name of the artist;

(2) If the artist’s name appears on the multiple, a statement whether the multiple was signed by the artist; or if the multiple was not signed by the artist, a statement of the source of the artist’s name on the multiple, such as whether the artist placed his signature on the multiple or on the master, whether his name was stamped or estate stamped on the multiple or on the master, or was from some other source or in some other manner placed on the multiple or on the master;

(3) A description of the medium or process, and where pertinent to photographic processes, the material used in producing the multiple, such as whether the multiple was produced through the etching, engraving, lithographic, serigraphic, or a particular method or material used in photographic developing processes. If an established term, in accordance with the usage of the trade, cannot be employed accurately to describe the medium or process, a brief, clear description shall be made;

(4) If the multiple or the image on or in the master constitutes a photo-mechanical or photographic type of reproduction of an image produced in different medium, for a purpose other than the creation of the multiple being described, a statement of this information and the respective mediums;

(5) If paragraph (4) of this subsection is applicable, and the multiple is not signed, a statement whether the artist authorized or approved in writing the multiple or the edition of which the multiple being described is one;

(6) If the purported artist was deceased at the time the master was made which produced the multiple, this shall be stated;

(7) If the multiple is a “posthumous” multiple, that is, if the master was created during the life of the artist but the multiple was produced after the artist’s death, this shall be stated;

(8) If the multiple was made from a master which produced a prior limited edition, or from a master which constitutes or was made from a reproduction of a prior multiple or the master which produced the prior limited edition, this shall be stated as shall the total number of multiples, including proofs, of all other editions produced from that master;

(9) As to multiples produced after 1949, the year or approximate year the multiple was produced shall be stated. As to multiples produced prior to 1950, state the year, approximate year, or period when the master was made which produced the multiple and when the particular multiple being described was produced. The requirements of this paragraph shall be satisfied when the year stated is approximately accurate;

(10) Whether the edition is being offered as a limited edition, and if so the authorized maximum number of signed or numbered impressions, or both, in the edition; the authorized maximum number of unsigned or unnumbered impressions, or both, in the edition; the authorized maximum number of artist’s, publisher’s, or other proofs, if any, outside of the regular edition; and the total size of the edition; and

(11) Whether or not the master has been destroyed, effaced, altered, defaced, or canceled after the current edition.

(b) If the multiple is part of a limited edition and was printed after July 1, 1986, the statement of the size of the limited edition, as stated pursuant to paragraph (10) of subsection (a) of this Code section, shall also constitute an express warranty that no additional multiples of the same image, including proofs, have been produced in this or in any other limited edition.

(c) If the multiple was produced in the period 1950 to July 1, 1986, the information required to be supplied need not include the information required by paragraphs (5) and (8) of subsection (a) of this Code section.

(d) If the multiple was produced in the period from 1900 to 1949, the information required to be supplied need only consist of the information required by paragraphs (1), (2), (3), and (9) of subsection (a) of this Code section.

(e) If the multiple was produced before the year 1900, the information to be supplied need only consist of the information required by paragraphs (1), (3), and (9) of subsection (a) of this Code section.

10-1-433. Warranties.

(a) (1) Except as provided in paragraph (2) of this subsection, whenever an art dealer furnishes information as required by Code Section 10-1-432, such information shall be a part of the basis of the bargain and shall create express warranties as to the information provided. Such warranties shall be not be negated or limited because the art dealer in the written instrument did not use formal words such as “warrant” or “guarantee” or because the art dealer did not have a specific intention or authorization to make a warranty or because any required statement is or purports to be the art dealer’s opinion. The existence of a basis in fact for information warranted by virtue of this subsection shall not be a defense in an action to enforce such warranty.

(2) With respect to photographic multiples produced prior to 1950 and other multiples produced prior to 1900, the information required by paragraph (3) of subsection (a) of Code Section 10-1-432 shall be deemed to be correct if a reasonable basis in fact exists for the information provided.

(b) When information is not supplied, this shall constitute the express warrant that such information is not required to be disclosed.

(c) Whenever an art dealer disclaims knowledge as to a particular item about which information is required, such disclaimer shall be ineffective unless clearly, specifically, and categorically stated as to the particular item and contained in the physical context of other language setting forth the required information as to a specific multiple.

10-1-434. Remedies not inclusive.

(a) The rights, liabilities, and remedies created by this part shall be construed to be in addition to and not in substitution, exclusion, or displacement of other rights, liabilities, and remedies provided by law.

(b) Whenever an artist sells or consigns multiples of his own creation, the artist shall incur the obligations prescribed by this part for an art dealer.

(c) An artist or merchant who consigns a multiple to an art dealer for the purpose of effecting a sale of the multiple shall have no liability to a purchaser under this part if such consignor, as to the consignee, has complied with the provisions of this part.

(d) When an art dealer has agreed to sell a multiple on behalf of a consignor who is not an art dealer or when an artist has not consigned a multiple to an art dealer, but the art dealer has agreed to act as the agent for an artist for the purpose of supplying the information required by this part, such art dealer shall incur the liabilities of other art dealers prescribed by this part to purchaser.

(e) When an art dealer is liable to a purchaser pursuant to the provisions of this part, as a result of providing information in the situations referred to in this Code section, as well as when such an art dealer purchased such a multiple from another art dealer, if the art dealer can establish that his liability results from incorrect information which was provided by the consignor, artist, or art dealer to him in writing, and the art dealer who is liable in good faith relied on such information, the consignor, artist, or art dealer shall similarly incur such liabilities as to the purchaser and such art dealer.

10-1-435. Civil remedies for violations.

(a) An art dealer, including a dealer consignee, who offers or sells a multiple, into, or from this state without providing the information required in Code Sections 10-1-431 and 10-1-432 or who provides information which is mistaken, erroneous, or untrue, except for harmless errors such as typographical errors, shall be liable to the purchaser of the multiple. The art dealer’s liability shall consist of the consideration paid by the purchaser for the multiple, with interest at the legal rate thereon, upon the return of the multiple in the condition in which received by the purchaser.

(b) In any case in which an art dealer, including a dealer consignee, willfully offers or sells a multiple in violation of this part, the person purchasing such multiple may recover from the art dealer, including a dealer consignee, who offers or sells such multiple an amount equal to three times the amount required under subsection (a) of this Code section.

(c) No action shall be maintained to enforce any liability under this Code section unless brought within one year after discovery of the violation upon which it is based and in no event more than three years after the multiple was sold.

(d) In any action to enforce any provision of this part, the court may allow the prevailing purchaser the costs of action together with reasonable attorneys’ and expert witnesses’ fees. In the event, however, the court determines that an action to enforce was brought in bad faith, it may allow such expenses to the seller as it deems appropriate.

(e) These remedies shall not bar or be deemed inconsistent with a claim for damages or with the exercise of additional remedies otherwise available to the purchaser.

(f) In any proceeding in which an art dealer relies upon a disclaimer of knowledge as to any relevant information set forth in Code Section 10-1-432 for any time period, such disclaimer shall be effective unless the claimant is able to establish that the art dealer failed to make reasonable inquiries, according to the custom and usage of the trade, to ascertain the relevant information or that such relevant information would have been ascertained as a result of such reasonable inquiries.

10-1-436. Civil penalties; injunctions.

(a) Whenever the Attorney General or any district attorney has reason to believe that any person is violating any provision of this part, he may bring an action against such person to restrain or enjoin continued violations. With the exception of consent judgments entered before any testimony is taken, a final judgment under this Code section is admissible as prima facie evidence of such specific findings of fact as may be made by the court which enters the judgment in subsequent proceedings by or against the same person or his successors or assigns.

(b) Any person who violates any provision of this part may be liable for a civil penalty not to exceed $500.00 for each violation. Such penalty may be assessed and recovered in a civil action brought by the Attorney General or any district attorney.

10-1-437. Exemptions.

(a) This part shall not apply to any fine art multiple when offered for sale or sold at wholesale or retail for $100.00 or less, exclusive of any frame.

(b) Any charitable organization which conducts a sale or auction of fine art multiples shall be exempt from the disclosure requirements of this part if it posts in a conspicuous place, at the site of the sale or auction, a disclaimer of any knowledge of the information specified in Code Section 10-1-432 and includes such a disclaimer in a catalog, if any, distributed by the organization with respect to the sale or auction of fine art multiples. If a charitable organization uses or employs an art dealer to conduct a sale or auction of fine art multiples, the art dealer shall be subject to all disclosure requirements otherwise required of an art dealer under this part.

Helpful Tips on Printing, Proofing, Signing & Numbering Prints

Limited Edition Giclees and Lithographs

Limited edition prints, also known as LE’s, have been standard in printmaking since the nineteenth century. Today limited editions can be found in quantities as many as two or 1,000. Limited edition archival inkjet prints are more commonly below 250 per edition, while Limited Edition Lithographs are usually 500 to 1,000 prints. Given today’s art market, smaller editions are more common, as it is assumed the lower the  number in the edition, the more valuable and collectible the limited editions are likely to be. LE’s are carefully produced directly from the original work and printed under the artist’s supervision.

A limited edition is normally hand signed and numbered by the artist (e.g. 19/125) with exception that the artist is deceased or lives a great distance from the printmaker. In this case, the LE often includes a Certificate of Authenticity, signed by the artist, their estate, and/or the Master Printmaker.

 

How to sell your Limited Edition Art & Photography

Suggestions to consider when marketing your limited editions: First, plan on signing and numbering your art, giclees, and photographs so the buyer will appreciate a higher value-limited edition, plus enjoying your art and getting to know you. Prepare a printed card to introduce yourself and your work.  Bookstores, potteries, and frame galleries will help you market by allowing you to display cards on their counter. Have the cards attractively printed  5.5" x 8.5" on a 100 lb. dull coated cover like Hanno Art, for example. Also, mail the cards to previous purchasers or interested parties, and hand them out as you would a business cards.

Your second goal will be to help others raise money through your art which in return helps you sell your work. Banks, botanical gardens, charitable foundations, churches, country clubs, Rotary Clubs, city planners, magazines, trade shows, art galleries, schools, special events, etc., all need ways to attract new customers and welcome opportunities to raise money and or new customers.

Once you start thinking creative selling, many opportunities begin taking shape. Share your art at special events, auctions, and heavy traffic areas.

And we're always ready to assist with creative suggestions toward helping you market your work, as well as offering our expertise to assist in obtaining a return on your investment.

Number of Prints in the Edition

There’s no standard amount of prints. The Edition may include as few as 1 or 3, or as many as 1,000 or more. The artist should reflect on how the volume will affect the sale of your original works and consider that the smaller the edition, the higher price you can ask per print. Determine how many you think you can sell.

The Next Step - Artist’s Proof

The process of making an Artist’s Proof (a Printer’s Proof may also be made). This requires artwork to be scanned digitally. In the case of digitally created artwork provided by the artist, a high-resolution file (300 dpi at the intended print size) should be provided.

Once the Artist’s Proof is approved, a Production File is created for the Edition. This file has locked-in data pertaining to the color and density adjustments made during the proofing process. It also sets the print size, type, title, copyright and defines the border – the amount of white space – around the image. The Production File may also be tagged with additional information such as type of paper used and any special finishing options. Tight controls on the process to limit or eliminate variation in quality have become the norm.

Remarque

A remarque is a small original sketch done by the artist, often outside the actual image of the print. It may be in pencil, watercolor, or pen and ink. A remarqued print is more desirable to many serious art collectors. A remarque adds value to a print in that it then becomes one of a kind with the addition of the original artwork by the artist.

Signing Giclee Fine Art

Where you sign your Giclee prints is up to you. Traditionally a signature is put towards one of the bottom corners. The signature should flow as part of the painting/printing and not detract from it. The signature should be towards the bottom, but not too far down so that framing or matting hides it. Signing your work is a simple thing, but you should be consistent and careful in how and where you sign.

Numbering

Artists recognize the value of limiting the size of an edition and including the volume of the edition in the print number.  A numbered print is designed to show the limit or size of a print edition. The number is generally placed over the size of the edition. For example, 12/500 indicates that the print is number twelve out of an edition of 500. Lower numbers used to mean a sharper image, but with modern printing, the last print should be as sharp as the first.

The conventions for numbering prints are well-established, but other marks may indicate that a print has been made in addition to the numbered prints of an edition. Artist's proofs are marked "A. P." or "P/A", sometimes E. A. or E. d'A. (épreuve d'artiste); uniquely hand-altered prints are marked "unique"; prints that are given to someone or are for some reason unsuitable for sale are marked "H. C." or "H/C," meaning "hors de commerce," not for sale. These are usually prints reserved for the publisher, like Artist's Proofs. The printer is also often allowed to retain some proof impressions; these are marked "P. P." Finally, a master image may be printed against which the members of the edition are compared for quality: these are marked as "bon à tirer" or "BAT" ("good to print" in French).

Inspection

Each and every Giclee fine art print is personally inspected by the Print Maker as well as the inspection department prior to packaging and handing off to the artist.

Handling of the Giclee Fine Art

Don’t fold or crease the art print; permanent damage will occur. Don’t cut the prints. Don’t laminate the art. Handle the art only by its edges as moisture and oils from your skin can adversely affect the art print. To prevent discoloration, store Giclees in a cool, dark place. Keep prints away from high temperatures, high humidity, and direct sunlight. Giclees are created and designed for indoor use only. Don’t display art prints outdoors because the paper will be damaged by exposure to sunlight and atmospheric contaminants. If you need to transport the art prints, place them on a flat surface to prevent curling or warping, and avoid rubbing the printed area.

Framing

For maximum print longevity, we recommend displaying Giclees mounted under glass. This protects them from discoloration caused by exposure to air and extends the life of the paper and its inks. Use only 100% archival materials and UV plexi-glass or glass. Framing is a key element in displaying a work of art.

Our Giclees Are Printed on Professional Art Paper, Somerset Velvet

We select the highest quality 100% cotton for long term durability, acid free, mold-made paper, with a thickness of 19 mil, 255g/m paper. With a velvet surface for rich detail and accurate reproduction, Somerset® has always been the first paper choice among serious artists and printmakers.

Eight Color Archival Inks are Selected for all of our Giclees

Epson UltraChrome K3™ ink technology represents a turning point in the history of inkjet printing. Inspired by our past generations of pigmented ink technology, Epson's all new 8-color ink set incorporates three unique levels of black, which along with new color pigment technology, dramatically improves both color and black and white prints. Producing archival prints with amazing color fidelity, gloss level, and scratch resistance, while providing stable colors from the moment prints exit the printer.

Epson UltraChrome K3 ink has improved print permanence* characteristics that provide light-fastness ratings of up to 108 years for color and over 200 years for black and white under rigorous industry accepted display conditions. Epson UltraChrome K3 ink and Epson Genuine Media perform as a perfectly matched system that provides the best combination of quality output and longevity enabling the display and sale of prints to the most demanding clients.

*Print permanence ratings based on accelerated testing of prints on specialty media, displayed indoors, under glass. Actual print stability will vary according to printer, media, printed image, display conditions, light intensity, humidity, and atmospheric conditions. GicleeLtd and Epson does not guarantee longevity of prints. For maximum print life, display all prints under glass or properly stored.

Keeping Track of the Edition

As prints are sold against the Edition, it is the artist/publisher’s responsibility to log print sales and monitor the balance of the Edition still available. Determine how you will control the edition: you will need to keep track of each print number (e.g. “6 of 50″) as it is sold, and ideally the buyer’s details. In all cases, when an Edition is sold out, the Production File and all proofing files for that print are destroyed to ensure the integrity of the Edition.

The Master Printmaker destroys all working files and proofs used in the production of the Fine Art Giclee and submits a signed statement stating the number of prints and sizes produced for and delivered to the artist/publisher.

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