AP – See Artist’s Proof
Arabic Numbered Impressions - See Artist’s Edition
Artist’s Proof - is a part of the total edition, but not included in the Arabic numbered artist’s edition. This part of the edition is limited to a small percentage of the total edition and is usually retained by the artist. They are signed by the artist and are identified separate from
the rest of the edition with “Artist’s Proof” or “AP” and a number. R.C. would often set aside AP impressions for his collectors or close friends.

Artist’s Edition - is the largest part of an edition. These are made available to the general public through the artist or through representatives of the artist and sometimes referred to as the Commercial Edition. Impressions are signed and individually numbered using two Arabic Numbers separated by a slash to denote the artist’s edition size and the number within that edition. For example 25/225 would denote this piece is #25 of an edition of 225. The first number does not necessarily reflect the order in which the impressions were pulled from the press, only the order in which they were signed and numbered. The second number indicates the size of the artist’s edition, not the total edition including other proofs or impressions. R.C. had a habit of keeping #1 for his personal collection. Certain other numbers were also reserved for R.C.

Edition - The total number of impressions pulled and signed by the artist. An edition includes the Arabic Numbered Impressions as well as various other impressions and proofs. Proof impressions created during the process, which where then destroyed or unsigned, are not considered part of the total edition.

Lithograph - A print conceived and executed by the artist on a flat stone or plate and printed either by the artist or a collaborating printer. Each impression is pulled directly from the artist’s drawing, unlike offset lithography where the image is “offset” from a rubber blanket. Because each impression is pulled directly from the artist’s original drawing, each impression is and original lithograph.

Printer’s Proof - at the discretion of the artist and/or workshop, the printer(s) who prints the edition may be given a proof in recognition of a job well done or may be created for the workshop as a part of the payment. The number of Printer’s Proofs typically, but not always, mirrors the number of artist’s proofs. These may occasionally be marked as “PP”.

Presentation Proof – An impression which is essentially the identical to the Bon A Tirer which the artist has inscribed for a friend, collaborator, or collector.

Serigraph - A print produced using the process of serigraphy, generally referred to as silkscreen printing. While “silkscreening” is a general term applied to a number of techniques of applying ink through a silk, nylon or other woven screen, serigraphy typically refers to a more refined process using higher quality screen, inks and techniques to create images for inclusion in “art medium”.

State – A term applied to an impression that shows the work in a particular state of development OR to distinguish between editions of the same or closely related images.

State Proof – is an impression that differs significantly from the numbered edition. A state proof is created prior to any major changes to the stone or plate.

State I, State II, State III… - During the process of creating the final image to be printed, the artist will view many different proofs of the artwork. Occasionally, the artist might identify multiple proofs as having certain aesthetic qualities worth sharing. In these cases, the artist may chose to create multiple STATES of an image. Each is considered to be a separate image and is a part of its own edition, but will share a title differentiated by its State. The first state printed is designated as State I, additions or deletions are made or colors changed and the second state printed in named State II, and so on… Typically, but not always, these multiple state editions have a reduced edition size.

This is a part of my personal collection.

Over the past few years I have begun acquiring a few of my uncle's works. I have aimed to select works from various parts of his career, highlighting turning points, incorperations of new techniques, and evolutions in his style. While I would love to keep all of the works I have aquired, I simply do not have the wall space!

After studying each work, I will offer the majority up through the gallery. It is a wonderful feeling that in this way, my uncle continues to support my efforts and growth of the gallery and my artistic endeavors.

This work is from my personal collection. I has been removed from its frame and mat and closely examined.

I plan to frame this work, which adds cost to me. Since it is currently unframed, this cost is not yet a factor and it significantly reduces the cost of shipping. The artwork may ship flat and include the backing and mat or may ship in a large roll without the mat. You may then add a frame and glazing of your choosing.