The first thing to understand is what a print state is. An artist will create an image, and then the artist, or a craftsman, will make a plate based on that image. This plate will then be used to create a print through one of the various printing processes. The original plate can then be used over and over again to create more prints. In some instances prints made from the same plate are created centuries apart. The plate for Rembrandt’s The Hundred Guilder Print was originally created in the 1640s, and the initial prints made from this plate are considered first state prints. After some time, some additional shading was added to the plate, and a new series of prints were pulled; these are considered second state prints.
Portion of an original woodcut by Dürer plate
An early print pulled from the Dürer plate (Ivins, 10-11)This is an important factor to consider when collecting prints, because the quality of a print, and thereby its value, will vary from state to state. The quality can vary due to several factors. For example, use and time may wear down the lines of a plate, causing print lines to appear murkier; also, a second party might rework an original plate a century after it was made, giving it a slightly “off” appearance. Practically all prints pulled from an original plate have some value, but that value will vary depending on the quality of the state. It is a factor print collectors should consider when purchasing or having their prints appraised. You would not want to pay for a second state Hundred Guilder Print and, in actuality, buy a 19th century print.
Print A was pulled from the original plate in the 16th Century.Print B was pulled from the same plate in the 19th Century (Ivins, 20)
The good news for those who unknowingly pay too much for a later printing is that at least they still have purchased an original print. Collectors can really get into trouble when they unknowingly purchase a fake print. In the 20th century, printing techniques became more advanced, and in many instances less labor intensive. The result was that artists such as Salvador Dali, Pablo Picasso, Marc Chagall and Joan Miro experimented with various forms of print making and were very prolific. Due to the fact that they were so prolific and their prints were fetching such high values, several forgers emerged who were able to create numerous fake prints that simply slid into the mix among the vast number of originals. These fake prints often feature forged markings and signatures, and can have a somewhat lackluster appearance.
Original print by Salvador Dali 
Original print by Marc ChagallAlthough there are numerous factors to think about in regards to collecting prints, an experienced appraisal office with a team of researchers and experts, such as MIR Appraisal Services, Inc., can help. Our certified appraisers can determine the authenticity of the prints you currently own, and serve as consultants when you purchase new prints. As stated before, collecting prints is a great way to own several pieces by major artists, but if you are worried you are not getting what you paid for, you may want to seek the advice of a certified appraiser.
Researched and written by Anja Keppeler
MIR Appraisal Services, Inc.
Principal Appraiser: Farhad Radfar, ISA AM
307 N. Michigan Avenue, Suite 308
Chicago, IL 60601
(312) 814-8510
MIR Appraisal Services is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.
Bibliography
Ivins Jr., William M. How Prints Look. Boston: Beacon Press, 1987.
Longstreet, Stephen. A Treasury of the World’s Great Prints. New York: Simon and Schuster, 1961.
White, Christopher. Rembrandt As An Etcher: A Study of the Artist at Work. London: A. Zwemmer Ltd, 1969.
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