There are many ways to reproduce original works of art. Below is a list to help you better understand the different mediums used by Jacobs Gallery.

Most of the works seen on our site are Giclée prints because of the easy maintenence and more inexpensive framing method.

Giclée:

• Pronounced (zhee- CLAY)
• The most accurate form of printing available today
• Uses microscopically fine drop of ink (about the size of a red blood cell) to recreate the original image
• Longevity, resolution and color quality of a giclée far surpass any color copy

Lithograph:

• Most unrestricted printing process - can produce tones from intense black to full range color
• Can simulate many mediums - pencil, pen, crayon, etc.

Mixed Media:

• Combination of a serigraph and offset lithograph
• Known for three-dimensional quality
• Generally produced in much larger edition sizes as compared to Limited Edition

Serigraph:

• Hand-pulled and hand-detailed; individual colors are mixed prior to each printing run
• Traditionally 2/3 of the edition are printed on a white paper and the remaining on special black Chair Noir paper
• Sometimes a canvas version is included in the Edition

Limited Edition Prints

• A Limited Edition Print will be hand-signed and numbered in pen, silver or gold paint pens, or pencil in the bottom left or right corner.
  • Serial number example:  93/100 (Abbreviations like APP, AP, HC, or HE can also be before the number indicating which part of the edition it's from).
• Giclees on Canvas are normally stretched over stretcher bars like a drum and they shouldn't be behind glass or plexiglass.
• Mixed Media on Paper prints will be behind glass with the serial number written off the image in the white or black border (normally in pencil)
• Giclee on Paper will also be behind glass with the serial number in the image.  (Giclee on Paper prints can also have a beveled/torn edge.  If so, the print will be floating above the mat board and behind glass or plexi.

Posters

• Posters are open editions and will include the title of the painting in text at the top or bottom of the piece (sometimes the framing hides the title, but you will not see a serial number anywhere on the image)
• They are printed on paper

Artists create Limited Editions of their work to retain their value and exclusivity.

Today's technology in printmaking enables works of art to be reproduced identically.  Different ways of numbering editions are still used for the sake of tradition.

Below is a brief history of numbering practices still used today.

Limited Edition:

• A predetermined number of prints are produced once the image has been released.
• The edition size is the sum of ALL numbered pieces
• Example: "5/100" indicates that the piece is the 5th print signed and numbered in the edition of a total of 100 prints.

AP stands for Artist Proof:

• This part of the edition normally consists of 5-10% of the total numbers of prints made for the artist's private collection.
• In the early days of printmaking, the etching plates would wear down as the edition was printed.  The AP's were among the first to be made so the image was crisp and clear for the artist.
• We do not charge more for these numbers like other Galleries do, but many collectors collect AP's for a more exclusive part of a collection.

APP stands for Artist's Printer's Proof:

• See AP above
• In the early days of printmaking, kept by the printer as a record of the artist's work, or a gift to the printer from the Artist.

HC stands for Hors D'Commerce (French):

• Meaning "out of trade"
• Also sometimes referred to as "House Copies" or "Printer's Proofs"
• Traditionally only available for sale directly from the Artist.  They were given as a gift from the publisher for allowing the image to be printed.
• These were considered rare as there are only 5-10% of the edition size as well.

HE stands for Hand-Embellished:

• A print from the edition that the Artist has embellished by hand.
• Hand-embellishments are offered on most of the prints for an additional charge.  Please call the Gallery if you'd like to explore options on how to personalize your very own Jacobs print!

We offer framing for all of our pieces, but don't offer it online!

Please call the Gallery 605-559-1876 to discuss your options over the phone.  We are happy to email/text you photos of the framing choices.

For legal reasons, we are unable to give market values on our own prints; we are not licensed appraisors!

Visit www.yourartconcierge.com.

For Limited Editions that were purchased through Park West, call (248)354-2343 Ext. 2370 to speak to a representative and ask for the value of your print.

All of the artists on our website offer commission work.  Each artist has their own average timeline and price point.

We price Commissions off the factors listed below:

• What medium are you looking to have your painting done in?
  • Arches Paper originals are less expensive than canvas originals because paper requires fewer coats of paint, so less time to complete!
• Image size
  • The amount of time it takes the artist to paint the canvas and blend out the details.  If it's a detailed image, the artist will provide a minimum size to be able to successfully execute your work.
• Complexity
  • The more detailed the image is, the higher the price.  With highly detailed images, we recommend 16" x 20" or larger to keep the overall clarity.  A paintbrush can only create so much detail!
• Is there already a research photograph to work from?
  • Photos must be Hi-Resolution (300dpi) and approved by the artist before proceeding.
  • If a photoshoot is needed for the commission, all of the artist's travel and lodging expenses must be covered by the client.  There's always the option to hire a local photographer or capture the photo research yourself.  Lighting and clarity is key!

Commissions by Scott

Scott's commission paintings start at $20,000 and have approximately a three-year waiting list.

Print Care & Hanging Instructions

All works on canvas and paper have a host of natural enemies they need to be protected from in order to maintain their longevity. This is the same for all works, whether it’s an original or reproduction: oil, acrylic, watercolor, giclee, serigraph, or lithograph. The common thread here is that time and exposure to certain elements can have detrimental effects on your artwork, and steps need to be taken to protect it during both storage and display.

An unframed piece of art should be handled as little as possible.

A few rules for handling paper and canvas prints will ensure that they will not be subject to any damage or degradation. For paper, they should only be handled with clean hands and only held by the edges. Avoid touching the image area of the print. The oils in our skin can cause damage over time. When handling large paper prints, it is best to hold them by the top corners – this allows for the print to hang freely when lifted and avoid leaving creases on the sides.

Canvas prints are more durable because of the nature of the material. It is more flexible and less prone to creasing than paper. Large canvas pieces can be easily moved or carried safely simply by wrapping it around a core or within a tube. If storage is required for more than one month, storing flat is best. If flat is not an option, roll canvas with image facing out.

Proper Framing: Although framers are more knowledgeable today, some are still unaware of the importance of using preservation-quality materials. It is essential to find a framer that follows museum quality framing methods. Always use acid-free (pH neutral) materials.

Protect from Light: Do not hang or store any art where sunlight can affect it. Ultraviolet light is one of the biggest causes of fading. Light damage is cumulative and irreversible. Consider having your paper prints framed with UV protective glass. It is a bit more expensive, but worth it in the long run.

Protect from extreme temperature and humidity: Display or store your art in areas free of drastic temperature change. Temperature and relative humidity should remain constant. Climatic fluctuations cause expansion and contraction, which can lead to structural damage such as rippling or cracking. Do not allow heating or air-conditioning vents to blow directly on stored or displayed work.

Protect from pollutants and particles: Try to keep non-glazed (Glass or Plexiglas) away from exposure to dirt, dust and pollutants. Dust can be gently removed with a dry cloth or VERY soft brush/duster.

Care & Maintenance: For canvas prints, a clean feather duster or soft, lint-free cloth may be used to remove any dust particles. Never use any type of cleaning solution, water or oil-based product. If something else gets onto the print, please contact Scott Jacobs Studio immediately.

Insurance Recommendation: Well-preserved art retains its value better! Consider insuring your purchase against accidents (especially water damage) with you renters or homeowners insurance.

Warranty Information

Please be sure to have also read our Fine Art Return Policy at the bottom of your printed and/or emailed receipt.

Print reproductions by Scott Jacobs Studio will match as closely as technology allows to the original artwork - this pertains to Lithographs and Giclee prints. All works published directly through Scott Jacobs Studio are covered by a Limited 1-Year Warranty. Warranty coverage begins on the date the client receives the artwork. Please keep in mind Mixed Media reproductions were not produced directly through the Studio and therefore are not replaceable under the same agreement.

Scott Jacobs Studio keeps detailed records of the Editions that have been purchased through the Gallery directly or through applicable, approved Third Party Sellers. This information includes the buyer, edition number and date of purchase. Any works not purchased directly through Scott Jacobs Studio or an approved Seller are not covered by this Warranty.

If damage* should appear within said 1-Year period, Scott Jacobs Studio will replace the print.

If replacement is needed, we require the owner to mail proof of original print destruction so as to protect the Studio and clients alike from product duplication - we ask that the client cut out the portion of the print featuring the Artist’s signature and serial number, and mail the pieces to the Gallery.

Please see conditions and what qualifies as replaceable damage below:

The print must be returned with the original Certificate of Authenticity in order to be replaced.

*Damage: cracking or discoloration that may appear due to defective material, coating, or imperfections

on the canvas, NOT exposure or other inflicted damage by the purchaser.

If damage should occur to your print after the 1-Year period,

please contact Scott Jacobs Studio directly.

Accidental damage i.e. fire, flood, theft, etc. is not covered under Scott Jacobs Studio Warranty.