From ROSA #9, Jessica Wood meets gallerist Emma Mason.

Emma Mason specialises in work by printmakers working in Britain from the 1940s onwards. Her interest in printmaking was inspired by a long friendship with celebrated Sussex artist Robert Tavener, who taught her about the craft. For 20 years, Emma, and her husband Richard, have run a gallery in Eastbourne with a dynamic programme of printmaking exhibitions. Emma has written several books and articles on the artists they represent. They also act as consultants on projects and exhibitions, for clients including The National Theatre, Towner Eastbourne, The House of Commons and Pallant House Gallery. I asked Emma for advice on collecting prints.

What is an ‘original print’?

‘Oh Mr Tavener, I wish I had the original!’ This quote is from printmaker Robert Tavener who I first met in 2002, when he was in his 80s and still expressing his frustration at a lifetime of having to explain the difference between an original print and a reproduction print. We are passionate about keeping this distinction clear to give the work made by our printmakers the recognition it deserves.

An original print is an original artwork which has been printed by hand by the artist (or in some cases, printed by a print technician under the artist’s direct supervision). The artist has created, drawn and planned each stage of a chosen print process, by hand, to make something original.

There are many different printmaking processes available: etching, lithography, engraving, etc, and the artist will choose their preferred process, each producing a print with its own character.

Original prints should not be confused with reproduction prints (often called fine art prints or giclée prints), as these are mechanised reproductions of a picture (painting, drawing or even an original print). They can be made in editions of many hundreds or thousands as they are produced using commercial printing processes. Original prints, on the other hand, are created manually in small numbers (editions) by the artist, and signed and numbered. Each numbered print is the original, it does not exist in another form.

There are many different printmaking processes. Are some more highly regarded than others?

All printmaking processes have their own character, and they can be divided into three main categories: relief print (linocuts, woodcuts, wood engraving, collagraphs, block prints); intaglio (engraving, etching, aquatint, mezzotint); planographic processes (screenprint, lithography).

Also, more recently, digital processes have been introduced, where digital technology is used in the creation of an image or its printing.

Common to all traditional printmaking processes, is that a surface or plate is usually coated with ink and pressure is applied to bring it into contact with the paper. The block, plate or screen can be used to make a number of almost identical images. In all print processes colour can be incorporated but each colour adds another layer to the process.

I don’t see any of the processes as being better than another. Each has its own strengths. Something I think is important and common to all the different processes of printmaking is that the printmaker has to carefully plan and distil the image, both in design and the choice of colours. A printmaker often uses not more than four or five colours, which is different to creating a painting for example. Robert Tavener gave this analogy:

‘…think of a string quartet in terms of music, and a ninetypiece symphony orchestra. If you think of the string quartet as a four-colour print, and a ninety-piece symphony orchestra as a big oil painting, they are both good of their kind, but they are different. The print is different to the oil painting’.

How should prints be framed and hung?

Original prints should be framed using conservation materials where possible, but the choice of framing is personal. We prefer to frame using a clean-edge profile frame in natural wood, such as oak, or a hand-painted black, white or colour frame. Older original prints should not be hung in direct sunlight, but if they are, then there are various options of glass that can be used, including high quality UV protection or anti reflection glass. More modern printing inks can withstand stronger light.

You specialise in post-war British printmaking…

The years following WWII were a golden era for printmaking in Britain. Print was the perfect medium for artists following the turbulent years of war; it was affordable, accessible, colourful, and as multiples they could reach a wide audience at a time when the ethos of ‘Art for All’ was flourishing.

Through printmaking artists could work more freely, experiment, and get their work out to the public. After the war, art schools were full of students exploring new ideas through printmaking. In the 1950s and 60s new print studios and galleries opened, such as Curwen Press, Editions Alecto and St Georges Gallery. Printmakers were in demand, and, in addition to their own practice, they were commissioned by organisations embracing printmaking, such as London Underground, Shell and the Post Office, to name a few. Printmaking became popular and its status was raised. Soon, many leading contemporary artists were adopting printmaking into their practice. It was a great time to be a printmaker.

Do original prints hold their value?

In recent years there has been a growing interest in Modern British Art and this includes original prints from the period. It is getting harder to find them as more and more people appreciate the work and the skill involved in creating an original print. It’s great to see more people enjoying and buying them.

We have definitely seen prices rise and prints by the printmakers we represent have increased in value in recent years. It is never easy to know if values will rise as tastes and trends change. When buying original prints, either older or contemporary, I would always say buy what you like.

Tell us about printmaking in Sussex today…

Sussex is a fantastic part of the UK and artists have always been drawn here, looking for inspiration. Today there is a thriving creative community and printmaking is enjoying a revival. There are galleries and print studios where contemporary printmakers can make and show their work. Many show at art fairs in Sussex, such as Brighton Art Fair, and also the Open House events in various Sussex towns. Galleries selling contemporary original prints include Chalk Gallery in Lewes, Atelier beside the Sea in Brighton, Rye Art Gallery, Zimmer Stewart and Gallery 57 in Arundel, and of course our gallery in Eastbourne.

Browse the print collection and find out about exhibitions at emmamason.co.uk