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<font face="Arial, Helvetica, sans-serif" size="+1"><B>A</B></font>
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<DIR>
<dl>
<dt>
<B>A.P. 	</B></dt>
<dd>Abbreviation for <B>artist’s proof. </B>A print term that<B> r</B>efers to impressions pulled during the work process through <B>state</B> proofs, <B>edition</B> <B>proofs</B> and <B>hors commerce</B>, in fact all prints outside the stated numbered edition. These impressions can be similar to, or different from, the final edition. A recent custom is to assign the artist a certain number of final prints above the edition (5 to 10 per cent of the edition number). If the number of additional prints is large, they may be annotated with Roman numerals. <B>Bon à tirer,</B> edition proof, <B>épreuve d’artiste (E.A.), hors commerce</B> (H.C.), <B>proof</B>,<B> </B>and<B> trial proof</B> refer to various samples printed in the process of plate making.
</dd>
<dd> </dd>
<dt><B>AAA		</B></dt>
<dd>Abbreviation for Associated American Artists, a New York gallery (1934-1999) that published fine art prints. The gallery records have been donated to the Archives of American Art.
</dd>
<dd> </dd>
<dt><B>acid</B>	</dt>
<dd>Nitric acid, ferric chloride, or acidic mixtures such as <B>Dutch mordant </B>used in the preparation of a metal plate for an <B>intaglio </B>print. The steps involve coating a metal plate with an acid resistant material (<B>ground</B>). The artist draws through the ground exposing the metal. The plate is then immersed in acid, which erodes the exposed metal. The grooves etched into the plate will hold the <B>ink</B> used to make the print.</dd>
<dd> </dd>
<dt><B>additive</B>		</dt>
<dd>The sculpture process in which shapes are modeled with a soft, porous material such as clay or plasticine, or assembled by the accumulation of materials glued, woven, sewn, or welded together. Any additive sculpture can later be cast in a more durable material. When a sculpture is formed of separate components the work is an <B>assemblage, construction, combine</B>, or <B>soft sculpture</dd>
<dd> </dd>
<A NAME="acrylicDEF">
<dt>acrylic</B> 	</dt>
<dd>Synthetic <B>polymer</B> paint developed before 1940 for industrial use and now a serious rival of <B>oil</B> paints. Acrylic colors are non-yellowing, brilliant in color, quick drying, and resistant to aging. They can be diluted with water, yet are water resistant when dry. Diluted with water they work as a <B>wash</B>, directly from the tube they may be painted with thick strokes in <B>impasto. Color-field </B>painters of the 1960s found acrylic paints central to the success of their poured and stained paintings on unprimed canvas. The diverse qualities of acrylics make them useful for <B>inpainting</B> in the restoration process.</dd>
<dd> </dd>
<dt><B>acrylic canvas	</B></dt>
<dd>A canvas especially prepared with acrylic polymer primer for use with acrylic paints. Oil paints do not adhere properly to this surface. </dd>
<dd> </dd>
<dt><B>after	</B></dt>
<dd>Refers to a work of art that is not the original work of the artist. For paintings the word is used most often for a <B>copy</B>. In prints the term refers to a print or poster based on an artist’s painting, drawing or watercolor; in sculpture it refers to a copy or <B>restrike</B>. After is sometimes used for any work the seller questions.</dd>
<dd> </dd>
<dt><B>after letters 	</B></dt>
<dd>An <B>edition</B> of a print pulled in its final <B>state</B> after the addition of the completed text or engraved inscription.</dd>
<dd> </dd>
<dt><B>airbrushing	</B></dt>
<dd>A method of applying paint using a small, finely controlled mechanical paint-sprayer. </dd>
<dd> </dd>
<dt><B>annotated		</B></dt>
<dd>Hand-written<B> </B>notes on a work of art that may have been written by the artist, someone representing the estate, a collector, dealer, or an anonymous person. </dd>
<dd> </dd>
<dt><B>apocryphal		</B></dt>
<dd>Word used in auction catalogues for works of questionable or unverified authenticity.</dd>
<dd> </dd>
<dt><B>aquatint</B>	</dt>
<dd>An <B>intaglio </B>process. Particles of acid-resistant powder, such <B>as resin </B>or <B>asphaltum</B>, are sprinkled onto a metal plate and fused to the plate with heat. The plate will have a granular surface, and the acid bath will leave depressions around each granule. The <B>bite</B>, or depth of the depressions, depends upon the length of the bath; the deeper the bite the more ink the plate will retain and the darker will be that part of the image. Aquatints have broad tonal values and hard edges, and often resemble ink or watercolor washes. See <B>stopping out</B>.</dd>
<dd> </dd>
<dt><B>armature	</B></dt><dd>A framework or skeleton structure of wire, wood, or other rigid material upon which a figure or object may be <B>modeled</B> in plaster, clay, or other malleable material.</dd>
<dd> </dd>
<dt><B>artists’ books	</B></dt>
<dd>A generic phrase for books created by artists with both images and text. More recently the term has also been used for mass-produced or small edition books with photo-reproduced or photocopied images rather than the fine-art prints in<B> livres d’artistes</B>.</dd>
<dd> </dd>
<dt><B>artist’s proof</B>	</dt><dd>Refers to impressions pulled during the work process through <B>state</B> proofs, <B>edition</B> <B>proofs</B> and <B>hors commerce</B>, in fact all prints outside the stated numbered edition. These impressions can be similar to, or different from, the final edition. A recent custom is to assign the artist a certain number of final prints above the edition (5 to 10 per cent of the edition number). If the number of additional prints is large, they may be annotated with Roman numerals. <B>Bon à tirer,</B> edition proof, <B>épreuve d’artiste (E.A.), hors commerce</B> (H.C.), <B>proof</B>,<B> </B>and<B> trial proof </B>refer to various samples printed in the process of plate making.</dd>
<dd> </dd>
<dt><B>as is</B>			<M/dt>
<dd>A cautionary note that the condition of the object for sale is not guaranteed and indicates probable condition problems. </dd>
<dt><B>as issued</B>		</dt>
<dd>Indicates that the physical support behind a print, poster, or photograph was intended by the artist or publisher. </dd>
<dd> </dd>
<dt><B>ascribed		</B></dt>
<dd>Auction term no longer in common usage. During the 1980s the term was used in some nineteenth century and Old Master catalogs to signify the "highest form of authenticity". No absolute statement as to authorship was intended by its use, but the hierarchy of the designation at that time was stronger than an attribution.</dd>
<dd> </dd>
<dt><B>assemblage	</B></dt>
<dd>A three-dimensional work composed of natural, manufactured, non-art or <B>found objects, </B>held in place by gluing, welding, nailing, or simply placing objects near one another. The term, said to have been coined by the artist Jean Dubuffet in the 1950s, gained currency with the 1961 Museum of Modern Art exhibition, <I>The Art of Assemblage</I>.</dd>
<dd> </dd>
<dt><B>atelier			</B></dt>
<dd>French word for an artist’s workshop or studio. In many of the earlier ateliers, one or more artists would work with or oversee several assistants.</dd>
<dd> </dd>
<dd><B>attribute	</B></dt><dd>As a noun, the word is an art term used to describe an accessory or symbol that helps to establish the meaning of a figure or scene.</dd>
<dd> </dd>
<A NAME="attribution"></A>
<dt><B>attribution	</B></dt>
<dd>An art historical term also used in the art market. When a work of art is designated with an attribution, this means that an undocumented work (often unsigned) has been examined by an expert who has compared it to known and undisputed works and assigned it to an artist or school. External evidence such as X-rays, pigment, canvas, and paper analyses, contracts, and inventories may also have been examined. An attribution is not as positive a statement as an <B>autograph</B> work, but is stronger than <B>ascribed</B>.</dd>
<dd> </dd>
<dt><B>auction	</B></dt>
<dd>A public sale in which the auctioneer, acting as the agent for sellers or <B>consignors</B> or selling material he owns, offers a series of objects to prospective buyers who bid incrementally. The highest bidder buys the object. The auctioneer encourages bidding to try to get the highest price since his payment may be a percentage of the sale.</dd>
<dd> </dd>
<dt><B>autograph</B>	</dt>
<dd>The established signature of the artist. The word also refers to work indisputably in the hand of the artist, as opposed to an <B>attributed </B>work, which is assumed to be by an artist because of internal and external evidence.</dd>
<dd> </dd>
<dt><B>avant les lettres</B>	</dt>
<dd>The French phrase that indicates that portion of a print edition pulled before the addition of engraved text, titles, or inscriptions. <B>Before letters</B> is the direct English translation; <B>hors texte</B> is a French synonym.</dd>
<dd> </dd>
</dl>
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<font face="Arial, Helvetica, sans-serif" size="+1"><B>B</B></font>
<BR>
<DIR>
<dl>
<dt><B>bas-relief	</B></dt>
<dd>A sculpture that remains attached to the background plane rather than standing freely. In a bas-relief projection from the surface is moderate, less than one-half the normal depth of the figure or object. Bas is French for low, the term is derived from the Italian phrase <I>basso rilievo</I>.</dd>
<dd> </dd>
<dt><B>base	</B></dt>
<dd>In common usage the foundation or support of a sculpture, sometimes designed as a column, that serves to bring a bust or smaller work up to eye level, enhance the appearance of the sculpture, give the work physical stability, or establish a physical and aesthetic viewing distance. The term "self-base" is used for works with an integrated support. Technically, base refers to the lowest element of a column or <B>pedestal.</B> </dd>
<dd> </dd>
<dt><B>bears date		</B></dt>
<dd>Euphemism for a probable false date; a date added by someone other than the artist. </dd>
<dd> </dd>
<dt><B>bears signature	</B></dt>
<dd>Euphemism for a false signature; a signature that has been added to the work of art in a hand other than that the artist.</dd>
<dd> </dd>
<dt><B>before letters	</B></dt>
<dd>That portion of an edition pulled before the addition of engraved text, titles, or inscriptions. <B>Hors texte</B> and <B>avant les lettres<I> </B></I>are French synonyms.</dd>
<dd> </dd>
<dt><B>bistre		</B></dt>
<dd>Transparent brown pigment made from wood soot dissolved in water. Its color varies from brownish yellow to a deep blackish brown with a greenish tone, especially when compared to the warm reddish quality of <B>sepia</B>. The distinguishing characteristic of bistre is the uneven granulated surface produced by undissolved particles. Although bistre was used in the Middle Ages, the term itself was not widely used until the eighteenth century.</dd>
<dd> </dd>
<dt><B>biting	</B></dt>
<dd>The act of immersing a metal plate in an acid solution during the process of preparing an <B>intaglio</B> plate.</dd>
<dd> </dd>
<dt><B>bitumen		</B></dt>
<dd>A solution of naturally occurring asphalt or tar mixed with linseed oil. From the 17th to 19th centuries bitumen was used as a brown paint for easel painting and was particularly popular with the Barbizon School. At first transparent, bitumen gradually turns black with exposure, the primary reason that many Barbizon School paintings appear dark today. Bitumen, often called asphaltum, is still used as a stop-out or ground in the preparation of intaglio printing plates. </dd>
<dd> </dd>
<dt><B>black light		</B></dt>
<dd>The common name for the ultraviolet light used to determine the presence of <B>inpainting</B> or repainting on a work of art. Shining the black light on a painting may cause paint added to the original canvas, or synthetic colors, to be differentiated by their glow. Paint that reflects the black light may also indicate restoration work.</dd>
<dd> </dd>
<dt><B>bleed	</B></dt>
<dd>The spread of one color into another, especially noticeable in <B>watercolor</B> washes. In printmaking a "bleed" indicates that the image extends to the edge of the paper. </dd>
<dd> </dd>
<dt><B>bleed print	</B></dt>
<dd>A print in which the image extends to one or more of the edges of the paper. The printing <B>matrix</B> needs to be larger than the paper; an <B>intaglio </B>image for instance, will have no<B> plate mark</B>.</dd>
<dd> </dd>
<dt><B>blind stamp	</B></dt>
<dd>An <B>embossed</B> stamp without color used to identify the publisher, printer, photographer, printmaking studio, collector, or, less often, the artist. The stamp may be a symbol, initials, or the full name and address. See<B> drystamp </B>and<B> chop</B>.</dd>
<dd> </dd>
<dt><B>block print	</B></dt>
<dd>A <B>relief</B> print usually made from wood but it also from linoleum. The image is drawn onto the block of wood, and chisels and gouges are used to remove the background. Ink is applied to the raised surface. The term is used to describe Japanese <B>Ukiyo—e </B>prints, Provincetown, and Arts and Crafts relief prints. See <B>woodcut</B>, <B>woodblock</B>, and <B>linocut</B>.</dd>
<dd> </dd>
<dt><B>blockbook	</B></dt>
<dd>A fifteenth century printed book in which each sheet was printed from a single block of wood carved with both image and text.</dd>
<dd> </dd>
<dt><B>board	</B></dt>
<dd>A rigid support, wood or paper that is used as a foundation backing, or display mount for a work of art. Because board may be acidic and will eventually harm the work they touch, conservation methods dictate the use of acid-free materials such as museum board and conservation board. See <B>canvas board</B>.</dd>
<dd> </dd>
<dt><B>body color	</B></dt>
<dd>Opaque water-based paints, now commonly called <B>gouache</B> or designer color. Although they are usually produced by mixing white fillers and gum arabic with pigment, some pigments are naturally opaque (e.g. chromium-oxide green). Body color is used for its strength of tone in contrast to the transparency of <B>watercolor</B>. See <B>poster paint</B>.</dd>
<dd> </dd>
<dt><B>bon à tirer 	</B></dt>
<dd>A French phrase, literally "good to pull," that indicates an impression that will serve as the model for a printed edition. The English translation is <B>edition proof</B>.<B> </B>See<B> artists’ proof</B>. </dd>
<dd> </dd>
<dt><B>bonded bronze	</B></dt>
<dd>A cast object that simulates the appearance of bronze, but is created by casting a model from a semi-solid amalgam of epoxy resin with powdered <B>bronze</B>. See <B>cold cast</B>.</dd>
<dd> </dd>
<dt><B>bought in	</B></dt>
<dd>At auction, iff a <B>lot</B> does not achieve its <B>reserve</B>, it is said to be bought-in,<B> passed</B>,<B> </B>or <B>not sold</B> by the auction house and will be returned to the <B>consignor</B> or offered at a later sale. The auction house may bid on behalf of the consignor against bids from the floor; only if the work still does not reach its reserve is it bought-in. A 1987 New York City law requires the house to announce the disposition of an unsold lot as passed, returned to owner, <B>withdrawn</B>, or bought-in. New York City also requires that all lots with a reserve be marked with a black square or dot in the auction catalog. It is increasingly common that, after the sale, the auction house will accept bids on a lot that has been bought-in. Also referred to as <B>B.I.</B> See <B>sold after sale</B>.</dd>
<dd> </dd>
<dt><B>broker			</B></dt>
<dd>A private dealer who acts as an intermediary or matchmaker between a buyer and a seller. </dd>
<dd> </dd>
<dt><B>broad</B> <B>manner	</B></dt>
<dd>A style of fifteenth century Italian engraving in which parallel lines of shading are widely spaced and somewhat stronger in contrast to the more closely worked thinner hatching of "fine manner" engraving.</dd>
<dd> </dd>
<dt><B>bronze		</B></dt>
<dd>An alloy of copper and tin (and sometimes small proportions of zinc or phosphorus) that is stronger and more durable than brass. Bronze is often used for <B>lost-wax casting</B> because of its capacity to melt until it pours freely, and then when hardened, to provide durability to the thinnest projections. The color depends upon the composition of the alloy and varies from a silvery hue to a rich coppery brown that may be enhanced by polishing and <B>patination</B>. Bronze has been used since antiquity for cast sculptures. </dd>
<dd> </dd>
<dt><B>bronze disease</B> 		</dt>
<dd>A light green powdery corrosion on bronze caused by exposure to or contamination with chloride salts, especially when objects have been buried in the earth or sea. This encrustation is loosely adhered; it is not considered <B>patina</B>, which is a term with more positive connotations. A bronze with bronze disease should be treated to remove the underlying copper chlorides or be stored in a dry environment to arrest further corrosion. </dd>
<dd> </dd>
<dt><B>brush		</B></dt>
<dd>A painting tool composed of a group of flexible animal hairs, stiff bristles, or synthetic fibers inserted into a handle. A brush with flexible hairs is used for <B>watercolor</B>, <B>gouache</B>, and smooth <B>oil</B> painting, while stiffer bristles are usually preferred for oil painting, and synthetic fibers are designed for <B>acrylic</B> paints. </dd>
<dd> </dd>
<dt><B>burned			</B></dt>
<dd>A work of art may be "burned" or "shopped" when it has been placed for sale in a number of places or recently offered at auction. This word for shopworn may be derived from the French word <I>brulé</I>. </dd>
<dd> </dd>
<dt><B>burin</B>		</dt>
<dd>A steel rod with a sharp beveled point that is used in the printing process to incise V-shaped lines in a metal plate or end-grain wood. See <B>burr</B>,<B> engraving</B>, and <B>wood engraving</B>.</dd>
<dd> </dd>
<dt><B>burnishing		</B></dt>
<dd>Polishing the surface of a metal plate with a scraper or burnisher in order to produce lighter areas, highlights, or to smooth out mistakes. This technique is used especially for <B>aquatints</B> and <B>mezzotints</B>. </dd>
<dd> </dd>
<dt><B>burr</B>				</dt>
<dd>When a metal plate is incised with a <B>burin</B> or <B>drypoint</B> needle, the curl of metal raised on either side of the line is the burr. The burr on a drypoint plate retains the ink and produces a print with soft lines. In the <B>engraving </B>process, a clean crisp line is desired and the burr is burnished down to the surface. The word burr can also refer to the rough surface of a <B>mezzotint.</B> See <B>steel facing</B></dd>
<dd> </dd>
<dt><B>bust		</B></dt>
<dd>A portrait including head and upper arms and sometimes the torso and hands. A sculptural bust will usually include only the head, shoulders, and upper chest.</dd>
<dd> </dd>
<dt><B>buyer's premium		</B></dt>
<dd>At most auctions a premium amounting to 10% to 17 1/2% of the <B>hammer</B><FONT COLOR="#0000ff"> </FONT><B>price</B> is added to the cost of each item. Sales tax is calculated on the total. An auctioneer who adds a buyer’s premium will usually indicate this in the catalog or in his advertisements. </dd>
<dd> </dd>
</dl>
</DIR>
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