Fotografia: tiratura sì o no?
The article discusses the concept of editioning in photography, borrowed from printmaking. It explains how contemporary photography has adopted editioning rules, including numbering (e.g., 3/5) and artist proofs (P.A. or A.P.), which can lead to ambiguities and potential overproduction. The case of Luigi Ghirri is highlighted: his declared editions (sometimes 30 or 80) were rarely produced in more than two or three copies, reflecting a provincial market's inexperience. At a Sotheby's New York auction (April 4, 2017), a Ghirri lot note stated that few prints of the subject exist, despite an unrealized edition. His top lot, Tellaro (1980), sold for €41,000 at Lempertz (May 30, 2014) despite bearing a fictitious edition 2/30. The article notes that collectors are often well-informed and not deterred by such inaccuracies. It also mentions that photographers like Berengo Gardin advocate for freedom of reproduction, while contemporary artists typically limit editions to three to five copies, monitored by galleries.
Key facts
- Editioning in photography borrows from printmaking.
- Prints are numbered with two figures: position and total copies.
- Artist proofs (P.A./A.P.) are test prints that sometimes circulate on the market.
- Luigi Ghirri's declared editions were often much larger than actual prints produced.
- At Sotheby's New York (April 4, 2017), a Ghirri lot noted few prints existed despite an unrealized edition.
- Ghirri's Tellaro (1980) sold for €41,000 at Lempertz (May 30, 2014) with a fictitious edition 2/30.
- Photographers like Berengo Gardin reject editioning for freedom of reproduction.
- Contemporary photographers typically limit editions to 3-5 copies, monitored by galleries.
Entities
Artists
- Luigi Ghirri
- Berengo Gardin
Institutions
- Sotheby's New York
- Lempertz
- Artribune
Locations
- New York
- United States