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FAQ
PRINTS VS LIMITED EDITION PRINTS VS ORIGINALS
A print is something made in multiples of a single image: there are many ways to make prints. Most of my fine-art prints are archival digital prints (sometimes called “giclée”). I also sell some remainders from commercial projects that might be offset printed (printed in 4 or more colours on a large, commercial press), silkscreen, or even die-cut.
A Limited Edition (LE) print is a print, printed by any method, but with a limit on the number of copies printed (usually at a particular size). Once that limit is reached, no more prints of that image, with that method, at that size may be printed. My large AI collages (vase series) are in a limited edition of 20. I have some intaglio and intaglio-type prints in editions below 10. The more hand-made the method, the more likely to be a smaller number of edition.
Editions are signed and numbered, with the number of the print followed by a solidus and the number in the edition. E.g. 26/100 is the 26th print of 100 total prints (most editions also include 1–3 “Artist’s Proofs” which are marked A/P and often not for sale).
An original work is one where it is the only one of its kind in existence.* It is made by hand (in any number of media that I use), e.g. a drawing, painting or sticker painting.
*The original work of a print of mine may be a digital artwork (i.e. it never existed in the real world, but was made entirely on the computer); or something that I once made physically, then photographed, and made prints of those photographs; or, sometimes I might offer a print of an original work—in which case I would have photographed an original work, and offer prints of the photo of the work, but I would also still have (or be able to sell) the actual original art (in which case, the original is worth much more than a print).
WHERE DO THE PRINTS COME FROM?
All of the work is created by me, Marian Bantjes, and digital prints are printed by WetINK Fine Art Printing. WetINK is run by Jon Smith who shares space with my gallery Design Art Gallery. He uses the latest 44-inch Epson printer, using 12 archival pigment inks on archival papers, and Jon’s attention to detail and perfectionism is truly astonishing. Each print is overseen by Jon and myself.
HOW MANY PRINTS ARE MADE?
+81 (Plus Eighty One); Japan: pp.110–113. Spring 2011.
2+3D; Poland: “Czym jest czytanie?”; pp. 26–27. January 2011.
Design>Art No. 2; South Africa: “I Wonder: Book Review”; pp. 262–269. December 2010.
Form #235; Germany (in German and English): “A Book of Many Wonders”; pp. 70–75. Nov/Dec 2010.
Eye #72; UK: “Reputations” Interview; pages 14–23 (+ cover). Summer 2009.
Varoom #9; UK: Interview, pages 14–19. 2009.
Form #233; Germany: p. 14. Nov/Dec 2008.
dpi #113; Taiwan: Interview, pages 24–27. Sept 2008
abcDesign, #26; Brazil: page 27. Dec. 2008
D2B, #5; Brazil: pages 94–99. 2009.
Design Indaba; South Africa: pages 82–86. 1st Quarter, 2009
Concept, #05; Indonesia: Interview, pages 42–50. 2009.
Items #2; Netherlands: In Denise Gonzales Crisp’s article on “Decorational” pages 10 & 36. 2009.
Form; Germany: page 14. Nov/Dec 2008.
Slanted; Germany: page 20–27. December 2008.
Frame; UK: page 258. Sept/Oct 2008.
Creatie; Netherlands: pages 24–25. August 2008.
xfuns, Issue .37; Taiwan: Feature: pages 72–79. July 2008.
Computer Arts; UK: Feature: pages 38–42. June 2008.
Design; Korea: Cover and Feature: pages 99–105. March 2008.
how; USA: Back page, with Stefan Sagmeister. February 2008.
i.d.; USA: As part of “I.D 40: Creative Workspaces”; 2 pages. Jan/Feb 2008.
étapes; Paris, France: Feature: pages 54–59. January 2008.
page; Germany: 2 pages. January 2008.
DesignEdge Canada: Feature. January 2008.
step Inside Design; USA: Mention & image. December 2007.
Progetto Grafico; Italy: Interview, pages 144–149. November 2007.
idea, Issue 325; Japan: 6 pages. November 2007.
Communication Arts. Featured in the “Creativity” column. July 2007.
step Inside Design; USA: Featured in the “5 Ws” column. March 2007.
Eye #62; UK: Included in “Back with a Flourish” by Christian Schwartz.
Drama Magazine, Issue #8; usa: Profile. August 2006.
Grafik; UK: 1 page. May 2006.
Eye #58; UK: Thoughts and work represented in Alice Twemlow’s article on Ornament. Winter 2005.
step Inside Design; USA: in “Women to Watch”. December 2005.
Matrix. Quebec, Canada. August 2005.
Tupigrafia #6; Brazil: Summer 2005.
azure; Canada: 1 page. July 2005.
step Inside Design; usa: in “25 Designers to Watch”; January 2005.
étapes; Paris, France. July 2004.
I SAW THESE IMAGES AVAILABLE ELSEWHERE, FOR CHEAPER
If you see any of the work on this site, or art you know to be by Marian Bantjes for sale anywhere other than on marianbantjes.com (unless resold through an original purchaser: i.e. as a single item on eBay or auction site), it is likely a forgery and I would greatly appreciate your contacting me to let me know where you saw it so I can take legal action.
I HAVE ONE OF YOUR ARTWORKS ALREADY (ACQUIRED SOMEHOW / AS A GIFT). HOW DO I KNOW IF IT’S REAL?
Because I do commercial work, there are many, many posters and other works out there that were mass-produced, or even produced in small amounts that are by me, but aren’t something I personally produced, although I may have signed it for you at an event. These things may or may not have some value.
I did once do an edition of work for 20×200, which were printed and fulfilled not by me, but which would have come with some kind of authentication by 20×200. I also did something through Coudal—also not printed or fulfilled by me, but also with a certificate (I have the remainders of that edition for sale).
Or maybe I sent you an original valentine or gave you something! If you have something of mine you think is of value, just send me a photo of it and of my signature on it, and tell me where you got it and I’ll let you know if it’s “real”.
WHEN I BUY SOMETHING DO I OWN THE IMAGE RIGHTS?
No. When you buy a piece of art, you become the owner of the physical piece of art. I retain the copyright.
So you have the right to frame the work however you like and display it in your home or office, and the right to sell it or even destroy it. But you may not reproduce the image in any form or by any means. That is the COPYright that I maintain. So you can’t have it photographed and make more prints out of it, or make cards or mugs, even if just as gifts for friends or family! Infringement of copyright is not dependent on the sale of a copied image, it is on the copying of the image.
DO YOU SELL FRAMED WORKS?
No, sorry.
SHIPPING METHOD AND TIME
Because I do everything myself, it will take 1 to 3 days to fulfill the order. You will receive an email once it is shipped. Delivery times vary based on your location.
All orders are shipped from Canada via Canada Post. Because Canadian shipping is insanely expensive I am taking on that expense, so for you I have free shipping over $40 and flat shipping below that (I know too well how upsetting it is to have something in one’s basket only to discover the shipping charges are too high). Canada Post takes 4-7 days to get to most places in North America, unless they’re on strike, in which case I will try to use some other option, provided it doesn’t cost me too much.
However, shipping to countries other than Canada may incur customs, duties, taxes or other fees. These potential fees vary from place to place. You, the buyer, are responsible for paying any import/tax/duties fees.
IS THERE ANYWHERE YOU DON’T SHIP TO?
Sadly, quite a lot of places, either because it is too expensive or I’m not convinced it will actually arrive. I don’t ship to Asia, Africa, South America, Russia, the Middle East, Australia or New Zealand. There are even some European countries I don’t normally ship to. However, if you live in a country that I don’t ship to, and you really want something badly, contact me and I’ll see what I can do (which will probably include billing you some shipping charges).
WHY DO YOU CHARGE US DOLLARS?
Most of my sales come from the United States, so it makes the most sense. Even non-Americans have a relative sense of what US dollars are worth in their currency, where Canadian dollars are much more obscure. Plus it’s usually a little more for me which no-one notices (except Canadians) and that helps pay for my shipping costs.
I’M IN CANADA, CAN I PAY IN CANADIAN DOLLARS?
Sorry, but no. Unless you want to come to my gallery in Lunenburg and pay in person, then yes.
HOW DO I LOOK AFTER THE ARTWORK?
When you receive the work, if it has been rolled, carefully unroll the artwork and let it slowly relax: DO NOT RE-ROLL IN THE OPPOSITE DIRECTION! This will cause crimping and wrinkles in the paper. Place the artwork on a flat surface with nothing underneath it, put the included tissue paper on top and, with it curling up, toward you, gently open the artwork flat and place books on the corners (on the tissue paper, not on the work itself) to hold it flat. If you intend to have it framed, I would suggest only unrolling it at the framer’s. If you can’t wait, and must look at it, unroll it gently, check it, then re-roll with the tissue paper and return to the tube.
If the work is shipped flat, open it, remove the tissue paper, and look but don’t touch.
Framing is, of course, always the best way to protect the work. If you can’t afford framing I would suggest using bull-clips to hang or some kind of magnet system, preferably with additional paper between the surface of the clip or magnet and the artwork, so as not to mark it. Using tape or thumb-tacks will damage the work.
You can ask your framer for their recommendations on framing (matte, or none, floating or flat, etc.), and there are various qualities of glass to use as well. Try at least for a UV-resistant glass. The digital prints will last 60-200 years, depending on where they are hung/stored. Other pieces (especially originals) may need more protection. Don’t hang things in sunlight.
I HATE IT! CAN I RETURN IT?
While I will be sad if you are not happy with the work you have ordered, I don’t officially accept returns because of the damages that can be caused in handling etc. However, do contact me if you are unhappy, especially if the piece is an original artwork. Great care is taken while packaging the work, each piece rolled, or laid flat, with tissue paper with protection for the edges. If I accept a return, please be sure to take the same care when repackaging the shipment for return.
LOANS FOR MUSEUM SHOWS
I may contact you if you bought an original artwork (not a print) which is being considered to be included in a museum show. In such an instance the museum will ask to borrow the work from you for the show (where it will not be for sale). If you agree, make sure they cover all shipping and insurance—and if you don’t want to lend it to them, you are under no obligation to do so.