Today's postings
- [Baren 43921] Vandercook Press Worth (Gayle Wohlken)
- [Baren 43922] Re: keeping track of work / myth exchange (Elizabeth Busey)
- [Baren 43923] RE: How do you keep track of all of your prints? ("Maria Arango Diener")
- [Baren 43924] Exchange 50 Edition Size (Kristine Alder)
- [Baren 43925] Re: Vandercook Press Worth (Oldfield Press)
- [Baren 43926] photos of the fundraiser (Barbara Mason)
- [Baren 43927] Re: Vandercook Press Worth (Mark Phillips)
Message 1
From: Gayle Wohlken
Date: Thu, 11 Aug 2011 17:51:43 GMT
Subject: [Baren 43921] Vandercook Press Worth
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If there are Bareners among us who know about Vandercook presses and their worth, I could use your advice. I had a Vandercook Proofing Press that probably was built around the mid 1950's. I have donated it to the printing department of a local college since I was unable to use it as I didn't have the right kind of working space. They are asking me what the press is worth as they need paperwork for tax purposes. I also donated two large old wooden cabinets and one narrow smaller one filled with type as well as extra type in smaller metal cabinets, and a wooden triangular shaped one with some wooden press furniture. Can anyone give me an idea what to tell them about the worth of all this? I know that's asking a lot of you, but I don't have any idea what to tell them. You can write to me off list if you like. Thank you, people.
~Gayle Wohlken
~Gayle Wohlken
Message 2
From: Elizabeth Busey
Date: Thu, 11 Aug 2011 18:42:57 GMT
Subject: [Baren 43922] Re: keeping track of work / myth exchange
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Thanks to Gillyin, Mark and Diane for their advice! It was very helpful (and interesting) to see what people record about their prints. Now to work!
Elizabeth
Elizabeth Busey
Visit my website: www.elizabethbusey.com
Check out my blog: The World in Relief
Elizabeth
Elizabeth Busey
Visit my website: www.elizabethbusey.com
Check out my blog: The World in Relief
Message 3
From: "Maria Arango Diener"
Date: Thu, 11 Aug 2011 19:11:19 GMT
Subject: [Baren 43923] RE: How do you keep track of all of your prints?
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Missed this one!
If you already have an Excel spreadsheet, a database would be a logical step
up. Reason is that this way you can cross reference who buys what and where
your work is at any time. Advantage of databases is that they are limitless
in the way you can query them, produce reports, mailing lists,
resumes/vitas, artwork information, etcetera etcetera
I have a home-made Access database set up with three tables: works,
contacts, shows.
Took a while to build but it is really eternally modifiable and produces any
information about my art career I can possibly want.
Works table has all my works, obviously and any info including size, theme,
paper, block, ink, date created, framing size (for ordering frames),
picture, edition, on-hand, etc. A unique ID number precedes all that so that
I can link works to both contacts and shows.
Contacts table has all my collectors, show promoters, galleries, museums,
anywhere I have exhibited my work and even groups like Baren. Each contact
has name, email, website, address, phone, purchases (drop-down from table
Works) and whatever else. Again ID allows me to link works and contacts and
when someone buys or shows a work, I have drop-down menu that allows me to
link.
Shows table has festivals, gallery shows, museum shows, Baren exchanges,
etc. Anywhere my work is seen. Again I have basic demographic info. This
table allows me to produce a current artistic resume at any time.
When I finish a work, it goes in my Works table.
When I sell something, I simply go to my Contacts table and either find or
enter the contact, drop-down to the Work and they are linked forever. If I
want to know how many pieces any contact has bought or shown, I can do that
with a query.
Also, when I sell a work and enter the sale in the contacts table, the form
automatically deducts from the on-hand number in the Works table so my
inventory stays current as long as I'm diligent in data entry.
When I show or attend a festival, I enter the info.
When I sell a piece online, I "suck" the customer info directly from my
Outlook folder into the database and then enter the sale. This fails
sometimes and I just enter the customer and venue (ebay, etsy, artfire,
etc.). This also helps keep track of where my work is selling and failing to
sell.
Takes some maintenance and I learn something new about the power of
databases every year. I keep good backups and prior to entering anything, I
have a legal yellow pad where I hand-write every piece I finish and keep
hand written receipts for all sales, so all the info is really recoverable
if the gods of I.T. ever decide to strike me.
All in all it took some time to figure out how to set it up and I have
upgraded/automated some tasks over the years as I see fit. The data entry
was a lot worse when I was producing more work or going to 20 festivals a
year but now it's a breeze cuz I'm being lazy.
There exist a few programs out there that I have explored but none of them
gave me the flexibility I wanted and I hate to pay every year or so for
upgrades. Also, many of the cheaper programs tend to be made by companies
that go out of business so watch for longevity.
Here is a blog post about the main contenders:
http://www.artbizblog.com/2007/11/updated-database-software-for-artists.html
And here is one they don't mention probably because of the cost:
http://www.artsystems.com/
This is the closest I came but just really couldn't justify the cost when my
primitive database works so well for me.
Hope this helps!
Maria
[=o=][=o=][=o=][=o=]
www.1000woodcuts.com
www.artfestivalguide.info
[=o=][=o=][=o=][=o=]
If you already have an Excel spreadsheet, a database would be a logical step
up. Reason is that this way you can cross reference who buys what and where
your work is at any time. Advantage of databases is that they are limitless
in the way you can query them, produce reports, mailing lists,
resumes/vitas, artwork information, etcetera etcetera
I have a home-made Access database set up with three tables: works,
contacts, shows.
Took a while to build but it is really eternally modifiable and produces any
information about my art career I can possibly want.
Works table has all my works, obviously and any info including size, theme,
paper, block, ink, date created, framing size (for ordering frames),
picture, edition, on-hand, etc. A unique ID number precedes all that so that
I can link works to both contacts and shows.
Contacts table has all my collectors, show promoters, galleries, museums,
anywhere I have exhibited my work and even groups like Baren. Each contact
has name, email, website, address, phone, purchases (drop-down from table
Works) and whatever else. Again ID allows me to link works and contacts and
when someone buys or shows a work, I have drop-down menu that allows me to
link.
Shows table has festivals, gallery shows, museum shows, Baren exchanges,
etc. Anywhere my work is seen. Again I have basic demographic info. This
table allows me to produce a current artistic resume at any time.
When I finish a work, it goes in my Works table.
When I sell something, I simply go to my Contacts table and either find or
enter the contact, drop-down to the Work and they are linked forever. If I
want to know how many pieces any contact has bought or shown, I can do that
with a query.
Also, when I sell a work and enter the sale in the contacts table, the form
automatically deducts from the on-hand number in the Works table so my
inventory stays current as long as I'm diligent in data entry.
When I show or attend a festival, I enter the info.
When I sell a piece online, I "suck" the customer info directly from my
Outlook folder into the database and then enter the sale. This fails
sometimes and I just enter the customer and venue (ebay, etsy, artfire,
etc.). This also helps keep track of where my work is selling and failing to
sell.
Takes some maintenance and I learn something new about the power of
databases every year. I keep good backups and prior to entering anything, I
have a legal yellow pad where I hand-write every piece I finish and keep
hand written receipts for all sales, so all the info is really recoverable
if the gods of I.T. ever decide to strike me.
All in all it took some time to figure out how to set it up and I have
upgraded/automated some tasks over the years as I see fit. The data entry
was a lot worse when I was producing more work or going to 20 festivals a
year but now it's a breeze cuz I'm being lazy.
There exist a few programs out there that I have explored but none of them
gave me the flexibility I wanted and I hate to pay every year or so for
upgrades. Also, many of the cheaper programs tend to be made by companies
that go out of business so watch for longevity.
Here is a blog post about the main contenders:
http://www.artbizblog.com/2007/11/updated-database-software-for-artists.html
And here is one they don't mention probably because of the cost:
http://www.artsystems.com/
This is the closest I came but just really couldn't justify the cost when my
primitive database works so well for me.
Hope this helps!
Maria
[=o=][=o=][=o=][=o=]
www.1000woodcuts.com
www.artfestivalguide.info
[=o=][=o=][=o=][=o=]
Message 4
From: Kristine Alder
Date: Thu, 11 Aug 2011 20:01:07 GMT
Subject: [Baren 43924] Exchange 50 Edition Size
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Hello!
Just wanted to let you know that the edition size has been decided upon. We will be making an edition of 101 (one for each participant and one for the archive). Of the 62 who voted, there were 62 votes for completing the full edition! Yup! Unanimous! Only two or three commented about being a little nervous about making such a large edition, but even they agreed to the full 100.
As of today we have a full list of 100 participants. We've had several volunteers to help coordinate. We will be making official announcements about the coordinator next week.
If you are signed up to participate, please get started now. These are tiny prints, but it will still take time to print 100 small prints. Now that you have committed to being a part of this exchange, we really need you to help by completing your prints so that we will have a full portfolio of 100.
This is going to be so great!
We're off and running...
Kristine
Kristine Alder
Baren Exchange Manager
St. George, UT
Art Educator/Printmaker/Book Artist/Graphic Design
email: alder@pineview.org
imakeprints@hotmail.com
"The greatest danger for most of us is not that our aim is too high and we miss it,
but that it is too low and we reach it." --Michelangelo
Message 5
From: Oldfield Press
Date: Thu, 11 Aug 2011 20:12:25 GMT
Subject: [Baren 43925] Re: Vandercook Press Worth
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Hi Gayle,
I have a small Vandercook proofing press. Hand pull one. I paid 30 pounds for this one. I am sure I got a great deal.
There are two more advanced ones than mine for sale on Briar Press (SP15s)
They are $5000 for the pair
http://www.greenboathouse.com/about/forsale.html
This is the link.
The type is always on ebay and wooden type is more valuable than lead type.
Lead type is usually worth it weight as scrap unless very fancy founts and odds and sods.
Hope it helps,
Tone
www.oldfield-press.blogspot.com
I have a small Vandercook proofing press. Hand pull one. I paid 30 pounds for this one. I am sure I got a great deal.
There are two more advanced ones than mine for sale on Briar Press (SP15s)
They are $5000 for the pair
http://www.greenboathouse.com/about/forsale.html
This is the link.
The type is always on ebay and wooden type is more valuable than lead type.
Lead type is usually worth it weight as scrap unless very fancy founts and odds and sods.
Hope it helps,
Tone
www.oldfield-press.blogspot.com
Message 6
From: Barbara Mason
Date: Thu, 11 Aug 2011 20:24:10 GMT
Subject: [Baren 43926] photos of the fundraiser
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If I did this right photos of the party should be here
http://www.flickr.com/photos/7259594@N03/
It was great to meet Sonia Jensen who lives in Wyoming but was on vacation and stopped in for a chat.
Sharri was a huge help and this space is enormous, I am not sure if you get the scale of it in the photos, but the room must be at least 50 feet long and 40 feet wide.
My best
Barbara
http://www.flickr.com/photos/7259594@N03/
It was great to meet Sonia Jensen who lives in Wyoming but was on vacation and stopped in for a chat.
Sharri was a huge help and this space is enormous, I am not sure if you get the scale of it in the photos, but the room must be at least 50 feet long and 40 feet wide.
My best
Barbara
Message 7
From: Mark Phillips
Date: Thu, 11 Aug 2011 21:55:26 GMT
Subject: [Baren 43927] Re: Vandercook Press Worth
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Gayle,
Tone was right about BriarPress as a good place to start. As far as the
type, if they were complete fonts in good condition they are worth much
more than their scrap value. Ebay drives me nuts when I see perfectly
usable type being sold off individually as oddities or in bags to bullet
casters for scrap price. In most case they are as good as the day the
type was made and just a waste to sell them like that. There are still
several places selling new lead type Barco, Sterling and Quaker to name
just a few that would be a place to start. Less of course if heavily
used but good for guesstimating anyway. I bought 10 trays of type from
a guy for $20 bucks a tray several years ago, but it was pretty beat up
and I got the California tray so the tray alone was worth it.
The Vandercook, depending on the print area, would be starting at $250
if it's what I think it is. What model was the Vandie? I sold a
Vandercook 22 for around $300 a couple years ago, '05 I think, that
wasn't even running 100%. If the wood furniture has the size stamped on
the ends it's real and not homemade so worth more. I have no idea what
the value would be but certainly has some. Quoins and quoin keys, quads
and registration pins etc. would be $20 - 50 bucks, best guess for the
lot, but don't under value them since they are hard to find. Here's
some links for general pricing
http://www.donblack.ca/default.asp
http://excelsiorpress.org/forsale/type/QuakerCity.html
http://order.nagraph.com/storefront.html
http://sterlingtype.com/ - this is Dave Churchman's site, I've talked to
him both online and on the phone, very helpful guy
I just checked and BarcoType has shut it's doors.
Regards,
Mark Phillips
http://igg.me/p/35930?a=202288&i=shlk
egallery http://www.graphicmarx.com
Tone was right about BriarPress as a good place to start. As far as the
type, if they were complete fonts in good condition they are worth much
more than their scrap value. Ebay drives me nuts when I see perfectly
usable type being sold off individually as oddities or in bags to bullet
casters for scrap price. In most case they are as good as the day the
type was made and just a waste to sell them like that. There are still
several places selling new lead type Barco, Sterling and Quaker to name
just a few that would be a place to start. Less of course if heavily
used but good for guesstimating anyway. I bought 10 trays of type from
a guy for $20 bucks a tray several years ago, but it was pretty beat up
and I got the California tray so the tray alone was worth it.
The Vandercook, depending on the print area, would be starting at $250
if it's what I think it is. What model was the Vandie? I sold a
Vandercook 22 for around $300 a couple years ago, '05 I think, that
wasn't even running 100%. If the wood furniture has the size stamped on
the ends it's real and not homemade so worth more. I have no idea what
the value would be but certainly has some. Quoins and quoin keys, quads
and registration pins etc. would be $20 - 50 bucks, best guess for the
lot, but don't under value them since they are hard to find. Here's
some links for general pricing
http://www.donblack.ca/default.asp
http://excelsiorpress.org/forsale/type/QuakerCity.html
http://order.nagraph.com/storefront.html
http://sterlingtype.com/ - this is Dave Churchman's site, I've talked to
him both online and on the phone, very helpful guy
I just checked and BarcoType has shut it's doors.
Regards,
Mark Phillips
http://igg.me/p/35930?a=202288&i=shlk
egallery http://www.graphicmarx.com