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About Transart
Industries...
If you have reached
this site, it is most likely that you are searching for information about
Transart Industries or TransDesigns, a company that flourished in the late
1970’s through the 1980’s as a multi-level art and accessories
organization. The company sponsored designers who sold a variety of
custom-framed decorative art, some re-strikes from antique engraving plates,
and some fine art etchings, linocuts, serigraphs, collagraphs, etc.,
produced by fine-art printmakers from various regions of the US.
While the greatest emphasis among Transart designers was upon selling
nice-quality decorative art reproductions (and that is the operative word of
distinction) for residential and business environments, this inventory was
created through the commercial grade offset lithography process and was
never to be considered “investment quality”. It was and still is
high-quality, custom-framed decorative art reproductions of renowned
paintings around the world. It rarely, if ever, increases in value over
time, in the same way that most residential decor rarely does
On the other hand (and
this is where some confusion comes into focus), in the areas of the
re-struck engravings from antique plates, and the fine-art prints that were
all “hand-pulled” pieces of work done in limited quantities, these art works
are considered originals (multiple originals, if you will) and are treated
in a little different manner than the “decorative line”. These pieces were
hand-signed by the artist in pencil on the FRONT of the work below the image
area and a small number resembling a fraction would be located somewhere
near the signature. In addition, a “Certificate of Authenticity” would
accompany each piece that would verify the size of the edition (how many
prints were pulled) and again show the artist’s signature on that official
statement. The number (fraction) on the print itself should always match
the number on the Certificate of Authenticity to certify its value. All of
this documentation and hands-on handling in the production and the sale of
the fine art prints serve to elevate the significance of buying original art
as opposed to reproductions.
I am frequently asked
to comment on whether or not a piece of art that has been acquired through
this channel has appreciated over time.
First let me say that
I was both a Transart designer as well as a Transart artist of fine-art
prints during the time period between 1979 and 1985, which is why I have a
few of my images on my site to connect with folks who own or have owned my
work and would like to see what I am doing now. I am not an appraiser,
however. I cannot, nor is it my place really, to place value on other
artists’ works.
What I can tell you
about my own five little pieces is that they have been exchanged from time
to time at roughly twice, or in a few cases, three times their stated
unframed retail value from the 1984 Transart price list. Others, I have
been told have been picked up in garage sales or street fairs for far less
than their previous retail listing.
Art is a curious
commodity. Its value lies in the eyes of its admirers. I hope this
information at least helps you determine what you have and how to pursue its
destiny from this point forward.
Sincerely,
Melanie
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