THE POSTER FAQ v1.0
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1 How can I get these posters? ------------------------------- 1.1 Trading 1.1.1 BlackRedYellow (BRY) 1.1.2 Other trading resources 1.2 Buying 1.2.1 At the show 1.2.1.1 How many posters were sold at a particular show? How many did the ten club get, and how many did Ames keep? 1.2.1.2 Were any posters other than Ames Bros. sold at the shows? 1.2.1.3 Was there a poster for MY show? 1.2.1.4 How can there be two posters for one show? (Maui 98, Ft. Lauderdale 96, etc.) 1.2.2 Direct from the artist 1.2.3 Poster dealers 1.2.4 Ebay 2 Value and numbering questions -------------------------------- 2.1 Values 2.1.1 How do you guys determine values for each poster? 2.1.2 Why are some of these posters so darn expensive? 2.1.2.1 What are the most expensive posters? 2.1.3 Does condition have any effect on the value of a poster? 2.2 Numbering 2.2.1 Does numbering have any effect on value? 2.2.2 How in the world does Ames number their posters? 2.2.2.1 Why is my Ames Bros. poster unnumbered? I bought it through the ten club/at the show. 2.2.3 What is Kozik's signing/numbering scheme on the 92 SG/PJ poster? 3 Ames Brothers ---------------- 3.1 Who or what exactly is Ames brothers? 3.2 Who are the Ames poster artists? 3.2.1 What's up with Ward Sutton (and Mr. Downtown)? He's not really Ames, is he? 3.3 Which Ames Brother did which poster? 3.3.1 When a poster is signed, who is it signed by? 3.4 Why are some designs repeated? 3.5 How can you tell the difference between a 1st and 2nd printing of an Ames poster? 4 Other artist/poster questions -------------------------------- 4.1 Artist questions 4.1.1 How do you tell the 92 Kozik printings apart? 4.1.2 What is the difference between the low-numbered and high-numbered Rome 96 Locchi poster? 4.1.3 What does BGP stand for? 5 Poster care -------------- 5.1 Poster shipping 5.2 Poster storage 5.3 Poster framing =========================== 1 How can I get these posters? ------------------------------------------ 1.1 Trading Trading is one way collectors of almost any type of item can cheaply and easily build their collection. There are a surprising number of people who are looking to trade Pearl Jam posters. Make good use of the resources and you could have a wonderful collection on your hands with a little money and patience. Since posters are often very valuable, it is of the utmost importance that you do everything you can to prevent a bad trade from occurring. Communication is extremely important. Ask all the important questions (i.e. poster defects, shipping method used, etc.) so you don't get burned at the end. If you don't feel comfortable, you can perhaps ask the person you are trading with for references before you commit to a trade. 1.1.1 BlackRedYellow (BRY) One of the best places to meet poster traders, see trade lists and want lists, or just discuss posters, is at the BlackRedYellow Forums. Follow the above suggestions and you should have a pleasant and rewarding experience 1.1.2 Other trading resources Of course, just by searching the internet, you can come across a wealth of resources. Some of the better resources catering to poster traders are the Pearl Jam Poster Yahoo Club, Pass It Around, and alt.music.pearl-jam. 1.2 Buying 1.2.1 At the show One of the more interesting things to see at a Pearl Jam merchandise booth at a show, amongst the T-shirts, books, and socks, are Ames posters. They have become staples at most Pearl Jam shows. Generally, posters have cost from $7 in 1996 to $12 in 2000 at the show (for US shows - at the Prague 2000 show, Eastern Block posters were approximately $5). But, one word of advice, posters are also big sellers, and sell out quickly, so get there early, and go immediately to the concession stands as quickly as possible. Another thing you can do is to take an empty poster tube with you to store your posters once you purchase them. This will prevent accidents from happening during the performance, and enable you to enjoy the show without worrying about your poster. 1.2.1.1 How many posters were sold at a particular show? How many did the ten club get, and how many did Ames keep? The answer to this question seems to be a closely guarded secret J. Seriously, no one knows what percentage goes to what entity except for those involved. 1.2.1.2 Were any posters other than Ames Bros. sold at the shows? No. As far as anyone knows, Ames Brothers posters, or those produced through Ames Brothers (see question 3.2.1), have been the only posters sold at shows. Other artists have produced posters for Pearl Jam shows throughout the years, but these posters have been commissioned by the promoter of the show for use in promoting the show in record stores, clubs, etc., around the respective cities. Of course, this practice has generally gone by the wayside in more recent years (due mainly from new local laws in many areas that prohibit the display of promotional items on public areas such as telephone poles, etc.), and posters produced today generally don't hang in your local indie store. 1.2.1.3 Was there a poster for MY show? If you attended a show in 1995 or later, there's a better than 50/50 chance that there was a poster for your show. For your particular show, consult the poster database here at BRY. If you have any information that we don't, please let us know. 1.2.1.4 How can there be two different posters for one show? This is due to Ames producing a poster for sale at the show, and the local promoter commissioning an artist to produce a poster for the same show. This has occurred for the following shows: In addition, Kozik's 1992 Soundgarden/Pearl Jam has two separate printings with differing color schemes (see question 4.1.1). Finally, Ames Brothers produced two different posters for the Seattle 7/21/98 show (one for 7/21, one for both 7/21 and 7/22). Ames has also offered alternate limited edition prints of the Eastern Block 2000 and Las Vegas 2000 posters (months after the concerts took place), with different color schemes and a more limited run. 1.2.2 Direct from the artist Often one of the cheapest and best ways to buy a poster is through the artist himself. At BRY, there is an entire page given to Ames Brothers for their pricelist. In addition, we've done much of the legwork for you in the database, and for most artists who have produced Pearl Jam posters, we have included links to their websites where you can purchase posters directly from the artist. 1.2.3 Poster dealers Another way to purchase a poster is through poster dealers, rather via the internet or in person at a gallery or a record store that carries show posters. One word of advice is to do your homework when buying from a dealer. Know what price you should be paying for an item. Dealers are not trying to help you out; they are running a business, which include operating expenses such as advertising, travel, rent, and salaries. To stay in business, they must make a profit. However, knowledge will prevent you from "helping them to stay in business" too much. J 1.2.4 Ebay Ebay (and other online auction houses) can be a valuable tool for acquiring both rare and common Pearl Jam posters. Ebay has sellers from around the world offering posters, so you never know when that one poster you want may pop up for auction. As long as you know what you are doing, and exercise due caution (and communicate with the seller, if you have any questions or concerns [we cannot stress communication enough]), Ebay can provide you with a great variety of posters (at a great variety of price!). 2 Value and numbering questions --------------------------------------------- 2.1 Values 2.1.1 How do you guys determine values for each poster? We have a crack team (or a team on crack J) monitoring auctions, dealers, and other known sales of posters, to collect the prices we use to determine the values of posters. What we have is not the absolute value of the poster, it is the average price of posters sold, in addition to changes since our last update and the highest price the poster has sold at. In the end, it is only a guide. How much you will pay for a poster is up to you. 2.1.2 Why are some of these posters so darn expensive? Like most collectible items, Pearl Jam posters fall in the basic economic theory of “supply and demand”. Posters are created in very limited set quantities, and often more people want a particular poster than is readily available. This in turn increases the price of the poster. Also, as time goes by, certain posters are harder and harder to find, with their absense on the "poster market" often increasing their value. 2.1.2.1 What are the most expensive posters? Well, that's not an easy question, since values fluctuate over time. What may be expensive at one time will fall in price a year later, or vice versa. The database at BRY is a good resource for this kind of determination, and can give you a relative idea of what the most expensive posters are. 2.1.3 Does condition have any effect on the value of a poster? You bet it does. Of course, a poster in better condition is worth more than one in worse condition. How much condition improves or lessens the value is once again up to the person buying the poster. Common defects with posters include tears, holes, writing, yellowing of the paper, stains, imperfect corners, and creases, which will greatly decrease the desirability of a particular poster. Also, it is not an uncommon thing to find some posters have unfortunately been foamcore drymounted. This is a less-expensive alternative to framing, where the poster is glued onto a sheet of foamcore. This is an irreversible process, so it is commonly viewed as a major poster defect. 2.2 Numbering 2.2.1 Does numbering have any effect on value? Typically, signed pieces are viewed as being worth more than unsigned ones. In many types of printing processes (like linoleum blocks), the first posters physically printed tend to have sharper lines and more vibrant colors than the ones printed later, so it is usually more desirable to obtain a poster with a lower print number. However, in silkscreening (a printing process in which a stencil is created, where the parts to be printed are made up of silk, nylon, or something comparable, and ink is forced through the stencil), any professional work should have very good ink consistency and quality, and all posters throughout the run will retain their color and sharpness. Since most Pearl Jam posters have been silkscreened, the number on the poster really possesses no actual additional value related to the quality of the print. But signed and numbered silkscreened posters are usually more desirable by most people, and therefore, more collectible, just for perhaps the “coolness” factor of owning a signed and numbered piece, especially a poster which has a lower number. How much more is strictly a personal decision, and there is not an accurate gauge for proper determination. It should also be noted that there have also been instances where groups of numbers of a particular poster have a significant flaw, which would of course make the other unflawed ones more collectible (i.e. some of the 1996 Rome posters by Locchi have a “blue-shift” which is typically viewed as a defect - for more information on this, see question 4.1.2). 2.2.2 How in the world does Ames number their posters? After they produce a poster for a Pearl Jam show, Ames Brothers provides a number of posters for sale at shows and also often through the Ten Club after a tour has finished. To provide incentive for people to buy directly from them, Ames Brothers signs and numbers the posters bought directly through them (for more on this, see sections 1.2.1.1 and 2.2.2.1) The unsold posters that Ames has left from the total run is then numbered in ascending order, starting with #1 and ending at the last one they have left, whether it be #150 or #223. It is always numbered out of the total print run, so you would see a number like #128/1050 on your Philly 2000 poster (128 being the number of that particular poster, and 1050 being the total number of Philly posters printed). Typically, Ames keeps the first ten prints for themselves. Many people have taken issue with Ames for not numbering each and every poster they print, as is common practice with many artists, and this has caused a bit of skepticism towards how many posters they actually print, and wonder if they have actually printed more than they state. Additionally, posters may go in and out of stock, which leads to more confusion. We have asked Ames this question, and their statement on the issue is: "They are all from the same print run, we just have them stored at the printers warehouse. All posters have only one print run. We have no reprints. Although there are literally thousands of posters, there is only a small amount of the signed and numbered." 2.2.2.1 Why is my Ames Bros. poster unnumbered? I bought it through the ten club/at the show. Poster bought at the show or through the Ten Club are unnumbered and unsigned. Posters bought through Ames Brothers directly will be signed and numbered, unless it is noted otherwise on their pricelist. Ames Brothers does this as an extra incentive in buying posters from them directly. 2.2.3 What is Kozik's signing/numbering scheme on the 92 SG/PJ poster? There are many questions surrounding this poster. In addition, there were two separate printings (see question 4.1.1), and there is little information known about each printing. If you can provide us with any information about whether your Kozik is signed and/or numbered, and rather it is the first or second printing, it would be greatly appreciated. You can reach us via our contact page. 3 Ames Brothers ----------------------- 3.1 Who or what exactly is Ames brothers? Not to be confused with the music recording artist Ames Brothers, who had a string of hits and a television show in the 1950's, Ames Brothers is a collective of artists, based in Seattle, WA, founded by the brothers Ament (Barry and Jeff), who produce a majority of Pearl Jam concert posters, as well as other artwork for the band. Ames Brothers has also done concert posters and album covers and designs for other bands. As evidenced by his artwork for both Pearl Jam and Mother Love Bone, it seems an understatement that Jeff is interested in art. 3.2 Who are the Ames poster artists? The Ames Brothers poster artists that we know of are Barry Ament, Coby Schultz, Mark Atherton, and George Estrada. It is extremely likely that Jeff Ament is involved in some capacity, but how exactly is unclear (we cannot attribute any posters from his personal design as of yet). 3.2.1 What's up with Ward Sutton (and Mr. Downtown)? He's not really Ames, is he? Ames Brothers has in the past hired outside artists and designers to do freelance poster art for them. These artists include Ward Sutton, Nate Williams, (Mr. Downtown), Hatch Show Prints, and Art Chantry. Note that these posters are sold at concert events, even though they technically are not by Ames Brothers. 3.3 Which Ames Brother did which poster? While no one has ever given us a definitive list, many of the artists have a discernible style that runs throughout their work. In the database, we have listed the artists that we are 99% sure of that did each particular Ames poster, whether it be through detective work, by asking Ames directly, or even from the signatures on signed Ames pieces. 3.3.1 When a poster is signed, who is it signed by? The poster is signed by the individual artist who created the poster (not a member of the band). 3.4 Why are some designs repeated? Since 1995, Ames has been producing show-specific posters. The 1996 and 2000 tours had a poster produced for most shows, and every date on the 1998 tour had a poster. Producing posters is harder than it looks. 3.5 How can you tell the difference between a 1st and 2nd printing of an Ames poster? As far as we know, there has only been one second printing of an Ames poster, that being the New York 1998 poster. It is marked in the corner as "Second Printing". All other posters are considered as having only one printing, whether it was purchased at the show, from the Ten Club, or directly from the artist, because they were all printed at one time. 4 Other artist/poster questions ----------------------------------------- 4.1 Artist questions 4.1.1 How do you tell the 92 Kozik printings apart? First, a word of warning: When buying a 92 Kozik, never trust a picture of it when trying to determine what printing it is. The lighting of a photo can deceive your eyes. Additionally, we have seen the seller “borrow” an image which we know was not of the printing he was selling. It is suggested to always contact the seller to determine which printing he or she is selling, if it is not EXPLICITLY stated. We've also heard many things regarding this poster, including the statement that the only printing of the poster WAS the second printing. This is just blatantly false; after all, how could there be a second printing if there was no first printing? Now, back to the question. The easiest way to determine which printing of the poster you are dealing with is to check the lower left-hand corner of the poster. If you have a second printing, there will be text that states “SECOND PRINTING”. If you have a first printing, there will be nothing there. If you choose to try to distinguish between the two visually, the other differences that we have been able to determine: 1st Printing: 2nd Printing: 4.1.2 What is the difference between the low-numbered and high-numbered Rome 96 Locchi poster? As best as we can determine, there was only one printing of this poster. However, somewhere in the run (it is speculated to be in the 500s), there is an obvious blue shift in the prints (the blue layer is printed a little below where it should be.). This is most evident in the borders of the art and the hands of the clock in the background, they should be a crisp white, but appear blurred. At this point, it can be confirmed that the blue shift does not exist in a print from the 400s, but does exist on a print in the 600s. However, whether this problem remains through the end of the print run, or if it worsens, or if it gets better, is unknown. Please let us know if you can shed any light on this issue. Any information is very welcome in helping us to figure it out. 4.1.3 What does BGP stand for? BGP stands for Bill Graham Presents, a world-famous promotion company based on the West Coast that carries on today. BGP is also possibly the most famous series of rock posters produced. There are different series of Bill Graham posters, which include an original numbered series (1966-1973), a “Family Dog” series (1966-1968), and a “Fillmore” series (1988-1989, 1994-present), among others. The series relevant to Pearl Jam poster collectors is the “Bill Graham Presents” series (1985-present). Within this series there have been the following Pearl Jam posters: Generally, BGP posters use various artists to commemorate concerts by major acts held at large venues on the west coast. As a result, BGP posters have not generally been handed out to patrons at the show, as they were at smaller venues in the past, and are generally tougher to find than most posters. 5 Poster care ------------------ 5.1 Poster shipping Posters are obviously very fragile items. In almost all cases, it is required to ship a poster via some sort of delivery system. If you can pick it up personally, it is probably a good idea, but this usually is not possible. When shipping, it is well worth the money to use the strongest and most secure poster tube possible. Another good idea is to roll the poster with another sheet of paper on the outside before putting inside the tube, and to also pack both ends of the tube with some more paper (this helps prevent the poster moving during delivery). Occasionally, posters do unfortunately get damaged in the mail, so it is a good idea to also get insurance. A tip for those buying or trading: always ask the seller or trader how they intend to pack the poster. This will lead to less possibility of damage, and make for a much happier transaction. 5.2 Poster storage Posters should be stored flat, not rolled up. If a poster is stored rolled up for a long period of time, rumple creases will form, or the image on the poster will often crack or peel away. Posters should also be stored in a temperature-controlled humidity-free environment (i.e. not in an attic) to avoid harmful mildew damage. Also, try and keep posters out of direct sunlight and from exposure to any ultraviolet radiation (fluorescent lamps, etc.), which will cause the poster paper to yellow. Another good idea is to store posters in Mylar D sleeves, or something equivalent (such as Melinex 516 by ICI Corporation). Mylar D (manufactured by DuPont) is a metallized, exceptionally strong, non-porous substance that will not chemically break down over time, which will leach chemicals into the poster and damage them permanently. It is the preferred material for preserving valuable documents, according to the US Library of Congress. With a life expectancy of hundreds of years, Mylar will outlast most other plastics. In addition, the brilliance and clarity of Mylar enhances the appearance of any paper collectible. Sometimes the sleeves require backing boards for support; if you use backing boards, make sure to only use the acid-free boards. Do not use sleeves composed of polyethylene or polypropylene, even if they are sold as being of “archival quality”, because they both contain solvents and additives in their manufacture to assure clarity and increase the flexibility of the plastic. It will not take long at all before these additives will damage your posters. Never store your posters in cardboard boxes or tubes, only in acid-free boxes, specifically those having a 3% calcium carbonate buffer throughout and a minimum pH of 8.5. Many advertisers claim that their boxes and backing boards are "acid-free at time of manufacture." In reality, these products are spray coated with an alkaline substance making them acid free for only a short time, and do not offer sufficient protection or storage for anything other than short term (3 - 5 years). True acid-free boards have been impregnated with a calcium buffer resulting in an acid-free, alkaline pH content of 8.5 throughout. Another way to protect your posters is to deacidify them before storage. Deacidifying sprays and solutions are now commonly available for home use. They work by adjusting the pH of the paper by impregnating it with an alkaline reserve, which neutralizes existing acids and inhibits oxidation, thereby preventing future acidity and staining due to certain fungi. However, it is a task best left to the professionals to deacidify your paper collectibles. Deacidification with proper storage conditions will add centuries to the lifetime of paper. Also, try not to handle the posters often, because, as careful as you may be, you run the risk of dinging up the edges and corners. Proper framing (see question 5.3) can also be considered a good storage solution, albeit a costly and space-consuming solution. 5.3 Poster framing One word of warning when getting a poster framed: it will be costly, but in the long run, the expense is well worth it. The first suggestion we have is absolutely do NOT have the poster drymounted. This is a permanent process that leaves the poster glued to a foamcore backing. Once you have this done, you will not be able to remove it from this backing ever again, and it will reduce its value considerably. As for framing, the easiest way is to let a local framer do it for you. Most large cities have an abundance of framing stores, and you should be able to find a local framing shop by consulting your telephone pages. When using a professional, it is still a good idea to be sure they are knowledgeable in the ways of archival framing. You can also of course try and do it yourself, but just know that it not as easy as it looks, and proper framing requires knowledge and experience. Either way, you should make sure that all materials, especially the backing boards, are acid-free and archival quality. Also, make sure that the poster is securely fastened to the backing board at the corners (it is best to use Mylar corner mounts), and not through glue or mounting tape. Remember, you want to be able to take the poster out of the frame in the exact condition it was put into the frame. The use of ultraviolet (UV) blocking protected glass is highly recommended, especially if the framed poster is to be near a strong light source such as a window, as it will prevent any fading damage to the poster from ultraviolet radiation (but note that this is definitely the most expensive component of framing). Make sure that the glass does not touch the poster in any way to prevent the build up of damaging mildew. It is also a good idea to use a piece of foamcore for support. This can touch the back of the poster but should not be adhered to it whatsoever. The poster can also be matted if preferred, but again it should not be taped or glued to the matting. One last tip: When in doubt, leave it to a professional unless you know what you are doing. When framing is done correctly, it can greatly increase the beauty of a particular poster. |