M C Escher Print Ascending And Descending

M. C. Escher’s Ascending and Descending is an icon of 20th-century printmaking and one of the artist’s most coveted images among collectors. For appraisers and connoisseurs, recognizing an authentic, lifetime impression and understanding the attributes that drive value are essential. This guide consolidates technical markers, condition cues, and market behavior to support confident identification and appraisal.

The work in context: the impossible staircase on a rooftop

• Artist: Maurits Cornelis (M. C.) Escher (Dutch, 1898–1972)
• Title: Ascending and Descending
• Year: 1960
• Medium: Lithograph
• Subject: A regiment of hooded figures endlessly ascends and descends a rectangular staircase loop atop a monastery-like building. The “impossible” structure derives from the Penrose stairs, publicized in 1958, which intrigued Escher and led to a cluster of works exploiting paradoxical architecture.

The composition is quintessential Escher: coolly precise perspective, a rigorous balance of light and shadow, and a cerebral paradox that reveals itself gradually. For market purposes, it stands alongside Relativity (1953) and Waterfall (1961) as a “blue-chip” Escher image—instantly recognizable, heavily reproduced, and consistently in demand.

Medium, paper, and edition traits

• Process: Lithography on wove paper. Escher worked traditionally, drawing on a lithographic stone or plate and pulling impressions by hand or under his close supervision.
• Ink: Black; original impressions exhibit rich, even blacks and characteristic lithographic grain. There are no color variants from the artist.
• Paper: Lifetime impressions are commonly on high-quality cream wove papers, frequently with a VAN GELDER ZONEN watermark (and related variants). The watermark is a strong, but not exclusive, indicator—absence does not automatically mean inauthentic, as Escher used more than one paper over his career.
• Image and sheet size: The image area is typically around 35–36 cm high by approximately 28–29 cm wide (about 14 x 11 inches). Sheets were issued with generous margins, often approaching or exceeding 45–50 cm in height. Sheet size varies due to hand-trimming and later framing; substantial full margins are the norm for untrimmed examples.

Edition specifics

• Numbering: Escher rarely numbered his prints. Ascending and Descending is ordinarily not numbered. Lack of numbering is not a red flag.
• Titles: Many lifetime impressions bear the title in pencil at lower left (“Ascending and Descending”), with the artist’s pencil signature at lower right. Some impressions carry only the signature.
• In-image date: The lithograph itself includes a small printed monogram/date within the image (commonly “MCE 1960”); this should not be confused with the pencil signature in the margin.
• Edition size: Escher’s edition sizes were modest by today’s standards, but precise counts for individual print runs are often undocumented. Relative scarcity, coupled with extraordinary demand, underpins the work’s high market value.

What is not an edition

• Posters and offset reproductions: These are ubiquitous. They show halftone dot patterns under magnification and often include printed credit lines or modern publisher notations (e.g., copyright lines). They are decorative, not fine prints, and have minimal monetary value compared to a lifetime lithograph.
• Posthumous “restrikes”: Escher’s estate and rightsholders have not released posthumous fine-art editions of Ascending and Descending comparable to the artist’s own prints. Claims of posthumous “limited editions” should be treated with skepticism.

Signatures, watermarks, and inscriptions

Pencil signature

• Location: Lower right margin, outside the image area.
• Form: “MCEscher” in a firm, legible hand. The “E” in Escher often has a distinctive hook; the “sch” flows as a connected unit. Pressure variation is visible under magnification.
• Red flags: Printed or mechanically reproduced signatures (identical across multiple copies), signatures within the image (rather than in the margin), or incongruous pencil tone that matches printed blacks (indicating a facsimile signature).

Title and notations

• Title: Often penciled lower left as “Ascending and Descending.” Spelling and capitalization should be consistent and confident.
• Date: Escher did not always date in pencil; the “1960” appears within the image as part of the artist’s printed monogram.
• Artist’s proofs: Escher sometimes used notations like “eigendruk” (“printed by the artist”) in earlier decades. For this late period, expect standard signed impressions; special proofs are less common. Unfamiliar notations warrant expert review.

Watermark

• VAN GELDER ZONEN watermarks appear in many lifetime impressions and can be found when the sheet is gently backlit. Placement varies; it may partially fall outside the image area.
• Caveat: Watermarks are supportive evidence, not sole proof. Skilled counterfeiters have used old paper. Corroborate with ink characteristics, plate tone, margins, and provenance.

Margins and platemarks

• Lithographs do not have an intaglio platemark. Expect a clean margin edge with no plate indentation.
• Full margins are preferred. Narrow margins or trimming into the title/signature area substantially reduce value. Trimming into the image is a severe loss.

Condition red flags and conservation priorities

Common issues

• Light staining and overall toning: Often from prolonged display. Look for darker tone within the mat window (“mat burn”).
• Foxing: Rust-colored spots common on mid-century wove papers stored in damp environments.
• Handling creases: Soft creases in the margins; harder creases crossing the image are more serious.
• Tape stains and hinges: Brown staining at corners or edges from old pressure-sensitive tapes. Removal is possible but must be done by a qualified paper conservator.
• Abrasion and skinned areas: From past attempts to remove hinges or labels on the verso.
• Inking variances: Slight differences in the depth of blacks occur across impressions; that, by itself, is not a condition flaw.

Conservation best practices

• Housing: Acid-free, lignin-free mats and backings; edge-mounted with Japanese paper hinges and reversible wheat-starch paste.
• Glazing: UV-filtering glazing to reduce light damage; avoid direct sunlight entirely.
• Environment: Stable temperature and humidity; avoid basements and attics.
• Cleaning and repair: Professional paper conservator only. Bleaching, deacidification, and stain reduction should never be attempted by non-specialists; poor interventions are value killers.

Condition impact on value

• Minor, well-addressed conservation issues are usually acceptable. Severe toning, reduction of margins, tears into the image, and aggressive restorations can depress value dramatically—even for a masterpiece image.

Appraisal drivers and market behavior

Market position

• Iconic status: Ascending and Descending is a top-tier Escher image with robust demand from international collectors and museums.
• Supply: Lifetime impressions surface intermittently. Posters and later reproductions far outnumber original prints.

Primary value factors

• Authenticity: A signed, lifetime lithograph on appropriate paper with good margins and convincing ink character is the core.
• Provenance: Documentation from reputable dealers, auction houses, or early acquisition records strengthens value and speeds due diligence.
• Condition: Clean sheet, minimal toning, no significant repairs, and full margins command a premium.
• Paper and watermark: Desirable but not strictly determinative. Watermark presence can enhance confidence.
• Signature and title: Crisp, unquestionably autographic pencil inscriptions matter. Doubtful or atypical handwriting deserves scrutiny.
• Rarity of state/variant: For this image, standard signed impressions predominate. Any claimed variant state or proof requires documentation.

Comparables and timing

• Benchmark against recent auction sales of the same image, adjusting for condition, margins, and provenance. Cross-compare with other major Escher lithographs to gauge relative demand in current cycles.
• Market cycles: Blue-chip prints can be resilient, but macroeconomic shifts influence buying at the upper end. Fresh-to-market, well-documented examples outperform.

Authentication workflow for appraisers

A careful, repeatable process reduces risk. Use the following steps, then consolidate findings.

1. Preliminary inspection

• Confirm medium: Under 10–15x magnification, genuine lithographs show continuous tone with lithographic grain, not halftone dots. Look closely at grey gradients on the rooftop and staircase.
• Check for the printed monogram/date within the image (e.g., “MCE 1960”).
• Assess paper: Cream wove with appropriate age; no modern optical brighteners that fluoresce strongly blue-white under UV.

2. Signature and title

• Verify a graphite pencil signature at lower right. Compare the flow, pressure, and letterforms to known authentic examples. Watch for shaky or hesitant hands.
• Title at lower left is common but not universal. Consistency in handwriting is important.

3. Watermark and sheet

• Backlight to locate a watermark (VAN GELDER ZONEN or related). Note its position and orientation.
• Measure image and sheet. Materially undersized sheets or margins trimmed tight to the image are cautionary.

4. Condition mapping

• Document toning, foxing, creases, repairs, and tape residues. Photograph both recto and verso out of frame.
• Under raking light, note surface irregularities or abrasions.

5. Provenance and documentation

• Gather invoices, exhibition history, and past appraisals. Correlate annotations on old backboards or labels with documented dealers or collections.

6. Synthesis and risk rating

• Align physical evidence with known traits of Escher’s lifetime lithographs. If any core element is inconsistent (e.g., halftone dots, printed signature), flag as reproduction.
• For borderline cases, consult a specialist dealer in prints and multiples or a paper conservator for forensic insight.

Checklist (condensed)

• Lithograph, not offset; no halftone dots under magnification
• Printed “MCE 1960” within the image; pencil “MCEscher” lower right margin
• Cream wove paper; watermark often VAN GELDER ZONEN
• Full margins preferred; no trimming into inscriptions
• No strong UV fluorescence; minimal toning/foxing
• Cohesive provenance and condition documentation

FAQ

Q: Did Escher number Ascending and Descending? A: Typically no. Escher rarely numbered his prints, and this image is ordinarily found unnumbered. Lack of numbering is not a reason to doubt authenticity.

Q: Is a missing watermark a deal-breaker? A: Not necessarily. While VAN GELDER ZONEN watermarks are common, absence doesn’t automatically indicate a reproduction. Evaluate the print holistically—ink character, paper, signature, margins, and provenance.

Q: How can I quickly distinguish a poster from a lithograph? A: Use a loupe. Posters show a rosette of halftone dots; a true lithograph shows continuous tone and lithographic grain. Many posters also carry printed credit lines or modern copyright marks.

Q: Are there color or hand-colored versions by Escher? A: No. Ascending and Descending is a black lithograph. Any “hand-colored” example would be a later alteration and is not an artist-sanctioned variant.

Q: How much does trimming affect value? A: Significantly. Loss of wide margins—and especially any cut into the title or signature—can reduce value sharply. Collectors prize full, original margins on Escher prints.

By focusing on the core physical markers, condition integrity, and provenance, appraisers can confidently differentiate lifetime impressions of Ascending and Descending from the ocean of reproductions. Combined with disciplined comparables analysis, this approach produces defensible valuations for one of modern printmaking’s most sought-after images.