Mary Koski Born 1929 White Ginger Glicee Print

If you’ve come across a “Mary Koski (born 1929) White Ginger” glicee print and want to understand what you have, this guide walks through identification, authentication, condition assessment, and value. Although “glicee” appears in many listings, the correct term is “giclée,” a fine-art inkjet print produced with archival inks on paper or canvas. The distinctions—editioning, signature placement, paper type, and state of preservation—determine both collectability and market price.

Artist and subject context

• Artist overview: Mary Koski (b. 1929) is an American artist whose work is often associated with floral and botanical subjects. In the secondary market, you will most commonly see her name attached to decorative floral prints suitable for interior display rather than blue-chip originals.
• Subject significance: “White Ginger” refers to Hedychium coronarium, a fragrant tropical bloom popular in Hawaiian and subtropical imagery. The subject aligns with mid-to-late 20th-century American decorative art trends: luminous florals rendered with soft tonal transitions, appealing to hospitality and residential interiors.
• Original vs reproduction: Most White Ginger works circulating are giclée reproductions of an original painting (typically watercolor or acrylic). Giclées can be either open or limited editions. Limited editions that are hand-signed and numbered generally command higher prices than open editions or unsigned posters.

Because documentation for lesser-known artists can be uneven, focus on the print in hand: its materials, marks, and provenance. That concrete evidence matters more to valuation than broad artist biographies in this tier of the market.

What “giclée” means for White Ginger prints

• Technique: Giclée is a high-resolution inkjet process using pigment-based inks on archival substrates (100% cotton rag paper or coated canvas). Compared with offset lithography (mechanical dot pattern) or serigraphy/silkscreen (layered opaque inks), giclée produces continuous tonal transitions ideal for botanical imagery.
• Paper vs canvas:
  • Paper giclées are typically on heavy, matte fine-art paper (often 250–330 gsm). Edges may be straight-cut; some editions have deckled edges.
  • Canvas giclées arrive unstretched (rolled) or stretched, sometimes with a brushed-on protective varnish. Some examples include minor hand-embellishment to simulate brush texture, which can modestly increase value if noted by the publisher or artist.
• Editions: White Ginger giclées may appear as:
  • Open edition (no numbering) with or without a printed signature.
  • Limited edition (numbered as a fraction, e.g., 45/250) with a genuine hand signature and, at times, a hand-written title.
  • Artist’s proofs (A.P.) or printer’s proofs (P.P.), usually a small subset outside the numbered edition.

Without an original publisher catalog, expect variation: edition sizes in decorative botanical prints often range from 95 to 350; open editions are also common.

How to authenticate and identify a Mary Koski “White Ginger” giclée

Use a methodical approach. Even without a publisher’s catalog, you can confirm medium, assess editioning, and calibrate value.

1. Medium verification

• Loupe test (8x–12x):
  • Giclée: You should see a fine spray of micro-droplets with no regular rosette pattern.
  • Offset lithograph: Look for a repeating CMYK halftone dot or rosette grid.
• Surface sheen:
  • Paper giclée: Generally matte with slight paper texture visible through the ink.
  • Canvas giclée: Weave texture visible; may have uniform gloss from varnish.

2. Edition marks and inscriptions

• Signature: For limited editions, expect a hand signature in pencil or ink, typically lower right in the margin (paper) or on the verso for canvas. Compare letterforms to other verified Koski signatures if available. A printed signature embedded in the image is not equivalent to a hand signature.
• Edition number: Lower left, written as a fraction (e.g., 12/200). “A.P.” or “P.P.” may replace the numerator for proof impressions. Lack of numbering suggests open edition or poster.
• Title: Often handwritten at lower center (“White Ginger”). Not mandatory, but a helpful marker of a limited, artist-involved edition.
• Date/chop/COA:
  • Some publishers add a blind stamp (embossed chop) near the margin.
  • A certificate of authenticity (COA) may cite printer, substrate, edition size, and ink set. Not every edition has a COA, but documentation strengthens value.

3. Substrate and scale

• Paper weight: Heavier fine-art paper feels stiff; thin poster stock suggests offset reproduction.
• Canvas: Look for professional stretcher bars, square corners, and proper tension. Amateur stretching with staples unevenly placed can indicate later re-mounting.
• Typical sizes: Decorative botanical giclées often fall between 11x14 in and 24x36 in image area. Oversize pieces can carry premiums if editioned narrowly.

4. Framing and labels

• Backing: Framers’ labels, gallery tags, or price stickers can confirm retail origin and timeframe. Acidic cardboard backings or browned masking tape indicate older, lower-quality framing.
• Mats: Rag or alpha-cellulose mats suggest conservation care; discolored bevels or mat-burn lines imply acidic materials.

5. Provenance

• Keep any invoices, gallery receipts, email confirmations, or COAs. Even for decorative prints, provenance clarity helps on resale.

Condition factors that drive value

Giclées are more lightfast than older dye-based prints, but they’re not invincible. Condition drives a large portion of price variance.

Common issues and their impact:

• Light fading: Uneven fading (especially around a mat window) lowers value significantly. Check under the mat line for color differences.
• Mat burn and acid migration: Brown lines at the image edge or overall paper toning signal acidic materials. Professional re-matting can arrest further damage but won’t reverse staining fully.
• Scuffs and abrasions: On canvas giclées, scuffing to varnish or cracked varnish at corners reduces desirability.
• Handling dents and creases: On paper, “dings” and edge waves are common and devalue the piece, especially if they intrude on the image.
• Foxing/mold: Less common on modern rag papers, but humidity can cause spotting. Mold risk increases in damp climates.
• Frame quality: UV-filter glazing and conservation framing preserve value; basic glass and cardboard backings do not.

Conservation steps (general guidance):

• Replace acidic mats/backings with archival materials.
• Use UV-filter glazing when displaying in bright rooms.
• Keep relative humidity stable (about 40–55%) and avoid direct sunlight.
• For surface cleaning or varnish repair on canvas giclées, consult a conservator; DIY can worsen damage.

Market values and comparables

Pricing for Mary Koski “White Ginger” giclée prints sits within the decorative fine-art market, where edition status, size, condition, and presentation are the primary drivers. Without a public auction record specific to a narrowly defined edition, use these observed ranges as a framework:

• Open-edition giclée on paper, unsigned:
  • Unframed: typically $50–150
  • Framed (decent condition): $100–300
• Limited-edition giclée on paper (hand-signed, numbered):
  • Unframed: typically $200–500
  • Framed with conservation materials: $300–700
• Canvas giclée (hand-signed; may be hand-embellished):
  • Unstretched/rolled: $200–600
  • Stretched/framed: $350–900
• Premiums and outliers:
  • Very low edition numbers, large formats, or documented hand-embellishment can nudge values into the $800–1,200 range in retail/gallery contexts.
  • Proofs (A.P./P.P.) can bring a modest premium if demand is present.

Important nuances:

• Replacement cost vs fair market value: Gallery retail prices reflect replacement cost with professional framing and overhead. Secondary-market fair market value (auction, estate, online resale) is often 30–60% of retail.
• Regional demand: Botanical and tropical subjects perform strongest in sunbelt and coastal markets. If provenance ties a piece to a known Hawaiian or regional gallery, that can help.
• Condition discounts: Noticeable fading, mat burn, or canvas scuffs reduce prices by 20–50% against the ranges above, depending on severity.

If you’re valuing for insurance, base coverage on replacement cost new (gallery retail with comparable edition/size/framing). For resale, look at recent sales of similar Koski florals in matching formats and condition, adjusting for edition specifics.

Buying and selling considerations

Buying tips:

• Prefer limited, hand-signed and numbered examples with clear, legible inscriptions.
• Inspect with a loupe to confirm giclée characteristics and rule out offset posters.
• Ask for documentation: invoice, COA, or gallery label. Confirm edition size and any hand-embellishment claims in writing.
• Evaluate framing quality. A well-executed conservation frame adds value and saves you reframing costs.

Selling tips:

• Photograph the full image, signature, edition number, margins, verso labels, and any flaws. Clear documentation builds buyer confidence.
• Describe substrate (“archival cotton rag paper,” or “varnished canvas”), exact image/sheet dimensions, edition fraction, and framing materials (UV glazing, rag mat).
• Note any condition issues honestly; oversights lead to returns and reputational harm.
• Choose the right venue: decorative giclées often move faster via regional galleries, design-focused marketplaces, or well-described online listings than through fine-art auction houses specializing in originals.

Quick appraisal checklist

• Confirm medium: giclée characteristics under a loupe (no offset rosette).
• Record inscriptions: hand signature, edition number, and title placement.
• Measure precisely: image and sheet/canvas size in inches or centimeters.
• Inspect condition: fading, mat burn, handling dents, varnish scuffs.
• Check framing: UV glazing, archival mat/backing, secure hardware.
• Gather provenance: COA, gallery labels, receipts, prior listings.
• Compare comps: similar Koski florals, same format/edition, recent sales.
• Set value context: retail replacement for insurance; fair market for resale.

FAQ

Q: My print is labeled “glicee.” Is that different from “giclée”? A: It’s the same thing. “Giclée” is the standard spelling; “glicee” is a common variant in listings and on older labels.

Q: There’s a signature in the image—does that count? A: A printed signature is part of the reproduction and does not carry the same weight as a hand-applied signature in pencil or ink. For higher value, look for a hand signature (often in the margin) and a numbered edition.

Q: How important is the edition number? A: Very. Limited editions (e.g., 95, 150, 250) with a clear fraction and hand signature are more desirable than open editions. Lower edition sizes and lower individual numbers can add modest premiums.

Q: Can faded giclées be restored? A: Fading is largely irreversible. You can improve presentation by re-matting and reframing with UV glazing to prevent further loss, but original color intensity cannot be fully recovered.

Q: Does hand-embellishment increase value? A: Usually, yes—if the embellishment is artist-applied and documented. Expect a modest premium compared to a standard giclée from the same edition.

With a careful inspection of medium, markings, condition, and framing quality, you can confidently identify and value a Mary Koski (born 1929) White Ginger giclée print and position it appropriately for insurance, sale, or collection display.