My Old Quilt By Ted T Ellis

The artwork commonly known as “My Old Quilt” by Ted T. Ellis sits at the intersection of memory and material culture—a warmly nostalgic scene that resonates with collectors of African American art and with quilt historians alike. For appraisers and enthusiasts, it also presents a practical case study in identifying editions, reading signatures, and gauging condition and market demand. This guide distills what to look for, how to authenticate likely formats, and how to frame a valuation that stands up to scrutiny.

Ted T. Ellis in Context

Ted T. Ellis is a self-taught African American artist whose work chronicles Southern life, music, and heritage. Raised in the New Orleans area and later active around Houston, Ellis is known for narrative paintings that celebrate everyday rituals—church gatherings, jazz sessions, street parades, and domestic scenes that anchor cultural memory. His style blends representational figures with expressive brushwork, warm palettes, and an emphasis on storytelling.

Ellis’s commercial presence expanded in the 1990s and 2000s through galleries, cultural institutions, and a robust print market. Many of his images were issued in signed and numbered limited editions alongside open-edition posters, with the same title often existing in multiple formats. That distribution pattern matters: appraisers frequently encounter works like “My Old Quilt” as limited edition prints on paper, giclées on canvas, or open-edition posters, while original paintings in the same theme are scarcer and far more valuable.

Understanding “My Old Quilt”: Subject and Formats

Subject matter

• “My Old Quilt” typically depicts an intimate domestic setting centered on quilting—an heirloom object and, symbolically, a repository of family history. Collectors of African American material culture respond to the theme, and quilt collectors often cross-collect the image.

Common formats you may encounter

• Original painting: Acrylic or oil on canvas or board. Originals will show textured brushwork, layering, and edge variation. Dimensions vary; Ellis paints across a range of sizes.
• Limited edition print on paper: Often an offset lithograph or giclée on heavy stock, signed in pencil and numbered in the lower margin. May carry a blind stamp from the publisher or printer and a certificate of authenticity (COA).
• Artist’s Proofs (AP), Printer’s Proofs (PP), and Hors Commerce (HC): Typically a small subset of the main edition, pencil-inscribed accordingly. APs and PPs can carry modest premiums.
• Giclée on canvas: Pigment print on canvas, sometimes signed and numbered on the stretcher bar or front. May be gallery wrapped or framed. Check for publisher stamps or labels on the verso.
• Open-edition poster: Image and printed text on thinner poster stock, usually with a printed (in-plate) signature rather than a pencil signature in the margin. These were produced in larger quantities and are more affordable.

Important note on titling

• Title lines on the sheet may vary slightly (“My Old Quilt” vs. “Old Quilt”), and some publishers trimmed margins closely. The absence of a printed title isn’t necessarily a red flag if other edition cues are present.

Authentication and Edition Identification

Start with the signature

• Painted vs. pencil: Originals and giclées on canvas bear a painted signature within the image. Limited edition prints on paper are commonly pencil-signed in the lower right margin, along with a handwritten title and edition number.
• Signature styles: Ellis signs as “Ted T. Ellis” or “T. Ellis.” Compare the margin signature to known, flowing hand-signatures rather than the printed in-image signature (which is part of the artwork itself).

Read the numbering

• Edition fraction: Look for a fraction like 123/850 in the lower left margin. AP/PP/HC proofs are often marked “AP 12/50” (example format), “PP,” or “HC” and may not be part of the numbered edition.
• Lower vs. higher numbers: A lower edition number can be attractive to some buyers but typically has minimal impact on value compared to condition and demand.

Identify the print method

• Offset lithograph: Under 10x magnification, expect regular CMYK rosette dot patterns. Paper is usually smooth; no plate mark. Edges are cleanly cut.
• Giclée on paper: A more irregular, spray-like dot pattern under magnification; deeper blacks and color saturation; often on textured or heavyweight cotton rag paper.
• Serigraph (less common here): Distinct layers of flat, vibrant color with slight ink ridging at color boundaries.
• Giclée on canvas: Texture from the canvas substrate is visible. Under magnification, ink sits atop the canvas rather than absorbed like paint; edges are often neatly wrapped.

Check for publisher and documentation

• Blind stamp or embossed seal: Often in the lower margin, confirming printer or publisher.
• COA: Verify that the details—title, medium, edition size, and signature—match the work in hand. A COA is supportive, not definitive.
• Labels: Frame backing may include gallery labels with stock numbers, retail pricing, or edition details.

Common red flags

• Only an in-image (printed) signature with no pencil signature on a supposed “limited edition” print on paper.
• Pixelation or jagged edges to linework indicating low-resolution reproduction.
• Incorrect or erratic edition inscriptions (e.g., written with a marker, shaky hand inconsistent with similar period works).
• Cropped margins that remove edition marks or publisher seals.

Condition: What Matters and How It Affects Value

Paper-based works

• Light exposure: Fading of inks and paper discoloration from UV exposure is the most value-destructive. Compare protected areas under the mat to exposed margins to assess fade.
• Mat burn and acid migration: Brown lines where old mats contacted the sheet. Reversible with professional conservation but can be costly.
• Foxing and stains: Brown spots from moisture or mold; affects value and desirability.
• Cockling and waviness: Humidity-related warping; less severe than staining but noted in condition reports.
• Abrasions and handling creases: Especially visible in strong raking light.
• Trimming: Narrow margins or cut-off signatures diminish value.

Canvas works (giclée or original)

• Surface scuffs or varnish scratches: Especially along the edges of gallery-wrapped pieces.
• Indentations from stretcher bars or impact points.
• Overcleaning: Glossy “burnished” areas on varnish, or loss of surface texture.

Framing and glazing

• Non-UV glass: Encourages fading over time. Upgrading to UV-filtering glazing preserves color and supports value.
• Spacers and archival materials: Matting and backing should be acid-free; hinging should be reversible (Japanese tissue and wheat starch paste).
• Avoid tape on the artwork’s edges: Pressure-sensitive tapes stain and cause long-term damage.

Conservation advice

• For paper: Consult a paper conservator for deacidification, stain reduction, and flattening. DIY cleaning is risky.
• For canvas: Minor scuffs can sometimes be addressed by a conservator; avoid household cleaners. Re-stretching or re-varnishing originals should be left to professionals.

Market Value and Comparables

Value hinges on medium, edition, condition, size, and current demand for Ellis’s imagery.

Typical secondary-market ranges (general guidance)

• Open-edition poster: Approximately $40–$125 unframed; $100–$250 framed depending on frame quality and condition.
• Signed and numbered print on paper (offset lithograph or giclée): Approximately $150–$400 unframed; $300–$700 framed in clean condition with UV glazing. Larger formats or giclée editions can push higher.
• AP/PP/HC proofs: Often a modest premium of 10–20% over the standard edition when condition is comparable.
• Giclée on canvas (signed/numbered): Often falls in the $300–$800 range, with higher values for larger sizes or pristine, well-framed presentations.
• Original painting: Size, composition, and exhibition history drive results. Small to mid-size originals commonly range from roughly $2,000–$6,000; larger or particularly strong works can reach $6,000–$15,000+. Exceptional provenance or institutional exhibition history may exceed these guideposts.

How to find reliable comps

• Focus on realized prices, not asking prices. Use recent sales within the last 12–24 months.
• Match like with like: same edition type, similar size, similar condition, and ideally the same image.
• Account for framing: Quality conservation framing can support a stronger retail price but rarely offsets major condition issues.
• Regional variance: Works can achieve stronger results in markets with active African American art collectors or where Ellis’s subject matter resonates.

Value impact factors specific to “My Old Quilt”

• Cross-collecting: Quilt enthusiasts can increase demand for this title compared to some other domestic scenes.
• Color saturation: Faded prints are significantly less desirable; color vibrancy is a key selling point.
• Documentation: A verifiable COA and clear provenance provide confidence and support the upper end of the range for that format.

Buying and Selling Tips

For sellers

• Document everything: Photograph the front unframed (if possible), margins, signature, edition number, blind stamps, labels, and the frame verso. Include close-ups in listings.
• Provide measurements: Both image size and sheet or canvas size. Many buyers filter by size.
• Set expectations on condition: Use standard terms (excellent, very good, good, fair) and list specific issues.
• Choose the right venue: For limited edition prints and posters, established online marketplaces or regional auction houses with a modern prints category often work well. For originals, consider a gallery or an auction house with a track record in African American fine art.
• Pack professionally: For framed works, acrylic glazing reduces break risk in transit. For unframed prints, ship flat between rigid boards when possible; if rolled, use a wide-diameter tube and interleave with archival tissue.

For buyers

• Verify the edition details against known practices for the artist and era. Ask for magnified photos of dots (to distinguish offset vs. giclée), and insist on images of the margins.
• Watch for color fade: Compare listed works to other examples and request photos taken in daylight.
• Price discipline: Don’t overpay for an open-edition poster that is framed attractively. The frame has value, but the artwork’s format is the primary driver.
• Budget for reframing: A $175–$300 reframing with UV glazing and archival matting can be worthwhile to stabilize a good print.

Concise Checklist: “My Old Quilt” by Ted T. Ellis

• Identify format: original painting, limited edition print on paper, giclée on canvas, or open-edition poster.
• Confirm signatures: margin pencil signature and numbering for prints on paper; painted signature for originals/canvas giclées.
• Check for publisher cues: blind stamp, COA, verso labels.
• Inspect under magnification: determine print method (offset rosette vs. giclée spray).
• Assess condition: fading, mat burn, foxing, creases, trimming; for canvas, scuffs and varnish issues.
• Measure accurately: image and sheet/canvas sizes; note frame details.
• Gather provenance: invoices, gallery labels, prior appraisals, exhibition notes.
• Research comparables: use recent realized prices for the same image and format.
• Decide venue: marketplace or auction suited to Ellis’s audience and your piece’s format.
• Package professionally: archival materials and protective glazing; avoid pressure-sensitive tapes.

FAQ

Q: My print has only a signature within the image but no pencil signature in the margin. Is it still collectible? A: That likely indicates an open-edition poster or a reproduction rather than a signed and numbered limited edition on paper. Posters are collectible at lower price points; limited editions with margin signatures typically command more.

Q: Does a lower edition number (e.g., 5/850) increase value? A: Usually only marginally, if at all. Condition, desirability of the image, and the presence of documentation are more influential. APs or PPs can carry a modest premium over standard numbers.

Q: I don’t have a COA. Can the work still be authentic? A: Yes. The strongest evidence is intrinsic: pencil signature, edition numbering, blind stamps, print method under magnification, and consistent measurements. A COA helps but isn’t decisive.

Q: How much does fading affect value? A: Significantly. Noticeable fading or yellowing can reduce value by 30–60% for limited edition prints, depending on severity. Color fidelity is a key driver of desirability.

Q: Should I remove the print from the frame to inspect it? A: If you’re experienced and careful, you can remove the frame to inspect margins and the verso, but avoid unmounting hinged works yourself. When in doubt, ask a professional framer or conservator to open it without risk.

With methodical inspection and careful comparison to recent sales, you can confidently place “My Old Quilt” within Ted T. Ellis’s market, distinguish between editions, and set a value that reflects both the artwork’s cultural warmth and its tangible attributes.