Ted Ellis Justice

Collectors who encounter a Ted Ellis piece titled “Justice” (or any legal/civil-rights–themed work by the artist) often ask two questions: What exactly do I have, and what is it worth? Because Ellis’s imagery is widely collected and frequently reproduced in multiple formats—from original paintings to limited editions, open-edition posters, and later giclées—correct identification is the single most important step before discussing value.

This guide explains how to recognize an original versus a print, how edition details affect desirability, what condition issues matter, and how to make informed comparisons when appraising or buying/selling a Ted Ellis “Justice” work.

Ted Ellis and “Justice” Imagery: Context for Appraisers

Ted Ellis is a contemporary American artist celebrated for expressive scenes of African American life, culture, and history. His catalog includes lively community scenes, spiritual themes, and works that reflect social conscience—often resonating strongly with collectors in education, healthcare, and law. “Justice” and similarly themed images typically depict symbols such as scales, courthouse steps, dignified figures in legal attire, or crowds at pivotal moments. For appraisers, that subject matter matters: law-related works attract steady demand from law firms, judges, and institutions that prefer decor with a clear conceptual fit.

A few pragmatic points about Ellis’s production, relevant to identification:

• He has produced original paintings (commonly acrylic on canvas) and drawings.
• Many popular images exist as limited edition serigraphs, lithographs, or giclées on paper or canvas.
• Open-edition posters and offset prints circulate widely.
• Most limited editions carry hand signatures and numbering in pencil; open editions often bear a printed signature in the image (a “plate signature”).
• Hand-embellished giclées exist; these are prints with paint applied by the artist or studio to add texture and uniqueness.

Because multiple formats of the same image can coexist, the precise medium and edition details heavily influence value.

Identifying What You Have: Original, Limited Edition, Giclée, or Poster

Start with a methodical inspection under good light, using a 10x loupe if possible.

1. Originals (paintings on canvas or panel)

• Surface: Visible brushwork and physical texture; edges of paint may overlap onto canvas threads or wrap slightly around the stretcher edge.
• Signature: Usually paint on the surface; often “Ted Ellis” or “T. Ellis,” with a date.
• Back: Canvas texture, stretcher bars, staples; possible handwritten title, studio stamp, or gallery label on the stretcher/backing.
• Varnish: May be present (sheen variations); note any cracking or yellowing.

2. Serigraphs and Lithographs (limited edition prints on paper)

• Serigraph (screenprint): Solid, flat color areas with crisp edges; under magnification, color fields look uniform (no CMYK halftone dots typical of commercial offset).
• Lithograph (fine art): Smooth tonal areas; dot structure may be present but not like standard offset; edition and publisher practices vary.
• Markings: Pencil signature lower right, edition number lower left (e.g., 123/500). Look for a blind stamp or publisher mark in margin; margins are usually generous.
• Paper: Heavier fine-art paper; deckled edges may appear on some editions.

3. Giclée (inkjet) prints on paper or canvas

• Paper giclée: Under a loupe, you’ll see microscopically sprayed dots, but not the rosette pattern of offset printing. Texture comes from the paper, not the ink layer.
• Canvas giclée: Printed on canvas; may show uniform texture. If “hand-embellished,” you’ll see selective strokes of paint sitting atop the printed surface.
• Markings: Pencil or paint signature; hand numbering; sometimes a small studio or printer label on the back, and an edition note (e.g., “Giclée on canvas, 95 SN”).

4. Open-edition posters and commercial offset prints

• Image signature often looks printed, not applied by hand.
• Under magnification, offset rosettes (CMYK dot patterns) are visible.
• Usually no hand numbering; a small line of text with title/artist/copyright may appear near the lower margin or within the image.
• Paper is thinner; margins may be trimmed close, and framing often used low-cost mats.

5. A note on signatures

• Hand-signed: Graphite pencil or ink that sits on top of the paper; you’ll see shine and pressure indentations when tilted under light.
• Plate-signed: Part of the image; under a loupe, the “signature” breaks into the same dot matrix as the rest of the print.

6. Edition annotations you might see

• SN (Signed and Numbered): Standard limited edition.
• AP (Artist’s Proof): Typically <10% of the edition; sometimes modestly more sought-after.
• PP (Printer’s Proof), HC (Hors Commerce), EP (Épreuve d’Artiste): Scarcer subsets; desirability depends on market familiarity.
• Remarque: A small hand-drawn sketch in the margin; adds appeal if unquestionably drawn by the artist.
• Hand-embellished: Paint applied by hand over a giclée; value depends on quality and documentation.

The final test is congruence: the signature medium should match the print surface (pencil on paper, paint on canvas), edition numbers should be plausible for the era, and production quality should align with Ellis’s market.

Authentication and Provenance: Building Confidence

Because Ellis’s work is well-known and frequently reproduced, provenance and documentation play outsized roles in appraisal. Assemble a complete file:

• Invoices and receipts: From a gallery, publisher, or the artist’s studio. These clarify format (e.g., “giclée on canvas, hand-embellished, edition of 95”).
• Certificates of Authenticity (COA): Useful but not definitive; a COA should specify the exact title, medium, edition size, date of issue, and issuer details. Generic “art COAs” with no specifics carry little weight.
• Labels and notations: Check the back of frames for gallery labels, barcode stickers, and handwritten titles. Photograph these before any reframing.
• Correspondence and photos: Emails, studio photos, or event programs connecting the piece to a specific sale or exhibition enhance credibility.
• Chain of ownership: A short written history from prior owners is valuable, especially if dates and venues corroborate paperwork.

Compare signatures across known hand-signed examples. Look for consistency in letter formation, slant, and spacing. Keep in mind that genuine signatures do evolve over time, so you’re looking for natural variance, not mechanical uniformity.

Caution flags:

• “Too new” paper for a purported early print, or artificially aged paper.
• Editions with implausible size or numbering anomalies (e.g., 1300/300).
• COAs with spelling errors, mismatched titles, or missing media details.
• Freshly printed giclées represented as vintage lithographs.
• Plate signatures represented as hand-signed.

When in doubt, obtain an independent written opinion from a qualified appraiser with contemporary print experience. For high-value originals, condition reports and materials analysis (e.g., pigment identification) can be worth the expense.

Condition: What Moves the Needle

Condition impacts value significantly, especially for paper works. Examine front and back, unframed if feasible (or have a framer do it):

Paper works (lithographs, serigraphs, giclées on paper)

• Light fading: Look for color shifts; compare margins under the mat (protected) to exposed areas. UV fade is common.
• Foxing: Brown spots from mold/metal impurities—reduces value; some treatable by conservators.
• Mat burn and acid migration: Brownish halos around image edges from acidic mats. Re-matting with archival materials is prudent.
• Handling creases and dents: More visible in raking light; depressions near signature or margins matter to collectors.
• Stains, tide lines, and moisture rippling: Significantly detrimental.

Canvas works (originals and giclées on canvas)

• Abrasion and scuffs: Especially on textured paint or canvas surfaces.
• Varnish issues: Yellowing or uneven gloss; correctable by professionals.
• Stretcher bar imprints and corner stress: Common on larger canvases.
• Loose canvas or warping: Can be addressed by re-stretching, but this requires care—particularly for hand-embellished prints.

Framing and presentation

• Non-glare acrylic can mute color; UV-filter glazing is preferable for paper works.
• Spacers and acid-free hinging prevent contact with glazing and reduce acid burn.
• Document and retain any original frame labels even if you reframe.

Conservation tip: Avoid heat, direct sun, and high humidity. Store unframed works in archival sleeves or folders; never roll if avoidable, and never tape directly to the art.

Valuation: Markets, Comparables, and Realistic Expectations

Valuing a Ted Ellis “Justice” piece requires accurate identification of format and edition, then selecting appropriate comparables:

• Apples-to-apples comps: Match the exact image and format—original painting vs serigraph vs giclée vs open-edition poster. A hand-embellished canvas giclée is not directly comparable to a paper lithograph.
• Edition size: Smaller editions generally command higher prices. Subsets like AP or PP can carry a modest premium if demand is strong.
• Subject matter: Legal/civil-rights–themed works tend to maintain steady institutional and professional interest; among “Justice” variants, stronger compositions and larger sizes typically do better.
• Age and desirability: Earlier, well-known images in excellent condition with documented provenance are more liquid than later or widely reproduced posters.
• Retail vs secondary: Gallery retail pricing for contemporary editions may exceed realized resale values. Appraisal for insurance often uses replacement retail; fair market value relies on recent secondary sales under typical market conditions.
• Framing: Quality archival framing adds appeal but rarely recoups full cost at resale. However, pristine, ready-to-hang condition can help in direct sales to end-users (e.g., law offices).

If exact comps are scarce, bracket value using:

1. Comparable Ellis images of similar subject and format.
2. Comparable artists with similar collector bases for legal-themed works.
3. Replacement cost for a fresh edition (if still available), adjusted for secondary market realities.

Note: Prices for open-edition posters are typically modest, even when professionally framed. The premium lies with hand-signed, numbered editions and, of course, originals.

Buying and Selling Strategy for “Justice” Works

Selling

• Confirm the specifics: Title variant, medium, edition size, signature type, and condition. Put this in your listing clearly.
• Photograph well: Straight-on, evenly lit images of the front; close-ups of signature, numbering, margins, and any labels; raking light to show texture for originals/embellished giclées; photos of condition issues.
• Provide paperwork: Include images of COAs, invoices, and exhibition notices. Buyers pay more readily when documentation is transparent.
• Choose the venue: For posters or common editions, broad online marketplaces can suffice. For scarce limited editions or originals, consider auction houses or galleries that understand contemporary African American art markets.
• Price realistically: Anchor to recent secondary sales when available; highlight condition and edition advantages.

Buying

• Prioritize condition and clarity of format/edition. Be wary of listings that avoid stating whether a piece is an open-edition poster or a signed, numbered edition.
• Validate dimensions. Compare the seller’s measurements against known sizes for that edition type; mismatches can signal a different format.
• Ask for unframed photos if the edition markings are hidden by mats.
• For hand-embellished canvases, request close-ups that show discernible paint texture above the printed surface.

Ethical note: Reproductions should be sold as such; never represent a giclée as an original painting, and don’t conflate plate signatures with hand-signed editions.

The “Justice” Niche: Who Buys and Why It Matters

Legal-themed Ellis works occupy a strong niche among:

• Law firms and corporate legal departments seeking thematic art for reception and conference spaces.
• Judges and attorneys acquiring meaningful decor for chambers and home offices.
• Educational and civic institutions highlighting equity and civil rights.

For appraisers, this niche demand underpins stable interest, particularly for well-presented, hand-signed editions. For sellers, emphasizing subject fit (justice, fairness, dignity, civic values) and professional presentation (archival framing, condition, documentation) helps maximize outcomes.

Quick Appraisal Checklist

• Identify the medium:
  • Original painting? Serigraph/lithograph? Giclée on paper or canvas? Open-edition poster?
• Verify signatures/markings:
  • Hand-signed in pencil/paint? Plate signature? Edition fraction, AP/PP/HC notes, blind stamps?
• Confirm dimensions:
  • Image vs sheet vs framed size; match to expected edition specs.
• Gather provenance:
  • Invoices, COAs with specifics, gallery labels, correspondence.
• Assess condition:
  • Fading, foxing, mat burn, creases (paper); abrasion, varnish, stretcher issues (canvas).
• Photograph thoroughly:
  • Front, back, close-ups of signature/edition/labels, and any flaws.
• Select comps:
  • Same image and format first; then broaden cautiously.
• Choose venue and pricing:
  • Align with edition scarcity and condition; distinguish retail replacement vs fair market value.

FAQ

Q: How can I tell if my “Justice” print is hand-signed or just bears a printed signature? A: Examine the signature with a loupe and tilt under light. A hand signature in pencil or ink will sit on top of the paper with slight sheen and pressure indentations; a printed signature resolves into the same dot pattern as the image. On canvas giclées, a hand-applied paint signature has discernible texture above the print surface.

Q: Are Artist’s Proofs (AP) of Ted Ellis works more valuable? A: Often, but not always. APs are typically scarcer (commonly up to 10% of the edition). If demand is strong and the piece is otherwise equivalent in condition and presentation, an AP may command a modest premium. Market familiarity with the edition is the key driver.

Q: What’s the difference between a giclée and a lithograph for valuation? A: Lithographs (and serigraphs) are traditional printmaking methods and may carry established collector expectations. Giclées are high-quality inkjet prints; hand-embellished giclées can be more desirable than standard giclées. Ultimately, value depends on edition size, documentation, and demand for that specific image/format—not the print method alone.

Q: My framed print shows brown lines near the mat opening. Is that a big issue? A: That’s likely mat burn from acidic materials. It does affect value, especially for collectors of paper works. A conservator can often mitigate discoloration, and re-matting with archival materials will help prevent recurrence. Document the issue and price accordingly if selling.

Q: Can a strong frame significantly increase value? A: A quality, archival frame improves appeal and sell-through, particularly to end-users like law offices. However, frames rarely add dollar-for-dollar value on the secondary market. The artwork’s format, edition, condition, and documentation remain the primary value drivers.

By carefully identifying the format, verifying signatures and edition details, documenting provenance, and assessing condition with a conservator’s eye, you can confidently appraise and market Ted Ellis “Justice” artworks—ensuring they find the right buyers and command appropriate prices.