Titanics Grand Staircase By Larry Johnson Autographed By Eleanor Johnson Shuman

For collectors of maritime art and those who appraise historical memorabilia, a print titled Titanic’s Grand Staircase by Larry Johnson that also carries the autograph of survivor Eleanor Johnson Shuman sits at a compelling intersection: fine art, cultural memory, and survivor-associated ephemera. This guide explains what you have, how to verify it, what drives value, and the best practices for care, selling, and insurance.

What this piece is and why it matters

• The subject: The Grand Staircase is arguably the most iconic interior of RMS Titanic—a symbol of Edwardian luxury and, after 1912, a visual shorthand for the ship’s story. Artworks depicting it are perennially sought after by Titanic and maritime collectors.
• The artist: Larry Johnson is among the artists who produced Titanic-themed prints in the late 20th century. While not as universally known in Titanic circles as a few marquee maritime painters, Johnson’s compositions are desirable when well-executed, properly editioned, and paired with meaningful provenance.
• The autograph: Eleanor Johnson Shuman (1910–1998) was a Titanic survivor who, as an adult, attended Titanic-related events and signed memorabilia. Her signature links the artwork to living memory of the disaster, a factor that raises both historical interest and marketability.

The combination of a limited edition art print and a verified survivor’s autograph matters to appraisers because it blends two collecting categories. The art value is driven by edition, artist reputation, condition, and print quality; the historical/memorabilia value is driven by the authenticity of the autograph and its contextual connection to Titanic history.

Artist, subject, and editions

Because multiple publishers and printers have issued Titanic-themed prints over the decades, the first step is to identify exactly what you have:

• Medium: Most examples of Titanic’s Grand Staircase by Larry Johnson encountered in the market are offset lithographs (occasionally giclée) on heavy archival paper. True hand-pulled prints (e.g., etching, serigraph) are less common. Under magnification, offset lithographs show rosette dot patterns.
• Edition marking: Look at the lower left margin for a fraction such as 123/950, 191/500, or similar. Limited editions often come with artist’s proofs (A/P), printer’s proofs (P/P), or remarque editions (small hand-drawn embellishment in margin) in smaller quantities. The lower right margin typically carries the artist’s hand signature in pencil.
• Plate vs. hand signature: Printed (plate) signatures are part of the image; they do not confer collectible “signed” status. You want a pencil signature by Larry Johnson in the margin to confirm a signed limited edition.
• Paper and image size: Note the sheet size (e.g., 18 x 24 inches) and image window. Trimmed margins or oversized mats that hide the edition number complicate appraisal and can reduce value.
• Publisher information: Some editions include a blind stamp or publisher imprint along the lower margin. Record any marks; they help verify authenticity and edition lineage.

If your example lacks an edition number, it could be an open-edition poster. Posters can still be collectible when autographed by a survivor, but they typically command lower prices than numbered, signed limited editions in fine condition.

Autograph significance and authentication

Eleanor Johnson Shuman’s autograph is the historical heartbeat of this piece. Here’s what to know:

• Common formats: She signed “Eleanor Shuman,” “Eleanor Johnson Shuman,” or occasionally included notations like “RMS Titanic Survivor.” Signatures are typically in black or blue ink (felt-tip or ballpoint) on the lower margin, the verso, or a card/COA accompanying the print.
• Signing context: Many autographs were obtained at Titanic historical society events, museum functions, or organized signings during the 1980s–1990s. Photos of the signing event and period paperwork meaningfully strengthen provenance.
• Placement matters: A survivor autograph on the print margin is preferred over signatures on the back of the frame dust cover or on a separate card. However, a well-documented off-print autograph with strong provenance still adds value.

Authenticating the autograph

• Handwriting comparison: Compare letter formations (especially “E,” “S,” and the double “n” in Johnson) across known authentic examples. Variability is normal, but rhythm and pressure should be convincing. Autopen use is unlikely for survivor signings of this era; obvious uniformity or mechanical hesitation are red flags.
• Ink and aging: Felt-tip ink from the 1980s–1990s may show slight feathering on porous paper and modest, even fading. Glossy, toner-like sheen or identical saturation with the printed image suggests a facsimile.
• COA provenance: A certificate from a recognized Titanic collecting body or a reputable dealer helps, but a COA alone is not definitive. The best documentation includes a dated invoice, event program, photographs, or a signed attestation from the original purchaser.
• Consistency with edition: If the autograph predates the print’s publication date, something is wrong. Align dates logically (edition release, event dates, and the signer’s life dates).
• Signer identity mix-ups: Do not confuse Eleanor Johnson Shuman with other well-known survivors (e.g., Millvina Dean). Misattributed items appear on the market.

Red flags

• Autograph printed as part of the image (no ink lift/indentation).
• “Too perfect” calligraphy or inconsistent spelling variants.
• Vague dealer COAs without a named source, date, or contact details.
• Signatures over varnish or lamination layers (common on modern posters), which prevent ink absorption.

Condition, conservation, and display

Print condition drives a large share of value. Inspect unframed when possible:

• Paper issues: Look for foxing (brown spots), toning, mat burn (brown halo around the mat window), moisture cockling, tears, creases, or edge nicks. Ultraviolet light can reveal restoration and previous exposure.
• Image integrity: Fading of blacks and warm tones indicates light damage. Compare protected margin color to exposed image color to gauge shift.
• Signature integrity: Ensure both signatures (artist pencil and survivor ink) are intact and unfaded. Smudged ink or graphite erasures reduce desirability.
• Mounting: Dry-mounting or spray adhesives permanently alter the sheet and can halve value relative to a free, hinged print. Non-archival backings (cardboard) off-gas acids, causing future damage.
• Trimming: Loss of wide margins, edition numbers, or blind stamps is a serious detractor.

Conservation best practices

• Housing: Use 100% cotton rag or alpha-cellulose museum boards; hinge with Japanese paper and reversible wheat starch paste. Avoid pressure-sensitive tapes.
• Glazing: UV-filtering acrylic or glass is essential. Keep the piece out of direct sunlight and away from heat sources and humidity swings.
• Framing: Use a spacer or mat to prevent glazing from contacting the ink. Document and store all provenance material in an archival sleeve attached to the frame’s verso.
• Cleaning: Surface cleaning should be limited to gentle dusting with a soft brush. Professional paper conservators can address foxing, stains, and deacidification; avoid DIY chemical treatments.

Quick appraisal checklist

• Identify the medium and edition
  • Locate and record the edition fraction (e.g., 123/500), pencil signature of Larry Johnson, any blind stamps or publisher marks.
• Verify the survivor autograph
  • Confirm ink-on-paper signature of Eleanor Johnson Shuman; note placement, ink type, and any inscriptions. Gather COA and event documentation.
• Assess condition
  • Check for foxing, toning, mat burn, fading, tears, cockling, or trimming. Note framing materials and whether the print is hinged or dry-mounted.
• Compile provenance
  • Collect invoices, letters, photos, and ownership chain. Note dates consistent with edition release and signing events.
• Establish comparables
  • Research recent sales of Larry Johnson Titanic prints, with and without survivor autographs, and similar survivor-signed maritime prints.
• Decide next steps
  • If value appears significant, consider a professional appraisal, conservation treatment, and museum-quality reframing before sale or insurance coverage.

Market values, selling strategies, and insurance

Value drivers

• Autograph presence and quality: An authenticated Eleanor Johnson Shuman autograph can add meaningful value over an unsigned copy, especially when well-placed and well-documented.
• Edition status: Lower edition numbers don’t inherently mean higher value, but scarce editions, A/Ps, remarques, or early publisher runs can trade at a premium.
• Artist market: Larry Johnson’s market is more niche than some marquee maritime artists; however, solid demand exists for well-presented Titanic subjects, especially the Grand Staircase.
• Condition and presentation: A clean, untrimmed, unfaded, archivally framed example will outperform a toned or dry-mounted counterpart.

Indicative price ranges

• Unsigned open-edition poster: Often $50–$150 in good condition.
• Signed limited edition by Larry Johnson (no survivor autograph): Commonly in the $150–$400 range depending on edition, condition, and image size.
• Larry Johnson limited edition with Eleanor Johnson Shuman autograph: Frequently in the $300–$900 range; strong, fully documented examples can reach or exceed $1,000, particularly if accompanied by event photos or issued with a publisher COA. Exceptional provenance, remarque editions, or association copies may surpass these figures.

These ranges are general observations and will fluctuate with venue, seasonality (anniversary cycles), and competition from other Titanic offerings.

Selling strategies

• Choose the right venue: Maritime- or Titanic-focused auctions and established print dealers attract targeted buyers and can outperform general marketplaces for specialized pieces.
• Lead with documentation: Showcase both signatures clearly, provide macro photos of the ink and pencil, and include images of edition numbers, blind stamps, and all provenance.
• Time the sale: Listing around Titanic anniversaries can increase visibility. Avoid peak summer months when collecting activity often slows.
• Avoid over-restoration: Minor foxing or mat burn is often better disclosed than aggressively treated; heavy bleaching or pressed creases can spook advanced buyers.

Insurance and valuation notes

• Insurance basis: Insure for retail replacement value, not auction hammer price. Replacement values for survivor-autographed examples often sit in the $600–$1,500 band depending on your specific copy’s merits.
• Appraisal documentation: Maintain a written appraisal (updated every 3–5 years), detailed photographs, and all provenance. Store digital backups offsite or in the cloud.
• Risk mitigation: Use UV glazing, stable humidity (40–55%), and avoid display in direct sun or near kitchens/bathrooms.

FAQ

Q: How do I tell the difference between Larry Johnson’s printed signature and a hand signature? A: A printed (plate) signature is part of the image and shows the same dot pattern as the print under magnification. A hand signature in pencil sits on top of the paper, shows graphite sheen, and often leaves slight indentation.

Q: Does a COA guarantee the Eleanor Johnson Shuman autograph is real? A: No. A COA helps but is only as reliable as its issuer. The best proof combines a reputable COA with handwriting consistency, logical dates, and provenance such as event photos or first-owner invoices.

Q: My print is dry-mounted. How much does that hurt value? A: Dry-mounting is a significant condition issue for fine prints and can reduce value by 25–50% versus a comparable, free-sheet example. Impact varies with severity, visibility, and overall presentation.

Q: What if my print has the survivor autograph but no artist signature? A: It can still be collectible, especially with strong documentation, but the absence of the artist’s pencil signature and edition number typically places it below fully signed, numbered editions in value.

Q: Should I reframe before selling? A: If the current frame uses non-archival mats or lacks UV glazing, upgrading can be worthwhile—provided you can do so without disturbing the sheet. At minimum, remove acidic backings and use conservation-grade materials; document the process for buyers.

By carefully identifying edition details, verifying the survivor autograph, and addressing condition and presentation, you can confidently appraise and position Titanic’s Grand Staircase by Larry Johnson—autographed by Eleanor Johnson Shuman—for the market or for long-term stewardship.