Yvaral Marilyn Numerisee

Yvaral—born Jean-Pierre Vasarely (1934–2002), son of Victor Vasarely—was a central figure in Op and kinetic art and a co-founder of GRAV (Groupe de Recherche d’Art Visuel). In the mid-1970s he coined the term “art numérique” to describe his method of generating images using algorithmic transformations and computer-assisted procedures. Among his most recognizable subjects is Marilyn Monroe, reinterpreted through digitized grids and optical modulation. Works commonly referred to as “Marilyn Numérisée” (often rendered without accents as “Marilyn Numerisee”) belong to this body of computer-influenced portraiture.

For appraisers and collectors, the Marilyn images present a fertile intersection of pop iconography and rigorous optical method. This guide consolidates what to look for when identifying editions, distinguishing fine art prints from reproductions, judging condition, and contextualizing value.

What “Marilyn Numérisée” Means in Yvaral’s Practice

Unlike Warhol’s celebrity silkscreens, Yvaral’s Marilyn is constructed from systematically transformed grids that simulate resolution changes with viewing distance. At close range the image dissolves into abstract cells, lines, or relief-like modulations; at a few steps back, a coherent portrait clicks into focus. This “digital” behavior—long before ubiquitous home computing—was executed via early computer plotting and carefully planned matrices, then translated into screenprint layers or acrylic paintings.

Key takeaways:

• Conceptual framework: algorithmic transformation of a photographic icon into optical structure.
• Medium: commonly screenprints (serigraphs) on wove paper; also acrylics on canvas and mixed-media reliefs exist.
• Era: strongest concentration of Marilyn works appears from the late 1970s through the 1980s, concurrent with his “art numérique” period.
• Visual features: squared cells, halftone-like matrices, gradient bands, or line lattices that cohere into Marilyn’s visage at viewing distance.

Understanding this intent matters for appraisal: the precision of the matrix, color balance, and registration are part of the work’s aesthetic success and its market appeal.

Identifying Authentic Examples and Common Variants

You will encounter several iterations of Yvaral’s Marilyn subject. Authentic fine art versions share certain traits:

• Medium and surface
  • Serigraphs: multiple, solid color layers with clean registration; ink may be slightly raised and tactile. Flat, even fields and sharply cut edges are normal.
  • Paintings: acrylic on canvas, sometimes with relief effects or built-up gels; may be square-format with substantial depth of color.
• Typical formats and sizes
  • Sheet sizes frequently align with French fine-art papers: around 65 × 50 cm, 70 × 70 cm, or 76 × 56 cm. Square formats are common for optical portraits. Exact dimensions can vary by edition.
  • Full margins are expected on fine art prints; deckled edges on one or two sides occur with papers like Arches or BFK Rives.
• Signatures and inscriptions
  • Pencil signature “Yvaral” at lower right is standard; full legal name is uncommon on the sheet.
  • Edition number at lower left (e.g., 45/75). You may see E.A. (épreuve d’artiste), A.P. (artist’s proof), or H.C. (hors commerce) notations, usually fewer in number than the regular edition.
  • Some sheets also bear a date in pencil near the signature; others rely on a printed date within the image or only documented dating.
• Publisher and printer marks
  • Many Yvaral prints were published by Galerie Denise René (Paris/New York). When present, a blind stamp or embossed seal may appear in the lower margin.
  • Printing was carried out by specialist Parisian silkscreen ateliers; credits can appear printed in the lower margin or stamped/annotated verso.
• Paper
  • High-quality, heavyweight wove (e.g., Arches, BFK Rives). Watermarks are often detectable when the sheet is backlit.
• Image variants
  • Colorways: Yvaral explored different palettes—cool blues, hot reds/oranges, or grayscale—to modulate depth and legibility.
  • Matrix structures: some Marilyns use square modules; others rely on curvilinear lines, moiré-like patterns, or gradient steps.

Items to treat with caution:

• Posters and offset reproductions: These may bear text, larger margins with publishing credits, and lack hand signatures and numbering. Offset dots (rosette CMYK patterns) under magnification indicate a reproduction rather than a hand-pulled serigraph.
• Digital giclée prints “after Yvaral”: These are inkjet reproductions. They can be high quality, but they are not fine art originals unless expressly authorized and editioned by the artist/estate, which is uncommon for Marilyn works.

Printing, Paper, and Tells of Technique

A 10x loupe can reveal the production method:

• Serigraph (screenprint)
  • Solid areas of color appear uniform without rosette dot patterns.
  • Edges are crisp; color boundaries show minimal bleed due to careful registration.
  • Slight relief: run fingertips lightly across darker layers to feel a raised texture. Do not drag or press hard—serigraph layers can scuff.
  • Under oblique light, different layers may reflect differently, showing the successive overprints Yvaral used to achieve optical effects.
• Inkjet/giclée
  • Viewed under magnification, micro-droplet patterns and banding may be visible, especially in gradients.
  • Surface is typically flat and lacks the tactile stratum of screenprint inks.
• Offset lithography (poster/reproduction)
  • CMYK rosette patterns are visible even at 5–10x magnification.
  • Paper stock often thinner and more glossy than fine-art wove.

Papers and watermarks:

• Arches or BFK Rives are common in French silkscreen practice; look for watermarks along a deckled edge or when held against light.
• Full, untrimmed margins are preferred in the market. Trimming into the platemark area or loss of deckle often reduces desirability.

Marginalia and stamps:

• Pencil inscriptions should sit on top of the paper fibers (you can see graphite grain under magnification). Printed “pseudo-signatures” embedded in the image or mechanically reproduced signatures do not indicate an original hand-signed edition.
• A publisher’s blind stamp, when present, is impressed physically into the sheet, not printed.

Condition and Conservation Considerations

Because Yvaral’s Marilyn prints rely on high-contrast geometry, condition issues are immediately noticeable:

• Light sensitivity and fading
  • Bright reds, oranges, and some fluorescent inks used by Op artists can fade or shift under UV exposure. Compare protected edges (beneath former mat windows) with exposed fields to detect color change.
• Surface scuffing and abrasion
  • Silkscreen layers, especially large dark fields, can abrade. Look under raking light to see rubs or scratches.
• Creasing and handling dents
  • Even minor dents break the uniformity of optical grids. Inspect margins and image fields for pressure marks from poor framing or handling.
• Paper oxidation and mat burn
  • Acidic mats leave brown lines at the window edge; paper may tone overall. Neutralize risks by rehousing with museum-grade materials.
• Stains and foxing
  • Look for brown specks (foxing), tidelines, or moisture stains, which are more common on unframed or poorly stored sheets.
• Adhesive residues and tape
  • Old pressure-sensitive tapes (on verso) can migrate and stain. Hinge remnants near the top margin are common; ensure they are archival if re-framing.

Conservation guidance:

• Frame with UV-filtering glazing and 100% cotton or alpha-cellulose mats; float-mount to preserve full margins if appropriate.
• Keep out of direct sunlight and high-humidity environments.
• For cleaning, stain reduction, or hinge removal, consult a paper conservator. Avoid attempting surface cleaning over printed areas.

Appraisal Factors and Market Context

Value for Yvaral’s Marilyn “Numerisee” works varies with specificity. Consider:

• Medium hierarchy
  • Unique paintings and reliefs typically command higher prices than prints.
  • Within prints, early or iconic iterations, scarce colorways, and particularly strong impressions bring premiums.
• Edition size and proof status
  • Smaller editions (e.g., 75–100) are generally stronger than larger runs (e.g., 150–200), all else equal. Artist’s proofs (A.P./E.A.), H.C., or printer’s proofs may carry slight premiums, but only when authenticity and provenance are secure.
• Signature, documentation, and provenance
  • Pencil-signed and numbered works with credible provenance (gallery invoices, exhibition history, or estate paperwork) outperform unsigned or poorly documented examples.
• Condition
  • Flawless color and intact margins are prized. Fading, trimming, or stains can significantly impact value in high-contrast optical images.
• Comparables
  • Look for sales of the same image and colorway, accounting for edition type, condition, and size. When exact comparables are unavailable, triangulate among adjacent series in the same period of Yvaral’s “art numérique.”
• Market positioning
  • Yvaral stands at the nexus of Op art and computer-aided imagery. Demand is steady among collectors of Op/Kinetic art and postwar European abstraction, with celebrity subjects like Marilyn enjoying broader appeal.

Appraisal process tips:

• Verify the exact title as recorded (French titling is common), medium, year, and edition. Minor title changes can separate a poster from a fine print or distinguish an early from a later variation.
• Document any publisher or printer credits. Galerie Denise René association is a positive indicator.
• Photograph under normal and raking light for condition records.

Authentication, Documentation, and Red Flags

Primary authentication tools are consistent physical evidence and paper trail:

• Look for a pencil signature “Yvaral” and a standard edition fraction in the lower margin.
• Corroborate with publisher/printer marks, paper watermark, and known sheet sizes.
• Seek invoices, consignment forms, exhibition labels, or correspondence from reputable galleries. Annotations on verso can be helpful when credible and contemporaneous.

Be cautious with:

• “After Yvaral” giclées presented as originals.
• Mechanically reproduced signatures or edition numbers printed within the image.
• Works with trimmed margins that remove stamps or inscriptions.
• Unusual paper stocks, glossy coatings more typical of posters, or sizes far outside known ranges without documentation.

If in doubt, a paper conservator or experienced print specialist can examine the work under magnification and UV light to confirm printing technique and detect restorations. For high-value cases, consult the artist’s estate or recognized galleries that historically handled Yvaral’s editions for guidance on records.

Quick Checklist for Appraisers and Collectors

• Confirm medium: serigraph layers visible; no CMYK rosettes under loupe.
• Check signature and numbering: pencil “Yvaral” lower right; edition fraction lower left; note any A.P./E.A./H.C.
• Note paper: heavyweight wove (Arches/BFK likely); watermarks and deckled edges; full margins present.
• Identify publisher/printer: look for Denise René blind stamp or printed credit; note atelier if stated.
• Measure sheet and image: compare to known French formats; record in centimeters to one decimal place.
• Inspect condition under raking light: look for scuffs, creases, mat burn, fading, or stains.
• Verify provenance: invoices, labels, or estate paperwork; photograph verso annotations.
• Distinguish from posters/giclées: absence of hand signature/numbering or presence of text suggests reproduction.
• Document colorway and matrix type: square-cell, gradient, or line-based grid; note palette specifics.
• Compile comparables: same image and edition where possible; adjust for condition and proof type.

FAQ

Q: Is every Marilyn image by Yvaral a screenprint? A: No. While many are serigraphs, Yvaral also produced unique paintings and reliefs. Conversely, posters and offset reproductions of Marilyn exist and are not fine-art originals.

Q: What edition sizes are typical for Yvaral’s Marilyn serigraphs? A: Edition sizes vary by image and publisher, commonly in the range of 75–150 regular impressions plus a small number of proofs. Always verify the exact fraction and cross-check against reliable references.

Q: Where should I find the signature? A: On fine-art prints, Yvaral typically signed in pencil at lower right margin, with the edition fraction at lower left. Signatures printed within the image are not hand-signed.

Q: How do I tell a giclée from a serigraph? A: Under magnification, a giclée shows inkjet micro-dots and often banding in gradients; serigraphs present flat, solid color fields with slight surface relief and no CMYK rosette patterns.

Q: Does trimming the margins affect value? A: Yes. Trimming reduces desirability and can remove important stamps or deckle edges. Full, untrimmed margins are preferred for both authenticity and value.

By focusing on the mechanics of printing, the physical evidence on the sheet, and sound documentation, you can efficiently separate authentic Yvaral Marilyn “Numerisee” works from reproductions and place them accurately within the market.