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TAMARIND LITHOGRAPHY WORKSHOP, INC.

DETAILS OF FELLOWSHIPS - #4

13. All editions, Tamarind Impressions and proofs of whatever designation, shall bear the chop of the Workshop and of the printer, as well as the chop of the artist (if he so desired) in addition to his signature. Location of these chops shall be approved by the artist.

14. After the edition has been printed, the artist, in collaboration with the printer, shall abrade the stone or zinc in such a way as to partially destroy the image. An impression will then be taken of this destruction to prove the stone or zinc no longer usable. This impression will be the property of the artist, and will be known as the CANCELLATION PROOF.

15. The nature of the lithographic process is such that upon occasion, events may cause the unavoidable loss of a plate or stone in the process of printing. This risk, although not great, must be recognized by both the artist and the Workshop. Should such a loss occur prior to the printing of the edition, such acceptable proofs as may exist shall be dealt with as described in paragraph 8, page 2. Should such a loss occur during the printing of an edition, and should it be impossible to complete a normal basic edition, it will be necessary to number the edition as a short edition.

16. DEFINITION OF BASIC EDITION SIZE. Prints in a basic edition will be apportioned as follows:

1 "Bon à Tirer" (Printer's Proof - property of the printer)
20 Impressions to be numbered 1 thru 20 (property of the artist)
9 Tamarind Impressions (property of Tamarind)
1 Cancelled Impression (property of the artist)

AND POSSIBLY THE FOLLOWING 

1 to 3 Artist's Proofs (property of the artist - see paragraph 6)
2 Trial Proofs (property of the artist - see paragraph 7)
1 Printer's Proof #II (property of 2nd printer - see paragraph 9)
Up to 3 Presentation Proofs (see paragraph 10)
Progressive Proofs of color lithographs, if Tamarind elects to retain such (property of Tamarind and the artist- see paragraph 11)

17. Tamarind policy is to maintain small, select editions. Should a fellow wish to print a larger edition than is part of the Tamarind grant, he should discuss this with the Director who may, on rare occasions, be able to arrange such over-printing AT THE ARTIST'S EXPENSE if the work schedule of the Workshop allows for such over-printing. In practice, however, such over-printing usually is not feasible inasmuch as Tamarind´s staff is fully committed to the work load represented in servicing the grant. Should such over-printing become possible, such prints will be subject to the same rules of quality as the Tamarind grant editions and will be entered into the archives of the Workshop as though part of the basic edition.