2021 MEDIA KIT

THE ONLY MAGAZINE DEVOTED TO KEEPING YOUR UPCOMING EXHIBITIONS AND AUCTIONS IN FRONT OF SERIOUS COLLECTORS OF AMERICAN ART more than a Magazine… American Fine Art Magazine is an interactive marketing tool specially written to generate publicity and increase business for historic American fine art dealers and auction houses.

In researching the fine art media before deciding EDITORIAL COVERAGE AND PREVIEWS OF to launch this magazine, we noticed there was UPCOMING EVENTS, SALES AND AUCTIONS little or no coverage given to upcoming shows, sales or auctions of historic American art. We found that existing magazines were not providing GALLERY PREVIEW: NEW YORK, NY Enduring Importance editorial space to preview your upcoming events. Major works from American masters debut in Important American Paintings exhibition at Questroyal Fine Art in

a robust cross section of American art on the River, which depicts a warm American Fine Art Magazine has changed all that. over roughly 100 years beginning in landscape scene, and William Glackens’ Through October 31 Questroyal Fine Art the 1800s and ending in the mid-1900s. oil The Sea Shore, which shows 903 Park Avenue, Third Floor “For this year’s catalog, we spent time beachgoers celebrating the ocean and th th New York, NY 10075 digging through 19 - and early-20 - weather as boats and swimmers in the (212) 744-3586 century newspapers to see what critics distance bob in the water. Salerno says www.questroyalfineart.com thought about these paintings when The Sea Shore hangs directly across they were first created. We’ve found from his desk, “a celebrity glowing that these incredible examples truly under the lights—bold, confident and American Fine Art Magazine is unique in that have endured the test of time, being as distinguished—as if Glackens preserved ew York City’s Questroyal relevant and adored today as they were some of his soul in oil and varnish.” Fine Art is presenting years ago,” says gallery owner Louis M. Although it’s never easy for a gallery NImportant American Paintings, Salerno. “Art that can hold its value, owner to pick a favorite work, Salerno Volume XVII: Enduring, a returning both in the market and in the eyes of admits he is continuously drawn to it PREVIEWS exhibitions and auctions exhibition that will once again bring collectors, for more than a century is John Frederick Kensett’s oil on canvas significant works from American something we can stand behind.” New England Sunrise. “It truly is a masters to collectors. The artists Works in the show include Jasper masterpiece for the artist and represents included in this year’s show make up Francis Cropsey’s 1886 oil Mallards him at the height of his skill. Although Jasper Francis Cropsey (1823-1900), Mallards before they open rather than REVIEWS on the River, 1886. Oil on canvas 12 x 201/8 in., signed and dated lower right: ‘J. F. Cropsey 1886’; on stretcher bar: ‘A Foggy Morning / J. F. Cropsey. / Hastings-on-Hudson. 1886’. them after the event is over. we work hard with our photographer and printer to represent our paintings accurately in our catalogs, this is one that truly needs to be seen in person. It is incredibly luminous with the rising sun representing the hope of the nation after the Civil War. This is a painting that was powerful to a 19th- You now have the opportunity to have your century audience but resonates just as strongly today,” he says, adding that he is not the only one who can’t take their eyes off the painting. “New England Sunrise is not only one of Kensett’s upcoming events previewed in a timely manner. greatest paintings, it is one of the most spectacular examples of luminism ever created by any artist at any time.

Fairfield Porter (1907-1975), The Black Tree, Readers are then able to make intelligent choices 1968. Oil on board, 1915/16 x 18 in., signed and dated lower center: ‘Fairfield Porter 68’; on verso: ‘THE BLACK TREE / The Black Tree / 1968 / John Frederick Kensett (1816-1872), New England Sunrise. Oil on canvas, 181/8 x 30¼ in., monogrammed lower center: ‘JFK’. F Porter oil / 20" x 18"’. about the fine art pieces they want to add to 66 67 their collections. Questroyal.indd 66 8/2/16 4:05 PM Questroyal.indd 67 8/2/16 4:06 PM American Fine Art Magazine focuses on future upcoming shows and auctions, making serious collectors aware in advance of the major works coming to market. Editorial includes authoritative commentary by curators as well as interviews with top gallery and museum directors. WHO MAKES THE AMERICAN FINE ART MARKET TICK?

The home of Joan and Bernard Spain highlights their passion for paintings, American Fine Art Magazine has enlivened the market sculpture and Art Deco furniture By John O’Hern Photography by Francis Smith for historic American paintings and sculpture by Fashionable in focusing on the personalities and characters behind Right: In the sitting room is The oan and Bernard Spain have been married for 55 years. Together they have raised a family, run Cigarette, oil on canvas, by Leslie Prince Thompson (1880-1963). businesses, built apartments and have put together J Below: Joan and Bernard Spain in a formidable collection of French Art Deco their Philadelphia home. On the left furniture, art and objets. is Meditation, 1936, oil on canvas, by the scenes that make it all happpen. Guy Pène du Bois. Behind them is Bernard and his brother founded Dollar Express stores Pamela Wilson’s Contemplation. The and marketed the “smiley face” with the phrase “Have a sculpture is Torso, circa 1960, bronze, Nice Day.” “I’m a big optimist in life,” he says. “I love life. by Albert Wein (1915-1991). The “We really didn’t set out to be involved in Art Deco,” couple is seated on a signed daybed Bernard explains. “We live in Philadelphia and were by Émile-Jacques Ruhlmann (1879- 1933), one of many signed Art Deco walking by a store and saw a bronze sculpture sitting pieces of furniture in their collection. on a piece of furniture. It was Calderwood Gallery that specializes in 20th-century design.”

Opened in August 2015 and an immediate success, SeaGlass is sited near the planned Battery PlaySpace whose design is “viewed through the prism of environmental sustainability and water consciousness” MY VIEW as well as amusement. core led to the demolition of the fort in Mead & White. It served as a popular did finally get a makeover. It was the late 18th century and the rubble was amusement and the principal attraction officially designated a park, with sections used as landfill, the first of many such in the modestly designed park. of grass bordered by paths leading to a campaigns that have enlarged the tip of The downtown area was changing waterside promenade offering views of the island and provided the foundation radically at this moment. The tip of the Statue of Liberty, Ellis Island and a for the development of the Battery, now Manhattan became the commercial and still active harbor. Unremarkable and the oldest public space in continuous financial center housed in a staggering largely unwelcoming, the park was not use in New York. This modest patch of concentration of skyscrapers. In fact, the most congenial design for the site turf, originally an irregular dumbbell excavations for some of these buildings that was the birthplace of New York. shape of leftover real estate, faced the would provide material for further In the 1930s, national and local harbor and bay that welcomed the first landfill. Castle Clinton, as it became governments responded to the European settlers. It thus contained the known, now sits solidly within the Depression with a host of public essence of founding history. After later Battery’s perimeter. works projects. A new design for the development and expansion, the Battery, Early 20th century developments Battery was promulgated by New York’s would ultimately provide the entryway radically altered the physical and cultural legendary parks and transportation czar, for a later generation of pilgrims landscape of New York. In the aftermath Robert Moses. Through his 40-year through the “Golden Door” to a new of the World’s Columbian Exposition career, Moses made a lasting impact life in the “New World.” in Chicago in 1893, a new urban on the shape of the city as well as The Battery was the site of another vision for American cities was born, neighboring communities. Parks, public effort at fending off a potential enemy. finding adherents in a City Beautiful housing, bridges and tunnels, parkways Fort Clinton (originally the West Battery), movement. Practical considerations and thruways all came to realization PHOTO: BFA a circular red sandstone structure, was had largely shaped America’s urban from drawing boards directly under built beginning around 1808, a hundred centers. Private capital and commercial Moses’ control. The plan for Battery yards off shore on a rocky outcropping pressure were the principal ingredients of Park, a pedestrian arrangement of in the harbor and in response to development. Little attention had been standard landscape features was more58 increasingly belligerent British naval paid to amenities that would enhance the schematic than scenic. It was laid out ASSAULT on the BATTERY activity that eventuated in the War of pleasure and enlightenment of citizens. with polite informality, but offered CollectorHome.indd 59 8/2/16 4:04 PM 1812. Its cannons were never sounded The City Beautiful movement would little that reflected its important CollectorHome.indd 58 8/2/16 4:04 PM By Jay E. Cantor in combat and, perhaps indicative of a change that, gracing cities across America historic location. The principal feature growing sense of security and well-being, with handsome neoclassical buildings of the Moses plan was an oblong ot a shot was fired. When four towns in North America. Proximity to protection through the clustering the fort, reached by a causeway from the designed through the collaboration of oval lawn serving as an axial mall that British frigates entered the navigable waters, fertile soil for planting of houses and even the construction shore, was subsequently acquired by the a new and highly skilled generation extended from the tip of Broadway Nbroad inner harbor of New and meadows for grazing of livestock, of protective enclosures. For coastal city from the federal government was of architects, sculptors, painters and to the water’s edge, to be marked by a Amsterdam, the Dutch town established extensive woodlots and plentiful land communities, threat came from both transformed into an open air beer garden landscape designers. Parks, squares and circular colonnade that would provide a in 1625 at the tip of what became known were necessary ingredients for success the waterside and the wilderness and then, roofed over in 1844, it became memorial sculptures became more dramatically framed view of the Statue as Manhattan Island, they were given of a largely subsistence economy. These beyond the bounds of the community. a performance space, known as Castle significant features of the metropolitan of Liberty. Castle Clinton was in the way. INSIDE THE HOMES the city more or less on a handshake. were buttressed exportable resources, It was not surprising that the Garden. In a city virtually bereft of places landscape. After 1898, when Manhattan The tidy and well-developed settlement rich fishing grounds and old growth fledgling Dutch settlement had armed for public leisure, Castle Garden, with its was amalgamated with Brooklyn, Staten of townhouses, ornamental gardens and forests that provided needed material itself against invasion through the nearby promenades and cooling breezes Island, the Bronx and Queens to form food lots thus became New York City in for shipbuilding required by a seriously construction of a defensive artillery off the water, attracted city visitors from New York City, a panoply of civic 1665. The modest fort at the southwest deforested Europe. Opportunity was battery. The corner of the harbor was some distance. monuments and other public works gave OF MAJOR COLLECTORS corner of the island, bordered by a everywhere. North America seemed a an ideal strategic site for a fortification. As the neighborhood became a new majesty to the city and helped

battery, a long swath of artillery meant to paradise for the home countries even The wall constructed along the increasingly commercial, Castle define a dynamic era of civic enterprise. CONSERVANCY BATTERY THE PHOTO: protect the island from invasion, remained though settlers found survival uncertain. settlement’s northern boundary became Garden lost its appeal. Exchanging its The success of Central Park, begun mute. The very first assault on the Battery In this land-based agricultural world, today’s Wall Street, which ultimately initial function as a barrier to foreign in 1859, had shown the importance was monumentally uneventful. the working models came along with became a gateway to prosperity. incursion, it became the gateway for of such amenities for a population Unlike many Northern settlements, the emigrants from Europe. Other After the displacement of the Dutch 8-9 million would-be Americans after and a city already under pressure from Through the pages of this magazine, our New Amsterdam was an entrepreneurial than the virgin plenty of the land by the British and the expansion of the its conversion to an Emigrant Landing unimagined growth. Now smaller parks venture by the Dutch West India itself, a compelling opportunity for the town, the Battery fell into disuse and Depot. It served that role for over 35 were established or developed in other Company, which maintained a monopoly settlers was in the possibility of private survived in memory only through the years prior to the construction of Ellis city neighborhoods at the very moment in Atlantic trade from the coast of ownership of the land as well as the appropriation of the name for the area Island, which opened in 1892. The that landscape architecture had become The Bosque, a 4-acre woodland garden, Africa to the West Indies. Bounty rather oft-vaunted freedoms to practice religion that would, in fact, become the first fort, repurposed as New York’s first an established profession. was opened in 2005. This perennial garden, award-winning photographers take readers designed by Piet Oudolf, set a standard for than beauty had been the informing in ways that were suppressed at home. public landscape feature of the town. aquarium in 1896, was converted and The Battery, long-neglected and plantings that would be visually engaging motive in the making of many early Self-governing communities sought Pressure for land in the dense urban enlarged by noted architects McKim, without significant residential pressure, during the entire year. 42 43 inside the homes of major fine art collectors.

Jay Cantor.indd 42 8/3/16 10:51 AM Jay Cantor.indd 43 8/3/16 10:51 AM

7530 E. MAIN ST., STE.105, SCOTTSDALE, AZ 85251 | PO BOX 2320, SCOTTSDALE, AZ 85252-2320 | TEL: 866-619-0841 | FAX: 480-425-0724 EMAIL: [email protected] | WEBSITE: WWW.AMERICANFINEARTMAGAZINE.COM

1 A Proactive Magazine for a Dynamic Industry American Fine Art Magazine is the first publication to offer complete and comprehensive coverage of the upcoming shows, auctions and events of this always-fascinating market so deeply tied to American history, society and culture.

AUCTION PREVIEW: DALLAS, TX

Fresh and Important Works Dallas Auction Gallery’s October 5 fine art sale brings to market 90 pieces from the collection of Sam Wyly

N.C. Wyeth (1882-1945), Stirling Castle, 1921. Oil on Masonite, 247/8 x 421/8 in., signed lower left: ‘NC Wyeth’. October 5 Estimate: $100/150,000 Dallas Auction Gallery 2235 Monitor Street Dallas, TX 75207 t: (866) 653-3900 AUCTION REPORTS www.dallasauctiongallery.com

ctober 5 Dallas Auction AND ANALYSES Gallery will host its next OFine Art Auction, which is highlighted by 90 works from the collection of entrepreneur, author and philanthropist Sam Wyly of Dallas. This Our issue-by-issue auction previews marks the auction house’s third sale featuring items from this illustrious collection. The pieces are fresh to market and important examples by and reports will fill you in on the best top names in American art, including N.C. Wyeth, Thomas Hart Benton, and . Thomas Hart Benton (1889-1975), Roasting Ears, 1938. Oil on canvas laid on board, 32 x 39½ in., “As shown in the two previous fine signed lower left: ‘Benton’. Estimate: $700/900,000 work coming up for sale at the top art auctions, the works from the Sam Wyly Colleciton are all fresh to the Maxfield Parrish (1870-1966), Autumn Woods, 1927. Oil on Masonite, Charles Bird King (1785-1862), Timpooche Barnyard, a Yuchi market and we expect them to sell for 36 x 22¼ in., signed and dated lower right: ‘Copyright 1927, Maxfield Parrish’. Warrior, 1825. Oil on board, 17½ x 13¾ in. Estimate: $60/80,000 top dollar to buyers around the world,” Estimate: $200/300,000 auction houses across the country. says Dallas Auction Gallery President Scott H. Shuford. “I would also like to note that, particularly in the case of the Sam Wyly Collection, Texas buyers modern art movement.” There also work was an illustration the artist and writer. Something in most every have shown they have wide-reaching will be two watercolors from the created for the Scribner’s edition of The piece spoke from his childhood, family taste and an appreciation for a well- artist coming to market. Another top Black Arrow by Robert Louis Stevenson. vacations…there is always something rounded collection. We expect to see example is Parrish’s 1927 painting In addition, there will be 24 works by that spurred him to purchase the the same amount of local interest in Autumn Woods (est. $200/300,000), crossing the block; piece,” says Shuford. “It’s more than a the October 5 Fine Art Auction as we which highlights some of the most the portrait Timpooche Barnyard, a Yuchi collection of Sam Wyly; it personifies have seen in the past.” recognized attributes of the artist’s Warrior by Charles Bird King that has a Sam Wyly as the man. You could In the grouping are many work including his use of color and presale estimate of $60,000 to $80,000; probably go back if you had time standout pieces, including Benton’s “idealized neo-classic imagery.” David Martin’s Portrait of Benjamin to talk about every piece, and you 1938 painting Roasting Ears (est. Two works by Wyeth are featured Franklin; and hand-painted red terra- could probably write a pretty good $700/900,000), which the auction in the auction: Stirling Castle from cotta plates by Pablo Picasso. biography of him.” house explains “is a wonderful 1921 that is estimated at $100,000 to “Collectors will see the passion that Previews of the sale begin October example of how Benton was at the N.C. Wyeth (1882-1945), Black Arrow Endpapers, 1916. Oil on canvas, 26¾ x 401/8 in., signed upper $150,000, and the 1916 Black Arrow Sam had when he acquired the art. 3 at the auction house, or earlier by forefront of the American realist right: ‘NC Wyeth’. Estimate: $60/80,000 Endpaper (est. $60/80,000). The latter He is quite the historian, as a reader appointment.

122 123

Fine Art Auction.indd 122 8/2/16 3:41 PM Fine Art Auction.indd 123 8/2/16 3:41 PM

WE INVITE YOU TO SUBMIT MATERIAL FOR YOUR UPCOMING SHOWS OR AUCTIONS OF HISTORIC AMERICAN FINE ART THE MOST COMPREHENSIVE FINE ART COVERAGE IN THE WORLD Because we want to PREVIEW From the publishers of American Art Collector, Western Art Collector and only the best of the upcoming Native American Art magazines. American fine art galleries, museums and exhibitions and auctions, we auction houses can have the same marketing support these other art invite you to contact me market segments are already enjoying. personally so we can consider You may be familiar with our other innovative magazines. By PREVIEWING your exhibitions and sales for upcoming shows, American Art Collector, Western Art Collector and Native American Art inclusion in future issues of have changed the way art is bought and sold in this country. American Fine Art Magazine.

By providing this same PREVIEW concept for fine art dealers in the historic We’ve put together a wonderful American art market, our magazine achieves similar results for this long-neglected, editorial staff to bring a new level yet important, field. of authority and insight to the pages of our magazine. This is the magazine the historic American fine art market has been waiting for.

7530 E. MAIN ST., STE.105, SCOTTSDALE, AZ 85251 | PO BOX 2320, SCOTTSDALE, AZ 85252-2320 | TEL: 866-619-0841 | FAX: 480-425-0724 EMAIL: [email protected] | WEBSITE: WWW.AMERICANFINEARTMAGAZINE.COM

2 anatomy of The Magazine Editorial Coverage and Previews of Upcoming Events, Exhibitions and Auctions

EDITORIAL FOCUS American Fine Art Magazine is comprised of many different sections and features, all designed to keep you informed on what’s happening in the market for historic American art.

PREVIEWS COLLECTOR HOMES In the preview pages, we In each issue, you will find a showcase the finest works by behind-the-scenes look into a historic American artists that coveted collector home, with are available for sale at the interviews of some of the top country’s leading galleries. historic American art collectors providing an AUCTION PREVIEWS in-depth discussion about AND REPORTS their top-tier collections, accompanied by exquisite Each month we alert you to photographs by Francis Smith. upcoming historic American art auctions nationwide. Read our expertly written reports on prices realized so you can stay informed on the market. MARKET REPORTS EVENT AND FAIR PREVIEWS AND REPORTS Find out what’s happening in galleries from New York to Each month we alert you to important historic American California. American Fine Art Magazine is the only magazine art events and fairs nationwide. Then, read our reports in providing nationwide coverage of upcoming shows and the subsequent issue to see who was there, what sold and auctions showcasing historic American art. how successful the entire event or fair was.

COLLECTORS’ FOCUS Find out everything the discerning collector needs to know about important and timely segments of the historic American art market.

7530 E. MAIN ST., STE.105, SCOTTSDALE, AZ 85251 | PO BOX 2320, SCOTTSDALE, AZ 85252-2320 | TEL: 866-619-0841 | FAX: 480-425-0724 EMAIL: [email protected] | WEBSITE: WWW.AMERICANFINEARTMAGAZINE.COM

3 Expert contributors American Fine Art Magazine has carefully put together an impressive staff to deliver the most timely and accurate information on the historic American art market.

James Balestrieri

James D. Balestrieri is the proprietor of Balestrieri Fine Arts, specializing in arts consulting, sales, research, and writing. He is currently the Writer-in-Residence for the Clark Hulings Foundation, as well as Estate and Collections Consultant for The Couse Foundation, and Communications Manager for Western Spirit: Scottsdale’s Museum of the West. He was Director of J. N. Bartfield Galleries for 20 years, worked with the Scottsdale Art Auction for 15 years, and has written over 150 essays for various art publications.

John O’Hern John O’Hern retired to Santa Fe after 30 years in the museum business, specifically as the Executive Director and Curator of the Arnot Art Museum, Elmira, New York. John was chair of the Artists Panel of the New York State Council on the Arts. He writes for gallery publications around the world, including regular monthly features on Art Market Insights in American Art Collector and Western Art Collector magazine.

Francis Smith

The combination of art history studies done at Vassar and an abiding fascination with American culture makes photographer Francis Smith feel right at home shooting for American Fine Art Magazine. He is further exploring his love for photography and United States history through a new, independent project titled America by Another Name.

7530 E. MAIN ST., STE.105, SCOTTSDALE, AZ 85251 | PO BOX 2320, SCOTTSDALE, AZ 85252-2320 | TEL: 866-619-0841 | FAX: 480-425-0724 EMAIL: [email protected] | WEBSITE: WWW.AMERICANFINEARTMAGAZINE.COM

4 Online Magazine Everything we do at American Fine Art Magazine is tailored to help you sell more artwork. We email the entire publication in online format to our subscribers and VIP database, and it arrives 10 days before the printed version of the magazine is available. All advertisers are included in this online magazine, with live links to their websites.

AS YOU CAN SEE, ADVERTISING IN AMERICAN FINE ART MAGAZINE DOESN’T STOP WITH THE PRINTED PAGE.

The online magazine is the entire publication, cover to cover, that can be viewed directly on the website or downloaded in PDF format. It is a unique tool for all of your marketing purposes.

• Your advertisements in the online magazine will • The online magazine brings collectors straight to have a live link that sends collectors directly to your website to help you sell more artwork. your website. • As an advertiser, you can also feature up to 200 • Eager collectors can view artwork from historic additional works of art in the Online Exhibition American art featured in each issue and plan Space, which provides collectors with the their collecting strategies before the magazine opportunity to view and purchase art directly hits newsstands. from you.

7530 E. MAIN ST., STE.105, SCOTTSDALE, AZ 85251 | PO BOX 2320, SCOTTSDALE, AZ 85252-2320 | TEL: 866-619-0841 | FAX: 480-425-0724 EMAIL: [email protected] | WEBSITE: WWW.AMERICANFINEARTMAGAZINE.COM

5 You Also Get a FREE Online Exhibition Space to Go with Your Ad In addition to your print ad in the magazine and on our website, you’ll receive FREE Online Exhibition Space where you can showcase up to 200 images from your upcoming show or any of your current inventory. ONLINE EXHIBITION SPACE

FREE Online Exhibition Space where you can post up to 200 images from your own inventory and collectors can email inquiries directly to your inbox.

Advertisement Space eligible for images You Get Your Own Account and in your Online Exhibition Space Dashboard So You Can Manage Your »»Full Page...... 200 IMAGES FREE ONLINE EXHIBTION SPACE »»Half Page...... 100 IMAGES • Easy to use upload tool allows you to post up to 200 works of art in your »»Quarter Page...... 50 IMAGES inventory directly to our new website • Top to bottom scrolling allows collectors to see large detailed images Readers also have access to the of each work of art Whole Edition in their Pocket! • Log on anytime to mark works sold Your ad and Online Exhibition Space will go everywhere our savvy readers go. • Swap or post new images while the edition is live

7530 E. MAIN ST., STE.105, SCOTTSDALE, AZ 85251 | PO BOX 2320, SCOTTSDALE, AZ 85252-2320 | TEL: 866-619-0841 | FAX: 480-425-0724 EMAIL: [email protected] | WEBSITE: WWW.AMERICANFINEARTMAGAZINE.COM

6 Promote Your Upcoming Historic American Art Shows and Auctions

AD SIZE 1X 3X 6X Build Fee “American Fine Art Full Page $3,900 $3,600 $3,300 $350 Magazine is dedicated to Double Page Spread $6,900 $6,500 $6,100 $450 covering and promoting Half Page Horizontal $2,200 $2,000 $1,800 $200 all things related to the Half Page Vertical $2,200 $2,000 $1,800 $200 American Art world, Quarter Page $1,500 $1,400 $1,300 $200 making it the ideal platform to reach both existing and Inside Front Cover $5,200 $350 potential collectors Inside Back Cover $5,000 $350 through advertising.” Outside Back Cover $5,800 $350 — Bethany Dobson, Debra Force Fine Art MATERIAL SIZES AREA WIDTH HEIGHT

Contact our advertising department to Double Page Spread Bleed 16.75" 11.00" reserve your advertising space at Trimmed 16.50" 10.75" (866) 619-0841. Live Area 16.00" 10.25" NEED ASSISTANCE Full Page Bleed 8.50" 11.00" CREATING YOUR Trimmed 8.25" 10.75" ADVERTISEMENT? Live Area 7.25" 10.25" Call our marketing department to Half Page Horizontal 7.125" 4.77" inquire about our affordable design services at (866) 619-0841. Half Page Vertical 3.46" 9.75" Quarter Page 3.46" 4.77"

“As a client for many years, we remain pleased with our 2021 SPACE AD MATERIAL COMPLETE PUBLICATION experience advertising with ISSUE BOOKING FOR BUILD AD MATERIAL DATE American Fine Art Magazine. January / February November 16 November 18 November 23 December 28 We found the magazine to be March / April January 15 January 20 January 25 February 26 a valuable resource for reaching May / June March 19 March 22 March 26 April 26 new clients and reengaging with July / August May 14 May 17 May 23 June 25 our current audience.” September / October July 15 July 21 July 26 August 27 — Evan Feldman, Gerald Peters Gallery November / December September 17 September 20 September 24 October 29

7530 E. MAIN ST., STE.105, SCOTTSDALE, AZ 85251 | PO BOX 2320, SCOTTSDALE, AZ 85252-2320 | TEL: 866-619-0841 | FAX: 480-425-0724 EMAIL: [email protected] | WEBSITE: WWW.AMERICANFINEARTMAGAZINE.COM

7 Ad Material Specifications

ACCEPTED AD FILE FORMATS ACCEPTED PROOFS Whichever format you choose, all images and In order to help ensure correctness and accuracy files must be 300 dpi at 100% scale. Images of color, please provide a proof of your ad. should be in CMYK. We accept RGB and Spot We accept contract proofs. The CONTRACT Color files and images, but we must convert PROOF is a color proof that is looked on as a them to CMYK, which will slightly affect the color. contract between the printer and client as the InDesign CS6 or lower final proof before going to press. Currently the de Please include all fonts and images used. facto standard for a contract proof is a Matchprint FULL or laminate proof although some high-end digital PDF files PAGE proofs are considered good enough to accurately When creating a PDF use the PDF/X1a:2001 setting. predict color from the press. AD Illustrator CS6 or lower • A contact proof is not the same as a contract Please save image as an .eps file. proof (unless it’s a typo). Convert fonts to outlines. • The contract proof is the one that says to the Photoshop files printer “Everything looks good, let’s go to press.” Please save image as a .psd, .tiff or .eps file. If you cannot provide a contract proof, we can Include all fonts used. accept a COLOR TARGET. A color target is any TIP: When using BLACK as your background printout of the ad or image(s) in the ad that you BLEED: This area will be trimmed color, create a “Rich Black” by using the are happy with, which we can use to verify color. off when printed. following percentages: 30C, 20M, 20Y, 100K. We cannot guarantee an exact match, but we will TRIM: This is the size of the ad make every effort to match the color target. once the Bleed has been trimmed. SUBMITTING FILES BY SHIPPING Color adjustments can only be made to workable LIVE AREA: Keep any important Please do not use the US Postal Service. Use a files that include all high-res images and fonts. elements of the advertisement shipping service that gives a tracking number like within this area to be certain that FedEx, UPS or DHL. We accept files on CD-ROM. Attn: If a color calibrated proof is not provided those elements are not too close to with 4-color ads, the publication cannot be held the gutter, in jeopardy of getting trimmed, etc. SUBMITTING FILES ELECTRONICALLY responsible for correctness of color. • When emailing artwork please keep in mind that our email is limited to 10MB per AMENDMENTS email (including your attachments). Use file Any amendments required to your file, at plate compressing programs like StuffIt or ZIP to stage, will incur an additional charge. lower the size of your files. NEED ASSISTANCE • If the file size is over 32 MB, we CREATING YOUR recommend the files be sent to ADVERTISEMENT? [email protected] Call our Advertising Department through a file sharing website such as to inquire about our affordable www.WeTransfer.com, www.hightail.com or design services. (866) 619-0841 www.dropbox.com. HAVING TROUBLE CREATING OR AD SIZES SUBMITTING YOUR 1/4 ADVERTISEMENT? Spread Width Height Half page We can help. At American Fine Bleed 16.75" 11.00" Horizontal 7.125" 4.77" FULL PAGE Art Magazine we strive to make Trimmed 16.50" 10.75" Vertical 3.46" 9.75" the process of submitting your Live area* 16.00" 10.25" advertisement as easy and Qtr page 3.46" 4.77" smooth as possible. Feel free Full page 1/2 V to contact our Advertising Bleed 8.50" 11.00" *Text should fall within the Traffic Department to help Trimmed 8.25" 10.75" Full page Live area width for 1/2 H with any questions you may Live area 7.25" 10.25" each page have. Email us at traffic@ AmericanFineArtMagazine.com

7530 E. MAIN ST., STE.105, SCOTTSDALE, AZ 85251 | PO BOX 2320, SCOTTSDALE, AZ 85252-2320 | TEL: 866-619-0841 | FAX: 480-425-0724 EMAIL: [email protected] | WEBSITE: WWW.AMERICANFINEARTMAGAZINE.COM

8 Uploading images of your works for sale to the online exhibition space

Check Your Email You will receive an email from us showing your ad and giving you access 1 to your Online Exhibition Space.

Collect Your Images and Captions Before you begin uploading your show 2 gather the images in .JPG format and the captions of up to 200 pieces of artwork to be included in this edition’s Online Exhibition Space on our website.

Verify Your Information Once you click on the link below you 3 will be taken to your Online Exhibition Space webpage on our site. Once logged in, you can make edits right on the page. You will see that some of the required information has already been entered. You will also see buttons to allow you to edit your space. These buttons are only visible to you as the administrator. Please take this opportunity to verify both your gallery’s and exhibtion’s information.

Add Your Artwork Now you’re ready to begin uploading 4 your artwork. Click the “Add Artwork” button, and this will take you to the Add Artwork form. Simply fill out this form and click Upload Artwork or continue adding additional artworks. Simply repeat this process for up to 200 works of art.

DEADLINES FOR UPLOADING IMAGES TO YOUR ONLINE EXHIBITION SPACE

EDITION AD BOOKING UPLOAD & EDIT AVAILABLE EXHIBITION SPACE LIVE

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