Print Info Advice

A 10-point guide to buying art prints                 
Buying Art Prints
A 10-point guide to getting it right

1. Buy from a reputable source
Do some research. Find out how long the business has been trading, check whether the owner is a member of a local business group and ask friends who they recommend.Gallery members of the Fine Art Trade Guild abide by a code of ethics, so look for the Guild logo.

2. What is an art print?
Art prints may be “artists’ prints” – handmade by artist-printmakers – or digital (giclée) or photomechanical reproductions (offset lithographs).
Be aware which it is you are buying.

3. Artists’ prints
Artists’ prints are handmade and are not reproductions of paintings: the print is a unique work of art. The term covers a range of printmaking techniques such as etching, woodcut, engraving, screenprint and linocut. Editions tend to be less than 200, partly because the materials used to make the prints wear out. This type of print is sometimes called an ‘original print’.

4. Limited edition reproductions
Limited edition reproductions are produced in limited numbers, which makes the image more exclusive.
The market price can rise over time, if demand outstrips supply. Edition sizes vary but are limited by market forces, not by the physical constraints of the printmaking method. The Fine Art Trade Guild print standard sets a maximum edition size of 850. Most limited editions are signed and numbered in pencil by the artist with a commitment that no other reproduction of the image will be made.

5. Open edition reproductions
An open edition reproduction print can be produced in any quantity and the image may also be used in other ways, such as on tableware. Open editions tend to cost less than limited editions and are much less likely to increase in value.

6. Giclée and print on demand
Giclée prints are made using digital printing technology, usually inkjet. The technology enables users to produce small runs of prints. It also allows retailers to offer ‘print on demand’ services, where buyers select an image and it is printed out there and then.

7. Print quality
Whichever type of print you buy, you should expect it to last. The Guild print standard requires paper to be at least 250gsm thick, with an acidity level of between pH7 and pH10, to minimise discolouring. Colours should be relatively lightfast, scoring 6 or more on the Blue Wool Scale, the industry-standard measurement in the UK, or its equivalent. Reproductions should normally be close facsimiles of the original work. Printing should be clear with a good depth of colour. An artist’s signature endorses the visible print quality.

8. Value
The art market is as fickle and hard to predict as any other. Reputation affects value, so research the artist’s past achievements and recent prices. Rarity is also an important factor, as is condition. Look for a certificate of authenticity with a full disclosure of relevant information. A professional gallery owner will give good advice.

9. Condition
When buying secondary market or antique prints, condition becomes an issue. If prints have been stuck down with glue, have had edges trimmed, or been exposed to adverse conditions such as damp, the value might be affected. Visible ripples or foxing (brown spots) can put off collectors. If the colours are faded, the value may be considerably diminished.

10. Framing
You can do your bit to preserve a print in mint condition by investing in good quality framing. The Guild recommends conservation framing for limited edition prints of moderate to high value. Fine Art Trade Guild members can advise on what is suitable, and many framers have undertaken a rigorous test administered by the Guild to qualify as Guild Commended Framers (GCF).

Print standards
Art prints range from inexpensive posters to valuable handmade prints. The British Standards Institute standard BS7876: 1996 classifies prints according to the level of artistic involvement.
The Fine Art Trade Guild Print Standards refer to BS7876: 1996 and also include specifications on paper weight, lightfastness and pH. Visit www.fineart.co.uk/printstandards.asp or ask a Guild retailer for details.

Some frequently asked questions are also listed below:

  How can I check that a gallery is asking a fair price for an artist’s work?
A good start is to buy from a reputable gallery, such as a Fine Art Trade Guild member who is bound by a detailed code of ethics. Check that the gallery or dealer from whom you are buying is well thought of locally. Ask the gallery to put your mind at rest; they may have details of prices that the artist’s work has fetched previously and be able to show you other biographical material.

 
  What is an ‘original print’?
produced in print form, so is not just a mechanical or digitally produced copy of an existing painting. The term original print is seen as confusing; the British Standards Institute (BS 7876:1996) prefer the term ‘artist’s print’. A wide range of printing methods can be used to produce artist’s prints including etching, engraving, woodcuts and linocut.
 
  How can I prevent watercolours and prints from fading?
Ultra-violet light, which is a component of daylight, can cause colours to fade and paper to discolour. You can minimise this process by hanging works on paper away from direct sunlight and having them framed with conservation materials, including glazing which includes a UV-light filtering element.
 
  What is a giclée print?
Inkjet prints printed from a computer where the image has been stored as a digital file, and is then outputted onto paper or canvass with a high-resolution printer, often large-format. Digital printing has only been widely used in the UK fine art industry for around five years, because various technical requirements had to be met. The industry has embraced digital printing, partly because it allows artists and print publishers to print on demand. This has massively increased the range of prints on the market, the number of artists whose work is put into print and has given public museums and galleries greater scope to offer a far wider selection of reproductions from their collections for sale.
 
  Is the value of a painting much reduced if it has been torn and restored?
Not necessarily, this would be hard to confirm as paintings are one-offs. A torn painting may command significant value, depending on other factors, such as availability of other comparable work. A painting commands highest prices when demand far outstrips supply. If the painting is desirable in the first place and has been well restored, many collectors would not be put off. If the tear was in the background of the image this matters much less than a tear in, say, the face of a main figure. If the tear is the only damage to an old painting, then, overall, the painting might be deemed to be in good condition. Paint that is coming away from the canvas, a badly sagging canvas, blistering bitumen, fire damage etc can be far worse problems than a small tear in a background area that has been well restored.
 
  Do limited edition prints always go up in value?
No, but they often do. When more people want a print than there are copies on the market, then the demand puts up the price. Some prints increase in value once the edition has sold out, so the size of edition, especially in relation to an artist's popularity, is important. Sometimes an artist’s work increases in value when the artist dies, because there will be no new works from that artist but that will depend on the artist's reputation. An artist’s work may be particularly collectable during a certain period and then go out of fashion, with prices dropping accordingly; the art market is governed by taste and is fickle and hard to predict. Occasionally, an artist not much valued in their lifetime suddenly gains a popularity or standing that brings them into unprecedented demand and all available works command escalated prices. However, this as often works in reverse. Buying limited edition prints that comply with Fine Art Trade Guild standards should ensure that that the print is not reproduced elsewhere, have a high level of lightfastness and are printed on appropriate quality of paper. Having the print framed to conservation standards further ensures that the print's value should not be reduced by deterioration.
 
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