Buying Art - Frequently asked Questions

Collecting works on paper

To some in the art world, the idea of an 'original print' is confusing, because the word 'print' has become associated with posters and other photographic reproductions, and therefore collectibles perhaps of lesser value than unique, one-off works of art. So, to help both the new and seasoned collector better understand the true artistry that is print-making, I've attempted to answer some of the most commonly asked questions:

What is a Print?

To put it simply, unlike a painting, prints are made by drawing not on paper or canvas, but on a surface such as stone or a metal plate, from which the image can then be printed a number of times. The surface is inked, a sheet of paper is then placed over it and the two are run through a press. The total number of prints that are pulled is decided by the artist and the publisher beforehand and this is called an "edition". Each impression in the edition is signed and numbered (and sometimes embellished otherwise) by the artist. Once the edition is completed, the original plate or stone is either defaced or destroyed so that no more can be made.

Original prints are often referred to by the technique that was used to produce them, such as etching, lithography or silk-screening . These techniques are explained below.

How are prints made?

Original prints are hand-made by the artist, often in collaboration with a master printmaker, who would help with the technical aspects of inking the surface and running it through a press. The development of fine art printmaking in the 20th century is indebted to the skills of first master European printmakers - such as Fernand Mourlot, who enabled artists such as Picasso, Matisse, Chagall and countless others to produce unique imagery via the printmaking process. These master craftsmen were constantly challenged by the way these artists also broke centuries-old rules in their desire to find something new, and so these collaborations were both frustrating and fruitful.

Publishers, who finance printing and manage distribution of the finished artworks, are also very important part of the history of printmaking. Artists and publishers work together to decide how prints will be printed and the size of the editions that will be created.

As it is that most of the prints we sell are printed on paper, it might be useful to understand the paper making process so that it will become clearer as to why it is important to work to preserve your prints.

Lithography

Lithography was invented in 1798 as a way of producing promotional posters, becoming hugely popular in Paris in the 1890s, when artists like Toulouse-Lautrec, Bonnard and others used it to design posters for cabarets and revues. Lithographs were initially made on slabs of stone (usually limestone), although, in the 20th century, the heavy stones began to be replaced by sheets of zinc, copper and aluminum.

The artist draws on the stone or plate using a greasy medium, such as a wax crayon. The surface is then dampened with water, which is repelled by the greasy areas, sticking only to the sections of the plate that have not been drawn on. Acid is used to clean the plate of any residual elements, after which ink is applied to the plate with a roller and sticks only to the greasy sections, as the water protects the rest of the plate. The stone or plate is then covered with paper and run through the press, making a print of the original drawing.

Screen-printing

Screen-printing was made famous by the "Pop" artists of the 1960s and 70s (most notably Andy Warhol and Roy Lichtenstein), who took a commercial process commonly used for printing labels and t-shirts to make their art of consumer icons. Essentially a stencil process, it begins when a fabric mesh (screen) is stretched over a frame, which is then placed on top of a sheet of paper. Next, the screen is blocked out with a stencil. Most screen-prints are made up of a number of layers, with each stencil allowing a different element or color to be printed. Ink is then spread over the screen using a squeegee, forcing its way through the unmasked areas onto the paper beneath. One of Warhol's great innovations was to cover the screen with a photosensitive material and then project a photograph on it, turning the screen into the equivalent of a film 'negative' and thus allowing him to endlessly print the images of his favorite subjects.

How do I know what I'm buying is an original?

In almost all circumstances, Layard Art Consulting buys its inventory from only one of two sources – either directly from the artist or directly from the artist's publisher. As an art lover, collector and a Consultant I would not consider buying or selling a work of art that I am not 100% sure about. You can then go visit the web sites of the artists/publishers, and if the description of the print matches theirs in every detail, then there is a very good chance it is original. One then has to check the signature to make sure that it matches the artist's signature from that time (handwriting does vary over time).

Who determines the market price?

The international art market decides the price, based on the principles of supply and demand. Original prints may exist in multiples of more than one, which can account for a difference of thousands of dollars between the price of a mass-produced poster, an unsigned "open edition" print and a signed and numbered limited-edition print. If a certain print is in demand and the supply is no longer there, the price will go up.

However, price also very much depends on the condition of the print. Works on paper are extremely delicate and can easily be damaged by mishandling, poor framing, exposure to strong light and, of course, the passage of time. Prints in good condition are more sought after by collectors and therefore their prices are higher.

Here are some tips as to what serious print collectors should look for:

1. If the print is mounted on a board or framed, take it out of the frame. The mount might be hiding all sorts of condition problems: tears, stains, "foxing" (see below), etc. Even if the printed image is in good condition, the condition of the paper around it is important to the market value. Try not to buy prints that need restoration, as the requisite cleaning will always take something away from a print, even if it is done by a professional restorer.
2. Check the colours - try to see if they are fresh and not faded. Of course, you can't fight the passage of time and a print made 30 years ago will not be as fresh today as it was when it had just been made. However, you should check this against what you are being asked to pay.
3. Check the signature - even if you are not an expert on the particular artist's signature, look to see if it has been written with the confidence of someone writing their own name. Check the numbering too to make sure somebody hasn't tried to 'expand the limits' of the limited-edition by changing the numbers (the artists' & publishers' web sites are a good reference point).
4. Always make sure that framed prints are conservation-framed using acid-free materials. If not, you should change the frame immediately.
5. A reputable art dealer should make all of the above checks for you and disclose any problems. In these days of selling online – via website and auctions – it is sad to say that this is not always the case and the auction house principle of caveat emptor - buyer beware - does still operate. So never be ashamed to ask about any of your concerns before buying. In the end, if in doubt, do not buy it.

How do I care for my prints?

1. Have them professionally framed, making sure that your prints are framed using acid-free 'conservation' materials. Most paper stock is slightly acidic, which in time causes it to yellow. Almost all original prints are made on neutral-ph natural-fibre papers, which will stain if they come into contact with acidic-ph materials. While you might think that it is too expensive to have your print framed by a professional framer using only archival-quality, conservation materials, it is essential if you want your print to retain its beauty and its value. Layard Art Consulting can help and recommend framers whose work we are confident of.
2. Display your art in areas away from direct sunlight. Sunlight will fade everything over a long course of time. However, you can protect your print and keep it in good condition for generations to come by hanging it away from strong direct or indirect light and using conservation glass in place of regular glass to filter out the harmful UV rays that cause colors to fade.
3. Provide your print with a stable home! Do everything you can to keep your print in stable environmental conditions. An excessively humid atmosphere (a bathroom or kitchen) may promote the growth of molds that will cause what is know as "foxing": small brown spots on paper that will need to be cleaned by a restorer. An excessively dry or cold atmosphere may cause the paper to become brittle and crack, whereas dust and pollution can also damage fine works of art.