5 Things Art Collectors Need to Know About Buying Prints

The world of printmaking is a nuanced and exciting facet of the art industry that offers accessible entry points for new buyers and meaningful ways for seasoned patrons to expand their collections. Simply explained, prints are artworks that have been created by transferring an image from one surface to another, such as from a metal plate or sheet of plastic to a piece of paper.

A printing press is often used to apply pressure between the two surfaces, aiding in the transfer of the image. Prints can also be made by creating a design on a screen through which ink is pushed so that only specific parts can be penetrated. Often—though not always—prints are more affordable than other disciplines by the same artist and can be easier to access.

Indeed, such is the appeal of the medium that dedicated print fairs are commonplace across the art world. March, for instance, sees several such fairs in New York, London, and Paris: London Original Print Fair, the International Fine Print Dealers Association (IFPDA) Print Fair in New York, and the Paris Print Fair are among the key events putting a spotlight on the dynamic world of prints, as well as the common questions that come with collecting them.

From technical terms to recurring misconceptions, here are five things to know about collecting prints.

“Printmaking terminology, such as lithographs, etchings, and intaglio, can seem intimidating, but prints are actually one of the most accessible ways to start collecting art,” said Helen Rosslyn, director of London Original Print Fair. In 2018, Rosslyn wrote the book A Buyer’s Guide to Prints to advise readers on everything from how to start a collection to artwork care.

Gaining insight into the nuances of printmaking helps demystify the process of collecting. “The vocabulary is just a hump to get over as the basics of printmaking are not impossibly complicated nor are they unfamiliar,” said Andrew Witkin, owner of Boston’s Krakow Witkin Gallery. “I can’t count how many times I have described the similarities between the stains of a tomato in a wooden cutting board being related to how an etching is printed.”

In addition to the different processes, the terminology surrounding impression numbers and edition sizes can seem complicated. Individual prints in an edition are given a number, called the impression. Many editions have extra impressions that might be labeled terms like AP (artist’s proof) or PP (printer’s proof). Artists create APs to keep for their own collections or give as gifts or donations, and PPs ensure printers receive artwork as well. These are as valuable as the numbered edition and can often come to the market.

“One major myth is the belief that copy 1 (or low numbers) in an edition is the most valuable; this is patently untrue in contemporary prints and there is no quality hierarchy as to how an edition is numbered,” said David Cleaton-Roberts, co-director of London’s Cristea Roberts Gallery.

Rather than focus on the impression number, experts suggest considering the edition size itself. “Generally, the smaller the edition, the more sought-after the print,” Rosslyn noted.

The most common misguided viewpoint of prints is that they are copies of other works. Such objects do exist, such as posters or large editions sold in museum stores, and some artists might make reproductions for fundraising. However, it’s important to note that original prints are not copies.

“An original print—a work of art using some print process or processes—is when the artist used the print medium to make something new,” said Witkin. “It just happens to be made in multiplicity, so there’s more than one of the ‘same thing.’”

When collectors say they only collect “original” works—implying that prints are not original—what they are actually referring to is unique works, meaning only one was made (such as paintings).

But, as Cleaton-Roberts noted, “prints don’t have to be in editions.” Works that are made in editions are identical or similar variations of an artwork and can be in a range of mediums, including prints, sculptures, and photography. Some prints are unique, like monoprints, and some artists might hand-embellish an edition, making each work different.

Creating prints is involved and time-consuming, requiring specialized training and tools, such as costly printing presses. “Prints can take several months and sometimes years to complete; for some artists, the medium may require a different focus and pace compared to working in another medium and can be more complex than painting,” said Cleaton-Roberts. “Some artists focus on the medium alone, undertaking major projects, such as Christiane Baumgartner, who can take several months to carve one woodblock before editioning prints in her Leipzig studio.”

Different types of prints require different tools and methods, and the complexity of production can be reflected in the price. Julie Mehretu, for example, creates etchings with several colors that entire teams of printmakers work on in tandem to create identical prints. Such an edition requires multiple applications of ink and runs through a press. Prices for these can soar into the hundreds of thousands of dollars, while Mehretu’s smaller prints with fewer colors start at a few thousand. Prices of any edition might rise as they sell out and availability becomes scarcer.

Prints that were not made in an edition can command prices as high as any other unique work. “The most expensive 20th-century artwork ever [auctioned] is Andy Warhol’s Shot Sage Blue Marilyn (1964), for $195 million—a silkscreen on linen,” Cleaton-Roberts said.

Of course, not all prints come with Warhol’s price tag. “By focusing on editioned works, we can afford pieces from our favorite artists that would be otherwise out of our range,” said Ben Maddox, who has been collecting prints, as well as paintings and sculptures, with Jan Siegmund for over 20 years. Their collection includes works by Kara Walker and Mickalene Thomas, both of whom make prints starting at a few thousand dollars—a fraction of the cost of something like a painting.

Beyond a lower price, prints allow collectors to explore different facets of an artist’s practice. “Printing techniques are endlessly intriguing with their intricate details and unique qualities,” said Maddox and Siegmund. “Each medium offers a different perspective and adds depth to our collection.”

There are also artists who combine methods of printmaking with disciplines like painting and drawing. Yinka Shonibare, for example, incorporates collage into his prints, pushing the boundaries of the materials to create pieces they might not have otherwise been able to achieve.

“If the medium supports or is embedded in the reason for the work to exist, then that medium is important for that work and for that artist,” said Witkin. “If it happens to be a print, then that’s wonderful!”