We operate a client wish list where you can register your interest in a particular work and as long as we have your firm commitment, we will source the works on your behalf. Our job is to find the best works at the best prices. Please contact us if you wish to receive further information.
Buying on your behalf
We can assist corporate clients and private individuals to acquire works of art at auctions worldwide. We can view the works on your behalf and provide you with a condition report, advice on prices and bid on your behalf. Please contact the gallery for fees and terms.
Selling on your behalf
We can advise you on how to go about selling your works at auctions from deciding on location to appraisals and valuations. Please note that each auction has a consignment deadline, or closing date, usually two to three months in advance of the scheduled auction. If you are considering selling a work of art, please take this into consideration.
As a market leader, we can advise you whether your work should be in a New York or London sale room. With our wealth of experience, we can guide you through the whole process.
We are open to consignments from our clients who have purchased works from us over the last ten years. We are open to selling works on your behalf providing it is an area that we are known for and the works are in excellent condition.
We would like to invite sellers who wish to sell works by Roy Lichtenstein, Andy Warhol and Tom Wesselmann and others. Please contact the gallery if you wish to find out more.
Collection & Shipping
Buyers arrange shipping and may use their own carriers or request assistance from us. The gallery has contacts worldwide to help with packing and shipping of purchased property.
We assist with full framing services for all our clients. As we work in conjunction with the leading framers, we can provide you with different styles of framing to suit your personal taste.
We only frame artwork in Conservation Materials using the latest technology. Conservation framing employs the use of materials that have been proven to protect and maintain art in as close to its original condition as possible.
All works on paper tend to deteriorate with exposure to light, atmospheric pollution and other contaminants. The simplest and most effective way to protect a work on paper is to use acid free "museum" boards for all mounting and backing as well as acid free mounting tape.
It is important to use UVA proof glazing materials. There is a huge selection to choose from depending on your budget. We can advise you as to which one you will need.
It is important for our customers to understand that conservation considerations do not just apply to the framing of new work. It is just as important to look at the pictures you have that are already framed. In general the longer ago that a work was framed, the less likely it is to have been mounted with conservation materials. It is important also to change the glazing every five years depending on conditions.
We provide a complete installation service at your convenience. We use professional technicians to ensure that your work of art is installed to your complete satisfaction. If required, we can assist you in person as to how and where to hang the work.
Insurance & Valuations
We provide insurance valuations for works of art purchased from us. Please note that your work of art is insured for replacement value. We can provide you with a name of an insurance company to suit your requirements whether it is shipping or contents.
We can assist you with restoration of any other work by putting you in touch with the relevant individuals or have the work restored on your behalf.
Return Policy: If you are not satisfied with your purchase in any way, simply return the item to the address on the invoice within 15 days. We will exchange or refund your purchase. The item(s) must be in the same condition in which it was received, with all labels attached, and in the original packaging in which it was shipped.
Please note: in most cases we do not credit the original shipping charges.
Introduction to Collecting Prints:
Everybody knows that a painting is unique, one-off work of art, but the idea of an 'original print' can be confusing, because the word 'print' has become associated with posters and other photographic reproductions. In this section of the website I will address some of the most commonly asked questions about collecting prints and printmaking techniques.
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 by the artist. Once the edition is complete the original block, 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, engraving and lithograph.
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 hand-operated press. The development of fine art printmaking in the 20th century is indebted to the skills of these master printmakers - such as Fernand Mourlot and Roger Lacouriere, who enabled artists such as Picasso, Chagall and Matisse to realise their visions for printmaking. However, these master craftsmen were constantly frustrated and delighted by the way these artists also broke centuries-old rules in their desire to find something new.
Publishers are also an important part of the history of printmaking. If it wasn't for the support of the Parisian publisher Ambroise Vollard, the careers of many great artists of the 20th century, including Picasso, would not have taken off so quickly.
An artist often enters into an agreement with a publisher to produce an edition, with the publisher covering the costs of the materials and the workshop time, in return for the right to sell the prints. Between them, they will decide the size of the edition.
How do I know it is original?
One key resource - for both dealers and collectors - is the catalogue raisonne: a complete catalogue of the artist's work. Most of the major artists of the Twentieth Century have a catalogue raisonne for each aspect of their artistic production - prints, drawings, paintings etc. On the website, under many images, you will find a catalogue name and number.
A catalogue raisonne will give the following information: title and date of the work, the technique, the type of paper used, the size of the paper, the edition number, where the print is signed and whether the signature is in pencil, pen etc., the name of the printer and the publisher. If the print matches the catalogue raisonne 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).
Sometimes, the gallery is asked to provide a certificate of authenticity. Some works do come with such a certificate when an independent body, usually connected to the artist's estate, exists to issue such certificates. However, this is not the case with all works and so we guarantee originality, based on our knowledge, provenance and the above checks.
How is the price determined?
The international art market decides the price, based on the principle of supply and demand. Original prints may exist in multiples of more than one, which can account for a difference of millions between the price of a painting and print by Picasso, but they are still extremely limited. 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.
What do serious print collectors look for?
- If the edge of the print is covered by a mount, take it out of the frame. The mount might be hiding all sorts of condition problems: tears, stains, foxing (a fungus caused by damp conditions) 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. Cleaning will always take something away from a print, even if it is done by a professional restorer.
- 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 a hundred 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.
- Check the signature - even if you are not an expert on the artist's signature style, 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 edition by changing the numbers (the catalogue raisonne will help you here.)
- If in doubt, do not buy it. You can always call the gallery to discuss conditions if you happen to buy from elsewhere.
- Check that the print is framed using acid-free materials. If not, you should change the frame immediately, as the acid will eat into the paper and stain it. I would also advise you to have museum-quality, ultra-violet light proof plexiglass or glass fitted, as this will drastically reduce the fading inevitably caused by sunlight.
An art dealer should make all of the above checks for you and disclose any problems. However, this is not always the case and the auction house principle of caveat emptor - buyer beware - does still operate. So please ask to look at your print thoroughly before buying.
How do I care for my prints?
- Make sure you frame your prints using acid free 'conservation' materials. Everyday card or paper 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. To have your print framed by a professional conservation-framer will be expensive, but it is essential if you want your print to retain its value.
- 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 UF3 Plexiglas in place of regular glass to filter out the harmful UV rays that cause colours to fade.
- Keep your print in stable environmental conditions. An excessively humid atmosphere (a bathroom or kitchen) may promote the growth of fungi, that will cause what is know as foxing: small brown spots, which will ahev to be cleaned by a restorer. An excessively dry or cold atmosphere may cause the paper to become brittle and crack. Please note that dust and pollution can also damage all works of art.
- If your print is not framed, it should only be handled using cotton gloves as, no matter how clean your hands are, your skin contains grease, which can damage the paper and alter its ph-balance.
- Loose prints should never be rolled for prolonged storage. They should be stored flat, between acid-free tissue paper or in special solander boxes. Prints should never be in direct contact with paper or paper products with an acidic-ph, such as cardboard or newsprint.
- Prints rolled in tubes for mailing should be flattened as soon as possible. Screenprints should never be rolled, in any circumstance, as this will crack the ink.
How to frame your prints
The frame is a key element in presenting a work of art. Some artists design the frame themselves, however, the majority of the works of art we sell are unframed. Some works will live happily in a simple square plexi box, however others will need to be dressed up. Framing always comes down to one's personal taste. We can advise you and help you to find the frame to suit your needs.
* Use conservation materials
* Make sure the print is not in direct contact with glass or plexiglass
* Check to see if your existing works are framed with conservation materials
* Change the UVA glazing every five to ten years depending on location
* Ask for sealed framing if living in an area with high humidity
* Do not use any cleaning agents to clean the glass as this removes the UVA protection