Is That Print Still Worth Buying?
Banksy's Jack & Jill, 2005 © MyArtBroker
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In today’s print market, the importance of condition is frequently empahsised - a crucial yet often overlooked aspect of collecting. With so much focus on market trajectory and investment, a key question remains: what happens after you acquire a print?
When considering a purchase, should factors like staining, yellowing, or foxing be deal-breakers, or can they be overlooked if the price is right? The impact of condition on market value remains one of the most widely underestimated topics in the art world today.
In a live panel discussion, framing and conservation experts explored how print condition impacts market value, sharing real cases that reveal when damage can be restored - and when it’s best to walk away from a purchase altogether.
The Fine Line Between Collectible And Compromised
Condition is a critical factor in print collecting, yet distinguishing between acceptable wear and damage that diminishes value can be nuanced. While issues like toning, discolouration, or creases in the margins can often be treated, conservators stress that restoration cannot return a print to its original, untouched state. As interest in prints continues to grow, experts increasingly emphasise the need for realistic expectations - particularly for works now classified as “modern” but that have naturally aged over decades.
“Something from the 1970s is over 50 years old now,” Mhairi Boyle, from Artworks Conservation, explains. “We have to remind collectors that paper is fragile - it’s flexible, it moves, and it’s incredibly susceptible to damage.” Additionally, certain imperfections can contribute to a print’s provenance, offering a deeper historical context that collectors may find valuable rather than detrimental.
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Another example comes from Jean-Michel Basquiat’s Anatomy series, a collection of small-scale black screenprints on Arches paper - a material known for its durability. Given Basquiat’s limited signed print output, his works remain highly scarce, making condition an even greater concern for collectors. Greg Conn from The Urban Framer recalls handling one of these prints and discovering something unusual - fingerprints covering the centre of the image. Considering the meticulous care required when handling fine art prints from the edges, this raised an intriguing question: Could these fingerprints date back to Basquiat’s own studio in 1982, or were they left by a previous owner? While such marks may not necessarily diminish a print’s market value, they introduce a historical layer that collectors must weigh against pristine condition.
Common Condition Issues And Their Impact On Value
While some marks can add provenance and depth to a work’s story, certain condition issues can make or break a sale when a print is brought to auction. When navigating public sales, it often requires a trained eye to identify the balance between natural aging and restorability. Understanding what can be preserved versus what constitutes irreversible damage is key, and there are specific signs collectors can look for when evaluating a print before purchase.
Creases and Tears: A Collector’s Concern or a Natural Aging Process?
Creases and tears are among the most scrutinised flaws in print collecting, with even the smallest imperfections significantly impacting a print’s market value. Mhairi highlights this reality, noting, “Even a small crease can knock £10,000 off the value of something. Of course, collectors want everything in pristine condition, especially if they’re thinking about reselling.”
However, she recalls working on an Andy Warhol print for a client, where creases were reduced, and infill was applied to the corners. While the treatment significantly improved the print’s condition, the objective was not to restore it to a factory-new state but to stabilise and preserve its integrity.
Helena Poole, Modern and Contemporary Art Specialist at MyArtBroker, reinforces this perspective, particularly in relation to Warhol’s works. She explains that subtle imperfections can be an integral part of a print’s provenance and history. “We always have to remind people that we’re dealing with works of art,” she says. “What gives them value is the creative genius behind their making - they naturally have a life in the studio and then a life beyond that.”
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Foxing and Staining
Preserving a print’s integrity is also the priority when performing treatments such as spot removal and brightening - aiming to enhance its longevity without over-restoring or altering its original character. Mhairi explains that when handling prints that are decades old, especially when it comes to issues like foxing and staining.
Helena and Mhairi both agree that addressing issues like foxing early on is crucial for preserving a print’s longevity. Mhairi recalls working on a David Hockney lithograph that had undergone outdated stain-removal treatments, which had inadvertently caused further discolouration. However, through modern conservation techniques, she was able to reverse the damage entirely. “I managed to completely remove the staining using updated methods, which is rare - usually, we can only reduce staining, not eliminate it. It was quite a remarkable result.”
Ultimately, condition issues require a delicate balance. The key for collectors is knowing which flaws to accept and which require professional intervention.
The Cost of Improper Framing: Aesthetic vs. Preservation
Framing in print collecting can serve as both an aesthetic and protective function. Whether collectors actively consider framing when purchasing a print is another question. But Helena notes that many buyers already have a clear vision of how and where they intend to display a piece. “Most collectors already know what they want and where they plan to hang the work,” she explains. However, beyond aesthetics, framing plays a critical role in protecting prints from environmental hazards such as light exposure, moisture, and air pollutants - all of which can significantly impact a print’s longevity if not properly addressed.
Fading And UV Damage
The importance of framing in protecting prints from fading and UV damage cannot be overstated. Paper is inherently fragile, and without proper framing, deterioration can be significantly accelerated - particularly in colour-rich works. Prints by artists known for their bold palettes and intricate silkscreen layering are especially vulnerable to UV exposure.
Greg highlights Street Art as a prime example of the irony in its evolution - from a raw, outdoor form of expression to a highly collectible medium. “Spray-painted works were originally meant to exist outdoors, exposed to the elements. Now that the materials have transitioned into the print medium, collectors expect them to be in pristine condition," he explains. However, it's important to consider that spray-paint techniques, which often leave natural traces of texture, and pigments - whether acrylic-based, fluorescent, or neon - are not inherently UV-stable, making preservation a key challenge.
Mhairi further emphasises the challenges of preserving modern materials, stating, “Metallic and neon inks are also difficult to replicate, so we always test each colour carefully.” These materials require specialised conservation techniques, as UV exposure can lead to irreversible fading, as pigments - especially those used in later eras - naturally degrade over time. This issue has become increasingly significant among conservation professionals, as many collectors mistakenly believe that UV-protective glass alone is sufficient to prevent deterioration.
Framing Techniques
With Street Art, many urban artists never anticipated the rapid market trajectory their prints would take, making the shift from transient works to high-value collectibles even more unexpected. Greg explains, early Banksy prints, for instance, were often housed in cheap clip frames, providing little to no protection. However, as collectors have become more aware of archival framing techniques, newer prints - especially those with deckled edges - are now better preserved. This shift reflects a growing awareness of conservation techniques. “People are finally understanding the value of archival framing and realising that spending £20 on a basic frame from a local shop isn’t enough when it comes to preserving a valuable print.”
Among these preservation methods, float mounting has become the industry standard. This conservation technique prevents pressure on the edges while allowing the artwork to “breathe”, reducing the risk of warping or discolouration over time. “95% of the works we frame are float mounted, using acid-free, lignin-free materials and securing prints with methyl cellulose or wheat paste Japanese hinges. This ensures the artwork remains protected while maintaining its integrity,” Conn explains. With collectors increasingly recognising framing as a critical investment, these conservation techniques are now shaping how high-value prints are preserved for future generations.
Large-Scale Works and the Challenges of Framing
Victoria Haddock, Archive Conservator of Plowden & Smith, points out the complexities involved in framing large-scale works, which often require strategic hinge placements and reinforced mount boards to balance the weight of the piece. “Framing requires careful planning, especially with oversized artworks. Hinges must be discreetly placed under a mat while ensuring they align perfectly across the piece. This is particularly tricky when working with large-scale glass, as the weight and structure of the frame must be able to support the work without causing warping.”
Meanwhile, Helena highlights the collector’s perspective, noting that many new buyers prefer to reframe works to suit their interiors. “Unless the frame is part of the artwork’s provenance - such as an artist’s frame - collectors often want the flexibility to change it. While high-grade materials should always be encouraged, it’s understandable that people may want to personalise the way they showcase their work.” However, she stresses that logistical considerations must be taken into account, as not all collectors fully realise the complexities involved in archival framing.
The Golden Rule: Good Framing is an Investment
One of the most common mistakes collectors make is undervaluing the importance of framing. As Greg warns, “People often balk at spending £4,500 on framing a print they bought for £1,000, but when you consider how much these works appreciate over time, it’s clear why proper framing is crucial.” He further emphasises that many collectors now regret cutting corners on framing, especially those who once purchased Banksy prints for £35, only to later find that improper storage or cheap materials caused significant damage.
At its core, framing is as much about preservation as it is about presentation. Whether a collector is looking to protect an investment, enhance a work’s aesthetic appeal, or ensure its longevity for future generations, high-quality, conservation-grade framing is an essential consideration - and one that should not be overlooked.
Can It Be Restored? Understanding What’s Fixable vs. What’s Permanent
Framing and conservation often bring questions about what should be repaired, preserved, or left untouched, especially when certain markings contribute to an artwork’s history. The challenge lies in determining when intervention is necessary, as each case depends on the artist, the materials used, and the overall impact on the piece’s integrity. Understanding these nuances is essential in making informed conservation decisions.
For example, Helena explains that artists have been experimenting with a broad range of materials for decades, sometimes choosing short-lived or unstable mediums. “For example, David Hockney’s fax machine works from the 1980s or his early photographic pieces that have significantly faded over time. While some of these material choices were experimental, others were simply a reflection of the technology available.” Significantly modifying these prints using modern methods wouldn’t just compromise the artistic intent - it would also blur the authenticity of their original creation date.
In another situation where careful conservation was fixable, Mhairi describes treating Tracey Emin prints on India laid paper, a delicate medium where a thin Chinese paper is attached to a thicker Western backing. Over time, improper storage or humidity had caused the adhesive to weaken, leading to separation along the edges. The conservation process involved carefully detaching and reattaching the layers - a highly intricate technique that required exceptional precision.
Ethical Considerations in Conservation
Beyond the technical challenges of conservation, ethical considerations play a crucial role in determining how - and if - a print should be restored. In some cases, physical damage originates from the artist’s own studio environment, raising questions about how much intervention is appropriate. Helena highlights this perspective, stating, “We love these works because they’ve had a life. They’ve been created in the studio, lived with their owners, and now they’re passing to the next collector. The goal isn’t always to erase the past but to ensure the artwork remains intact for the future.”
The challenge, as Victoria explains, is navigating the fine line between preservation and artistic intent. “Sometimes, the artist’s own choices are what cause the damage. You might see a print in its original frame and assume it was deliberately chosen - but what if that frame is actually harming the work? How do we modify it for protection while still respecting the artist’s vision?” These dilemmas require careful consideration, ensuring that conservation efforts preserve the artwork’s integrity without stripping away its historical or creative significance.
Street Art presents another unique challenge. Greg recalls an original Banksy piece he worked on that was salvaged from a skip - originally sold for just a few thousand pounds, but now valued in the millions. He asks us to consider, “Given the work’s origins, some collectors might want it restored, but should it be? The fact that it came from a skip is part of its story.”
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Restoration or Red Flag? Weighing the Decision to Repair Prints
Collectors frequently grapple with the decision of whether to invest in conservation, weighing factors like resale value and budget. While careful preservation can extend a print’s lifespan, excessive restoration can sometimes backfire. In certain cases, as Helena points out, over-restored works may raise suspicions in the market. “If a print appears too pristine, it can sometimes raise concerns for professionals assessing its legitimacy and history.” Regardless of the situation, seeking expert guidance and employing proper conservation techniques remain essential in protecting a print’s value.
When considering restoration, there are proactive steps collectors can take. Mhairi stresses the importance of inspecting a print’s condition, particularly by opening a frame - whether purchased at auction or through a gallery - to check for hidden issues like spotting, browning, or pests. Additionally, requesting and thoroughly understanding a condition report before purchase is essential. Victoria highlights a growing awareness among buyers, noting, “Collectors are becoming more informed - many now request condition reports before placing a bid at auction.”
Victoria also points to the uncertainty surrounding newer materials which might require restorations, particularly digital prints, and how they will age over time. “With Hockney’s digital works, for example, we still don’t fully know how the paper quality will hold up - it’s something conservators will have to monitor.” While restoration can prolong a print’s lifespan, excessive intervention can diminish its authenticity and market perception.
Artists have long experimented with different materials, whether for artistic expression or accessibility, and this practice will undoubtedly continue. However, no artist can predict the long-term trajectory of their market. Many prints that were once considered inexpensive have now reached six-figure values, highlighting the importance of preservation. For collectors, taking a proactive approach is key - asking the right questions, investing in proper framing, and ensuring optimal storage conditions. As Greg aptly puts it, “If you love it, protect it.” As materials evolve, the challenge remains to strike a balance between artistic intent and conservation best practices, safeguarding both the longevity and market value of prints.
