Good questions.
Clear answers.

A painting or drawing may be a single, unique work. An original print is an artwork created specifically through printmaking; several impressions can each be originals. A reproduction copies an existing artwork, such as a painting photographed and printed on paper. Ask how the image was created and what role the artist had. The word ‘print’ alone does not tell you which you are buying.

A serigraph is a screenprint. Ink is pushed through open areas of a fine mesh screen while a stencil blocks the rest. Different colors are often printed in separate layers. ‘Silkscreen’ is another name for the process. The term describes how the work was made; ask separately whether a particular piece is an original artist-created print or a reproduction of another artwork.

Lithography is a printing process based on the fact that oil and water repel each other. An image is prepared on a flat stone or metal plate, ink adheres to the image areas, and a press transfers it to paper. Artists can create original lithographs. Commercial reproductions also use related processes, so the label alone does not establish an artwork’s originality.

Giclée is a term used for fine art inkjet printing. A printer deposits tiny droplets of ink onto paper or another suitable surface. It often reproduces an existing painting, although artists can also create digital works specifically to be printed. Ask about the inks, surface, edition, and whether the image is an original digital work or a reproduction. The name alone is not a complete quality specification.

Both print from lines recessed into a plate. In etching, a chemical solution bites the exposed lines into metal. In engraving, the artist cuts the lines directly with a tool. Ink stays in the recesses, and pressure transfers it to paper. These are printmaking methods, so an etching or engraving can be an original print rather than a copy of a painting.

Oil paint suspends pigment in a drying oil and usually dries slowly, giving artists time to blend and revise. Acrylic uses a synthetic resin binder and commonly dries much faster. Either can be applied thinly or built into texture. Both are established artist materials. The medium tells you about the artist’s materials and working process; it does not, by itself, rank the artwork’s quality.

‘Work on paper’ names the surface, not the technique. It can be a unique drawing, watercolor, or painting, as well as a print. For example, watercolor is usually painted on paper, while an etching is printed onto it. Look for the full medium description, such as ‘watercolor on paper’ or ‘lithograph on paper,’ to understand what the artist actually made.

Canvas is a woven fabric used as an artwork’s support. It tells you what the image sits on, not how it was made. Paintings can be created on canvas, and images can also be printed onto fabric. Read the complete description and ask whether the piece was painted by hand, printed, or printed and then worked on by hand.

Mixed media means an artist combined different materials or techniques in one artwork, such as paint, ink, and collage. It is a broad description, so ask which materials are present and how the work was made. That detail helps you understand its appearance and discuss appropriate framing and care. The label by itself does not say whether a piece is unique or editioned.

These terms describe prints with a unique result. A monotype is commonly made by painting or drawing ink onto a smooth surface and transferring it to paper. A monoprint may use a repeatable plate or block, with unique inking, coloring, or collage making that impression different. Usage varies, so ask what makes the particular work unique and which parts of its image can be repeated.

A limited edition has a fixed maximum number of examples within that edition. An open edition has no predetermined quantity limit. Neither term alone tells you the printing method or quality. An unnumbered print is not automatically an open edition: it could, for example, carry a proof designation instead. Ask for the publisher’s edition details.

A signed work carries an artist’s signature; an unsigned work does not. For prints, the expected signature depends on the particular edition. Some were issued unsigned, some were initialed, and others carry a stamped signature or a signature on a portfolio title page. An unsigned work is not automatically a reproduction or a fake.

No. A hand signature is physically added to that individual artwork, often in pencil on a print. A plate signature is part of the printing surface, so it prints along with the image. A reproduced signature is also not a hand signature. Ask which kind is present and how it matches the documented edition.

The first number identifies the individual impression; the second gives the size of the numbered edition. So 25/100 identifies impression 25 in a numbered edition of 100. There may also be artist’s proofs or other authorized proofs recorded separately. Ask about the complete edition information, rather than assuming the denominator counts every example made.

Yes. A print can be signed but unnumbered, or numbered but unsigned. A signature and an edition number tell you different things. A signature alone does not establish a limited edition; some open editions are signed, while proofs may carry letters instead of numbers. Ask how the work was published and what records explain its markings.

Not automatically. Within the same edition, a lower number is generally not more valuable simply because it is lower. Compare the actual impression’s condition, documentation, and quality. The edition’s overall size and the significance of the work usually tell you more than whether the fraction begins with 5 or 95.

AP means artist’s proof. EA comes from the French épreuve d’artiste and refers to the same category. These impressions are set aside outside the standard numbered edition, traditionally for the artist, and may have their own numbering. They are not automatically better-quality prints. Ask how many proofs were authorized in addition to the main edition.

PP means printer’s proof, traditionally reserved for the printer or publisher. HC means hors commerce, originally indicating an impression outside normal commercial distribution, although these proofs can appear for sale. BAT means bon à tirer: the approved reference impression used to guide printing. These labels describe an impression’s role, so ask for the edition records behind the abbreviation.

Provenance is an artwork’s history, including where it originated, who owned it, and how it moved between owners or locations. It helps put the work in context and can support research into authenticity. Ask what history is documented and keep those records with the artwork, while distinguishing documented facts from gaps or uncertain information.

Treat a signature or certificate as part of the evidence, rather than the whole answer. Ask who issued the documentation and how it identifies this particular work. Specialists may compare the medium, dimensions, paper, edition details, and inscriptions with reliable reference records. A photograph alone may not be enough; some questions need an expert’s firsthand examination.

We sell most of our pieces unframed (unless otherwise noted). Often framing can be arranged but will require a two to three week lead time and additional costs for shipping a framed, boxed piece of art. Please contact us if you would like to discuss this further.

A beautiful frame should protect the artwork as well as complement it. Ask what sits behind the art, how it is attached, and whether the glass or acrylic is appropriate for the medium. Conservation framing considers the whole package: suitable mats and backing, careful mounting, and protection from the environment. An ornate or expensive frame alone does not tell you how well the artwork is protected.

Materials touching or sitting behind paper artwork can affect it over time. Poor-quality cardboard and wood-based backing can introduce acids and contribute to discoloration. Preservation-quality mats and backing help reduce that risk. Ask about the actual materials throughout the frame, including lignin content and mounting methods, rather than relying only on an 'archival' label. Photographs can require materials tested specifically for photographic use.

The right choice depends on the work, its size, and how it will be displayed or moved. Acrylic is less prone to breaking, which can be useful during transport. Ordinary acrylic can build up static, however, making it a concern for powdery media such as pastel or charcoal. Ask a knowledgeable framer about a suitable glazing product for the particular artwork, including any anti-static requirements.

No. UV-filtering glazing can reduce one important source of damage, but visible light also affects sensitive materials, and exposure adds up over time. Anti-reflective glazing and UV protection describe different features, so ask what a product actually does. Keep light-sensitive works, especially works on paper, out of direct sun and discuss appropriate display conditions with the dealer or a conservation professional.

For works on paper, the artwork should generally be separated from the glass or acrylic by an appropriate window mat or spacer. Contact can lead to pigment transfer or sticking, especially with unstable surfaces. The gap and mounting method need to suit the work, so simply pressing it between glass and a backing board is not a sound preservation approach. Ask the framer how that separation will be maintained.

Choose a secure location away from direct sunlight, radiators, heating vents, and fireplaces. Aim for fairly stable indoor conditions rather than places with frequent heat or moisture changes. Use hanging hardware and wall fixings suited to the weight of the complete framed work. If the spot is particularly sunny, damp, or close to a heat source, discuss another location before installing the artwork.

There is no single answer for every canvas. A frame can help protect the edges and support safer handling, while glazing can provide additional protection in appropriate circumstances. The painting's medium, surface, condition, and intended display all matter. Ask whether the work is ready to hang and what protection is recommended for that specific piece, rather than assuming that every canvas should be framed in the same way.

Care depends on the material and condition, so ask for guidance before touching the surface. Avoid household cleaners, water, and rubbing the image. Even dusting can damage loose paint or change a delicate matte finish. If you notice flaking, stains, mold, or other damage, consult a qualified conservator. Follow the glazing manufacturer's instructions when cleaning the outside of a frame, and keep liquids away from the art.

Ask about fading, staining, tears, paint loss, repairs, and previous conservation treatment, as well as the frame's condition. A condition report records what was observed at a particular time, ideally supported by clear photographs. It helps you understand what you are buying and gives you a reference for future changes. Older art can show signs of age; the useful question is what those signs mean for this particular work.

Ask who will pack the work, how the packing will suit its size and fragility, and who will handle transport. Discuss protection from impact and changes in temperature or humidity, and request photographs documenting its condition before travel. Agree on the delivery arrangements and any coverage or claims process in advance. A shipping label alone does not tell you whether an artwork has been prepared safely for the journey.

Aquatint is an intaglio process that creates areas of tone rather than only lines. A granular resist allows acid to bite many tiny ink-holding recesses into a metal plate. Different depths and repeated stages produce lighter and darker areas. Its soft washes can resemble watercolor, although the image is printed from an inked plate.

A drypoint needle scratches directly into a plate and pushes up a ridge of metal called a burr. That ridge catches extra ink, giving the printed line its soft edge. The burr wears under printing pressure, so impressions can differ. Compare the actual lines and condition rather than assuming an edition number tells you when a sheet was printed.

The printmaker first roughens a metal plate so it can hold a dense layer of ink. Smoothing selected areas then creates lighter tones; the smoothest areas print lightest. This process works from dark toward light and can produce gradual transitions. Look for the relationship between dark passages and highlights when examining an impression.

Chine collé combines a thin paper carrying the printed image with a heavier supporting sheet. They are bonded during printing, sometimes with added adhesive. The thin paper may provide a different color or surface for the image. Two visible paper layers can therefore be intentional, rather than evidence of a repair or later mounting.

Both are relief processes: ink prints from the areas left raised. A wood engraving is typically cut with engraving tools into the end grain of a wood block, allowing very fine marks. A woodcut is usually carved along the grain. The distinction describes the working surface and tools; it does not establish which print is better.

A state records a stage in a printing matrix’s development. If the artist changes the plate or block, later impressions may belong to a new state. An edition is a group of impressions issued from that matrix. Ask which state a print represents and whether a reference catalogue illustrates the changes; an edition fraction alone does not explain them.

Photogravure uses a photographic image to prepare an etched printing plate, which is then inked and printed as an intaglio print. It is different from a conventional photographic print on light-sensitive paper. The term describes a process, so ask who created the image, who printed the sheet, and how that particular edition was produced.

A chop identifies a printer or workshop through a stamped or embossed mark, often in the margin. A blindstamp is impressed without ink. It can help connect a sheet to its production history, but it is different from the artist’s handwritten signature. Compare the mark with documented workshop examples and the other records for the print.

Pochoir is color applied by hand through stencils. It may create an entire image or add color to an already printed design. Small differences between sheets can reflect the hand-coloring process. Ask whether the color belongs to the work’s original production or was added later; “hand-colored” alone does not answer that question.

A collagraph starts with a printing surface built from attached materials and textures, rather than only cut or etched marks. Depending on how it is inked, the artist can print from raised surfaces, recessed areas, or both. The resulting texture is part of the process. Ask about the materials and printing method when a listing simply says “mixed-media print.”

A catalogue raisonné is a scholarly record of an artist’s work, sometimes limited to a medium or period. Entries may record dimensions, images, ownership, exhibitions, and publications. Compare those details with the actual object, not just its title. Note the catalogue’s author, date, and scope; a matching title alone does not establish that a work is the listed object.

“By” generally states the seller’s opinion that the named artist made the work. “Attributed to” expresses a qualified opinion, with some uncertainty. These are meaningful distinctions, not interchangeable wording. Read that seller’s attribution glossary and terms, and ask which evidence supports the description. Different sellers may define their terminology differently.

These descriptions usually indicate different relationships to an artist. “Studio of” points to the workshop; “circle of” to an associated artist or contemporary; “follower of” to someone working in the artist’s style, often later. “After” generally identifies a copy of a known work. None automatically means the named artist painted it. Check the seller’s definitions.

Exhibition history records where a work was shown; provenance tracks who owned it and how it changed hands. A museum exhibition may have included a loan from a private collector, so being exhibited there does not establish museum ownership. Ask for the exhibition catalogue, dates, lender information, and a matching entry when an exhibition is cited.

Labels, stamps, inscriptions, and inventory numbers can provide leads to dealers, exhibitions, collectors, or earlier locations. Getty’s provenance researchers use physical evidence alongside archives and published records. Ask for clear photographs and compare the details with those records. A label is evidence to investigate; its presence alone does not settle authorship or ownership history.

Missing records can have ordinary explanations, including lost archives and private transactions. They still deserve investigation, particularly for works that may have changed hands in Europe during Nazi persecution and wartime looting. Ask what is known, what remains unverified, and which records were checked. A gap alone establishes neither wrongdoing nor a complete, cleared ownership history.

Material tests can show whether pigments, supports, or other components fit a proposed date and working practice. They can also reveal inconsistencies. That is different from identifying the hand that painted a work: compatible materials may have been used by many artists. Authentication usually combines technical findings with visual expertise and documentary research.

Infrared examination can make some underdrawing and changes beneath the paint visible. Results depend on the pigments, drawing materials, and equipment; carbon-based drawing over a pale ground can be especially revealing. A blank-looking infrared image does not prove that no underdrawing exists. The findings need interpretation alongside the painting’s materials and other evidence.

A pentimento is an earlier element that the artist changed while developing a painting. It may become visible as paint grows more transparent, or through technical examination. Such changes can help explain how a composition developed and may contribute to attribution. They are one piece of evidence, rather than a certificate that a named artist painted the work.

A traditional watermark is a thinner area formed by a design in the papermaking mould, often visible with transmitted light. Its design, together with other paper features, can help researchers investigate the sheet’s origin and approximate age. It identifies evidence about the paper, rather than proving who drew or printed on it. Compare it with documented examples.

Craquelure means a network of cracks in a painting’s layers. Flaking means paint or ground is partly or completely detaching. Some cracking can remain stable, while lifting flakes may lead to loss. Ask whether the paint is secure and whether a conservator has examined it; a photograph of cracks alone cannot establish the painting’s stability.

Lining adds a second fabric support behind the original canvas, often as part of an earlier conservation treatment. It describes treatment history, rather than automatically making a painting unacceptable. Ask when and why it was done, what method was used, and how the painting is behaving now. A condition report should assess the result, not merely list “lined.”

Inpainting fills areas where original paint is missing or abraded. Overpainting covers surviving original paint with later, non-original paint and can extend beyond the damaged area. The location and extent matter when assessing condition. Ask for a report that distinguishes the two and explains what examination supports the finding, rather than relying on a vague reference to restoration.

An aging varnish can discolor and alter how the paint beneath it appears. Some natural resin varnishes become yellow and less transparent over time. That does not mean every yellow passage is varnish or that removal is appropriate. A conservator needs to distinguish the coating from the paint and assess treatment risks; household cleaning products are unsuitable.

Both support a stretched canvas. A strainer has fixed corners; a stretcher has joints designed to allow adjustment, often with small wooden keys. The distinction can matter in a condition report because movement and tension affect the painting’s layers. Do not tap the keys simply to remove slack: excessive expansion can crack paint.

A ground prepares the support and provides a surface for painting. Pigment supplies color, while the binder holds the paint together. Those materials and their interaction affect adhesion, flexibility, and aging. Two paintings in the same medium can therefore develop different problems. A useful condition report identifies which layer is affected, rather than saying only that the surface is damaged.

Foxing describes scattered brown spots on paper; it does not identify one single cause. Fungal activity, metal particles, and other reactions can produce similar-looking marks. The spots alone do not establish that mold is currently active. Ask a paper conservator to assess the cause and condition, and avoid home bleaching or sunlight treatments that can damage the sheet.

Cockling is an uneven, rippled surface. Moisture changes, wet artistic processes, and mounting conditions can contribute to paper distortion. Some waviness reflects the way the work was made; other cases may accompany water damage or unsuitable housing. Ask about staining, media changes, and mounting as well as the shape of the sheet. Do not try to iron it flat.

Light directed across the surface at a low angle makes surface relief easier to see. It can reveal canvas distortions, raised paint, and other irregularities that are less obvious in evenly lit photographs. Raking light is useful alongside normal-light images, rather than as a flattering sales photograph or a complete condition assessment by itself.

Acrylic paint becomes stiffer and more vulnerable to cracking as temperatures fall. A flexible canvas can then move differently from its paint layer, making handling and transport more hazardous. Ask an experienced art shipper how temperature exposure and handling will be managed. Do not assume ordinary packing makes a painting safe in a cold vehicle or loading area.