Navigating the Print Art Market: Insights from David Cleaton-Roberts

David Cleaton-Roberts, a prominent figure in the print art world, emphasizes that potential collectors should focus on personal preference rather than market trends when acquiring prints. He advises collectors to explore artists, periods, and styles that resonate with them, stating, “Don’t be driven by investment, status or current trends, but instead identify which artists, periods or styles you are drawn to.” Cleaton-Roberts encourages collectors to engage with the art physically and to ask questions to deepen their understanding of printmaking.

New York Observer

Art fairs play a crucial role in the print market, according to Cleaton-Roberts. Events like Art Basel, Art Basel Miami Beach, and Frieze London provide platforms for collectors to view prints alongside other art forms. He notes that fairs such as the IFPDA fair and the London Original Print Fair showcase a wide range of printmaking, from historical pieces to contemporary editions. Cleaton-Roberts expresses concern that printmaking is often undervalued, stating, “I find fairs which actively exclude print publishers and dealers… frustrating and insulting to the artists who prioritize printmaking as part of their oeuvre.”

New York Observer

Cleaton-Roberts discusses the intersection of printmaking and technology, particularly the rise of NFTs during the COVID-19 pandemic. He observes that artists have historically embraced new technologies to enhance their practices. However, he warns that the introduction of NFTs has complicated the authenticity of physical print releases. The shift to online sales has led to confusion regarding what constitutes an original print versus a reproduction. He explains, “This means buyers have no clarity on what they are actually buying at the time of purchase,” highlighting the risk of reproductive prints being misrepresented as limited editions.

New York Observer

Cleaton-Roberts stresses the importance of education in the print market to prevent misunderstandings among buyers. He notes that many collectors confuse terms like “unique” and “original,” which can lead to misinterpretations of value. He clarifies that an original print can be part of an edition but may also be unique, where only one copy is produced. He also addresses common misconceptions, such as the belief that the first copy in an edition is the most valuable, stating, “To which the answer is ‘no’.”

New York Observer

In summary, David Cleaton-Roberts advocates for a thoughtful approach to collecting prints, emphasizing personal engagement, education, and awareness of the evolving market dynamics influenced by technology. As the print art landscape continues to change, understanding these elements will be vital for collectors seeking to navigate this intricate field effectively.

New York Observer

• “Don’t be driven by investment, status or current trends, but instead identify which artists, periods or styles you are drawn to and then start looking,” — David Cleaton-Roberts, Art Expert

New York Observer

• “This means buyers have no clarity on what they are actually buying at the time of purchase, which led to a prevalence of reproductive prints being sold as new, limited editions by artists both current and long-dead, who had no hand in their fabrication.” — David Cleaton-Roberts, Art Expert

New York Observer

• “A frequently asked question at lectures and art fairs is: ‘…is copy number one in an edition the most valuable?’ To which the answer is ‘no’.” — David Cleaton-Roberts, Art Expert

New York Observer