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<p>[QUOTE=&quot;Laurence Roman, post: 1349485, member: 12895&quot;]Before I begin: &quot;Caveat Emptor!&quot; double underlined in crimson marker pen.</p><p><br /></p><p>I just thought I&#039;d mention that, if you appreciate 20th century printmaking, there seems to be a great deal of terrific stuff coming up at provincial auctions at the moment and, occasionally, for very little money. The big hitters: Picasso, Matisse, Chagall et al. continue to hold their value and are selling as healthily as ever (although you can still get lucky, when regional auction houses miscatalogue valuable works, having failed to recognise their significance). Calder and Sonia Delaunay are enjoying an inexplicable bonanza right now, though I recall a time, not even a decade ago, when you could pick up gorgeous signed lithographs and etchings by those two for the price of a meal for two in a decent restaurant.</p><p><br /></p><p>Do, please, beware, though; there&#039;s an awful lot of counterfeit junk swilling around, too.</p><p><br /></p><p>Another crucial truism: Only buy stuff you absolutely love.</p><p><br /></p><p>Artists, of whose work I am especially fond and who seem currently to be selling for very reasonable prices are: Richard Lindner, Stanley William Hayter, Giorgio de Chirico, Jacques Villon, Karel Appel (there&#039;s some gorgeous stuff by him knocking around just now for ridiculously low money), surprisingly Georges Braque and if you&#039;re looking to spend low four figures (rather amazingly) Miró.</p><p><br /></p><p>Feel completely at ease asking auction houses for high-resolution images of anything which catches your eye, stipulating that you wish to see close-ups of signatures and numerators.</p><p><br /></p><p>By all means ask for provenance details.</p><p><br /></p><p>Request condition reports including very specific demands to know whether the print has been trimmed and/or is laid to any backing or glued to the mount. Framers in the 60s and 70s did terrible things to prints, which rendered them almost commercially valueless.</p><p><br /></p><p>Specify that you wish to know details of any foxing or paper discolouration. In my reckoning, light foxing and paper yellowing are not necessarily deal-breakers (and a good restorer can often refresh a foxed and/or yellowed sheet to astonishing effect) but&nbsp; the other issues I mention above are irreparable and have me (and I would suggest you) running a mile. Also, please bear in mind that print restoration is not cheap - it can substantially increase the cost of your purchase. Make sure you press the restorer for specific details of what s/he intends doing BEFORE they commence work. Make sure they anticipate that their efforts will generate a genuine improvement and make sure you get an all-inclusive quote up front. While no restorer can give you a 100% guarantee about what might happen to a print which has undergone restoration, get as clear an impression as you can of what will happen to your artwork; you may decide, all things considered, that you are happy with it the way it is - warts and all - and would prefer not to take any chances. I&#039;ve had a few horrible and irreversible surprises when I received a work back after restoration (usually involving distorted colours). On other occasions I&#039;ve been thrilled by what appear to be magical transformations. The decision has to be your own.</p><p><br /></p><p>Final thought: Decide, well in advance, how much you are comfortable spending and don&#039;t bid a penny more. It&#039;s so easy too get swept along. It&#039;s far less upsetting (in my opinion at least) to regret not having bought something, than to regret having bought it!</p><p><br /></p><p>Just a heads-up in case anyone&#039;s interested.[/QUOTE]</p><p><br /></p>

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