Introduction

Art comes in many forms ... but it is Paintings and more particularly, Prints that we are going to explore here. The value of a print as an investment is directly related to the value of the original art and the popularity of the artist. It is for this reason that we stress the importance of understanding art investment in general.

Paintings and Prints are most commonly used in the art world as a form of currency.

Investments in art should be made with a view to the long term like other sound investments, Land, Houses, Shares, Shops, Warehouses, Businesses and the like.

You could be lucky and turn over a quick dollar as art like the share market is prone to fluctuations. However, it is more than likely, that like Blue Chip shares on the stock market you need to be patient and stick around for the long term gain.

Modern art tends to change like fashion It comes and goes and for this reason it will be traditional art that most of this information relates to. Traditional art is much more staid and appeals to every generation.

Why collect art?

For centuries an original painting has been seen as being prestigious and even today it is still very much the case. Art works are sold around the world, sometimes for millions of dollars, just because these works are seen as something of great beauty and also an item of immense investment value.

Your purchase of an original painting means that no one else will have a work of art exactly like yours. It is a one off, which makes it something special and very valuable. Every artist puts something of themselves into each painting that they create. It is this love and joy that they conceive that makes art such a "living" object .... This is what makes your painting distinguished.

Your art collection will show your taste in art. It will show your friends your discernment and in many ways will tell a story about your inner feelings that may not always be readily seen by others.

One major advantage that an art collection has over other collectable items like stamps and coins is that you can admire your investment every day ... Because it can hang on the wall of your home or office where it is able to be seen by not only you, but by family and friends.

Often collections of coins or stamps are put away in a drawer, cupboard or maybe even the safe and are only taken out on rare occasions when a visitor arrives. Your works of art can be hung in pride of place where you can see and enjoy your investment.

By concentrating on quality pieces by recognised artists you can build up a fine art collection.

Australian Artists

It's just over 200 years since Europeans first settled in Australia, and in that historically short period many talented, and some brilliant artists have emerged.

Originally there were the Colonial artists surveyors, explorers, convicts, and settlers who perceived their new world through the eyes of a European upbringing and painted for other Europeans. Then there were other colonial full time artists from overseas such as, Conrad Martens, John Glover, Eugene von Guerard and Louis Buvelot who painted Australia's early settlement years.

Following the gold rushes in various parts of Australia came the most famous group of Australian artists established by Tom Roberts at a camp site called Heidelberg giving its name to a whole new movement in Australian art the "Heidelberg School".

Tom Roberts, Fred McCubbin, Louis Abrahams, Charles Conder and Arthur Streeton joined in painting camps at Heidelberg and Box Hill. The standards set by this group remain the yardstick by which much Australian painting is still measured. They painted pictures of the exciting events in this wondrous new world pioneering life, robbery, travel, the bustle of streets, departure of ships or some personal interlude. Today these paintings sell for hundreds of thousands of dollars.

The work of past artists or "Dead artists" as the market calls them is easy to judge and accept in terms of investment potential. They have a track record. You can often even look its form up in a book ... Past sales, auctions and even art advisors will tell you a particular artist's or even a painting's form.

The real challenge is to decide on which living artists you should collect.

Which living artist should you choose?

The first rule is that you should buy art that you like. After all, you will have to live with it for a few years before it has increased in value to a point that you can make a handsome profit.

You should buy the best quality Prints or Originals that you can afford!

Buying the work of a young artist gives you the opportunity to follow their work as it is accepted by the market .... But there are literally thousands of young artists out there which one should you pick? The gamble is to select an artist that is going to "make it".

In 10 years time you will be able to look back and say well if only 1 had bought a painting by so and so, look what they are worth now If only we could predict who were going to be the great artists a few years from now! Remember, that you are a collector not a speculator! Whilst you may not be able to predict a sure winner you can increase your odds to a more favourable outcome by following a few simple rules.

If the artist that you have selected is in the tradition of say the "Heidelberg School" or is copying an artist from the 19th century then they are just copying work from a bygone era. This is not a wise choice for sound investment. Likewise, if an artist is being absolutely outrageous and painting something really way out it is not a sound basis to collect his or her work.

Like any investment you should spread your investment over a number of artists. Don't put all of your eggs in one basket. However, that is not to say that you should only collect one piece of work from each artist. By collecting two or more pieces from each artist it allows you to sell one, realise a profit and still retain one or more works for future enjoyment. By investing in Prints you can afford to spread your investment over a much wider number of artists and woks.

By selecting an artist who is being promoted well, you have an excellent chance that your artist will "make it". Artists are often very good at painting but not as good at marketing themselves and the works they produce, hence it is a factor that should be taken into account when considering a major purchase.

If you choose an Artist who is promoted well it means a better chance of bigger profits.

Art is like any product it must be marketed properly for it to sell well. The better and quicker it sells, the more it is in demand and the more it increases in value. Remember, that art is like any object ... it is subject to market forces of supply and demand. The higher the demand the bigger the prices. Artists who have an agent marketing them, are generally speaking, a safer bet.

Marketing Artworks

Who is an Artist's Agent?

The people who market artists are called agents or managers. One agent will often have a few artists in his or her stable. An agent will have a good eye for art and will only select an artist that has an exceptionally good chance of becoming a great artist.

An agent has a number of contractual commitments that he or she makes with the artist before the partnership commences. One of these is that an agreement is struck to buy all of the artist's work. To make sure such an undertaking can be fulfilled, the agent works hard at marketing the artist's work.

When you purchase an original painting by an artist who has an agent marketing them you are buying more than just a lovely painting. You are purchasing an investment in art. I use the word "investment" carefully Whilst generally speaking, most art will increase in value, some art is destined to become famous and others will fall by the wayside.

Like any market driven product, it depends not just on the artist's skill but the management of their business affairs. As with any product, you can have the very best mouse trap but until it is marketed properly it will never make any real money.

An artist is marketed by creating awareness in the general public of his or her work. As you can appreciate, one artist can only produce so many paintings each year. This will vary from artist to artist, but can be as low as 12 paintings up to 500. An average is often 40 to 50 paintings per year.

If an artist is able to produce 50 paintings each year then a maximum of 50 people each year get to know their work. Often this number is much less because in reality, the same person will often buy more then one painting of an artist's work. That way they can sell one and keep a painting for personal enjoyment and investment.

How is an artist marketed?

Historically, an artist will live in a small community and that community will support them and buy their works. However, with the advent of colour photography prints and video, Australia can now be introduced to a great artist through these mediums. We have 18 million people living in Australia who want to buy their paintings. We no longer have a small community with limited resources limiting the prices paid for good works of art.

Many artists have no choice but to market themselves. They do this by holding exhibitions at private and public galleries, selling their paintings at art shows and entering their paintings in competitions to try and win a section so that their work becomes better known through the resulting publicity.

Some artists do an excellent job of marketing themselves. An example that springs to mind is Neil Savage who has painted in excess of thirty thousand paintings in his illustrious career. That means that some thirty thousand people have a painting of his and therefore know his work. Neil has also printed a calendar of his paintings for a number of years.

How to Leverage an artist's work.

Putting art into print is a wonderful way of leveraging an artist's work. Twelve paintings are printed onto a calendar, thousands of which can be produced sold or given away By printing say ten thousand calendars each year for ten years and assuming that at least two people see the calendar, that is two hundred thousand more people that see his work over the decade.

But individual artists that market themselves like this are few and far between.

How an Agent Markets his Artists

This is what one agent, Okko Boer had to say about marketing an artist:

"The hardest part is to find a great painter, you don't find them easily They are hard to find and without one, you really can't promote his or her paintings.

It's the painters that paint in different styles and present different pictures that really stand out. There are a lot of painters in the world who will paint landscapes but there are very few people who paint landscapes that really grab you.

An artist that really stands out will be wanted all over the country and internationally. There are only so many paintings to go around and that's what makes the prices go up. One person will say I want one too, and someone else will want one too, that's what happens. The same that happened to d'Arcy Doyle will happen to other great artists because you can't paint seven thousand pictures a year can you? No. It's just impossible. It is a painstaking job to paint detailed pictures like great artists paint.

How do we promote him or her? We will have Open Edition Prints that will go everywhere, that people can buy at furniture stores and picture shops. There will be Limited Edition Prints that people can buy as an investment. People will be introduced to his or her work all over the country and internationally.

Then we get phone calls come to our Sydney office who say, can we have some of his or her paintings in Queensland. Soon we'll have someone in Melbourne and someone in Adelaide. Then the phone calls come through and say, can we have more of his or her paintings. They just don't exist though, do they? What you see on the wall today is what is available. There are no others. We don't have any left in our warehouse.

He's still working on a couple but they won't be ready for another week or so. So we don't have any others for sale and that's the magic part of it.

The people who are buying these paintings are making a wonderful choice and a wonderful investment. With the demand we are already getting for this artist's work, the prices will just have to go up. It is nothing magical. It's just a question of introducing more and more people to his fabulous painting. And that's how we do it."

An agent tries to maximise publicity; and exposure of an artist's work using a number of methods. When an agent takes on a new artist he or she will usually have the artist sign a contract to supply all of their paintings to the agent.

The Artist's Contract.

The agent will agree to buy all of the paintings at a set price. The price will be calculated on the size of the actual painting, so many dollars per square centimetre or per square inch of unframed work. A lot of art is still measured and discussed in imperial measurements when it comes to the size of a painting.

Distributing an Artist's Work.

These paintings will then be sold through selected galleries, that deal with similar style of artists. Each gallery selected will have a geographic location that will maximise the exposure of the artist. One gallery from each state will be targeted, or perhaps a gallery in a number of regional centres. By spreading the art work through these strategically placed galleries, the agent will increase the exposure of his new artist.

Increasing Awareness of an Artist.

Reproducing an original painting in print on any medium gives an artist increased leverage through the enormous exposure that the print market reaches.

An original painting can be reproduced onto paper prints, canvas prints or it can be even be reproduced onto biscuit tins, placemats or coasters. In fact any medium can be used and these items can be sold in a wide range of shops, supermarkets, chain stores, furniture stores or any other retail outlet, not just galleries.

This means that huge numbers of new people see the artist's work. Some of them will want to buy an original or Limited Edition Print, and so the demand increases.

Why is this exposure so important?

Like any market driven product, it depends not just on the artist's skill but the management of his or her art. As with any product, you can have the very best product but until it is marketed properly, it will never make any real money

For you to make money from your art investment, the demand for the artist's work must increase year by year. As the demand increases so does the price.

Each artist has their own style. As that style becomes more recognisable to a wider cross section of the public so his or her work is much sought and so the spiral continues ever upwards.

Who Sets the Price of a Painting?

Initially when an amateur artist first starts to paint, it is the artist who will set the price of their own work. They start off very low Often, an amateur artist will have no idea what their work is really worth and rely on a gallery or friends to help set the price. So long as they cover the cost of the frame, materials and make a small amount for their time, they are happy to have someone want to buy their work.

When an Artist has an Agent, it is the Agent Who Sets the Price.

As the demand increases, so does the price, but only very gradually in the first few years even though the agent could quite conceivably sell the works for much more.

You see, once an artist's work starts to become highly priced, the demand is so great that most of the work is pre sold .... That is, customers order from the gallery or agent the next painting that the artist does. This means that original paintings rarely have a chance to hang on a gallery wall or come onto the market and so are not seen by anyone except the purchaser.

If the work goes up in price to quickly it can kill off the promotion of the artist's work.

How much does an agent increase the price each year?

Remember, when an agent signs a contract with an artist they agree to buy all of the artist's work. Because they buy all the work, they have total control over the price and often, the subject matter of the paintings.

The agent will increase the price by 10% to 15% in the early years. This keeps the cost of the paintings within the price range of a reasonable number of people. During this time the marketing continues.

After say, five years or so ... and if an artist's work is in high demand the price will increase at a much faster rate. This can often be 50% to 100% per year. Should the artist die, the work will double in price overnight, and in many cases, increase ten fold within a year of their death. (See section on dead artists).

Successful Marketing of an Artist - An Example.

Okko Boer, was d'Arcy Doyle's agent for a number of years during the early part of his career. d'Arcy Doyle is said to be the most popular traditional artist in Australia today. It is estimated that one in every four houses in Australia contain a Doyle print in one form or another.

It was Okko who took d'Arcy from selling paintings at $ 1, 500 to $25,000 each, in just seven years.

"I couldn't believe the way they jumped," says Doyle. "Thirty years ago, 1 was getting 40 bucks. There was a period when 1 was getting about $1,500, and 1 thought that was good times. Then $5,000, and I started to question myself are they really worth this much? But then I started to notice in the auctions, at resale, they were getting good prices."

d'Arcy Doyle died in 2001 and the value of his paintings has since gone through the roof!

Okko now has a number of other artists, and is using the same marketing techniques on them that took d'Arcy from obscurity to a household name.

By 1998 d'Arcy's original works had reached $50,000 plus a piece. His Limited Edition Prints started at $140 when first released and some that were released in 1988 and have since long sold out were bringing $6000 in 1998 for just one print!

Australian Art Reproductions have a handful of his Limited Edition Prints left now and once they are all sold there will be no more. Their value is rising quickly! This is a typical opportunity that you should watch for.

Market Forces on Art.

Art can be bought and sold in many venues and through different channels. The best known of these are art galleries. Most galleries sell art in the primary market. That is, the artist paints the picture and takes it to the gallery which sells it, taking a commission. This is called the primary market because it is the first time that the work is sold.

A few galleries and most auction houses, art dealers and newspapers deal in the secondary art market. This is where the artwork is being sold for the second, third or more times. Here market forces come into play as seller and buyer find common ground and it is usually the work of better known living or dead artists that are sold in this way. The bigger the demand for an artist or a particular painting, the higher the price.

Buying Artworks

How much should you spend?

Investing in art is like any other investment. You get what you pay for. But that doesn't mean that you have to spend a lot of money to become an investor. Investing in Limited Edition Prints is one method of buying the work of a well known artist at a fraction of the cost of the original painting. Yet, these same prints will increase in value with time, just like the originals.

Before buying a bargain priced print of an original, make sure that you are buying a piece that is sound. If an original is damaged, or it hasn't been signed by the artist there would be some doubt as to who actually painted it. Prints or originals that have be altered, damaged or framed incorrectly could be bad buys regardless of the price.

Ask yourself would anyone else buy this work? Can 1 live with it for a few years? By looking at art over time you will develop your values.

Buying at art shows and charity exhibitions.

If you are looking to buy paintings to fill up the walls of your home or office then these shows are a great place to shop , but don't expect these paintings to increase in value. The art displayed, as nice as it is, will seldom appreciate in value.

Modern artists who use modem materials and ignore the time tested methods run the risk that their works will quickly deteriorate. Materials like house paint, newspaper, collages and works that are made up of multiple media will often be very vulnerable to degeneration. Avoid these works.

You will discover that lots of towns and charities have art shows to raise funds for worthy organisations. These shows give amateur artists a venue to display their work.

More established artists will often be encouraged to enter their paintings to lift the standard and credibility of the show. However generally speaking these would not be the venues to start an art collection.

Where should I buy an investment picture?

From reputable galleries, art auctions or if you know what you want, through classified ads. By concentrating on investing in quality art by recognised artists you can build up an excellent collection of works that should have excellent potential of increasing in value.

Should I Buy an Original or a Print?

With an original painting there is only one. It is the only one in the world.

Your purchase of an original painting means that you are the only person to have a painting exactly like yours. It is a one off, which makes it something special. Every artist puts something of themselves into each painting he or she creates. It is this love and joy that makes art such a "living" object. This is what makes your painting special.

Your choice of a Limited Edition Print or an original will often depend on your cheque book!

An original painting by a noteworthy artist will cost you a lot more money than a Limited Edition Print by the same artist. A print will often be ten times or even a hundred times less then the original painting that it came from.

What is a Limited Edition Print?

Limited means that the artist guarantees that a Limited number of prints have been produced from an original art work. It must be numbered and signed by the original artist to make it worthy of collecting for investment purposes.

Edition or print run is the total number of prints made from the original image. Print numbered 74/100 means that the print is number 74 of 100 prints in the edition run.

A Print is a copy of an original art work produced by photography, computer generated image or offset printing. The latest Giclée prints produce by far the finest results and for that reason, for a given artist's work a Giclée is more valuable as an investment that one produced by offset printing. Offset prints by dead artists however can still be very valuable and a sound investment, depending on the popularity of the artist or the particular work. (see About Giclées)

Who Collects Limited Edition prints?

A growing number of Australians have discovered just what a great investment a Limited Edition Print is. Read on and you will learn more about what makes these prints so special.

But just before we discover what makes a Limited Edition Print so special you will be interested to know that in Europe and the USA a large majority of people know all about the investment side of Limited Edition Prints. Here in Australia it is estimated that less then 5% of Australians have even heard of Limited Edition Prints. However that is now changing.

What this means to you is, that you are one of the lucky people that have discovered the investment potential of this lucrative market. You are in on the ground floor of the market. As the mass media educates the populous about this niche market so your investment will increase in value at an ever increasing rate.

A Limited Edition Print is one of a very special run of prints that the artist has allowed to be taken from the original. You will find your prints' number in the lower left hand or right hand corner. The artist has personally signed your print in the right hand corner.

The artist's signature and the number are very important.... Some prints are signed by an artist but are not numbered. These are not Limited Edition Prints and there is little or no investment potential in these.

Check your print for damage!

Always buy prints in the very best condition possible. Any print that is creased, cut down or folded should not be included in your collection. Prints that have been left in direct sunlight and faded should not be considered. By buying from a reputable gallery you should be obtaining quality works. Damaged prints are very bad buys... Be generous and leave them for someone else.

The Artist's Signature....

It tells you that you possess something unique - a Limited Edition individually signed by the artist and numbered. Only your print bears that particular number, and only your print has been personally signed by the artist.

Never buy a print that has not been signed or one that has been signed by someone other than the artist. If for example there is a note on the print or with the print to say that "the signature has been added" then don't purchase it. The same applies if someone other than has touched up a print. These are also poor buys.

Certificate of Authenticity

Most Limited Edition Prints produced since 1992 come with a Certificate which gives you extra security to be able to authenticate that your print is one of the original edition. The number on the Certificate matches the number on your print. This means that you have a Collectors Item, a print that will continue to appreciate in value. You won't want to sell your print, but if ever you do, you know that it is a worthy investment.

Which Paintings are used to produce prints?

What makes a painting so special, that a Limited Edition Print run can be produced from an original painting and sold, so that the prints as well as the painting, increase in value?

The painting that is selected is usually one of the very best of an artist's work. Generally speaking only artists that are exceptionally good, with a nationally well established name, have Limited Edition Print runs produced from their work in large numbers. The artist is usually marketed in a very professional way by an agent.

Producing A Limited Edition Print

When an artist allows an original painting to be reproduced each print must be approved by the artist to make sure that it comes up to his or her standard.

Usually more than the required number of prints are produced in the initial run. These are then culled so that only the best prints are selected for the edition. This is done as the artist signs and numbers each print. A few extra prints will also be produced as Artist's Proofs and for replacement of damaged prints during transport from warehouses to retail outlets and galleries. No further prints will ever be produced.

The artist decides how many copies will be made. These prints are then individually numbered and signed by the artist and may sell from as little as $350 framed ready to hang depending on the artist's ability and standing in the art market.

The artist has a great deal of involvement in the production run and has to approve each print before it can be released. The artist and the agent will select the painting that is to be printed. Only the very best paintings are used for Limited Edition Prints.

The same artist will often have both "Open Edition" and "Limited Edition prints" in the market place, but these will come from different paintings.

Artist's Proof, is referred to extra prints, not exceeding 10% of the proposed edition, produced at the same time as the print run but these prints are not numbered. They may be signed by the artist and often have the letters A.P. next to the signature denoting Artist's Proof. They are used by the artist for promotional purposes.

What's the difference between an Open Edition Print and a Limited Edition Print?

When artists and collectors talk about prints, they are referring to Limited Edition Prints. They are quite different to mass produced reproductions of an original painting. These massed produced prints are often called "Open Edition Prints".

Open Edition Prints or Unlimited Edition Prints can be printed time and time again. They are also printed in more then one size and can be found on all types of mediums .... Paper, Biscuit Tins, Posters, Place Mats, Coasters etc.

For example, a Van Gogh "Sunflowers" or the many Margaret Preston flower prints, which are available as note cards, stationery, and small framed reproductions are cases in point. These unlimited reproductions do not increase in value whereas Limited Edition Prints do.

Print making began in the 15th century The 16th century was dominated by the works of Durer, whilst the 17th century by Rembrandt and the 18th century saw fine prints made by Reynolds, Gainsborough and Goya. Great 19th century printmakers included Monet, Degas and Whistler.

The 20th century brought a wider and freer use of printmaking techniques by artists including Matisse, Picasso and David Hockney. Limited Edition Prints by Rembrandt and Picasso sell today for $100,000 to $600,000, whilst other artists such as Whistler, Matisse and Toulouse Lautrec fetch higher prices each time they come up for auction.

Comparisons of costs of Originals and Prints

An original oil painting by say d'Arcy Doyle or Sidney Nolan could cost $25,000 to $250,000. A newly released Limited Edition Print can be purchased framed ready to hang for a few hundred dollars.

However a Limited Edition Print that has been sold out for a few years can easily fetch a few thousand dollars.

Meanwhile an Open Edition Print can be purchased from $6.00 to $42.00 and it is only the cost of the frame that increases the price to $ 100.00 plus. As you can see, Limited Edition Prints are very special.

Now, you can tell others of the difference between an Open Edition and a Limited Edition Print, they are worlds apart. But as more people discover the investment values of a Limited Edition Print so, more people buy them which makes the market increase, thus adding value to your investment.

Framing of Your Limited Edition Print

The method of framing will depend on the medium on which the Limited Edition Print is produced.

Canvas based prints should be stretched over a wooden frame in the same way that an original canvas artwork is framed. There is no need to cover the print with glass.

Your Limited Edition Australian paper Print is printed on the highest quality paper available on the market. The latest Giclée Prints are produced on Ceramic Paper. The paper is very thick almost like cardboard in weight, usually around 300gsm

Your Limited Edition paper print should be "Museum Mounted". This term indicates your print is mounted the same way that Museums mount their treasured possessions.

This ensures that there is no risk of acid, from the glue or the board leaching through the back of the print and ruining it. The possibility that acids may penetrate the paper is non existent. This is done by using three spots of tape at the top of the print. The tape has a vegetable based adhesive so that the print is only fastened to the acid free backing board at these three points. Your print is literally hanging, suspended in the frame.

If 100% rag or linen paper was used in the manufacture of the paper for your print and it was glued down, it would be susceptible to harmful effects of acid. However because your print is free floating in the frame it is safe.

Framers of these Limited Edition Prints, throughout the world, usually Museum Mount these prints. They should also double mount each print behind glass. This double mounting ensures that your print will not come in contact with the glass. These prints should never be framed flush to the glass or perspex. The backing board and mounts must be acid free boards so that they cannot harm the print.

Other things to look for when buying prints and in particular framed prints is that "sticky tape" has not been used anywhere on the print. Sticky tape can leave marks on the print as well as risking absorption of glue and acid. When having a print framed make sure that the framer keeps any writing, labels, notes, or details about the print, artist or printer. These details along with the certificate of authenticity can be placed in an envelope and stuck to the back of the frame.

All of this information will be useful when you go to sell your print. The value of your print is maintained when it is framed in this manner. Limited Edition Prints, framed and mounted in this way, have been sold on the secondary market at much higher prices than they first sold for. Some of d'Arcy Doyle's prints which sold for $250 framed, have re-sold for over $6,000.

Displaying your Limited Edition Prints

The two greatest threats to your works on display are fading by light and mould attack from high humidity The light that is most harmful to paintings and prints is direct sunlight. This is because it contains UV light.

To combat UV light all fluorescent lights used to illuminate prints should be triple phosphor coated to reduce UV light. Any down lights used should be covered with a glass lens to eliminate UV light. Prints should not be hung where they are subjected to direct sunlight.

Offset prints on paper are most susceptible to fading and need more protection. Giclées on ceramic paper are much less susceptible to fading and Giclées on canvas are coated with a UV protective coating. However no matter what the type of artwork, it's life will be extended by limiting the effects of UV light. The ideal light for viewing paintings and prints is light either indirect daylight or artificial light measuring 50 lux.

Relative humidity and temperature can also play an important roll in maintaining art works in good condition. The greatest risk comes from damp locations where moulds can grow. These places need to be avoided.

The aim is to have stable humidity Fluctuations in humidity can lead to cracking or in the worse cases tearing of the material. The worst humidity is high humidity which will lead to the formation of mould spots on your paper works of art. It is known as "Foxing".

If you see staining, spots or brown marks on a print it is probably foxing and whilst it can be treated you need to isolate the affected work from other stored prints and have a conservator look at it. Remember to wash your hands after touching any mould affected paintings or prints to avoid transferring the mould to other works.

You can also escape damage to your art works by a common sense approach to displaying them. Make sure the anchor points are strong enough to hold the weight of the item. Use two hooks rather than one. This way if one anchor point gives way there will be a back up. When moving pictures use two hands and hold them so that maximum support is given to the work Framed paintings should be held on both sides of the work not just the top or one corner.

Caring for your Limited Edition Prints

To preserve the resale value of your Limited Edition Print it should not be altered in any way, shape or form. The print should not be glued down, if framed; and acid free mats or mounts only should be used.

For older offset prints we recommend framing with double mats which means your print is kept well away from the glass. The frame should be completely sealed at the back which means you eliminate any risk of damage from dust and insects.

Storing Unframed Prints

There are two methods for storing your Unframed Limited Edition Prints:

1) You can store your prints flat between two pieces of acid free matt board. If using these mats, you do not need to wrap your prints separately, just pop them in together as they are between the matting. When purchasing Acid Free mats, be sure that both the front colour and the core of the board are all acid free. All edges of your package of prints should be completely sealed with tape so that insect damage cannot occur. One of the biggest dangers to unframed prints is insect damage. It is important to store your prints in a damp free area.

2) Roll your print or prints and place them in a cylinder. Be careful when rolling the print that it does not crease and include a piece of Acid Free paper so that the print is protected from the acid in the cardboard. Australia Post cylinders are quite acceptable so long as you select the large size and use the Acid Free paper to put a buffer between the print and the cylinder. Do not put an elastic band around the print or any staples, tape or pins in the packaging.

Once the print is inside place the end caps on the cylinder seal around both ends of the cylinder to prevent entry of insect pests.

When storing your prints try to find a location that is cool, dry, free from insect pests and safe from plumbing pipes in case of a leak or burst pipe. Place the prints a few centimetres from the wall. This will prevent leaks down the walls from getting onto the prints.

If you must handle your unframed prints, always wash your hands well and then dry them thoroughly. Clean white cotton gloves should be worn where possible. Hot and perspiring hands can leave a greasy deposit. The perspiration also picks up and transfers dirt and dust.

If you intend to lay down a print on a table or bench make sure it is flat, clean and dry. Always hold the print by the bulk of the object, not the corner so that the print is supported adequately. Make sure you do not crease or fold the print and never cut the print

Protection from Humidity.

High humidity is as bad as direct sunlight on artistic works. Brown spots or specks on paper prints, water colours or mounts is called foxing. It is caused by high humidity and whilst it can be treated it will sometimes still leave pale spots on the print. Mounts that are dirty or that have foxing on them can be replaced with new acid free mounts.

Insuring Investment Prints

You should also have your prints insured. Under your existing Home and Contents insurance policy, you need to have any painting or print that is valued more than $500 (this figure may be $ 1000 with some companies) listed as a separate item on your policy.

That's because if it is listed at the market value in your policy any claim that you may have to make will be automatically processed. A photograph of the work is also advisable.

You will find that each company varies on the protection that it gives with its policy. For example I use an insurance broker who covers my art work for the usual like theft and fire but also covers them in case one falls off the wall or if one is damaged by vandalism - say, by a child throwing a ball or other object at the painting.

When renewing your insurance policy ask about what your policy covers in regards to your art collection.

All reputable galleries will supply valuations of art works. In particular the works and artists that they deal with on a regular basis.

Deceased Artist Market

Or as it is known in the industry the "Dead Artist Market" This is an entire market on its own and a good knowledge of it or a large cheque book is required to be involved in it to any depth.

It is usual for the works of an artist who has died particularly an artist whose work was well established and eminently regarded in the community to be highly priced. You would expect to pay at least tens of thousands of dollars, if not, hundreds of thousands for a work of a deceased artist.

The advantage that you have in dealing in a dead artist's work is that generally speaking the only way it can go in terms of price is up. The reason for this quite simply is that there is no more. There is a finite amount of work available and if you want one then you have to buy it off someone who owns it. For that privilege you have to pay It is like land. It cannot be manufactured. There is only so much and if you want a piece of land you have to buy it off the present owner.

A recent example of the impact on the increase in the price of a painting from a live artist compared to when he or she dies is that of Brett Whiteley. Born in 1939 Brett was a well known NSW contemporary painter. Prior to his death his paintings were selling for around $50,000. - a tidy sum of money. Just six months after his death the same paintings were fetching up to $250,000 at auction.

Some galleries and dealers specialise in the dead artist market. Should you wish to deal in this market you should talk to one of these specialists.

Selling Art Investments

If you want to sell your art through the classifieds please only list your telephone number or PO Box address, do not list your residential address. Doing so is an open invitation to thieves to come to your home and steal your art treasures.

Some publications specialise in various areas of art both buying and selling. "The Queensland Trader has a large section each week listing d'Arcy Doyle Limited Edition Prints and other art works.

When you sell privately make sure that you receive cash or a bank cheque. Do not accept a personal cheque because if it bounces you will have no money and more importantly, no art.

Selling through an auction house or the gallery that deals in the artist's works that you have, are two other ways of getting a good result. A provenance helps the sale and helps you realise a larger profit.

What is a Provenance?
Provenance is a History of the picture. It will include things such when it was painted, by whom, when was it purchased, from whom was it purchased, was it part of a special exhibition, do you have a copy of the catalogue which it was listed in.

The more information that you have the better it is. Paintings that have been used to print either Open Edition Prints or Limited Edition Prints or that have been used in colour plates in a book or even used in a newspaper article are worth much more then those that haven't.

All of this information makes up the Provenance. It is important to know and keep as much history as you can about your individual works of art. The more information that you can supply a gallery, auction house or a potential buyer the more you will gain for your picture.

If you have an entire collection that you wish to sell it is better to sell items off separately over time rather than a number at once.

When will you make a profit? When will you see that elusive "right" time? Can you lose money on art? It is possible to be a loser if you have paid to much, for example, at the end of the 1980's when prices were booming, especially in the dead artist's market ... Or the contemporary art market which seems to be fashionable one moment and not the next. Traditional art is more stable.

Remember the advice given at the beginning of this article. Art is a long term investment. You need to keep your art work five to ten years before expecting a cent return for your capital outlay

Art like any investment will go up and down during the term of its life. These trends depend on the strength of the economy, sometimes fashion in art and certainly major events like the death of an artist can have a strong impact on the value of the work. You may be lucky and make a quick profit. If that chance turns up take it.

However, by buying art that you like and the best quality pieces that you can afford you can have the enjoyment of those pieces to decorate one's home impress your friends and hopefully look forward to making a handsome profit sometime in the future.

Parts of this information is taken from the publication "How You Can Invest In Art" ISBN 1 875952 19 5 Copyright © 1998 Trevor Richards. It is reprinted here by kind permission of Trevor Richards - Morpeth Gallery