Important Information
About the Care and Framing of Fine Art

The profound success of John Stobart’s limited edition prints has resulted in limited availability of many of his works. Because John Stobart has been publishing prints for over 30 years, many of the early print editions have sold out and become hard to find. Due to the large number of Stobart collectors and the increasing demand for rare prints, a strong secondary (resale) market has emerged.

Fine limited edition prints not only provide years of viewing pleasure but, with proper care, can also be an excellent investment. However, many things can happen to works of art on paper that cause their value to be diminished. Because MHP handles only ‘mint’ condition secondary market prints, it is important to understand what qualifies a print as ‘mint’ and to identify factors that detract from the value of the work and hinder its chances of selling on the secondary market. The collector value of the print is adversely affected if the original condition of the print is altered in any way.

Listed here are guidelines to follow to insure that your limited edition print retains its full value. These are the same guidelines that our gallery follows when evaluating the condition of a print to determine whether or not to purchase it back for resale. (It is necessary to note that in order to ascertain the value of a print, it must be examined without the frame).

Once unframed, the print should not show any signs of the following:

Most of the effects of the above mentioned conditions are permanent and irreversible Therefore, we recommend that great care be taken to preserve the print in its original condition before it has a chance to incur damage. With proper care, this fine print will last indefinitely.

Concerning the Care of Your Art:

Only two methods of attaching the artwork to the mounting board are acceptable:

  1. The use of high quality Japanese paper hinges attached to the print borders and mounting board by either rice starch or wheat starch paste. This method is reversible with water.
  2. The use of Mylar print pockets which are attached to the mounting board. The print is then slipped into the pockets. No adhesive of any kind touches the print and the paper is allowed to expand and contract without any adverse effects.

Ultra violet light is another dangerous element that artwork can encounter. In a short period of time, ultra violet rays from sunlight or artificial light will cause colors to fade significantly. Not only will the artwork be reduced to a fraction of its original glory, but because UV damage is irreversible, the artwork will be devalued as well. Tru-Vue Conservation Glass effectively blocks out 97% of ultra violet rays and is therefore an extremely important part of conservation framing.

Kensington-Stobart Gallery
At the Hawthorne Hotel, On the Common
Salem, Massachusetts 01970
Telephone: 978-825-0022, Toll Free: 866-825-0001

E-mail: ksgsalem@aol.com

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