Originally named Alan Cristea Gallery after its founder, Cristea Roberts Gallery was established in London’s West End in 1995. Three years on, the space was rebranded as Cristea Roberts after David Cleaton-Roberts joined Cristea’s team as director, with a remit to bring a new generation of artists to the gallery. Nestled in the Pall Mall area near Piccadilly, it specializes in original fine art prints and works on paper by some of the most recognizable names in contemporary art. Currently, the gallery is staging London’s first Sol LeWitt exhibition in eight years, showcasing a selection of graphic works the late American artist made between 1970 and 2005. (Other names on their roster include Georg Baselitz, Julian Opie, Jim Dine and Antony Gormley, and the gallery manages the print work estates of Josef Albers, Naum Gabo and Richard Hamilton.)
Observer recently asked Cleaton-Roberts how potential collectors should go about acquiring prints, and he is adamant that collectors should start with what they like. “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,” he says. “Take time to learn about the artists and mediums and, most importantly, look in person. Look for artists who have really engaged with printmaking as a way to expand their repertoire. Be curious as to what you are looking at, and don’t be afraid to ask questions.” He acknowledges that prints can seem confusing, with their niche terms and conflicting information and pricing, but true experts will be able to answer questions with clarity. Authenticity is important too. “Be mindful of how much input an artist has had in the making of the work. Printmaking is a naturally collaborative process, but the artist should always be involved on some level.”
Prior to joining Cristea Roberts, Cleaton-Roberts served on the selection committee for the Armory Show and as vice president of New York’s International Fine Prints and Drawings Association (IFPDA). As to what role art fairs play in the print world, he says fairs like Art Basel, Art Basel Miami Beach and Frieze London, which devote specific sectors to original prints, “are important as they’re an opportunity for collectors to see which artists are making print media alongside the other areas of their practice. Also, the IFPDA fair is one of the few fairs—along with the London Original Print Fair—where it’s possible to see the whole gamut of printmaking from historical Old Master prints to the best contemporary editions, all under one roof.”
He’s particularly passionate about how artists’ print works are presented and perceived at fairs. “I feel very strongly that printmaking is too often seen as the poor cousin to other mediums and is always best placed at fairs when it’s exhibited amongst the other works on an equal footing,” he explains. “I find fairs which actively exclude print publishers and dealers—but then put prints for sale in their gift shops—frustrating and insulting to the artists who prioritize printmaking as part of their oeuvre.”
Legacy printmaking aside, Cleaton-Roberts has some interesting thoughts on the convergence of the print market and new technologies. “Artists have always been quick to embrace new technology, and most are primarily interested in how it can inform and further their practice,” he says. “NFTs and the role of blockchain in the art world became a talking point during the COVID-19 pandemic when galleries, artists and collectors were forced to pivot to more digital interactions, as opposed to in-person exchanges… What NFTs did pre-empt was a new approach to some physical print releases.” They heralded the creation of online companies that launched editions, mimicking the way NFTs were sold, in which the edition size was determined by how many copies were sold within a specified time period.
This way of working, he says, muddied the waters in terms of authenticity. Creative decisions that would usually be part of the original artist’s process—choosing particular mediums and edition sizes, for example—were now being made by print-producing companies based solely on market demand. “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.” This creates confusion about what constitutes an original print—made by an artist, with their intent—versus a reproduction, where an artist has had no input into or hand in the creative process.
It’s something many buyers are unaware of, and for David, education plays a crucial part in preventing misunderstandings. “Most conversations about prints immediately focus on the technical aspects, throwing out terms like intaglio, spit bite and planographic,” he says. “Whilst important, I think these often obfuscate the real message, which is that printmaking—in its true and original use—is primarily a collection of mediums for artists to make images and artworks. I first highlight how people often confuse the terms ‘unique’ and ‘original’ to mean the same thing, which they don’t. An original print—versus a reproductive print—can be made in an edition, but can be unique as well, where only one copy is printed.” He also spends time dispelling commonly held myths. “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’.”
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