• A Condition Guide to Works on Paper, Prevention, Conservation & Valuation

    A Condition Guide to Works on Paper

    Prevention, Conservation & Valuation

    From the sketches of Leonardo da Vinci to David Hockney's uber contemporary iPad drawings, works on paper have long been a key part of artistic expression. In this guide, we explore what defines a work on paper, how condition impacts value, and what every collector should know about preserving their artworks—whether they’re centuries old or contemporary editioned prints.

     

    Often underestimated next to canvas or sculpture, these pieces carry a rich legacy across centuries of art history. Today, they are increasingly sought after by collectors for their accessibility, versatility, and investment potential. However, their fragility demands a deeper understanding of condition, conservation, and care. 

     

    By Rebecca Tutthill

    Published: 24th August 2025

  • What are 'works on paper'?

     

    The term works on paper can refer to a range of mediums, including painting, drawing, and prints. The definition can be interpreted in different ways, but it is broadly accepted as any artwork created or printed using paper as the support. Many artists are moving towards producing more paper-based works in their newer catalogues, including David Hockney and Banksy, adding a level of status to owning an editioned release.

     

    In addition to Contemporary artists, Modern artists and Old Masters also have a long history of incorporating works on paper into their practice. Notably, a large number of Warhol’s artworks were made using paper, as were those of Pablo Picasso and Henry Moore, who utilised the medium for both original and print releases.

     

    Museums and private collectors alike regularly invest in conservation efforts to preserve these works. The presence of historic and iconic modern works in museums around the world is evidence of the significance of works on paper in the art world. Additionally, the growing trend of curated print releases has made limited editions more desirable. Although works on paper are often viewed as more accessible than other formats, such as canvas or sculpture, notable examples can still achieve hundreds of thousands—if not millions—at auction. The idea that works on paper are inferior is now seen as an outdated approach to collecting, with many galleries and collectors choosing to specialise exclusively in prints and multiples.

     

    Peintre dessinant et modele nu au chapeau (s.8974), 1965

    Linocut printed in 2 colours on Arches paper, Signed

    620 x 750 mms (Paper size)

    Edition of 160 plus 35 artist's proofs

  • What can happen to the condition?

    Artwork undergoing backing removal after being inappropriately mounted

    Image courtesy of Plowden & Smith

    What can happen to the condition?

    Works on paper are highly sensitive to environmental factors and handling, making them susceptible to various condition issues. Understanding these issues is essential for preservation and long-term value retention.
     
    A condition report can be carried out by a paper conservator to document any defects in the work’s condition. Any variation from the original state can be noted in this report. However, when it comes to older artworks, some degree of variation is fairly normal and can be expected depending on the market. A 300-year-old artwork is unlikely to be as pristine as a newly printed piece, but there are varying degrees of condition that affect value and collectability. There can be as many terms to describe a specialist subject as there are artworks, so here are some frequently used terms and their meanings.
  • What can I do?

    What can I do?

    Conservation is extremely important for preserving the condition of an artwork and maintaining its long-term value. There are two main factors in maintaining the quality of a work of art: prevention and restoration.

     

    Ongoing conservation practices can range from ensuring the display environment isn't too humid to using archival-grade materials for maintenance and framing. How you handle the artwork can also have a significant impact, so understanding how to properly care for a work on paper is essential.

  • Prevention

  • "Distortion isn't a problem. The paper is alive. It moves"

     

    - Russell Bremner,

    Project Framing LTD

    As with most things, prevention is always the best method. If you can prevent an issue from arising, it’s far simpler than trying to undo one. There are several factors that can impact the condition and longevity of an artwork. Taking these into account when considering the storage or display of a piece is essential to preserving its longevity.

     

    Ideally, this should be combined with archival or conservation-grade framing practices to ensure the artwork is protected from chemicals, moisture, and even UV rays. Key risk factors include:

    • Exposure to high and/or fluctuating temperatures

    • Exposure to bright or direct light

    • Exposure to moisture and humidity

    • Atmospheric pollutants

    • Poor storage conditions (including exposure to pests and dust)

  • Russell Bremner, Managing Director of Project Framing Ltd, spoke with us about the importance of conservation and the impact that...

    Regular glass (left) vs Artglass (right)

    Image courtesy of Project Framing LTD

    Russell Bremner, Managing Director of Project Framing Ltd, spoke with us about the importance of conservation and the impact that a good frame can have. Approaches to framing have changed over the past decades due to a range of factors. The increased availability of archival materials has allowed more people to protect their artworks from environmental damage, and as a result, many collectors now expect this level of quality in fine art framing.

    Archival-grade glass or acrylic comes in a variety of forms and price points, which can be selected to best suit the client, the artwork, and the display location. Glass in particular, Bremner says, “is like SPF—not every artwork needs the highest level of UV filtering.” Comparing exposure to sunlight in 15-degree sun to SPF 50, he explains: “You could use the higher level, but you might not feel the difference.” He adds, “It’s up to the framers to know their market and know what’s best for the artwork, and then advise the client.”

     

    From an aesthetic perspective, Bremner highlights the significance of anti-reflective glass and the transformation it can bring to a piece—many types of which also include high levels of UV filtering, ranging from 70% to 98%.

     

    “The current trend of raised float allows the paper to move and not be held in place by the glass,” Bremner says. “Distortion isn’t a problem. The paper is alive. It moves.” The point he emphasises here is the importance of understanding these natural changes—a buckled or waving page isn’t necessarily a flaw; it’s simply part of the nature of the medium and needs to be taken into consideration.

  • Artwork series such as David Hockney’s Arrival of Spring in Woldgate—a popular print series from his more recent digital works in 2011—serve as a strong example of a successful works on paper collection. As this series is now over a decade old, we’ve noticed a rise in condition variations among collectors' pieces. Works on paper naturally develop changes over time, particularly if stored or displayed in a home environment. Buckling of pages, or broader planar deformation, has become increasingly common in such works.

     

    Often, a beloved series will be displayed in homes rather than kept in a warehouse. While this allows the artwork to be enjoyed and appreciated daily, it also means the environmental conditions are less controlled than in professional storage.

     

    However, this is not necessarily a problem, as the condition of a work is generally assessed within context by valuers and auction houses. For example, a freshly made print from last year will typically have fewer condition issues than an Andy Warhol Marilyn print from the 1970s. These types of variations are expected depending on the type and age of the artwork. In cases where conservation is recommended before a sale, advisors or auction houses can usually offer several suitable options.

  • Conservation

  • Once damage has occurred to a print, it's not the end of the world—there are several ways to rectify these changes. According to the expert paper conservators at Plowden & Smith, a range of adjustments can be made depending on the severity of the condition, including re-mounting the artwork using conservation standard hinges and the removal of tapes, adhesives, or other harmful materials. Improper materials can have a long-term impact and deteriorate the artwork over time. “Conservation framing with the correct materials can maintain the longevity of the artwork,” says Mira Gogova, Senior Paper Conservator at Plowden & Smith.

  • "... complete repair may actually be going against the intentions of the artist"

     

    - Mira Gogova,
    Plowden & Smith

    Private collectors and galleries often seek stain reduction treatments from paper conservation studios in order to bring back the brightness of pigments and paper substrate alike, however it’s all a matter of applying the correct treatment to the specific condition.  

     

    For example, while some staining can be reduced, 'over-bleaching' (a chemical bath treatment that can minimise undesired staining) can have a detrimental impact on the overall durability and the original aesthetic of the artwork, perhaps even lowering its value over time.  

  • In these cases, the conservator will seek gentler treatment that extends the longevity of an artwork, does not devalue it in the long run, and, most importantly, respects the artwork's material composition and age. In addition to conserving the physical fabric of the print, conservators preserve evidence of the artist’s technique and style. Artists such as Jean-Michel Basquiat, early David Hockney, or Banksy  have at times included creases, studio dirt such as coffee spills, boot prints etc. as part of their artistic practice—meaning that, according to  Gogova, “complete repair may actually go against the intention of the artist.”  

     

    Before any conservation treatment is undertaken, the context is carefully considered through research into the artist and the artwork’s background, ensuring that any treatments maintain authenticity. The process is then discussed with the owner so they remain fully informed and understand both what will happen and the potential final outcome. The work of a paper conservator is the ability to offer a variety of preventative and interventive measures to extend the life of an artwork while maintaining its unique qualities. 

  • Valuation
  • Carolin von Massenbach, Head of Prints & Multiples at Bonhams auction house, spoke with us about the impact and context of condition when it comes to works on paper. She believes this medium is significant because it is “delicate, but also democratic,” and the styles and periods include “something for everyone,” encompassing a wide breadth of historical movements and price points. Bonhams consignment process typically begins with a preliminary valuation, either remotely or in person, whereby provisional estimates of the piece are provided. However, a final estimate—whether for auction or private sale—is subject to a full physical inspection, authentication and condition check.

  • "The closer they are to when the artist made them, the better"

     

    - Carolin von Massenbach,
    Bonhams

    The context of an artwork was a key point in the discussion. When considering works by artists, such as Rembrandt or Dürer, which have been stored or moved for around 500 years, it is reasonable to expect some age and discolouration to the paper. If a work like this were restored to look ‘brand new’, it could detract from the character and historical significance of the piece. “Context is important,” she says—echoing the sentiment shared by the experts at Plowden & Smith. However, when it comes to modern or contemporary artworks, you wouldn’t typically expect to see creases or tears in a more recent print. In such cases, the valuation would be affected based on the context of the condition.

  • Although Carolin adds that when it comes to the advice Bonhams provides, they offer valuations based on the condition in...

    Although Carolin adds that when it comes to the advice Bonhams provides, they offer valuations based on the condition in which the work is presented to them but offer expert advice, when required, on a case-by-case basis. In discussing the broader context of an artwork, Carolin references a Warhol piece from their December 2024 auction that was in particularly good condition: “It was very well maintained—you see a big difference in works from the time.” This condition likely influenced both how they valued the piece and how it ultimately sold.

     

    Her advice to owners or future collectors is to ensure that a work is framed and stored using the best materials according to professional standard. She recalls a previous experience with a series of prints that were all framed using non-acid-free materials, which led to several of the works developing severe mount staining. “A lot of the points are common sense for most people now—don’t put it directly in the sun, don’t put it in a damp room, and use the best mounts and UV glass,” Carolin adds. She also advises caution when considering whether to repair or restore a piece: “Look for a good restorer with lots of experience,” she says, and carefully assess whether restoration is actually necessary. For example, foxing in the margins or minor warping of the paper may be acceptable, but anything that affects the actual appearance of the artwork, such as tears, staining or paper loss, could significantly impact its value. The general attitude toward artworks, she concludes, is: “The closer they are to when the artist made them, the better.”

  • Frequently Asked Questions

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    What are some famous examples of works on paper?

    There are many well known works on paper from some of history's most famous artists. Some examples include Andy Warhol's 'Black Marilyn (F. & S. II.24), 1967', Banksy's 'Girl with Balloon, 2004' and Pablo Picasso's 'La femme qui pleure, I, 1937'.

     

     

    What is archival or conservation-grade framing?

    Archival or conservation-grade framing refers to a professional level of framing that utilises materials and techniques that help to preserve the object being displayed, often to the same standard used by museums and galleries. This usually includes acid-neutralised or acid free mounts, water based adhesives and UV-filtering glass.
     
     

    Can I display a work on paper in a bright room?

    It isn't recommended. Direct sunlight can cause damage to works on paper, including fading, discolouration, and brittleness. UV-protective glass can help to lower the level of exposure, however prolonged exposure to strong light can degrade pigments and the paper itself so indirect lighting is better.

     

  • Contributors

    Geist - Associate and Works on Paper Specialist, Rebecca Tutthill. For artwork enquiries or questions regarding works on paper, please email rebecca.tutthill@geistmc.com

     

    Plowden & Smith - Senior Paper Conservator, Mira Gogova. To find out more about their premier art restoration services email info@plowden-smith.com 

     

    Project Framing LTD - Managing Director, Russell Bremner. To enquire about their expert framing services for sales or consultations, email sales@projectframing.com 

     

    Bonhams - Head of Prints & Multiples at Bonhams Carolin von Massenbach is available for expert advice on how to buy and sell at auction – you can reach out to her on carolin.vonmassenbach@bonhams.com and via sell.bonhams.com

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