When someone asks how to determine if a print is real or not, the answer lies in a combination of factors that work together to reveal its authenticity. It's not just one thing—it’s about the paper, the printing method, the ink, and even the context of the artwork itself. Here's how we break it down:

Paper Types

The type of paper can tell us a lot. Older prints (say, before the 19th century) were typically made on handmade, laid paper. If you hold it up to the light, you might see a grid of faint lines called chain and wire marks—these come from the molds used to make the paper. By the late 1700s and into the 19th century, smoother wove paper became popular. It doesn’t have those lines and was great for detailed printing. Modern paper, especially in the late 19th and 20th centuries, often includes wood pulp and tends to age differently—yellowing or becoming brittle over time.

Watermarks

Watermarks are like the fingerprint of the paper. Many historic papers include watermarks from their manufacturers, and those can help us narrow down when and where a print was made. For instance, if a print is dated 1750 but the paper has a watermark used in the 1800s, that’s a clue something’s off.

Printing Methods

The way a print is made is key to understanding its authenticity.

• Engravings and Etchings: These are made from engraved or etched metal plates. Under magnification, you’ll see sharp, precise lines for engravings, while etchings have softer, slightly irregular ones.
  
  
• Woodcuts and Wood Engravings: Woodcuts, one of the oldest printing techniques, involve carving along the grain of wood using knives or chisels, with the raised areas holding ink to create bold, graphic lines. They were widely used from antiquity through the Renaissance, especially for book and print illustrations. Wood engravings, developed later and popularized in the late 18th and 19th centuries, use harder wood like boxwood and are carved across the grain with fine tools, allowing for greater detail and tonal variation. This made wood engravings a dominant medium for magazines, books, and other printed materials in the 19th century.
  
  
• Lithographs: Made by drawing on stone or metal with grease, lithographs have a richness and texture that later mechanical reproductions (like offset lithographs) don’t. With modern prints, you’ll often see completely flat, even colors, which can be a giveaway.
  
  

Plate Marks and Ink

Prints made from metal plates often leave an impression—called a plate mark—around the edge of the image. You’ll also notice variations in how the ink is applied. Hand-inked prints have subtle differences in tone and texture, whereas reproductions tend to look overly uniform.

Style and Context

The subject matter, style, and details of the artwork should match the time period and the artist’s known work. If the piece is attributed to an 18th-century artist but shows features of a much later style, that’s a red flag. Context matters too. Was this artist working with a known publisher? Was this kind of print typical for that era?

Provenance

Finally, provenance—knowing where the print has been and who’s owned it—can make or break its case for authenticity. Documentation, gallery stamps, or exhibition records help fill in the story of the piece.

All of these factors work together. Authenticity isn’t usually determined by one thing, but by piecing together the evidence, both physical and historical. When everything aligns—the paper, the technique, the style, and the history—you can feel confident it’s the real deal.

While prints are multiples, their value depends on a range of factors that set them apart from simple "copies."

Method of Production

Original prints, such as engravings, etchings, and lithographs, were often painstakingly crafted by the artist or under their direct supervision. These methods produce subtle variations in inking and impression, making each print unique in its own way. These original works are much more valuable than modern reproductions, which are mechanically or digitally produced without the same level of artistry.

Edition Size

Many earlier prints, particularly from the 16th through the 19th centuries, were not numbered or labeled with a specific edition size. While the total number of impressions printed isn’t always known, time and handling have naturally reduced how many exist today in good condition. For instance, works by Paul Revere or John James Audubon may not specify an edition, but extensive scholarship on these artists and their publishers helps us estimate production numbers and trace surviving examples. Even without exact totals, the rarity of well-preserved prints today plays a major role in their value.

Historical Context

Prints with historical significance often hold intrinsic value. For example, Paul Revere’s engravings were deeply tied to the American Revolution, making them not only works of art but also powerful historical artifacts. Similarly, Audubon’s The Birds of America prints represent a monumental achievement in natural history and art, their value enhanced by their enduring cultural importance.

Artist’s Reputation

The fame and historical significance of an artist can significantly affect a print’s value. Prints by Revere or Audubon, whose works hold iconic status in American history and science, are much more sought after than prints by lesser-known artists.

Condition and Provenance

The condition of the print—free from excessive wear, foxing, or fading—and its provenance are critical factors in determining value.

In summary: While early prints may not always detail their production or edition size, their scarcity, historical relevance, and the scholarship surrounding them make them highly prized. Surviving examples represent a unique piece of history, and those in excellent condition are especially sought after by collectors.

Digital copies are convenient, affordable, and can look pretty good on the surface. But they’re not the same as owning a real, authentic work of art. Originals have a depth, a character, and a kind of magic that reproductions, no matter how advanced, just can’t replicate.

The Real Thing Has Real Value

When you buy an original print, painting, or photograph, you’re not just getting an image—you’re getting history, craftsmanship, and artistry. Originals are physical objects created by human hands, often with techniques that are centuries old. They have inherent value because of what they are, how they were made, and the story they carry. A digital copy might look good, but it’s mass-produced and essentially disposable. An original? It’s unique, often collectible, and something that can grow in value over time.

The Details Are in the Experience

Look closely at an original print or painting, and you’ll notice things that a digital copy simply doesn’t have. The texture of the paper, the fine lines of an engraving, or the slight variations in hand-applied color give the piece a life of its own. Hand coloring, for example, adds a richness and vibrancy that flat, machine-printed colors can’t achieve. The pigments sit on the paper in layers, creating depth and movement that draw you in. Even the imperfections—an uneven line, a subtle shift in tone—add personality and make the piece feel alive.

It Just Feels Different 

There’s something intangible about owning an original. It’s not just about how it looks—it’s about how it feels. Originals have a presence, a soul. Whether it’s an Audubon print with its vivid, painstakingly hand-applied colors or a historic etching that still carries the marks of the artist’s process, originals invite you to connect with them in a way reproductions can’t. A digital copy might be perfect, but it’s sterile. It doesn’t have that “je ne sais quoi”—that spark that makes you stop, look closer, and feel something.

A Piece of History in Your Hands

When you own an original, you’re holding a piece of history. You’re experiencing the same work of art that someone did centuries ago, with all the texture, color, and craftsmanship intact. It’s a connection to the past, to the artist, and to the time it was created. A digital copy is just an image, but an original is a tangible link to something bigger.

So, why shouldn’t you just buy a digital copy? Because owning an original is an entirely different experience. It’s not just about having something to fill a frame—it’s about owning a piece of art, a piece of history, and a piece of humanity. An original is more than decoration; it’s something you can treasure, enjoy, and pass down. A digital copy will never give you that.

Framing isn’t just about making your artwork look great—it’s about keeping it safe for years to come. The right materials can protect your piece from sunlight, dust, and humidity, so it stays as beautiful as the day you got it. Here’s what we recommend:

UV-Protective Glass or Plexiglass

We recommend using UV-protective glazing for your artwork. Just like UV rays can harm your skin, they can fade and discolor artwork over time.

• Glass offers excellent clarity and durability, making it a great option for most pieces.
  
  
• Plexiglass (Acrylic) is lightweight and shatter-resistant, ideal for larger works or those displayed in busy areas. Both options are available with UV protection to block harmful rays and preserve your artwork’s colors and details.
  
  

Archival Matting and Mounting

The materials around your artwork matter just as much as the frame itself:

• Matting: Use archival, acid-free mats to prevent discoloration and ensure your artwork doesn’t touch the glass or plexiglass, which could cause sticking or damage.
  
  
• Mounting: Backing boards should also be acid-free. Avoid adhesives or tapes that can damage the artwork over time. Archival tape or hinges are safe, museum-approved choices.
  
  

Framing Tips

• Create Space: Always use a mat or spacer to keep your artwork from pressing against the glass or plexiglass. This is especially important for delicate pieces like watercolors or photographs.
  
  
• Consider Custom Framing: Custom frames may cost more but are tailored to fit your artwork perfectly, ensuring both protection and a polished finish.
  
  

Hang with Care

Where you display your artwork is just as important as how it’s framed. Avoid areas with direct sunlight, high humidity (like bathrooms), or extreme temperature changes. Even with UV-protective glazing, limiting exposure to light and moisture is key to preserving your piece.

A Note About Artwork from MyArtDealer

At MyArtDealer, we’ve already taken care of the first steps for you. Everything your artwork comes in—whether it’s a mat or protective Mylar—is archival quality. These acid-free, museum-grade materials ensure your piece is safe and sound until you’re ready to frame it.

We understand that framing can be costly, and if your artwork needs to sit for a while before it’s framed, rest assured it’s well-protected in the meantime. When you’re ready to frame, ask your framer for archival-quality materials to keep your artwork safe for the long haul. With proper care, your piece will stay beautiful for generations to come—and become something truly worth passing down.

We understand that purchasing artwork, especially online, can feel like a leap of faith. That’s why we’ve made every effort to portray each piece exactly as it is—the good, the bad, and everything in between. These are original works, and many are hundreds of years old, so it’s completely normal for there to be some condition issues.

When we describe a piece as being in "good condition" or "excellent condition," this assessment is always relative to others of its kind. For example:

• "Good Condition" means that compared to similar works from the same time period and style, this is a strong example.
  
  
• "Excellent Condition" means it stands out above its peers—exceptionally well-preserved for its age.
  
  

Condition standards also vary depending on the type of artwork. For instance:

• 18th-Century Mezzotints: These were often trimmed down in the 1700s to fit the frames of the time. For mezzotints, we evaluate condition based on common practices of the era, so a trimmed margin may be normal and not necessarily a flaw. Either way, we will tell you and make sure it’s clear in our description.
  
  
• 20th-Century Prints: These often have wider margins, which are generally hidden by matting when framed. In some cases, we may not include the full margin in our images, as it is expected that these margins will be covered by the mat and do not impact the artwork itself.
  
  

When we make condition statements, we highlight any noticeable or distracting issues, like tears or stains. For more widespread or subtle issues, such as scattered foxing, we may use general terms to give you an overall sense of the condition.

Regardless of the style or era, we strive to present each artwork as transparently as possible. Our images and descriptions aim to capture every detail so you know exactly what you’re getting.

That said, we want you to be happy with your purchase. If the artwork isn’t what you expected, we’re happy to issue a refund and provide instructions on how to safely ship the piece back to us so that the artwork arrives in good condition and someone else might be able to enjoy it in the future.

If you’re hesitant or have concerns, we’re also happy to speak with you beforehand, answer any questions, and offer our guidance to help you make an informed decision. Our goal is to help you feel confident in your purchase and to provide you with artwork that brings joy while reflecting its unique history.