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to ensure that the buyer purchases
a print that is worth the money. But
that doesn't mean that it is an invest-
ment. Says one art dealer, "In my
opinion, the print market is extreme-
ly misleading, from the standpoint of
investment, to a naive buyer. Many,
many works of art are falsely inflated
to the retail customer. For example,
publishers may say that the price for
a print has increased because of de-
mand. However, despite this pub-
lished price, the likelihood of a
customer being able to sell the piece
at a profit is very slim."

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There is a difference between be-
ing a collector and being an investor.
An investor only buys work that will
go up in value and then turns around
and sells it. A collector buys a piece
because he really likes it and hopes
that it will go up in value.
There must be an established retail
market for a print in order for it to be
considered an investment. If you
can't turn around and sell a work to
a gallery, it is not an investment. If you
buy Picassos, Chagalls, Miros — ar-
tists who are established in the tradi-
tional market and who can be found
in major museums throughout the
world, it's important to remember that
even these artists did many pieces
that are not desirable. So there are
works on the market by well known
artists that are not good investments.
Several gallery owners offered tips
on acquiring prints:
• Study print collections to get a
basic education. For example, if you
are interested in city views, you
should visit the institutional collections
around the city. In many cases, these
institutions were the original subscrib-
ers who purchased the prints when
they were produced, and they have
complete sets of prints.
• Go to the library and research
the artist you're interested in. Check
the auction reports or other price in-
dexes and see if there was anything
recently sold by the artist so you can
make price comparisons.

• Consult established sources of
information including auction cat-
alogs and "catalogues raisonnes,"
which are comprehensive, well an-