Christia Roberts Gallery, originally called Allan Christia after its founder, was established in London’s West End in 1995. Three years later, the space was rebranded as Christia Roberts after David Clayton Roberts joined the Christia team as director, with the mission of bringing a new generation of artists to the gallery. Located in the Pall Mall area near Piccadilly, they specialize in original art prints and works on paper by some of the most recognized names in contemporary art. Currently, the exhibition is being organized Sol LeWitt’s first exhibition in London in eight yearsdisplays a selection of graphic works made by the late American artist between 1970 and 2005. (Other names on their list include George Baselitz, Julian Opie, Jim Dine, and Antony Gormley, and the gallery curates the printmaking works of Josef Albers, Noam Gabo, and Richard Hamilton.)
The Observer recently asked Clayton-Roberts how prospective collectors should go about obtaining 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 the artists, periods or styles you’re drawn to and then start researching,” he says. “Make time to learn about the artists and mediums, and, most importantly, look personally. Look for artists who have already dabbled in printmaking as a way to expand their repertoire. Be curious about what you’re looking at, and don’t be afraid to ask questions.” He admits that prints can seem confusing, with their specialized terminology and conflicting information and prices, but true experts will be able to answer questions clearly. Authenticity is also important. “Consider how much input the artist has made in making the work. Printmaking is naturally a collaborative process, but the artist should always be involved on some level.”
Prior to joining Christia Roberts, Clayton Roberts served on the Armory Show Selection Committee and is Vice President of the International Fine Prints and Graphics Association (IFPDA) in New York. Regarding the role that art fairs play in the world of printmaking, he says that fairs such as Art Basel, Art Basel Miami Beach, and Frieze London, which devote specific sectors to original prints, “are important because it is an opportunity for collectors to see artists who make print media alongside other areas of their practice. IFPDA is also one of the few galleries – along with the London Original Print Show – where the full gamut of printmaking from early historical prints to historical prints can be seen. The best contemporary editions, all under one roof.”
He is particularly passionate about how artists’ printed works are viewed and understood in exhibitions. “I feel strongly that printmaking is often seen as a poor cousin to other media, and is always best placed in exhibitions when it is displayed among other works on an equal footing,” he explains. “I find galleries that exclude print publishers and dealers – but then offer prints for sale in their gift shops – frustrating and insulting to artists who prioritize printmaking as part of their work.”
Old printing industry aside, Clayton Roberts has some interesting thoughts on the convergence of the printing market and new technologies. “Artists have always been quick to embrace new technology, and most are primarily interested in how to enhance and enhance their practice,” he says. “NFTs and the role of blockchain in the art world became a point of discussion during the COVID-19 pandemic when galleries, artists and art collectors were forced to focus on more digital interactions, rather than in-person exchanges… What NFTs have preempted is a new approach to some physical print releases.” They heralded the creation of online companies that launched editions, imitating the way NFTs are sold, where the size of an edition is determined by the number of copies sold over a specific period of time.
He says that this way of working muddied things in terms of authenticity. Creative decisions that would normally be part of the original artist’s process—choosing particular media and print sizes, for example—are now made by companies producing prints based solely on market demand. “This means that buyers have no clarity about what they are actually buying at the time of purchase, resulting in a proliferation of reproduction prints being sold as new, limited editions by current and long-deceased artists, who had no hand in making them.” This creates confusion about what constitutes an original copy—made by the artist with intent—versus a copy, where the artist has no input or hand in the creative process.
It’s something many buyers don’t know, and for David, education plays a crucial role in preventing misunderstandings. “Most conversations about prints immediately focus on the technical aspects, tossing around terms like intaglio, spit-bite, and schematic,” he says. “Despite their importance, I think these often obscure the real message, which is that printmaking – in its true, original use – is primarily a set of media for artists to make images and works of art. I first highlight how people often confuse the terms ‘unique’ and ‘original’ to mean the same thing, which they do not. An original – as opposed to a print – can be made into an edition, but it can also be unique, as only one copy is printed.” He also spends time dispelling common myths. A frequently asked question at lectures and art exhibitions is: “…is the number one edition the most valuable?” The answer is “no.”
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