That is not a marketing position. It is a structural fact that the art market has been slowly, quietly acknowledging for decades – and that most collectors discover only after they’ve bought their first one and spent a year being unable to stop looking at it.
Prints have been at the centre of every significant moment in art history. Dürer used them to spread the ideas of the Renaissance across a continent. Goya used them to document atrocity in a way that oil painting couldn’t. The German Expressionists used them to tear through the politeness of academic art and reach something raw. Warhol used them to ask the hardest questions about what images mean in a world built on reproduction.
At every turning point, prints. Not as a footnote to the paintings. As the thing itself.
And yet, in an era when a single Picasso painting sells for hundreds of millions of pounds, a Picasso print of genuine significance can be acquired by a collector of modest means. A Hockney etching. A Munch woodcut. Work by artists who are not footnotes but central figures in the history of human expression, available at prices that make no sense until you understand how badly the broader market has undervalued the medium.
We started Printed Editions because we saw this clearly and couldn’t understand why no one was acting on it with the seriousness it deserved.
Fifteen years later, we still can’t. So we keep going.
Want proof? On other platforms, prints are a tab or a filter. On Printed Editions, they’re the whole story.
Michael Lieberman founded Printed Editions in 2010 because he kept encountering the same problem from two directions simultaneously.
On one side: collectors who were drawn to fine prints – who felt something in front of them that they couldn’t find in any other art form – but who had no reliable way to access the specialist knowledge and inventory that would let them collect seriously. The galleries existed. The expertise existed. The connection didn’t.
On the other side: specialist galleries with extraordinary depth of knowledge, significant inventory, and a genuine passion for the medium – but limited reach beyond their existing client relationships. The collectors existed. The galleries existed. The connection didn’t.
The platform was built to make that connection – and to make it without inserting itself between the two parties. No intermediary. No markup. No automated system pretending to be expertise. Just direct access from collector to specialist, with enough editorial context to make the introduction meaningful.
That model hasn’t changed in fifteen years. Neither has the conviction behind it.
What has changed: 120 galleries where there were a handful. 26,000 prints where there were hundreds. 14,500 collectors where there was a mailing list. Media partnerships with the world’s most significant print fairs. A sponsorship of the Women In Art Prize for Printmaking that we are genuinely proud of.
The platform grew. The belief that built it stayed exactly the same.
Every print in this catalogue lives with a specialist who knows its story. Not its dimensions and medium – those are on the listing. Its story: where it was made, in what circumstances, how many exist, what condition they’re in, why this particular impression is finer than the others, and what a collector who truly understands the work would pay for it.
That knowledge takes decades to accumulate. The galleries on this platform have accumulated it – many of them for twenty, thirty, or fifty years. Some are the world’s leading authorities on specific artists or periods. Some are master printers who have worked directly with the artists they represent. All of them were selected not because they applied, but because they met a standard of expertise and integrity that we are willing to stand behind.
When you enquire about a print through Printed Editions, you are not filling in a contact form. You are beginning a conversation with one of the most knowledgeable people in the fine print world – a person who has spent their professional life in the company of the work you’re interested in, and who will share what they know freely and honestly.
We have been building this community for fifteen years. We did not rush it. We did not compromise on it. And we would not trade the quality of these relationships for any amount of additional scale.
The famous names are here – Picasso, Hockney, Warhol, Munch, Matisse. If you know what you’re looking for, you’ll find it. But the most interesting thing we do is not connect collectors with artists they already know about.
It is introducing them to artists they don’t know yet – and watching that introduction become the print they talk about most, the work they stand in front of when they’re showing someone round their home, the acquisition that retrospectively looks like the smartest thing they ever did.
Our galleries are the source of these discoveries. They believe in artists before the market does. They hold inventory that more generalist platforms overlook. They have the knowledge to explain why something matters before the world has agreed that it does.
We work hard to surface those discoveries – through editorial curation, specialist recommendations, and a platform designed to reward the browser who is willing to slow down and look carefully.
The print that changes your collection is probably already here.
You just haven’t found it yet.
Fine prints are, at their best, a world built on personal relationships – between artists and printers, between dealers and collectors, between the people who know the work deeply and the people who are encountering it for the first time.
The print fairs where we are an official media partner are where those relationships are made and maintained. They are where a collector who has only ever bought online gets to stand in front of a print for the first time and understand, physically and irreversibly, what the difference between a fine impression and an ordinary one actually feels like.
We support these fairs because we believe in what they do – not as marketing, but as a genuine extension of the mission that built this platform. Getting fine prints in front of people who might love them, by whatever means available.
IFPDA Print Fair – 2026, 2025
London Original Print Fair – 2025, 2024
Ink Miami Art Fair – 2026, 2025, 2024, 2023, 2022
Brooklyn Fine Art Print Fair – 2026, 2025
Woolwich Contemporary Print Fair – 2025, 2024, 2023
Paris Danube Print Salon – 2026, 2025
Portland Fine Art Print Fair – 2026, 2023
Cleveland Print Fair – 2026
Melbourne Fine Art Print Fair – 2026
E/AB Fair – 2020, 2019, 2018
IFPDA Print Fair
London Original Print Fair
Ink Miami Art Fair
Brooklyn Fine Art Print Fair
Paris Danube Print Fair
Women In Print Prize
The print that will mean most to you may not be the one you find today. Collections are built over time, through repeated looking, through conversations with specialists who know their field, through the gradual development of an eye that knows what it wants.
This platform exists to support that process – not just the transaction at the end of it.
Come back. Sign up for mailshots. Follow us on Instagram. Talk to a gallery. Let us introduce you to something you didn’t know you were looking for.
If you represent work of genuine quality and believe in the collector relationship as seriously as we do, we want to hear from you.
We are not looking for volume. We are looking for specialists who share the conviction that fine prints deserve serious, knowledgeable representation – and who want to reach collectors who are ready to take this world as seriously as they do.
Contact us
I started this platform because I kept getting frustrated.
Frustrated that the finest prints by some of the greatest artists in history were sitting in specialist galleries that most collectors would never find. Frustrated that the collectors who would love this work had no reliable way to access the expertise they needed to buy it with confidence. Frustrated that an art form with a six-hundred-year history of democratising beauty was being systematically overlooked by a market that hadn’t noticed how extraordinary it was.
Fifteen years later, the frustration hasn’t entirely gone away. But what has replaced most of it is something I didn’t fully anticipate when we launched: the genuine pleasure of watching collectors discover prints that change how they see.
I hear from collectors regularly – people who bought their first print through this platform ten years ago and have never stopped. People who came looking for a Warhol and left with something by an artist they’d never heard of that they now can’t imagine their home without. People who started with a modest budget and developed, through the conversations this platform made possible, an eye that serious collectors three times their age would respect.
That is what Printed Editions is for. Not the transaction. The discovery that follows it, and the relationship that follows that.
I’m glad you’re here. Look around. Take your time.
If you find something – or if you want help finding it – get in touch.
Michael
podcasthttps://youtu.be/hPe2zYuVKxs?si=_Hxg6e95RPhnB_66
