How to identify genuine Ravilious prints—and avoid fakes—when buying online

A genuine Ravilious print is an original lithograph or wood engraving published in his lifetime by the Curwen Press or Zwemmer Gallery, documented in *The Wood Engravings of Eric Ravilious* (1998) or *Ravilious & Co* (2017), and sold with a certificate from a recognised dealer like the Fry Art Gallery or a major auction house.

The only authentic Ravilious prints are original editions

Eric Ravilious (1903–1942) produced no signed limited-edition giclées, no posthumous "estate-authorised" reproductions, and no open-edition posters. All genuine prints are original lithographs or wood engravings created between 1925 and 1942, published by the Curwen Press (for lithographs) or the Zwemmer Gallery (for wood engravings). No exceptions.

According to the International Fine Print Dealers Association, an original print is defined as "a work of art on paper which has been conceived by the artist as a print, and executed by or under the artist’s direct supervision." Ravilious’s prints meet this criterion; anything produced after 1942 does not.

Key editions include the 1932 Submarine Series (lithographs, ~30x40 cm / 12x16 in), the 1937 High Street series (wood engravings, ~15x20 cm / 6x8 in), and the 1940 Alphabet engravings. Prices at auction (Christie’s, Sotheby’s) range from $1,200–$8,000 for wood engravings and $3,000–$15,000 for lithographs, depending on provenance and condition.

How to verify provenance before purchasing

Every authentic Ravilious print must include:

A direct line of ownership traceable to the original publisher (Curwen/Zwemmer) or a documented early collector.
A certificate of authenticity from a recognised source: the Fry Art Gallery (Saffron Walden), the Towner Eastbourne, or a major auction house (Christie’s, Sotheby’s, Bonhams). Generic "gallery certificates" are insufficient.
A reference number matching entries in The Wood Engravings of Eric Ravilious (Jeremy Greenwood, 1998) or Ravilious & Co: The Pattern of Friendship (Andy Friend, 2017).

Beware of vague terms like "estate-stamped" or "published by the artist’s family." Ravilious’s estate has never authorised posthumous editions. The Tate’s Art Terms glossary clarifies that "estate prints" are by definition not originals unless created from the artist’s own plates during their lifetime.

No Ravilious wood engraving or lithograph exists in an edition larger than 100. Any print numbered above this—or lacking a number entirely—is a reproduction.

Material and technical red flags in fake prints

Original Ravilious lithographs were printed on wove paper, typically ~200–250 gsm, with deckled edges. Wood engravings appear on thinner Japan paper (~120–150 gsm), often laid down on heavier supports. Modern fakes use:

Giclée reproductions: Pigment-based inkjet prints on 310 gsm cotton-rag, marketed as "archival" or "museum-grade." These lack the tactile impression of a wood engraving or the subtle ink texture of a stone lithograph.
Offset lithographs: Flat, uniform ink layers with no plate marks. Original Ravilious lithographs show slight variations in ink density due to hand-inking.
Glossy finishes: Ravilious’s prints were issued on matte surfaces. Glossy or satin coatings indicate a modern reproduction (often targeted at buyers searching for "matte vs glossy art prints comparison family home").

Examine the print under raking light: original wood engravings show a faint but distinct plate impression; lithographs may have subtle embossing from the stone. Reproductions are perfectly smooth.

Where fakes proliferate—and how to avoid them

Fake Ravilious prints cluster in three markets:

Etsy, eBay, and Amazon: Listings for "Ravilious prints" under $200 are invariably giclées or offset reproductions. Search terms like "popular prints for baby shower gifts" or "vintage nursery art" often surface these.
"Vintage" dealers on Instagram: Accounts offering "rare Ravilious" without provenance documentation. The Artsy Art Market Report (2022) notes a 300% increase in misattributed British modernist prints on social platforms since 2019.
Open-edition "art publishers": Companies selling "licensed" Ravilious reproductions (e.g., for greeting cards or calendars). These are not fine-art prints and hold no resale value.

Legitimate sources include:

Auction houses (Christie’s Prints & Multiples sales, Sotheby’s British Art on Paper).
Specialist dealers like Goldmark Gallery (UK) or Dolan/Maxwell (US), who provide full provenance.
The Fry Art Gallery (official Ravilious archive), which occasionally deaccessions duplicates.

Framing and presentation: what authentic prints require

An original Ravilious print demands conservation-grade materials to prevent degradation:

Glazing: UV-protective (99% block) acrylic or museum glass (e.g., Tru Vue Optium). Standard glass allows UV damage, causing the inks to fade.
Matting: Acid-free, 100% cotton-rag board (4-ply, ~1.5 mm thickness), hinged with Japanese paper and wheat starch paste. Avoid "conservation" mats with lignin or buffers.
Framing: Sealed backing with acid-free foamcore. Prints should float within the mat (no direct contact with glazing).
Hanging: Centre height at ~145–150 cm (57–60 in) for standard sizes (e.g., 50x70 cm / 20x28 in), following the two-thirds rule above furniture.

Beware of sellers offering "framed Ravilious prints" for under $500. Authentic framing for a 1930s lithograph costs $600–$1,200 alone, excluding the print. Reproductions are often paired with low-quality frames (e.g., MDF backs, non-UV glass) to mimic legitimacy.

Common questions

Is a Ravilious print signed in pencil more valuable?

No. Ravilious rarely signed his prints; most were blind-stamped by the publisher. A pencilled signature without documentation is a red flag. The International Fine Print Dealers Association confirms that unsigned prints from documented editions (e.g., Curwen Press lithographs) are standard and equally valid.

What’s the difference between an offset lithograph and an original Ravilious lithograph?

Original Ravilious lithographs were hand-pulled from limestone plates, with ink applied via roller. Offset lithographs (post-1950) use photographic transfers and rubber blankets, producing flat, uniform ink layers. Under magnification, originals show subtle texture; offsets appear pixelated. Prices reflect this: originals sell for $3,000–$15,000; offsets under $200.

Are Ravilious wood engravings ever printed on glossy paper?

No. Ravilious’s wood engravings were printed on matte Japan paper or laid paper with a soft sheen. Glossy surfaces indicate a modern reproduction, often marketed using terms like "compare matte versus glossy finishes for art prints in a family home." Originals have a dry, velvety texture and may show plate impressions when viewed at an angle.

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