How much does it cost to frame a Peter Blake print: a framed vs unframed art prints cost comparison from the same shop

Base print cost: offset lithograph vs archival giclée

Peter Blake prints are issued in two primary formats, each with distinct pricing. Offset lithographs—produced in larger editions—typically retail for $150–$400 unframed in standard sizes (e.g., 50x70 cm / 20x28 in). These use high-resolution plate printing on 200–250 gsm paper, a method the International Fine Print Dealers Association notes is common for mid-century and contemporary editions.

Archival giclées, printed on 310 gsm cotton-rag with pigment inks, command $350–$600 unframed for the same dimensions. The Fine Art Trade Guild defines giclée as the highest-standard reproduction for collectors, with lightfastness exceeding 100 years under UV-filtered conditions. Hiroshi Nagai prints, for comparison, follow similar pricing tiers in giclée.

Framing cost breakdown by component

Framing adds $300–$800 to the base print cost, allocated across four variables:

• Glazing: UV-protective acrylic (e.g., Artglass AR 99) adds $120–$250; standard glass with UV filtering costs $60–$120. Acrylic is mandatory for works over 70x100 cm / 28x40 in due to weight and safety.
• Matting: Acid-free, 100% cotton rag mats (4–8 ply) range from $40–$120. A double-mat with a 5 cm / 2 in reveal (top and sides) is standard for Blake’s graphic compositions to prevent ink transfer to glazing.
• Frame moulding: Solid wood (e.g., ash, oak) or metal sections start at $150 for 30x40 cm / 12x16 in and scale to $400 for 70x100 cm / 28x40 in. A 4 cm / 1.5 in face width is typical for modern prints.
• Assembly: Hand-finishing, including hinging with archival tape and backing with foamcore, accounts for $80–$150 of labor.

What a fair price includes—and excludes

The underlying concern is whether quoted prices align with material and labor realities. A fair $900 quote for a 50x70 cm / 20x28 in framed giclée breaks down as follows:

• $450 for the print (giclée on 310 gsm cotton-rag).
• $200 for UV acrylic glazing and an 8-ply cotton mat.
• $180 for a solid ash frame with a 4 cm face, finished with wax.
• $70 for assembly, including archival hinging and a dust seal.

Excluded from reputable quotes: clip frames, non-UV glazing, or MDF "wood" mouldings. Christie’s Prints & Multiples department notes that 80% of print damage in auctions stems from substandard framing materials used at purchase.

Matte vs glossy finishes in a family home

Blake’s prints are offered in both finishes, with matte predominating for graphic works. In a family home, matte (e.g., Hahnemühle Photo Rag) reduces glare from overhead lighting but requires UV acrylic glazing to mitigate ambient light exposure. Glossy finishes (e.g., Canson Infinity Baryta) enhance color saturation but show fingerprints and require more frequent cleaning.

For a 50x70 cm print hung at the standard center height of 145 cm / 57 in, the two-thirds rule (hanging the print’s midpoint 15–20 cm / 6–8 in above furniture) applies regardless of finish. The Fine Art Trade Guild advises matte for high-traffic areas; glossy for controlled lighting environments.

Long-term cost considerations

Initial framing costs are offset by conservation benefits. A $900 framed giclée with UV acrylic and cotton matting will require no replacement for 25+ years; an unframed print stored in a tube may incur $200–$300 in remediation costs within a decade due to handling damage or environmental exposure. Offset lithographs, while cheaper upfront, degrade faster: a $300 unframed lithograph may need $400 in restoration after 15 years.

Resale value also factors in. Artsy’s Art Market reports that framed prints with documentation of archival materials retain 30–40% more value at auction than unframed counterparts. For Blake’s limited editions, this differential can exceed $1,000 over 20 years.