An Original Framed Clive Madgwick Print Signed

Clive Madgwick (1934–2005) built a strong following for quintessential British rural and coastal scenes—quiet estuaries, cottages, boats at low tide, crisp winter lanes. His works circulate widely as both original paintings and signed limited edition prints. If you’ve come across a “framed Clive Madgwick print signed,” it’s worth taking a systematic look to understand exactly what you have, how to care for it, and what might influence its value.

This guide focuses on identifying and appraising a framed, signed Madgwick print, with practical pointers for condition assessment, documentation, and next steps whether you plan to keep, conserve, or sell.

Understand What You Have: Original, Print, or Reproduction

Terminology can be confusing, especially when sellers use “original” loosely to mean “authentic” rather than “one-of-a-kind.” For Madgwick, you will most often encounter:

• Original painting: Typically oil on canvas or board, with visible brushwork, textured paint, and no paper margins. The signature is painted within the image.
• Signed limited edition print: A reproduction of an original painting produced in a numbered edition, hand-signed in pencil by the artist in the lower margin. Usually on heavyweight wove paper, matted and framed.
• Open edition or poster: May carry a printed (facsimile) signature within the image but lacks a hand-penciled signature and edition fraction in the margin.

Distinguishing features:

• Signature location and medium:
  • Original paintings: signature in paint, within the image, not in the paper margin.
  • Signed prints: pencil signature in the lower right margin; often a pencil title at center and the edition number lower left (e.g., 123/500).
  • Open editions or reproductions: signature printed as part of the image; no pencil signature in the margin.
• Plate mark vs. margin line:
  • Intaglio prints (e.g., etchings) have a palpable plate mark. Madgwick’s reproductions are commonly offset lithographs or later inkjet (giclée), so you usually won’t see a real plate mark. Printed border lines should not be mistaken for one.
• Under magnification:
  • Offset lithographs show uniform dot patterns (halftone).
  • Inkjet/giclée shows discrete ink droplets and sometimes slight color fringing at edges.
  • Original paintings show variable texture and no regular dot matrix.
• Publisher and blind stamps:
  • Many UK fine art publishers of the period issued Madgwick prints; you may find a blind stamp (an embossed, inkless seal) in the margin—sometimes a Fine Art Trade Guild mark or a publisher’s emblem.
• Paper and mount:
  • Limited editions are usually on decent-quality wove paper with a deckled or trimmed edge, mounted with a window mat. Open editions may be on thinner stock or poster paper.

If you’re unsure, remove the frame back carefully (or ask a framer) to examine the sheet edges, paper type, and annotations hidden under the mount. Authentic pencil inscriptions and high-quality paper often indicate a limited edition print rather than a poster.

Signatures, Inscriptions, and Edition Marks

A hand-signed limited edition Madgwick print typically shows:

• Lower left: edition number written in pencil as a fraction (e.g., 76/250). Lower numbers aren’t inherently more valuable, but very small edition sizes generally are.
• Center: title in pencil, sometimes in quotes.
• Lower right: artist’s pencil signature, often “Clive Madgwick.”

Additional notations you may see:

• A/P (Artist’s Proof): A small subset outside the numbered edition. Often equal or slightly higher in desirability.
• P/P (Printer’s Proof) or H/C (Hors Commerce): Non-commercial copies; desirability varies.
• Date: Not always present in the margin; some prints include the publication year on the sheet or label.
• Publisher details: Printed text below the image or on the verso can identify the issuing publisher, print method, and copyright.

Printed signature vs pencil signature:

• A printed “Clive Madgwick” within the image is part of the reproduction and doesn’t by itself indicate a hand-signed edition.
• The pencil signature in the margin is the hallmark of a hand-signed print.

COAs and labels:

• Certificates of authenticity (COAs) may accompany some editions but are not universal. Equally persuasive are gallery or publisher labels affixed to the backing board, especially when they reference the edition and title.

Publishers, Paper, and Typical Formats

Madgwick’s signed limited edition prints were issued by well-known UK fine art publishers of the late 20th century. While publishers varied over time and by title, you may encounter:

• A publisher’s line printed below the image area (often small text).
• An embossed blind stamp—commonly a Fine Art Trade Guild seal or a publisher’s emblem.
• High-quality wove or “watercolour” paper, often 250–300 gsm or similar feel.

Formats to expect:

• Image sizes commonly in the 30–60 cm width range, with generous lower margins for signature and edition.
• Standard cream or off-white window mounts from 1980s–1990s framers.
• Frames in light or medium oak, gilt mouldings, or simple black—typical of the period.

Even within limited editions, print methods differ:

• Offset lithography: Most common for mid-late 20th century UK publishers; even dot pattern under a loupe.
• Giclée (inkjet) editions: More common in later years or posthumous reproductions; dot dispersion from ink droplets.

Neither method is “bad,” but inkjet editions can achieve broader color gamuts. Market preference tends to follow the reputation of the publisher and the presence of the artist’s hand signature rather than the print technology alone.

Condition and Conservation: What Appraisers Look For

Condition affects both desirability and value. When examining a framed Madgwick print:

Look for paper and print surface issues:

• Lightfade/fading: Check for color shift or faded sky/greens; compare exposed areas to edges hidden by the mount.
• Foxing: Rust-colored spots from fungal activity and iron contamination, often on older non-buffered papers or acidic mounts.
• Staining and mount-burn: Brown lines along the window opening from acidic mats; tidelines from moisture exposure.
• Cockling and ripples: Humidity-related waviness; sometimes caused by tight or uneven mounting.
• Abrasion: Scuffs on the print surface if it contacted the glazing.

Check the frame package:

• Glazing: Ordinary glass vs UV-filtering; old “non-glare” glass can cause a dull haze.
• Backing board: Brown, pulpy boards are acidic and can cause long-term damage; look for archival foam board replacements.
• Tapes and hinges: Old pressure-sensitive tapes may ooze adhesive; best practice is Japanese paper hinges with reversible wheat-starch paste applied by a conservator.
• Spacers and matting: Ensure the print doesn’t touch the glazing.

Conservation steps:

• Avoid DIY cleaning or stain reduction. Consult a paper conservator for deacidification, foxing treatment, or washing.
• Upgrading the frame: If you love the print, new conservation matting, UV glazing, and an archival backing can stabilize it and present better, especially if the old frame shows mount-burn or nicotine haze.
• Environmental care: Keep away from direct sun, fluctuating humidity, and heat sources. Ideal relative humidity is stable, moderate; avoid damp walls.

Documentation:

• Photograph front and verso (before any reframing) to retain publisher labels, framer’s notations, and edition info.

Value Drivers and Market Expectations

Market value for a signed Clive Madgwick print is shaped by several factors:

• Subject and composition:
  • Highly desirable: winter snow scenes with cottages, sailboats at low tide, East Anglian estuaries, golden-hour landscapes with reflection.
  • Less in demand: very dark or overcast scenes, obscure locales without architectural or nautical interest.
• Edition size and designation:
  • Smaller editions and A/P copies can be more sought-after, assuming equal condition.
• Condition:
  • Bright, unfaded impressions with clean margins command stronger prices.
  • Foxing, mount-burn, and fading can reduce value substantially, sometimes by half or more.
• Publisher reputation and documentation:
  • Recognizable publishers and clear edition markings help confidence.
• Framing quality:
  • A tidy, modern, archival frame can help sell-through, but it rarely adds value equivalent to the framing cost. Poor or damaged frames can hurt presentation.

Typical ranges:

• Signed limited edition prints in good condition commonly trade at modest levels in the secondary market. Expect a broad range depending on subject, edition, and region.
• Originals (oils on canvas/board) are worth significantly more than prints and can achieve strong results depending on size, subject, and condition.

Because prices fluctuate with demand, condition, and venue, base expectations on recent comparable sales of the same title and format rather than general artist averages. Auction hammer prices, dealer listings, and private sale outcomes can differ; the best indicator is a recent sale of your exact print in similar condition.

If you’re considering insurance:

• Insure for retail replacement value if you’d need to replace like-for-like from a dealer or gallery.
• For estate or charitable donation, fair market value (what a willing buyer would pay a willing seller) is the standard in many jurisdictions.

Selling or Keeping: Practical Next Steps

If you plan to sell:

• Identify the print precisely: title, edition number, publisher, and dimensions (image and sheet).
• Photograph clearly: full framed view, unframed sheet if possible, close-ups of signature, edition number, blind stamp, and any labels.
• Decide on venue:
  • Local or regional auction houses familiar with British printmakers often achieve fair results for recognizable titles.
  • Specialist dealers may offer outright purchase or consignment.
  • Online marketplaces can work well if you provide clear provenance and condition notes.
• Be transparent about condition. Buyers discount for undisclosed issues.

If you plan to keep and enjoy:

• Consider archival reframing if the current setup is acidic or shows mount-burn.
• Add UV-filtering glazing if the print hangs in a bright room.
• Keep documentation with the piece (copies of labels, photos of margins, any COAs).

A Practical Checklist

• Confirm what it is:
  • Is the signature in pencil in the margin? Is there an edition fraction (e.g., 145/500)?
  • Do you see a printed signature inside the image (facsimile) versus a hand signature in the margin?
• Inspect publishers’ marks:
  • Look for a blind stamp, publisher imprint, or Fine Art Trade Guild embossing.
• Verify medium:
  • Under a loupe, is there a dot pattern (offset) or ink droplets (giclée)? No regular pattern suggests an original painting.
• Record details:
  • Title, edition, dimensions (image and sheet), paper type, any labels or COA.
• Assess condition:
  • Check for fading, foxing, stains, mount-burn, cockling, and tape residue. Note the glazing and backing board type.
• Decide on conservation:
  • If issues are present, consult a paper conservator and consider archival reframing with UV glazing.
• Determine venue and value:
  • Search for recent sales of the same title and edition; compare condition and framing.

FAQ

Q: Is a “signed print” the same as an original painting? A: No. A signed print is a reproduction of an original, hand-signed by the artist in pencil in the margin. An original painting is a unique work in paint, typically on canvas or board, with the signature in paint within the image.

Q: How can I tell if the signature is real and not printed? A: A real signature will sit in the lower margin in graphite pencil, with subtle pressure variation and a slight sheen under raking light. A printed signature appears within the image and shows the same dot pattern as surrounding ink when viewed under magnification.

Q: Does reframing increase the value? A: Archival reframing protects the print and improves presentation, which can aid saleability, but it rarely increases market value by the cost of the frame. It’s worth doing for conservation and display—especially if the current frame is acidic or damaged.

Q: Are Artist’s Proofs (A/P) more valuable? A: Often slightly, due to scarcity and collector preference, though the difference is usually modest and still subject to condition and subject matter.

Q: What if my print has foxing or mount-burn? A: Avoid DIY fixes. A paper conservator can advise on cleaning, deacidification, and stain reduction. If you keep the piece, upgrade to acid-free matting, archival backing, and UV glazing to slow future deterioration.

By systematically confirming the edition details, examining condition, and documenting what you find, you’ll have a solid foundation for appraisal and decision-making—whether you ultimately keep your signed Clive Madgwick print to enjoy on the wall or prepare it for a confident sale.