“Which prints do you think will go up in value?” Honestly, you can never know for certain — but we do have some thoughts.
Unlike open-edition prints or posters, limited edition screen prints are produced in a fixed, numbered run — once they’re gone, they’re gone. That simple fact is at the heart of why they tend to hold their place in people’s collections, and occasionally surprise people with what they become worth over time.
However that’s not really how we’d encourage you to think about it. The prints we publish are made because we believe in the artists who make them. Buy what moves you first — everything else is secondary.
Screen printing also carries an inherent craft value that’s worth understanding. Each print is hand-pulled through a mesh screen, often in multiple layers, by the artist or in close collaboration with a print studio. The slight ink texture, the hand-finishing, the sheer physical presence of ink on paper — these things make a screen print meaningfully different from a digital reproduction or a poster. You can feel it when you hold one. Print Club London has worked directly with artists since 2007, publishing editions that are numbered, signed, and produced to museum-quality standards — and that care shows in every piece we put out.
We feel genuinely privileged to have worked with Bob Gill. Getting him into the studio, watching him pick up a brush and hand-colour each print himself — that’s one of those moments you don’t forget. For a small East London screen print studio to collaborate with one of the true legends of graphic design felt, and still feels, remarkable.
Bob Gill (1931–2021) was one of the defining figures of twentieth-century graphic design. Together with Alan Fletcher and Colin Forbes, he co-founded Fletcher/Forbes/Gill, the boutique London studio that grew into Pentagram — now one of the most influential design consultancies in the world. He also co-founded D&AD, the organisation that has shaped creative standards in Britain for over sixty years. These aren’t footnotes to his career; they are the institutions that defined what modern design looks like.
The six prints we made with Bob are drawn from his own catalogue, and what makes them truly singular is that he came into the studio and hand-coloured every one himself — meaning no two are exactly alike. We also believe these are quite possibly the only screen prints Bob Gill ever made. Whether that turns out to be significant in ways beyond the personal, we can’t say — but as objects that carry the direct mark of an extraordinary creative life, we think they’re something rather special. The kind of thing you hang on your wall, love every day, and one day realise you were very lucky to have.
Flowers by Bob Gill £850
Over the years we’ve been lucky enough to coax some brilliant artists into projects that felt a little bigger than just making prints. One of those was our collaboration with Film4 and Somerset House — a summer exhibition of original screen-printed film posters shown alongside an open-air cinema in one of London’s most beautiful courtyards. Ryan Callanan — known as RYCA — was one of the artists we were thrilled to have on board, and he chose Jaws.
RYCA is a celebrated artist whose work is now held and exhibited internationally, and who was selected as Visual Artist of the Year at BritWeek in LA. The print is a brilliant showcase of everything that makes RYCA’s work so recognisable — bold graphics, sharp wit, and a pop culture reference handled with genuine craft rather than just a nod and a wink. He picked a line from the film that works on its own terms, added those unmistakeable teeth, and created something that earns its place on the wall long after the joke has landed. your going to need a bigger wall 🙂
Every so often we put on an exhibition called Blisters — the idea being that big names show alongside up and coming artists, all working to the same theme, all screen printed on the same 50x70cm stock. It levels the playing field in the nicest possible way. For Blisters: Time to Play, we were thrilled that Oliver Jeffers agreed to create a print specifically for the show. That he said yes at all still feels like something of a coup.
Oliver Jeffers is an artist and author working across painting, bookmaking, illustration, collage, performance and sculpture — he is far more than the children’s book illustrator he is perhaps most publicly known as. His original artwork has been exhibited at New York’s Brooklyn Museum, Dublin’s Irish Museum of Modern Art, London’s National Portrait Gallery and Vienna’s Palais Auersperg. He was appointed an MBE in 2022 for services to the arts. His books have sold over fourteen million copies worldwide and counting. He is, in short, a genuinely global name.
What makes the Blisters print particularly lovely is that it was made for us — designed specifically for this exhibition, not adapted from something else. It carries all the warmth and quiet wit that runs through everything Jeffers does, and it exists in the context of a Print Club London show where it hung alongside some brilliant emerging talent. That’s a good story for a print to have.
Sir Quentin Blake has always been on our wish list. So when the charity Counterpoints Arts approached us to produce a print in support of Refugees Week, and Sir Quentin agreed to be part of it, we were genuinely delighted.
It’s hard to overstate quite how significant a figure he is. He received a knighthood for services to illustration in 2013, and was appointed Companion of Honour in 2022. He was the first ever Children’s Laureate in the United Kingdom, and received the Hans Christian Andersen Award for Illustration — the highest honour a children’s illustrator can receive. He is the hand behind Matilda, The BFG, The Twits — the visual voice of Roald Dahl, and through that, a part of almost every British childhood. He now has his own dedicated museum in London, the Quentin Blake Centre for Illustration. The man is, quite simply, a national treasure.