What can I expect from Andreas Sundgren´s Fine Art Prints?

If you are a collector, fine art prints are for you. They are Gisleé/Pigment printed on exclusive materials such as Hahnemühle photo paper, aluminium board or glass, produced in a very limited edition and are numbered and signed by the artist. The archival-safe paper and high-end pigment and printing method means the work of art will outlive you and your children if displayed properly.

Fine Art Prints also include a certificate of authenticity and a certificate from Hahnemühle when applicable.


What can I expect from an Art Poster?

Art Posters are made for the art enthusiast who loves quality but can't justify the price of a Fine Art Print. These are unsigned, unlimited open editions, printed with the same high-end, longevity oriented methods as the originals, but on a slightly thinner Hahnemühle 190g.

They shoud not be confused with the more common, run-of-the-mill, offset print posters. These are high quality works of art, without the collector oriented aspects.


I've seen a piece by Andreas Sundgren that I can't find on this website!

A lot of Andreas Sundgren's work is not published for print yet. If you have any special request of any of his work that is cannot be found here please contact andreas@andreassundgren.se with your request.


How do the editions work?

There is a new edition for the new work presented on Andreas Sundgren Fine Art Photography. The editions of the new work are now smaller than before.

All the work is numbered into a limited edition. If the edition is sold out, no new works will be produced with the purpose of selling of this edition.

Limited editions exist in three sizes, numbered and signed by the artist.

  • Large / edition of 7- 9 prints. + 1(2) AP (Artist Proof)
  • Medium / edition of 15 - 30 prints. + 1(2) AP (Artist Proof)
  • Small / edition of 49 - 200 prints. + 1(2) AP (Artist Proof)

When half of one edition of one specific image and size have been sold, it will be numbered in text, such as ( 4/7 Sold )

Andreas Sundgren reserves the right to make additional works of all his images that has sold out. Only in such a purpose that these works may be used for exhibitions.

What is AP?

In every edition there is + 1-2 AP (Artist Proof) print. One belongs to the photographer Andreas Sundgren.

How can I check for authenticity?

All the images that have been sold are been numbered and filed. They have been delivered with a stamped certificate including the edition and number, signed by the artist.

This will also be done for future work, but from 2020 the work is numbered and signed on the front of the print as well.

If a buyer of a previously sold work wants to get their print signed and numbered, Andreas Sundgren will be able to do so for free. The cost for delivery and reframing will be charged to the buyer. Please email the request to aquisitions@andreassundgren.se, and we will make this possible.


How are the Fine Art Prints priced?

Andreas Sundgren Fine Art Photography pricing is based on a step system where the first prints sold are cheaper and then increase in cost as fewer copies are left.

The start prices of the work may vary, but these are the guidelines on how the pricing works in general:

  • Large / edition of 7 prints. 1-3 base price / 4-5 higher price / 5-7 higher price. + 1 AP
  • Medium / edition of 15 prints. 1- 5 base price / 5 - 10 higher price / 11- 14 higher price / 15 higher price. + 1 AP
  • Small / edition of 49 prints. 1 - 20 base price / 21 - 40 higher price / 41 - 48 higher price / 49 higher price. + 1 AP

All prices are with Swedish 25% VAT. If you are buying and shipping to a non EU country, 25% VAT can be taken off your order.


A Glossary of Terms



A/Ps refer to prints that are made especially for the artist. They are not included in the regular limited edition print run but are of the same quality. Traditionally A/Ps were proofs that were used to check the quality of the print. Sometimes the photographer chooses to release their artist proofs once the print run of an edition runs out.



This is a generic term used for all colour photographs, analogue and digital.



This was the most common colour photographic process until recently. Chromogenic prints were printed in a darkroom using an analogue negative until approximately 2000 when the digital lab started to replace the analogue darkroom. Digital chromogenic prints are often called Lambda or Lightjet prints after the lab that was used to produce them. Analogue C-Type prints are still available and are often referred to as traditional C-Type prints.



This is a generic term used for a photograph made with a digital negative.



(can also be referred to as a Giclée print or an Iris print) Since 2010 inkjet printing
has slowly been replacing chromogenic prints. An inkjet print is made from a digital negative or file using fine droplets of water-based ink. A distinction is often made between inkjet dyes and inkjet pigment inks. The pigment inks are typically used by professional printers as they are considered more stable.



A maximum number of prints produced of an image in a certain size or with a certain printing method. The prints are numbered with the chronological number of the print followed by the size of the edition. For example, 2/20 signifies print number two from an edition limited to 20.



A print produced some time after the photograph was taken. For example, a photograph printed in 1998 from a negative made in 1939 would be considered a modern print. These are sometimes also called later prints.
(See Vintage print, below).



Traditionally, a negative is an image in which the photographed subject is reversed, i.e. dark areas appear lightest and light areas darkest. From the negative the actual photographic print is made in the darkroom. Some of the earliest negatives were made on paper or glass. (Colour) plastic film and transparencies were developed later. Today, prints can also be made from digital ‘negatives’.



A photogram is made without a camera by laying objects directly onto photosensitised paper and then exposing it to light. This technique is as old as photography itself. It became quite popular during the 1920s and was championed by Man-Ray and László Moholy-Nagy.



A print produced posthumously, after the photographer has died, from the original negative. Estate prints are usually authenticated by a family member.



If a print is mounted to aluminium or another substrate on the reverse, the artist’s signature may be obscured. Your gallerist should offer you a signature certificate or label that will work in the same way as a signature on the print itself. This is a form of authentication that is important to keep safe along with your print.



A signature on the back of the print is denoted verso, and on the front recto.



A traditional black and white photograph produced in a darkroom on paper with a light sensitive silver compound adhered with a gelatin glue. Even though developed in the 1870’s silver gelatin prints remain the standard black and white print type.



A print made at the same time that the negative was made. In practice, this usually means within one to five years of the negative date. For example, a photograph taken in 1951 and printed in 1952 would be considered a vintage print.




Collecting Photography, Gerry Badger, Mitchell Beazley, 2003.

The Art of Collecting Photography, Laura Noble, AVA Publishing, 2006.

Collect contemporary photography, Jocelyn Phillips, Thames & Hudson, 2012.

A guide to early photographic processes, Brian Coe, Mark Haworth-Booth, Victoria and Albert Museum, 1983.

The History of Photography: From 1839 to the Present, Beaumont Newhall, The Museum of Modern Art, New York; 5th edition, 1984.

Looking at Photographs: A Guide to Technical Terms, Revised Edition, Gordon Baldwin and Martin Jürgens, Getty Publications, 2009.


I have another question!

If you have any other questions you need answered, please feel free to contact aquisitions@andreassundgren.se