Gerald Laing: 'Sandra'. 1968. Screenprint in colours. Edition of 200. Sims Reed Gallery, London

Following our earlier coverage largely restricted to original works at London Art Fair, AM is back with a selection of the limited edition prints and other multiples we spotted at Tuesday’s opening.

Among the more obvious highly-desirables were a couple of screenprints from the 1960s: Sandra by the recently-deceased Gerald Laing and Untitled (La Lune en Rodage – Carlo Belloli) by Bridget Riley, both at the Sims Reed Gallery booth. The Multiple Store, however, is showcasing our favourite new discovery: Shoal by artists Ackroyd & Harvey is an edition of 30 sea bream skeletons encased in perspex boxes — each unique and individually encrusted with a growth of alum crystals. We have no idea what alum is. Despite looking up the definition, we’re still none the wiser. Maybe it’s a type of salt. And maybe we shouldn’t have skipped those chemistry classes at school, but at the time it seemed like a good idea.

London Art Fair is at the Business Design Centre in Islington and continues until Sunday 22 January. See more commentary and visuals after the jump.

London Art Fair, shortly before Tuesday's opening

Ackroyd & Harvey: 'Shoal'. 2011. Sea bream skeleton, alum crystals, perspex case. Editon of 30, each unique. The Multiple Store

Fiona Banner: 'Table Stops'. Seven glazed ceramic full stops (each taken from a different font), boxed. Edition of 100. The Multiple Store

Jonathan Monk: 'Do Not Pay More...'. 2011. Screenprint on paper. Edition of 50. (Priced at £50.) Limoncello Editions, London

Tom Lovelace: 'In Preparation (No.4)'. 2011. C-type print in original Gilbert & George 'Existers' frame. Edition of 5. Beers.Lambert Contemporary Art, London

Damien Weighill: 'Queen (Yellow)'. 2011. 3-colour screenprint on Magnani paper. Edition of 125. Jealous Gallery, London

Adam Dix: 'Be As One'. 2011. 13-colour screenprint on Arches 88 paper. Edition of 45. Jealous Gallery, London

AM was pleasantly surprised to learn that Be As One by Adam Dix, printed and distributed by Jealous Gallery, was a 13-colour screenprint. We love print houses, publishers and artists who are passionate about the craft of printmaking, and whose concerns aren’t restricted to convenience or the bottom line. So it’s always great when they resist the easier, cheaper option of churning out inkjet/giclée prints or mixed media prints where the foundation work is digital.

John Baldessari: 'Box, Hat, Frame and Chair'. 2011. Archival inkjet print on Hot Press paper. Edition of 60. Whitechapel Gallery, London

Adam Bridgland: (Left) 'Darling this holiday will solve all our problems'. 2007; (Right) 'This city is pretty when leaving on a plane'. 2007. Screenprints with enamel hand painting on Somerset Satin paper. Both from editions of 25. TAG Fine Arts, London

London Art Fair, Tuesday evening

It’s the end of the post and few readers are still paying attention, so perhaps we can squeeze in a little rant at this stage. To all the dealers who skimp on framing costs, how about digging a little deeper into those pockets and switching to non-reflective glass or perspex? As a courtesy or duty to your artists, present their framed art in a manner that best compliments it, including without the annoying glare of regular glass. We appreciate it’s much more expensive but surely it’s also a worthwhile investment — at least for the works exhibited at art fairs.

According to its organisers, the expected attendance at London Art Fair this year is 25,000 people. That’s a lot of potential clients who could pay closer attention to the subtleties and details of the art you’re selling rather than be distracted by reflections from your cheap picture frame glass. Photographers will love you more for it as well. Win-win. We promise.

Text and photographs by Patrick Nguyen.