Francisco de Goya and Bright. The Tauromachy, 1816. Aquatint, top dries and etching. TO BE ABLE TO SEE AND BUY AN ENGRAVING for Teresa Navajas - Expert on market of the art - While the economic crisis spurs with hardness against the artistic market on –bajan the quotations, the number of unsold lots increases, tens galleries throw the closing - the graphic work most likely is consolidated by a firm position on the market. In effect, the multiple one has turned into an economic alternative both for the occasional collector and for the initiated collector who chases big signatures at stable prices. At market level, the qualities that seduce of the engraved sound the artists' big selection, the plenty of pieces of estimable quality, the almost original plastic appearance and the significant reduction in the economic value. Nevertheless, to be able to distinguish the quality of an engraving is not by no means an easy task. Because: what are the evaluation criteria for a graphic work? First of all, the index of major weight is the fame of the artist: a multiple piece of Robert Rauschenberg or Andy Warhol they will obtain a value according to the international reputation of these artists. Of another side, the implicit importance of the proper work will increase or diminish the price. In this respect, it extraordinary or slightly frequent it can turn into a good coveted by the collectors and, therefore, increase his value. Although, logically, this exposition is only valid with certain teachers; in general, a work supports his quotation the more it approaches the natural style of his creator. The materials and the skills constitute a separated complex to be considered at the moment of the economic evaluation. Of general form, the most frequent skills are the so called calcográficas: the etching, the aquatint and the top dries. Only a sensitive change exists in the price when the complexity of the skill imposes it: the handmade serigraphy, the lithography, the xylography, the black way... Other factors for the economic estimation might be the format or the size, the conservation state, the subject-matter, the year and, not seldom, the throw. With the latter aspect, the most outstanding example is Francisco de Goya. While a series of the first throw of 1816 can be about 300.000 €, the last modern edition that printed the Real Academy of San Fernando does not overcome 8.000 €. A series of technical keys to evaluate the authenticity of an engraving happens for verifying that the printing is limited, that it represents the signature of the author and that the counterfoil (or it irons) remains rendered useless after the impression. During this technical examination, we would have to concentrate on the inscriptions: until the XVth century the engravings are always anonymous, since then certain signatures or anagrams appear and from 1940 it is allowed even to sign straight in the proper iron. Sometimes, some collections stamps usually appear. In general terms, the esthetic qualities of the picture differ in the beauty, the composition and the ideal achievement: impeccable lines, domain in inked, good records and quality in the type of role. Finally, we must not forget that the market is flooded of false, facsimiles and reproductions that in certain occasions make the identification difficult and show up even to the expert eye.