The short answer on restrictions

Nobody can stop you. A framed poster of a Tretchikoff reproduction carries no licensing condition, no display clause and no rule about which room it belongs in. If you own the print, you can hang it in a hallway, a kitchen or a stairwell. The question sounds like it might involve permissions, and it does not. What it actually involves is preservation.

That distinction matters because the real risks are environmental, and they are worth taking seriously. Paper fades. Board warps. Glazing fogs in damp rooms. A print hung above a radiator or on a sun-facing wall will look noticeably worse within a few years than the same print hung two metres away. None of this voids anything, but it does shorten the life of the thing you paid for. The advice below is about avoiding that, not about obeying anyone.

If you are still deciding between formats before you hang anything, the choice between glass-fronted paper and printed canvas changes which rooms suit it, and it is covered properly in the guide to choosing between a canvas print and a framed poster for a Tretchikoff reproduction choosing between canvas and framed poster.

Rooms that treat a print badly

Bathrooms and kitchens are the two to argue yourself out of. Steam lifts the paper, dirties the glazing and, over time, can stain the mount board behind the glass. A cloakroom used twice a day is usually survivable. A family bathroom with a shower is not. In kitchens, the specific enemy is the cooker and the kettle, not the room itself. A print on the dining side of an open-plan space is fine. One above the hob is not.

Sunlight does quieter damage. Direct sun through south-facing glass will bleach the pigments in a print, and the fading is uneven, so the areas near the frame edge go first. Tretchikoff's palette makes this worse than it would be with a muted landscape. The saturated greens and teals in works like his best-known portraits are exactly the tones that shift first under ultraviolet light. A wall that gets two or three hours of direct sun is workable. A wall in full afternoon sun is where prints go to fade.

Heat and cold matter less than light and moisture, but they are not nothing. Keep any framed work at least 30 cm from radiators, and avoid exterior walls that sweat in winter. For canvas rather than paper, the tolerances are slightly wider, and the care guidance for canvas editions Auvrique canvas editions covers the differences in detail.

Making a difficult wall work

Most restrictions have a workaround. If the only free wall in the room catches afternoon sun, a UV-filtering glazing in the frame reduces the damage considerably, though it does not eliminate it. If a hallway is dim and slightly damp, running a dehumidifier or simply keeping the door open after showers usually settles it. Rotation is the bluntest tool. Moving a print to a darker wall for the summer months costs nothing and extends its life by years.

Height and fixing are the last practical considerations, and they are about the wall rather than the print. Plasterboard needs anchors; masonry needs plugs. Hang at eye level, roughly 145 cm to the centre of the frame, and use two points of contact for anything wider than 60 cm so it stays level. None of this is specific to Tretchikoff. It is the same physics that applies to any framed work on paper, including the pieces discussed in the guide to hanging sizes in small hallways sizing a print for a small hallway.

One honest caveat closes this out. Reproductions are made to be lived with, not treated as reliquaries. A print that hangs in a normal room, out of direct sun and away from steam, will look much the same in ten years as it does today. One that hangs above a fireplace will not, and no amount of careful framing changes that arithmetic.