Art & Object Fall Fair 2024

BEYOND THE BASICS

with a fixed end point. This is typically noted on the front (or recto) of a print: an artist generally signs the print and adds the edition number. For a multiple marked “3/25,” the artist is communi cating that this particular work was the third iteration in an edition of 25 total multiples. Conversely, an unlimited edi tion allows for production with no set end; an artist might see that a partic ular design is very popular and might create additional examples according to demand. But those are not the only types of editions to look out for: there’s also the “posthumous edition,” a term that refers to artwork produced after an art ist’s death. Finally, not all prints are edi tioned at all. Consider the monotype:

tors. In addition to the physical size of a work of art, the edition size is one of the primary elements of pricing. In short, the smaller the edition, the more valuable it is perceived to be. When the Brooklyn-based street artist KAWS pro duces a painted cast vinyl sculpture series and limits the edition to 250, the final product may be more affordable than, say, a similar item from an edi tion of 50. And if you happen to pur chase a first edition (numbered 1/25, as an example), that distinction can trans late to even greater worth. A scarcity mentality often drives pricing for mul tiples, and can even be a boon for col lectors. “It comes down to monopoly,” says Johnstone. “If there is a particular photograph and it only has an edition

Johnson stresses that the same goes for the creative process itself. “Not all processes take the same labor or exper tise,” he says. Finally, collectors should not over look the value of the human element. Any hands-on interaction—the addi tion of a collaged element, a hand-tinted section, or the like—is likely to further increase an artwork’s value. The pres ence of an artist’s signature or initials should also be considered, as signed works are generally considered more valuable than unsigned ones (which goes to explain why posthumous edi tions are typically worth less than those produced during an artist’s lifetime). “I was taught to sign and title my prints in pencil, which helps to indicate an orig

Printmaker Bill Fick with his prints at Maryland Institue College of Art (MICA). WIKIPEDIA / PHOTO: KYLE VAN HORN

as the prefix suggests, these works are one-offs that do not belong to an edi tion or series but are singular, one-of a-kind pieces. How are multiples valued? As head-scratching as they might seem, the above distinctions are important to grapple with, as each can affect the val uation of an artwork. So do other fac

of five, and I own three of them—that means I control the majority of the edi tion. It becomes more valuable because, in theory, I can control the price of the edition.” Another element in play is the medi um of the artwork. One of KAWS’s cast vinyl works will be worth significantly less than a bronze figure, as bronze is considered a higher-value substance.

inal print,” Johnson says. The graphite inscription is often the final addition before the work is ready for sale. Why Collectors Should Consider Multiples Collectors have historically underval ued prints due to their multiplicity, viewing them as less rare and thus less collection-worthy than a unique work.

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Fall 2024 | Art&Object