Freundinnen II © Sigmar Polke 1967
Sigmar Polke
18 works
Key Takeaways
Sigmar Polke's prints typically fetch between £8,000 and £20,000, while rare editions can exceed £300,000, evidenced by the record sale of Fungus Rock (1992). His hand-coloured prints show particularly strong growth, with Freundinnen II (1967) increasing from £52,747 to £93,108 between 2012 and 2018. Authentication requires examination of printing techniques and verification through the Becker, von der Osten, and Hentschel catalogue raisonné. His complex layering of printing methods demands careful condition assessment. Sales following major retrospectives, particularly at German post-war art auctions, achieve the strongest results.
Sigmar Polke embraced accident and imperfection, using unusual, unpredictable materials across his body of work. In the 1960s and 1970s, he treated the printmaking medium as a laboratory for artistic experimentation. Unlike his contemporaries, who used traditional printmaking techniques to reproduce images, Polke deliberately interfered with the printing process, introducing errors and chemical reactions to make each print unique. For sellers of Polke prints, this guide will assist in navigating the secondary art market, condition assessment, authentication, and strategic timing.
From his earliest prints in the 1960s to his mature work, Polke consistently pushed printmaking beyond its conventional boundaries. His initial experiments involved deliberately misaligning screens and distorting mass media images to comment on post-war German consumerism. By the 1970s, through collaborations with master printer Jörg Schellmann in Munich, these experiments evolved into more complex technical innovations. Polke worked extensively with photographic elements, often layering multiple printing techniques in single works to create rich, complex images. He would combine screenprinting, lithography, and offset printing in unconventional ways, deliberately introducing elements of chance into the process.
In his original paintings, Polke’s techniques included exposing photographic paper to uranium, creating prints using toxic mushroom spores, and developing images using silver oxide that would continue to change over time. As these works continued to develop long after they were ‘finished,’ prints made from them are uniquely different from their original source. For sellers, understanding these quirks is crucial, as Polke's intentional manipulation of printing techniques and unconventional choice of materials is key to the value of his prints, but also adds complexity to authentication and preservation.
How Much Do Sigmar Polke Prints Sell For?
The value of Sigmar Polke prints varies considerably across the market. Factors such as physical size, edition number, condition, and popularity of the particular series all have significant influence on the final selling price. Individual prints generally sell for between £8,000 and £20,000, with some well-known prints achieving more than double this estimate. His most sought-after editions are those that incorporate his signature experimental techniques. The current record for a Polke print was set in 2001 when Fungus Rock (1992), a 300 by 400mm screenprint sold for £311,850 in New York.
Prints from Polke's early period, especially those produced between 1965 and 1975, consistently achieve strong results. His Freundinnen II (1967) prints, which are all uniquely hand-coloured in different colourways and have variances in the texture of the printed photographic elements, sold for £52,747 in 2012 and £93,108 in 2018 - demonstrating the strength of Polke’s popularity and the power of varied print editions. Similarly, the series of untitled prints published by Museumsverein Mönchengladbach in 1983, all with unique compositions and painted embellishments, typically achieve above £60,000.
Polke employed various aesthetics in his prints, with little evidence to link particular styles with higher values. Prints with the most texture and complexity of composition, however, tend to stand out as collector favourites. The ‘raster’ effect, designed to mimic and exaggerate the texture of vintage photographs, is a key component in many of Polke’s most textural works, such as Freundinnen II. However, in complete contrast with Polke’s Fungus Rock, Freundinnen II, and Untitled (Mönchengladbach 1983) is his popular Der Kuchen Ist Alle? (2006) print set. This collection is built around different coloured rectangles and abstract compositions, rather than figures or objects. In 2018, a complete collection of eight prints sold in Cologne for £23,055.
As a general rule, limited edition prints with notably small run numbers tend to command premium prices, especially those featuring hand-finishing or unique chemical reactions. Artist's proofs of major editions can achieve values 20-30% higher than standard numbered prints, particularly when they show evidence of Polke's experimental processes.
How Do You Authenticate A Sigmar Polke Print?
Authentication of your Polke print demands careful analysis of the traditional printing elements used, any experimental techniques, and its provenance. Start by gathering documentation of the print's history, including certificates of authenticity, gallery receipts, and exhibition records. By establishing a paper trail, appraisers can trace the journey of your print back to its origins in the printer’s studio.
Polke worked with several prestigious print studios, including Schellmann Art and Mike Karstens Graphics. Each studio maintained detailed records of their collaborations, including specific materials and techniques used. Understanding these relationships, plus any related stamps, watermarks, or certificates, helps verify the authenticity of prints from different periods.
The most comprehensive reference for Polke's prints is the catalogue raisonné compiled by Jurgen Becker, Claus von der Osten, and Martin Hentschel, and published by Hatje Cantz, which documents his editioned works up to 2000. This resource provides detailed information about printing techniques, materials, and variations within editions. For prints created after 2000, the Estate of Sigmar Polke, now represented by the David Zwirner Gallery, maintains records and can assist with authentication.
Edition and Signature
Polke's approach to signing and numbering his prints was methodical despite his experimental artistic practices. His signature typically appears in pencil on the front of the print, usually in the lower right corner, often accompanied by the year of creation. Edition numbers are generally found on the lower left, written as fractions. In some cases, this pattern is broken - Freundinnen II (1967), for example, features Polke’s full name, printed, a cursive signature, and the edition number in the lower left corner together.
His print runs varied considerably, from very limited editions of 25 to larger runs of 150 or more, depending on the complexity of the printing process, any hand-embellished details, and the period of creation. Artist's proofs are marked "A.P." or "E.A." and are particularly valued due to their rarity and their tendency to bear evidence of Polke's experimentation with printing techniques.
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Has Your Sigmar Polke Print Been Kept In Good Condition?
Polke’s experimental approach to combining different printing methods - including screenprinting, lithography, and offset printing - means that prints often have subtle variations in surface texture and density that must be preserved to maintain their value. Prints created using unconventional materials may also have changed over time, the full extent of which can only be assessed by professional appraisers familiar with Polke’s unique processes and materials.
Polke typically used high-quality papers, including those from German manufacturers like Hahnemühle, which provided the perfect surface integrity for his overlapping printing techniques. However, these papers can still be susceptible to environmental factors. Exposure to light can cause fading, particularly in areas where different printing processes intersect. Humidity fluctuations can affect the paper's stability, potentially causing cockling or rippling that could disrupt the careful registration of the layered printing techniques or diminish the visual impact of the piece.
The best preservation approach involves storing prints flat in acid-free environments with stable temperature and humidity levels. If framed, UV-protective glass is essential to prevent light damage, particularly to the photographic elements and hand-painted sections that Polke often incorporated into his prints. Proper handling is crucial to technically complex prints such as these, as they can be particularly sensitive to physical stress. Any conservation work should be undertaken only by specialists familiar with Polke's distinctive combination of printing methods.
For advice on how to get started with condition assessment of your Sigmar Polke print, contact MyArtBroker.
When Is The Best Time To Sell My Sigmar Polke Print?
The varying value of Polke’s printed work suggests that finding the right buyer is more important than choosing the right time to sell your print. However, the final value will be influenced by market trends, often driven by significant cultural events and sales of original works.
Keep an eye out for major retrospectives of Polke’s work. The first comprehensive retrospective of Polke’s work took place at MoMA in 2014 and was almost immediately followed by a series of high-value sales of original works and, subsequently, prints. An untitled Mönchengladbach print from 1983, for example, sold for £37,275, almost doubling its high estimate. Since 2014, as Polke’s profile has generally risen, print sale values have steadily increased.
Market trends in German post-war art can also have a significant impact on Polke's print values, with many high-value print sales occurring at auctions specifically for German post-war art. Strong sales of works by his contemporaries often create favourable conditions for Polke prints. Trends such as these can be monitored via the value trajectory reports and sales results published online by major auction houses.
MyArtBroker offers advanced art tech tools to help you determine the optimal time to sell. Our MyPortfolio service features an AI-powered value indicator that provides real-time valuations of individual prints based on both public and private sales data. Combined with our complimentary valuations, we can help ensure your print achieves maximum value by selling at the perfect moment.
Where Can I Sell My Sigmar Polke Print?
Selling A Sigmar Polke Via A Broker
Private brokers familiar with Polke’s work can develop targeted sales strategies based on established collector relationships, allowing for careful positioning of prints within the market. Brokers can dedicate time to explaining these technical aspects to potential buyers, ensuring the unique value of each print is fully understood. Their networks often include collectors specifically interested in post-war German art and experimental printmaking techniques. Working with a broker typically involves lower fees compared to auction houses, generally ranging from 10% to 15%. The flexibility of private sales allows for strategic timing and discrete negotiations, which can be particularly advantageous for rare prints. Brokers can also handle the complex logistics of shipping and installing works that require special handling due to their experimental nature. When selecting a broker, prioritise those with demonstrated experience in Polke's market and a deep understanding of his various printing techniques and materials. Their expertise can be invaluable in achieving optimal prices while protecting the long-term value of the work.
Selling A Sigmar Polke Via Auction House
Leading auction houses such as Christie's, Sotheby's, and Phillips provide a prestigious platform for Polke's prints, attracting serious collectors with deep knowledge of experimental German art. These institutions excel at communicating the technical complexity of Polke's innovative printmaking methods through their catalogues and preview events. The competitive atmosphere of live auctions, combined with the houses' international reach, can drive prices upward, especially for rare prints. However, sellers should carefully consider the substantial fees involved, which typically reach 25% of the hammer price. The rigid scheduling of auctions means timing cannot be optimised for individual market conditions, and sellers might wait months for an appropriate sale. The public nature of auctions also presents risks - an unsuccessful sale can potentially impact both the specific print's value and Polke's broader market. For high-value prints or complete portfolios, particularly those from his most experimental periods, auction houses can still provide the most effective route to achieving significant prices, provided sellers fully understand the terms and potential outcomes.
To learn more, read our guide to Auction v Private Sale in the Art Market.
Selling A Sigmar Polke Via Online Marketplace
Digital platforms have transformed art sales, but they present specific challenges for the sale of blue chip artworks like Polke's prints. While these venues offer broad exposure and potentially quick sales with reduced fees, they often lack the expertise needed to properly represent the quality and authenticity of the work. The inability to examine prints in person can deter serious collectors. For sellers considering this route, specialised fine art platforms with robust authentication processes and experience handling post-war German art are essential. These platforms should demonstrate clear understanding of high-value print sales and provide secure, transparent transactions. The challenge of properly documenting and explaining these pieces through digital means often makes traditional sales channels more effective for achieving appropriate sales values. If choosing an online platform, ensure it offers comprehensive condition reporting and secure shipping options suitable for delicate experimental prints.
Why Sell Your Sigmar Polke with MyArtBroker?
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MyArtBroker offers a distinctive service connecting clients with their dedicated personal broker, ensuring a secure transaction through our online digital platform. Our specialists excel at sourcing direct buyers for consigned prints via our live trading floor, where users within our extensive network can express interest in specific prints and multiples by particular artists, whether they intend to sell, buy, or simply enquire about a specific print. Our team is approachable, passionate, and consistently provides updates on the art market and artists. We guide sellers through a seamless transaction process, establishing a fair market valuation based on realistic sale prices and offering free advice on the optimal timing for selling, leveraging our extensive knowledge of the art market.
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At MyArtBroker, we prioritise transparency and security in every art sale. Our stringent due diligence process ensures the authentication and verification of artwork provenance, drawing upon our in-house expertise and collaborating with professional external contacts when needed. This approach effectively mitigates the risk of trading counterfeit or stolen art pieces. Additionally, we minimise the risks associated with public sales. While public auctions may seem appealing, unsold prints can harm an artist's market. Private sales eliminate this risk and enable quicker liquidity release for your artwork compared to adhering to strict auction schedules dictating when your work can be offered for sale.
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When it comes to selling artwork, achieving the best price hinges on accessing a niche market with an established collector community. If you're looking to sell a print, turning to a specialist in the print market, like MyArtBroker, yields superior results compared to approaching an auction house, which caters to broader categories of artwork.
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Sigmar Polke Collection Management with MyPortfolio
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Sigmar Polke
18 works
