A Buyer’s Guide to Prints & Editions: How to Start an Art Collection

Over the last decade, the secondary market for prints has doubled in auction share, with prints now making up about 7% of total market value, and their share growing as overall art market volumes expand. In 2024, market activity beneath the £50k mark demonstrated remarkable resilience: while ultra-high-end works (over $10 million) saw a 39% decrease in auction sales, prints and works under $50k actually increased in value by around 3%, sustaining the lower end’s momentum.

For burgeoning collectors, this is an exciting segment of the art market that gives a unique opportunity to invest in era-defining artists at accessible entry points. Likewise, because prints are editioned, they offer clear benchmarks. It is this comparability that sets prints and editions apart - as the only segment of the art market where performance can be truly measured over time - and is the reason we deal solely in prints.

Prints and editions are artworks that are produced in limited numbers. Unlike posters and reproductions, each print is created as part of a planned edition, often under the direct supervision of the artist. Printmaking itself is a broad term describing a variety of artistic methods. These range from lithograph and woodcut printing to engraving, etching, screen printing, and - more recently - digital printmaking.

In a limited edition, every print is individually numbered (e.g. “14/100”) and often signed by the artist. This number shows its place in the series and confirms its authenticity. In certain cases, artists also produce a small run of “proof” prints (e.g. Artist’s Proofs (APs), Trial Proofs (TPs), Printer’s Proofs (PPs), or Hors de Commerce (HC) prints), which typically portray the same subject in varying colourways. These works can hold higher value compared to the main edition thanks to their rarity, as is the case with Andy Warhol.

Prints offer a way to collect original artworks by leading artists in a format that is more accessible than paintings or sculptures, allowing for the low-risk diversification of your portfolio and the potential for investment returns. Because they are created as part of an edition, their value is shaped by factors like edition size, whether or not the work is signed, and its condition and provenance history. Prints are easy to manage and provoke fewer unexpected costs than other assets. Additionally, in the initial stages of a buying process, it is straightforward to photograph, upload and assess prints through a computer screen.

An ‘edition’ is a number of prints made using a single printing plate or screen, often in one sitting. A ‘limited edition’ describes an edition of prints with a fixed number. The number of prints created as part of an ‘open edition’, on the other hand, has no limit.

Limited edition prints usually bear the signature of the artist, as well as a fraction (81/900, for example) indicating the number of an individual print and the overall edition size.

The size of an edition has a direct impact on prices. Smaller editions mean there are fewer prints made; each print is therefore more valuable, and more expensive.

The true strength of collecting prints lies in the breadth of access they offer. Editions make it possible to own original works by some of the most significant artists of the 20th and 21st centuries – artists whose paintings or sculptures might otherwise be out of reach.

Choosing what to buy should be a decision grounded in your personal taste, coupled with a strong understanding of where the artist/artwork sits in the current market.

Leading Print Artists to Collect

Collecting prints and editions allows you to acquire works by artists labelled as ‘blue chip’ in the secondary market. A blue chip artist is typically someone with a long-established market, strong institutional support, and a consistent track record at auction. Their works are seen as relatively stable in value, and are considered a cornerstone for serious collections. Some of the most sought-after names include:

Andy Warhol: While original silkscreens, such as his Marilyn Monroe canvases, can command upwards of $100 million, collectors can acquire Warhol prints across a broad spectrum of price-points. Iconic individual prints from series such as Marilyn Monroe, Mao, and Endangered Species can be acquired between £50,000 - £300,000, depending on rarity and condition. At the pinnacle of the Warhol market are his complete sets and trial proofs and, at the other end of the spectrum, certain prints from early series like Cats Named Sam can be acquired for less than £10,000.

Browse Andy Warhol prints.

Roy Lichtenstein: Similarly layered to the Warhol market, Lichtenstein’s original paintings can command museum-level pricing, while some of his lithographs and screenprints – like As I Opened Fire or works from the Reflections series – can often be acquired from around £25,000 upwards. Higher value works, like his 1990s Nudes and his enamel-on-steel print works, can exceed £250,000 at auction. For instance, his 1994 print Nude With Yellow Pillow achieved $1.2 million at Sotheby’s New York in 2024.

Browse Roy Lichtenstein prints.

David Hockney: A printmaker whose output spans more than six decades, Hockney’s print repertoire spans his early etchings and lithographs (available for less than £5,000) to more recent digital works such as The Arrival Of Spring (available for upwards of £100,000). Hockney’s prints offer access to key periods of his career, allowing collectors to tailor their collection to specific styles, subjects, or techniques.

Browse David Hockney prints.

Bridget Riley: Riley’s editions range from early screenprints in the 1970s, including the much-coveted Fragments series, to more recent curvilinear and colour-based compositions, with values typically starting around £10,000. While earlier, rare prints such as Untitled (Oval Image) have achieved over £80,000 at auction, many of her editions remain accessibly-priced, particularly for collectors focused on geometric abstraction.

Browse Bridget Riley prints.

In the art world, the ‘primary market’ refers to the first sale of an artwork.

The ‘secondary market’ describes the market for artworks that have already been sold at least once. Typically, artworks in the secondary market are re-sold by a dealer or auction house.

Although one can expect to have less contact with artists than in the primary market, the secondary market is generally much more stable. This means that sale prices are less likely to change dramatically, offering greater security for your investment.

It is always important to involve a third party when trying to purchase an artwork, as they will be able to accurately establish its provenance, condition, and authenticity. Specialist brokers can handle this, alongside all other aspects related to the sale of a piece.

Authenticity: An authentic print should bear clear indicators of its origin: the artist’s signature, edition number, and – where relevant – a studio or publisher market. These can appear as pencil signatures beneath the image or as printed marks, depending on the era and the artist. Certificates of authenticity (COAs), particularly those issued by foundations or official artist archives, provide additional reassurance. For instance, Banksy’s market is regulated by Pest Control, the only body authorised to issue genuine COAs for his works. Artist’s proofs (A/P), printer’s proofs (P/P), or bon à tirer (B.A.T.) impressions are often considered valuable, especially when sanctioned by the artist.

Provenance: A clear line of ownership and documentation is critical. Ideal provenance includes gallery receipts, exhibition records, published catalogues, and signed invoices. Verified documentation enhances both market confidence and resale value.

Condition: As works on paper which may have existed for over 60 years, you should always have a print inspected for fading, foxing, creasing, and paper acidity. Fine or near-mint prints may show minimal signs of ageing, while any significant issues should be documented and factored into the price.

Auction Houses: Public auctions remain powerful venues for accessing blue-chip editions due to their global visibility and pricing transparency. However, hammer plus buyer’s premiums (often 26% or more) should be considered.

Galleries & Dealers: Traditional galleries offer curated selections, provenance, and expert guidance, appealing to collectors who value a consultative process.

Online Marketplaces: Digital platforms have transformed accessibility to editioned works. These platforms enable comparison and convenience, but require careful vetting.

Private Sales: At MyArtBroker, we connect buyers with our 30,000+ network of collectors of blue chip prints and editions, and will provide you with a personal broker to manage the deal from start to finish. We will work with you to provide a bespoke service and get the best deal, while keeping you in control of the outcome at every single step.