Alice isn’t lost in Wonderland anymore — she’s weaponized. This DEATH NYC limited edition print smashes Lewis Carroll’s Victorian fairy tale icon directly into the gritty visual language of contemporary street art, producing something that feels simultaneously familiar and completely subversive. What you are looking at is edition number 82 of 100: a hand-signed, individually numbered print measuring 18x13 inches on premium stock, issued with a gold embossed Certificate of Authenticity, and available at retail for $100. It is an accessible entry point into one of street art’s most collectible contemporary print programs — and a genuinely striking object in its own right.
The Cultural Collision
DEATH NYC takes Alice — one of the most recognizable figures in English-language literature, Disney animation, and Western pop iconography — and repositions her as something harder, stranger, and more confrontational than John Tenniel or the House of Mouse ever intended. In this print, Alice carries an umbrella not as a prop for polite Victorian weather but as a weapon or shield, her posture and framing transformed from passive dreamer into active protagonist pushing back against an absurd world. The visual register is pure street art: bold outlines, high-contrast color, the graphic flatness of pop art layered over a source image the viewer already owns emotionally.
The collision lands because it works on two levels simultaneously. On the surface it is irreverent humor — a beloved children’s character made strange. Underneath it is commentary: Wonderland has always been a place where the rules are arbitrary, authority is absurd, and survival requires improvisation. DEATH NYC simply makes that subtext explicit. The result is a print that reads immediately as “Alice” and immediately as “street art,” which is exactly the tension the artist is after.
Death NYC: The Artist
DEATH NYC is an anonymous street artist who began working publicly around 2010–2012. Based in New York, the artist works in the tradition of Banksy, Andy Warhol, and Jean-Michel Basquiat — using existing pop culture imagery as raw material and recombining it to generate new meaning. The work is fundamentally concerned with consumerism, celebrity worship, and the strange overlap between high culture and low culture in the social media era. Disney characters appear in luxury fashion contexts. Famous paintings get tagged. Celebrities are placed in situations that puncture their mythology. The format is always the print: limited, signed, dated, serialized.
The anonymity is part of the brand but also part of the argument. DEATH NYC’s work circulates through the same channels as luxury goods — galleries, collector markets, authenticated editions — while simultaneously mocking those channels. Small editions, physical authentication, and hand-signatures create scarcity value for work that is stylistically descended from graffiti. That contradiction is intentional, and it is why the prints appreciate.
Edition and Authentication
This print is number 82 from an edition of 100. It is hand-signed and dated by DEATH NYC directly on the print. The gold embossed Certificate of Authenticity card is included — this is the primary authentication marker for Death NYC prints and the detail that separates genuine editions from reproductions. Authentic COA seals are physically raised: run a fingernail across the seal and you will feel the embossing. A flat, printed gold circle is not a genuine Death NYC COA.
The print measures 18x13 inches and is produced on premium stock appropriate for fine art archival display. Individual edition numbers are hand-written, not stamped, and the signature placement and style are consistent across the Death NYC catalog. When acquiring any Death NYC print on the secondary market, the COA card, edition number, and signature should all align — mismatches between the numbered print and the COA number are a red flag.
Why Collectors Buy This
This specific print sits at the intersection of at least three active collector communities: fans of Alice in Wonderland imagery and Lewis Carroll culture, street art and pop art collectors building Death NYC catalogs, and collectors drawn to the cross-cultural remix format that Death NYC pioneered. That overlap creates durable demand. When a single print can appeal to a Disney collector, a Banksy-adjacent street art buyer, and a pop art enthusiast simultaneously, the secondary market stays liquid.
At $100 retail, this edition is accessible entry-level street art with genuine appreciation potential. Death NYC prints in popular motifs — particularly Disney character remixes and recognizable cultural icons — in small editions of 30–100 have regularly achieved 2–5x appreciation within 12–24 months on secondary platforms. The Alice in Wonderland motif is among the most recognizable in the Death NYC catalog and has demonstrated consistent collector interest. Edition 82/100 is late in the run, which historically correlates with stronger secondary pricing as earlier editions leave the market.
Frequently Asked Questions
Browse Death NYC prints and signed street art editions at gauntlet.gallery/collections/all.
