Shepard Fairey is not a niche corner of the street-art print market — he is its most heavily documented, most liquid, and most data-rich name. Our reference catalog spans 1,004 individually recorded works produced between 1996 and 2023, with 595 of them carrying recorded sale prices and a clean, de-duplicated comp set of 3,509 vetted transactions across 79 of the market's most-traded prints. No other living street artist offers this depth of primary-market evidence. This piece lays out the shape of that market — scale, production tempo, price spectrum, and temperature — using only the numbers we track.
When collectors and investors ask whether Fairey is a "real" market or a hype cycle, the honest answer is a data problem, not an opinion. A hype cycle looks thin: a handful of images, a spike, a crash, and silence. A real market looks like Fairey's: hundreds of distinct editions, decades of continuous production, thousands of arms-length sales, and a recognizable price structure that repeats across images and across years. The point of this series — and this opening post — is to replace vibes with a ledger.
The scale of the catalog: 1,004 works, 595 with recorded sales
Start with the raw count. Our catalog holds 1,004 individually catalogued Shepard Fairey works. That number alone reframes the artist. Fairey is often introduced through a single image — the 2008 Obama "Hope" portrait — but the catalog makes clear that "Hope" is one entry in a body of work that runs to four figures. For a collector, this breadth is the difference between chasing one trophy and assembling a portfolio; for an investor, it is the difference between a single-position bet and a genuine asset class with internal diversification.
Of those 1,004 works, 595 carry at least one recorded sale price in our data — a coverage rate of roughly 59%. That is an unusually high ratio for any print market. It means that for the majority of Fairey's catalogued output, a prospective buyer or seller is not negotiating in the dark: there is at least one, and frequently dozens, of prior arms-length transactions to anchor a fair number. Coverage of that density is what separates a market you can underwrite from one you can only speculate in.
Above the 595 priced prints sits a smaller, cleaner tier that does the heavy lifting in this analysis. We isolate 79 prints with clean, de-duplicated comp records — the market's workhorses — and those 79 alone account for 3,509 tracked, vetted sales. That is an average of more than 44 recorded transactions per print among the core set. When you can observe a print change hands 44 times, you are no longer guessing at value; you are reading a distribution. The tables and price anchors throughout this post are drawn exclusively from that 79-print clean set, because it is the portion of the market where the evidence is strong enough to stand behind.
The rest of the market — the 595 priced prints as a whole — carries a much larger volume of raw sale observations, but with far more noise: mislabeled listings, condition ambiguity, and duplicate records that inflate counts without adding signal. We deliberately do not publish per-print medians for that wider set, because doing so would dress up noise as precision. The discipline of this series is to cite only what survives cleaning. Where we quote a print by name and a number, that print lives in the 79-record clean set and the number is either reported directly or computed by simple arithmetic on the brief's own figures.
A production span that reads like a career, not a moment
The catalog runs from 1996 to 2023 — a 27-year production window. That span matters for two reasons. First, longevity is itself a quality signal in the print market: artists who produce continuously for decades tend to have durable secondary markets, because each new release refreshes collector attention on the back catalog. Second, a 27-year window lets us watch the market mature in real time rather than inferring it from a single boom.
Edition sizes across the catalog run from as small as 40 impressions to as large as 2,100. That is a wide band, and it is one of the most important structural facts about Fairey as an investment. A 40-piece edition and a 2,100-piece edition are not the same asset even when they share an image and a signature; scarcity, at the extremes, is a different game entirely. Within our core clean set, the editions we can size directly cluster tighter — the smallest is the 80-piece "The Greed Depression" and the largest is the 700-piece "Tunnel Vision Version 2" — but the full-catalog range from 40 to 2,100 is the true opportunity space. We devote an entire later installment to whether that scarcity actually pays; here it is enough to establish that the range exists and is large.
Production tempo: a market that accelerated, then plateaued at a high level
The single most revealing structural view is production by five-year cohort. It shows an artist — and a market — that grew from a trickle into a torrent. The table below groups catalogued works by the five-year period in which they were produced.
| Production cohort | Catalogued works | Share of six-cohort total |
|---|---|---|
| 1995–1999 | 3 | 0.7% |
| 2000–2004 | 19 | 4.2% |
| 2005–2009 | 61 | 13.6% |
| 2010–2014 | 80 | 17.8% |
| 2015–2019 | 140 | 31.2% |
| 2020–2024 | 146 | 32.5% |
The trajectory is unmistakable. The late-1990s cohort holds just 3 catalogued works — Fairey the emerging street artist, not yet the print machine. By 2005–2009 the cohort had grown to 61. By 2015–2019 it reached 140, and the most recent full cohort, 2020–2024, stands at 146. From the earliest cohort to the latest, output multiplied roughly 49-fold (146 divided by 3) — a simple ratio of the two cohort counts, not a smoothed growth rate.
Two of the six cohorts — 2015–2019 and 2020–2024 — together account for 286 of the 449 works in this cohort tally, or roughly 64% of the grouped total. Measured against the full 1,004-work catalog, those two most recent cohorts alone represent about 28% of everything Fairey has produced. The interpretation is not "Fairey is diluting his market." The interpretation is that supply has become deep and regular — and a deep, regular supply is precisely what creates liquidity. You cannot have thousands of tracked sales in a market that ships three prints a decade.
The plateau between the last two cohorts — 140 then 146 — is its own signal. Production did not accelerate off a cliff; it leveled at a high, sustainable cadence. For the secondary market, a stable release tempo is healthier than an exponential one, because it lets collector demand keep pace with new supply rather than being buried by it. This is the profile of a maturing market, not an overheating one.
The price spectrum: from ~$132 to ~$999, anchored near $240
Scale and tempo describe how much exists. Price describes what it is worth. Across the 79-print clean set, the per-print median prices span a defined and useful range. The lowest print-level median in the clean set sits at roughly $132; the highest at $999; and the median of those medians — the center of the market's center — lands at $240. That single figure, $240, is the most important number for calibrating expectations: it is the typical "middle" for a well-traded Fairey print, and it tells you that the core market is an accessible one, not a rarefied one.
The spectrum below frames the poles with real prints from the clean set at each level.
| Position in spectrum | Print-level median | Example print (clean set) | Recorded sales (n) |
|---|---|---|---|
| Low pole | ~$132 | AK-47 Lotus (2022, ed. 100) | 2 |
| Accessible core | ~$140 | OFF! You Will Do What We Say (2022, ed. 400) | 49 |
| Market center (median of medians) | ~$240 | Lively Up Yourself | 5 |
| Upper-mid | ~$247 | MAKE ART NOT WAR (2004, ed. 300) | 176 |
| Blue-chip tier | ~$700 | Peace Goddess (2006, ed. 300) | 31 |
| High pole | ~$999 | OBEY Elephant | 9 |
Read the spectrum as a ladder, not a line. At the bottom, prints like the AK-47 Lotus post low medians on thin evidence — only 2 recorded sales — which is exactly why a low number there deserves caution rather than confidence. In the accessible core, "OFF! You Will Do What We Say" shows a ~$140 median backed by 49 sales: a genuinely liquid entry point, and a reminder that "cheap" and "well-traded" are not mutually exclusive in this market. At the center sits the $240 median-of-medians, the gravitational middle of the whole clean set.
The upper half of the ladder is where the market's reputation lives. "MAKE ART NOT WAR," a 2004 edition of 300, carries a ~$247 median across an enormous 176 recorded sales — one of the deepest sale histories in the entire set, and proof that a mid-priced Fairey can be as liquid as a blue-chip name. Climb to "Peace Goddess" (2006, edition of 300) and the median jumps to ~$700 across 31 sales; reach the "OBEY Elephant" at the top and the median touches ~$999. The distance from $132 to $999 is roughly 7.6x — the arithmetic ratio of the high and low poles — which is a wide but navigable spread. It means a collector can enter this market for the price of a nice dinner or the price of a used car, and in both cases be buying the same signature, the same catalog, and the same underlying liquidity.
Why the median-of-medians is the number that matters
It is tempting to fixate on the $999 high pole, because trophies are memorable. But the median-of-medians — $240 — is the more honest description of the market, because it is resistant to the outliers that distort averages. A single $2,000 sale can drag a mean upward without telling you anything about what the next print will actually fetch. The median-of-medians strips that out twice over: first by taking each print's own median (immune to its own outliers), then by taking the median of those figures (immune to a few unusually pricey images). When we say the typical well-traded Fairey print sits around $240, that is a number built to survive scrutiny.
Liquidity: the trait that makes the numbers usable
A price is only as trustworthy as the volume behind it. This is where Fairey separates from nearly every peer. Within the 79-print clean set, sale counts per print are not thin — several individual images have been observed changing hands more than a hundred times. The liquidity leaders below are the prints where the market speaks loudest, ranked by recorded sale count.
| Recorded sales (n) | Median | Year | Edition | |
|---|---|---|---|---|
| A Champion of Justice (Ruth Bader Ginsburg) | 227 | $460 | 2021 | 500 |
| Power and Glory Letterpress | 177 | $180 | 2016 | — |
| MAKE ART NOT WAR | 176 | $247 | 2004 | 300 |
| Kurt Cobain – Endless Nameless | 167 | $200 | 2021 | — |
| Target Exceptions | 150 | $245 | 2017 | — |
| Universal Dignity | 149 | $200 | 2022 | — |
| Dalai Lama Compassion | 118 | $400 | 2022 | — |
| Snoop D-O-Double-G | 112 | $154 | 2020 | 550 |
The standout is "A Champion of Justice," the 2021 Ruth Bader Ginsburg portrait, with 227 recorded sales — the deepest single-print history in our clean set. A print with 227 observed transactions is not a collectible in the fragile sense; it is closer to a traded instrument. Its median of $460 is a number you can lean on precisely because it rests on hundreds of data points rather than a handful. The same logic applies down the list: "MAKE ART NOT WAR" at 176 sales, "Kurt Cobain – Endless Nameless" at 167, "Target Exceptions" at 150. These are prints you can reasonably expect to buy or sell without waiting months for a counterparty.
Contrast that with the low-pole examples from the price spectrum, where a median rests on 2 sales. Both numbers are "medians," but they are not equally trustworthy, and a disciplined buyer weights them accordingly. The lesson that runs through this entire series: read the sale count before you read the price. A $460 median on 227 sales is a fact; a $132 median on 2 sales is a hint. Liquidity is what turns a hint into a fact, and Fairey has more of it than any comparable name in street-art prints. We dedicate a full later installment to which specific prints actually sell, and how fast.
Market temperature: reading the recommendation mix
Depth and price tell you what the market is. The recommendation mix tells you what the market is doing right now. Across the 79 clean-set prints, our framework assigns each a stance — from HOLD (accumulate or sit tight) through WAIT, GOOD TO SELL, and SELL NOW (momentum favors the seller), plus a small SET PRICE bucket for prints where the data is strong enough to name a specific level. Aggregated, this distribution is a market-temperature gauge.
| Stance | Prints | Share of 79 clean-set prints |
|---|---|---|
| HOLD | 11 | 13.9% |
| WAIT | 14 | 17.7% |
| GOOD TO SELL | 25 | 31.6% |
| SELL NOW | 24 | 30.4% |
| SET PRICE | 5 | 6.3% |
The mix leans decisively toward selling. Combine GOOD TO SELL (25 prints) and SELL NOW (24 prints) and you get 49 of the 79 clean-set prints — about 62% — sitting in seller-favorable territory. Only 25 prints (11 HOLD plus 14 WAIT, or roughly 32%) counsel patience or accumulation. Read plainly: as of this data, momentum in the core Fairey market favors sellers more than buyers. That is a warm market, not a cold one, and not a euphoric one either — a genuinely euphoric market would show almost nothing in HOLD or WAIT.
For a collector, the mix is a caution and a map at once. It cautions that this is not a bargain-hunter's moment across the board — nearly two-thirds of well-traded prints are priced where sellers have the edge. But it also maps the exceptions: the 25 HOLD-and-WAIT prints are where the framework sees value that the wider market has not yet bid up. Those are the entries worth studying first if you are buying rather than selling. For a seller, the read is simpler and more actionable — if you hold something in the GOOD TO SELL or SELL NOW buckets, the data says the window is open.
The small SET PRICE bucket — just 5 prints — is the framework's highest-conviction tier: images where the sale history is dense and consistent enough to name a specific number rather than a range. It is deliberately small. Naming a hard price is a claim we only make when the evidence is overwhelming, and the fact that only 5 of 79 prints clear that bar is itself a useful humility check on the whole exercise.
Where the buyers should look: the HOLD and WAIT prints
A seller-warm market is not a market without opportunity for buyers — it just concentrates the opportunity in specific images rather than spreading it across the board. The 25 prints our framework tags HOLD or WAIT are the buyer's shortlist, because in each case the data suggests the current level either understates the image or has not yet caught a move that the framework expects. Below is a representative slice of that shortlist, drawn entirely from the clean set.
| Stance | Median | Recorded sales (n) | Year | Edition | |
|---|---|---|---|---|---|
| Peace Goddess | HOLD | $700 | 31 | 2006 | 300 |
| Lenin Record | HOLD | $525 | 16 | 2005 | 300 |
| Basquiat Canvas | HOLD | $475 | 19 | 2010 | 450 |
| Poster For George (Red Version) | HOLD | $344 | 64 | 2014 | 400 |
| MAKE ART NOT WAR | HOLD | $247 | 176 | 2004 | 300 |
| Muhammad Ali | WAIT | $400 | 93 | — | — |
| Celebration Day | WAIT | $305 | 89 | 2012 | 300 |
| Target Exceptions | WAIT | $245 | 150 | 2017 | 450 |
| Universal Dignity | WAIT | $200 | 149 | 2022 | 600 |
| Rose Soldier | WAIT | $150 | 77 | 2017 | 450 |
Two things stand out. First, the HOLD list skews toward the older, established images — "Peace Goddess" (2006), "Lenin Record" (2005), "MAKE ART NOT WAR" (2004) — the kind of catalog-anchor prints that a collector accumulates and sits on rather than flips. These are not distressed assets; they are the market's furniture. A HOLD tag here reads as "this is worth owning through the cycle," not "grab a bargain." Second, the WAIT list is where the liquidity is deepest: "Target Exceptions" at 150 sales, "Universal Dignity" at 149, "Muhammad Ali" at 93, "Celebration Day" at 89, "Rose Soldier" at 77. A WAIT stance on a print this liquid is a patience signal — the image trades constantly, so a buyer who waits for a soft print rather than chasing a firm one can reasonably expect an entry near or below the stated median.
The practical read for a buyer is straightforward. In a market where 62% of core prints favor the seller, the disciplined move is to build a want-list from the HOLD and WAIT names and let the deep liquidity of prints like "Target Exceptions" and "Universal Dignity" do the work — when a print sells 150 times, another one is always coming, and the buyer sets the terms by being willing to wait for the right listing rather than the next one. That is the entire argument for patience in a warm market: liquidity means you are never forced to overpay, because the same image will trade again soon.
The SET PRICE tier: where the data names a number
Five prints in the clean set earn the framework's highest-conviction tag, SET PRICE — the small bucket where sale history is dense and consistent enough to move from a range to a specific suggested level. Because these are the framework's most confident calls, they are worth naming individually.
| Median | Suggested price | Working range | Recorded sales (n) | |
|---|---|---|---|---|
| LENIN STAMP 2018 | $980 | $665 | $700–$1,000 | 13 |
| DEMAGOGUE | $650 | $427 | $170–$799 | 22 |
| Paul McCartney (Change Begins) | $185 | $170 | $120–$200 | 17 |
| CATCH A FIRE (Green) | $178 | $170 | $120–$220 | 34 |
| Mao Lesser Gods | $148 | $146 | $100–$199 | 11 |
The SET PRICE tier is instructive precisely because the suggested price often sits below the raw median. "LENIN STAMP 2018" carries a $980 median but a $665 suggested price; "DEMAGOGUE" shows a $650 median against a $427 suggestion. That gap is the framework being conservative on purpose — the median can be pulled upward by a cluster of strong sales, while the suggested price weights toward a level that will actually clear the market rather than sit unsold. For the two lower-priced names, the gap nearly vanishes: "CATCH A FIRE (Green)" shows a $178 median and a $170 suggestion; "Mao Lesser Gods" a $148 median and a $146 suggestion. When median and suggested price converge like that, it is a sign of an unusually tight, well-behaved distribution — the market has decided what the print is worth, and it says so with little disagreement. Those are the calmest, most predictable prints in the entire set.
The three accessible tiers, and who each serves
One of the most useful ways to read the whole 79-print clean set is to collapse it into three price tiers around the $240 center. Doing so turns an abstract spectrum into a practical buying map.
| Tier | Rough median band | Representative prints (clean set) | Who it serves |
|---|---|---|---|
| Entry | ~$132–$200 | OFF! You Will Do What We Say ($140), Rose Soldier ($150), Snoop D-O-Double-G ($154), Open Minds ($175) | First-time buyers, breadth collectors |
| Core | ~$200–$400 | MAKE ART NOT WAR ($247), Target Exceptions ($245), Celebration Day ($305), Poster For George ($344), Muhammad Ali ($400) | Serious collectors building depth |
| Blue-chip | ~$400–$999 | Basquiat Canvas ($475), Lenin Record ($525), DEMAGOGUE ($650), Peace Goddess ($700), OBEY Elephant ($999) | Trophy buyers, concentrated positions |
The entry tier, roughly $132 to $200, is where most collectors should begin — not because the images are lesser, but because several of them are among the most liquid in the market. "OFF! You Will Do What We Say" (49 sales), "Rose Soldier" (77 sales), and "Snoop D-O-Double-G" (112 sales) all sit here. A first buyer gets a signed Fairey, a real edition number, and an image that trades often enough to exit cleanly if needs change. That combination — low price and high liquidity — is the single best on-ramp the market offers.
The core tier, roughly $200 to $400, is the market's center of gravity and where the $240 median-of-medians lives. This is where a collector graduates from owning a Fairey to building a Fairey position — multiple images, multiple years, spread across themes. "MAKE ART NOT WAR" (176 sales) and "Target Exceptions" (150 sales) anchor this tier with liquidity that rivals anything below them, so depth here does not cost you exit-ability. The blue-chip tier, $400 and up, is the trophy zone — "Peace Goddess" at ~$700, "DEMAGOGUE" at ~$650, the "OBEY Elephant" at ~$999. Liquidity thins as you climb (the OBEY Elephant shows 9 sales, Peace Goddess 31), which is exactly what you would expect: fewer buyers can write a four-figure check, so trophies trade less often and require more patience to buy well and to sell well. The tier map is not a hierarchy of quality; it is a map of trade-offs between price, liquidity, and the check size a buyer is prepared to write.
Cross-reading production and price: does age drive value?
With both a production timeline and a price spectrum in hand, the obvious question is whether the two correlate — do older prints command more? The clean set offers a partial, honest answer: age helps, but it does not rule. Consider the datable prints at the top and bottom of the price ladder. "Peace Goddess" (2006, ~$700) and "Lenin Record" (2005, ~$525) are among the oldest datable images in the clean set and sit high on the ladder, consistent with the intuition that early, established work carries a premium. But "THESE SUNSETS ARE TO DIE FOR (LARGE FORMAT)" is a 2023 print with a ~$650 median — brand new, yet priced like a blue-chip — because its edition is a tiny 89 impressions. And "A Champion of Justice," the liquidity champion at a $460 median, is a 2021 image. Meanwhile "MAKE ART NOT WAR," a 2004 print, sits at just ~$247 despite its age and enormous sale history.
The honest conclusion is that vintage is one input among several, not the master variable. A 2004 print can trade at $247 while a 2023 print trades at $650; a 2005 print can command $525 while a 2017 print sits at $150. Edition size, image, subject, and moment clearly matter as much as calendar age. This is the tension the second post in the series — on edition size versus value — unpacks in full. Here the takeaway is a caution against the lazy heuristic that older automatically means dearer. The data does not support it as a rule; it supports it only as a tendency, and a weak one at that. Buyers who pay up purely for a vintage date, without checking edition size and liquidity, are trusting a correlation the numbers only partly endorse.
How Fairey compares: the reference-market case
Numbers in isolation are hard to weigh, so it is worth stating plainly why this dataset is unusual. The defining feature is not any single price — it is the combination of depth and documentation. Most living street artists offer collectors a handful of tradeable images and sparse sale records; a buyer is often working from a few listings and a lot of guesswork. Fairey inverts that. The 79-print clean set alone represents 3,509 vetted sales, and individual images within it — the RBG portrait at 227, "Power and Glory Letterpress" at 177, "MAKE ART NOT WAR" at 176 — carry sale histories deeper than the entire tradeable catalog of many peers.
That depth changes what kind of decision buying a Fairey is. In a thin market, every purchase is partly a leap of faith: you cannot know whether the price you paid was fair until you try to sell, sometimes years later. In Fairey's market, the price you pay can be checked against dozens or hundreds of prior sales of the same image before you commit. Risk does not disappear — art remains volatile and illiquid relative to stocks or bonds — but it becomes measurable rather than merely felt. Measurable risk is the foundation of any real asset class, and it is why we treat Fairey as the reference market for street-art prints: the standard of evidence against which thinner markets should be judged, not because Fairey is guaranteed to appreciate, but because in Fairey you can at least see what you are buying and what it has cost others.
Case studies in what "data-rich" actually buys you
Abstractions are cheap; let two concrete prints show what this depth of data does for a real decision.
MAKE ART NOT WAR (2004, edition of 300)
This is one of the most-traded prints in the entire set — 176 recorded sales — and its price history is a live demonstration of why medians beat headlines. The observed sales in this print's record run from a low near $100 to spikes above $1,900, with a trimmed-mean-based median settling around $247. The headline-grabbers — a $1,500 print here, a nearly $2,000 sale there — are real, but they are the tails of the distribution, often reflecting exceptional condition, early edition numbers, or motivated buyers. The $247 median is the number that would actually govern a typical transaction. Anyone who priced this print off its high sale would misjudge the market by a factor of six or more. This is the single clearest argument in the entire dataset for anchoring to medians and reading the full distribution before acting.
A Champion of Justice / Ruth Bader Ginsburg (2021, edition of 500)
The RBG portrait is the liquidity champion at 227 recorded sales, and its history tells a maturation story. In its earliest recorded window in March 2021, the print clustered heavily in the $300–$550 range as the edition of 500 first dispersed into the market. Through late 2021 and 2022 a wave of higher sales appears — four-figure prints are scattered through the record — before the market settled. Its overall median lands at $460, with a recent-sales average that runs higher still. The takeaway is not the specific figure but the shape: a topical, edition-of-500 print that entered the market at a few hundred dollars, saw a speculative surge, and then found a durable level several hundred dollars above its release — all of it legible because the print was observed changing hands more than two hundred times. That legibility is the entire value proposition of a data-rich market.
What the numbers add up to
Step back from the individual figures and the picture resolves. The Shepard Fairey print market is deep — 1,004 catalogued works, 595 with recorded prices. It is liquid — 3,509 vetted sales concentrated in a core of 79 workhorse prints, several of which trade more than a hundred times over. It is mature — a 27-year production span that accelerated 49-fold and then plateaued at a sustainable cadence rather than spiking and collapsing. It is accessible — a price spectrum from roughly $132 to $999, centered on a $240 median-of-medians that puts a real, signed Fairey print within reach of an ordinary collector. And right now it is seller-warm — roughly 62% of core prints sit in seller-favorable territory, with a smaller pocket of HOLD and WAIT prints flagged for value.
None of those five traits is common on its own in the street-art print world. Finding all five in a single living artist is rare, and it is why we treat Fairey not as a speculative flyer but as the reference market — the one against which other street-art print markets should be measured. Every subsequent post in this series drills into one facet of this overview: whether scarcity pays, where the blue-chip tier really begins, which prints sell fastest, what provenance adds, and how to build a portfolio out of it. But the foundation is here, and it is a foundation of ledgers, not hype.
A closing note on authentication, because it shapes everything above. Fairey's market runs on silent authentication: there is no third-party certificate program, no external authenticator whose stamp governs value. What governs value is the artist's own signature, the edition numbering, documented provenance, and condition. The $90 floor we apply to signed and numbered pieces is a methodological guardrail, not a certificate. In a market this well-documented, the comps themselves become a form of authentication-by-context: a print with 227 arms-length sales at a consistent level is one whose market identity is hard to fake. Depth of data is, in its own way, a defense.
If you want to see the full catalog behind these numbers, the Fairey index lists the catalogued works, and current holdings live in the Shepard Fairey collection. To go deeper on the two themes this overview only introduces, read Liquidity: Which Fairey Prints Actually Sell and Building a Fairey Print Portfolio.
Methodology, briefly
Every figure in this post is drawn from a single vetted dataset. Sale evidence is aggregated from WorthPoint, eBay, LiveAuctioneers, and Heritage, cleaned to remove duplicates and obvious mislabels, and averaged using a trimmed mean that discards outliers before computing per-print figures. The comp window is a rolling ten-year lookback (2016–2026). Per-print statistics — median, sale count, and recommendation — are reported only for the 79-print clean set; the wider 595 priced prints inform structural counts but not per-print price claims, because their raw records carry too much noise to publish responsibly. A $90 floor applies to signed and numbered pieces. Where this post states a derived figure — a cohort ratio, a share of total, a high-to-low spread — it is simple arithmetic on the figures above and is labeled as such.
This is analysis, not financial advice. Art prices are volatile, thinly traded relative to financial markets, and sensitive to condition, provenance, and timing in ways no dataset fully captures. Past recorded sales do not guarantee future results. Nothing here is a recommendation to buy or sell any specific work. Do your own diligence, inspect condition in person or via detailed images, and treat every number above as a starting point for judgment rather than a substitute for it.
