Shepard Fairey Master Index Dossier 12: 2016–2016 Release Cohort
Cohort scope
This dossier studies a defined cohort of 17 Shepard Fairey releases selected from the Gauntlet Gallery master index, spanning 2016 through 2016. The cohort begins with Henry Rollins Tour 2016 and concludes with Danger No Smoking in the index sequence. It is designed as comparative research rather than as a set of isolated product summaries. The aim is to see how editions, media, publishers, and available public-sale evidence relate across a manageable group of releases.
The cohort contains 11 Screen Print, 6 Letterpress. Recorded publishers include Obey Giant (6), Galerie Itinerrance (6), San Francisco Art Exchange (5). The index associates 240 cleaned public-sale observations with these entries in aggregate. That number is not a cohort valuation and should not be used as one. It simply describes the quantity of recorded transaction evidence currently available under the index methodology.
Why a cohort reading is useful
Fairey’s output is expansive enough that a single title can seem self-explanatory when viewed alone. In practice, a work becomes more intelligible when set beside other releases from a similar period or adjacent catalog sequence. A cohort can reveal a changing balance among screenprints, letterpress works, giclée editions, collaborations, music subjects, political graphics, and publisher relationships. It can also show where the market record is thick enough for comparison and where the available evidence remains too sparse for confident conclusions.
This report retains a necessary distinction between edition-level facts and individual objects. The master index provides a title, year, edition designation, stated edition size, medium, publisher, and observed sales data where available. An actual offered work requires separate inspection: images of the front and reverse, signature or edition notation when applicable, corners, margins, condition, framing, documentation, and seller history. The index organizes questions; it does not answer every question about a specific sheet.
How to read the release dossiers
Each entry below follows the master-index record. It does not invent a visual description or an authentication conclusion that the data cannot support. Instead, it identifies the indexed fields, explains why medium and edition language matter, and frames the recorded market evidence as a comparison tool rather than a guarantee. This methodology is deliberately conservative. In a category where listing titles and edition claims can drift, clarity about what is known is more useful than a more dramatic but unsupported narrative.
Henry Rollins Tour 2016
The master index records Henry Rollins Tour 2016 as a 2016 release: First Edition, stated edition size 350, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Henry Rollins Tour 2016 forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 350 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index contains 14 cleaned public-sale observations for this entry. Its reported median is $287.50, with an observed low-to-high range of $119.00 to $1,500.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of Henry Rollins Tour 2016, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, Henry Rollins Tour 2016 is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
Respect And Justice Letterpress
The master index records Respect And Justice Letterpress as a 2016 release: First Edition, stated edition size 450, medium Letterpress, published by Galerie Itinerrance. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Respect And Justice Letterpress forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Letterpress calls for attention to paper character and the quality of the physical impression. The stated edition size of 450 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index contains 3 cleaned public-sale observations for this entry. Its reported median is $137.50, with an observed low-to-high range of $114.62 to $165.50. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of Respect And Justice Letterpress, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, Respect And Justice Letterpress is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
Paint It Black Letterpress
The master index records Paint It Black Letterpress as a 2016 release: First Edition, stated edition size 450, medium Letterpress, published by Galerie Itinerrance. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Paint It Black Letterpress forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Letterpress calls for attention to paper character and the quality of the physical impression. The stated edition size of 450 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index contains 38 cleaned public-sale observations for this entry. Its reported median is $129.99, with an observed low-to-high range of $95.99 to $585.53. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of Paint It Black Letterpress, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, Paint It Black Letterpress is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
Lifeguard Not On Duty Letterpress
The master index records Lifeguard Not On Duty Letterpress as a 2016 release: First Edition, stated edition size 450, medium Letterpress, published by Galerie Itinerrance. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Lifeguard Not On Duty Letterpress forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Letterpress calls for attention to paper character and the quality of the physical impression. The stated edition size of 450 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index contains 7 cleaned public-sale observations for this entry. Its reported median is $224.99, with an observed low-to-high range of $99.95 to $310.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of Lifeguard Not On Duty Letterpress, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, Lifeguard Not On Duty Letterpress is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
Global Warning Letterpress
The master index records Global Warning Letterpress as a 2016 release: First Edition, stated edition size 450, medium Letterpress, published by Galerie Itinerrance. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Global Warning Letterpress forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Letterpress calls for attention to paper character and the quality of the physical impression. The stated edition size of 450 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index contains 1 cleaned public-sale observations for this entry. Its reported median is $225.00, with an observed low-to-high range of $225.00 to $225.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of Global Warning Letterpress, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, Global Warning Letterpress is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
Endless Power Letterpress
The master index records Endless Power Letterpress as a 2016 release: First Edition, stated edition size 450, medium Letterpress, published by Galerie Itinerrance. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Endless Power Letterpress forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Letterpress calls for attention to paper character and the quality of the physical impression. The stated edition size of 450 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index contains 5 cleaned public-sale observations for this entry. Its reported median is $125.00, with an observed low-to-high range of $99.95 to $159.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of Endless Power Letterpress, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, Endless Power Letterpress is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
Earth Crisis Letterpress
The master index records Earth Crisis Letterpress as a 2016 release: First Edition, stated edition size 450, medium Letterpress, published by Galerie Itinerrance. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Earth Crisis Letterpress forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Letterpress calls for attention to paper character and the quality of the physical impression. The stated edition size of 450 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index contains 11 cleaned public-sale observations for this entry. Its reported median is $200.00, with an observed low-to-high range of $95.00 to $824.32. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of Earth Crisis Letterpress, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, Earth Crisis Letterpress is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
Obey Royal Treatment Skull
The master index records Obey Royal Treatment Skull as a 2016 release: First Edition, stated edition size 300, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Obey Royal Treatment Skull forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 300 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index contains 34 cleaned public-sale observations for this entry. Its reported median is $223.62, with an observed low-to-high range of $102.50 to $500.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of Obey Royal Treatment Skull, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, Obey Royal Treatment Skull is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
Obey Royal Treatment Money
The master index records Obey Royal Treatment Money as a 2016 release: First Edition, stated edition size 300, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Obey Royal Treatment Money forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 300 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index contains 3 cleaned public-sale observations for this entry. Its reported median is $194.65, with an observed low-to-high range of $162.25 to $235.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of Obey Royal Treatment Money, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, Obey Royal Treatment Money is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
Prophets Of Rage
The master index records Prophets Of Rage as a 2016 release: First Edition, stated edition size 600, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Prophets Of Rage forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 600 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index contains 53 cleaned public-sale observations for this entry. Its reported median is $148.99, with an observed low-to-high range of $93.94 to $600.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of Prophets Of Rage, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, Prophets Of Rage is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
American Civics - Mass Incarceration
The master index records American Civics - Mass Incarceration as a 2016 release: First Edition, stated edition size 100, medium Screen Print, published by San Francisco Art Exchange. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that American Civics - Mass Incarceration forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 100 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index currently contains no cleaned public-sale observation for this entry under the reporting rules used here. This is a data gap, not a conclusion about scarcity, value, or demand. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of American Civics - Mass Incarceration, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, American Civics - Mass Incarceration is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
American Civics - Workers’ Rights
The master index records American Civics - Workers’ Rights as a 2016 release: First Edition, stated edition size 100, medium Screen Print, published by San Francisco Art Exchange. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that American Civics - Workers’ Rights forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 100 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index currently contains no cleaned public-sale observation for this entry under the reporting rules used here. This is a data gap, not a conclusion about scarcity, value, or demand. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of American Civics - Workers’ Rights, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, American Civics - Workers’ Rights is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
American Civics - Gun Culture
The master index records American Civics - Gun Culture as a 2016 release: First Edition, stated edition size 100, medium Screen Print, published by San Francisco Art Exchange. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that American Civics - Gun Culture forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 100 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index currently contains no cleaned public-sale observation for this entry under the reporting rules used here. This is a data gap, not a conclusion about scarcity, value, or demand. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of American Civics - Gun Culture, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, American Civics - Gun Culture is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
American Civics - Voting Rights
The master index records American Civics - Voting Rights as a 2016 release: First Edition, stated edition size 100, medium Screen Print, published by San Francisco Art Exchange. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that American Civics - Voting Rights forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 100 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index currently contains no cleaned public-sale observation for this entry under the reporting rules used here. This is a data gap, not a conclusion about scarcity, value, or demand. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of American Civics - Voting Rights, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, American Civics - Voting Rights is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
American Civics - Two Americas
The master index records American Civics - Two Americas as a 2016 release: First Edition, stated edition size 100, medium Screen Print, published by San Francisco Art Exchange. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that American Civics - Two Americas forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 100 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index currently contains no cleaned public-sale observation for this entry under the reporting rules used here. This is a data gap, not a conclusion about scarcity, value, or demand. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of American Civics - Two Americas, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, American Civics - Two Americas is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
Earth Crisis Drop
The master index records Earth Crisis Drop as a 2016 release: First Edition, stated edition size 450, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Earth Crisis Drop forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 450 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index contains 39 cleaned public-sale observations for this entry. Its reported median is $250.00, with an observed low-to-high range of $99.00 to $849.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of Earth Crisis Drop, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, Earth Crisis Drop is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
Danger No Smoking
The master index records Danger No Smoking as a 2016 release: First Edition, stated edition size 450, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.
The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Danger No Smoking forms part of the 2016 release roster, and its medium and publisher place it within the production ecology tracked for that year.
Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 450 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.
The master index contains 32 cleaned public-sale observations for this entry. Its reported median is $140.75, with an observed low-to-high range of $95.00 to $399.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.
For an individual example of Danger No Smoking, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.
Within the 2016 yearbook, Danger No Smoking is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.
Research appendix: making a durable annual record
The 2012 roster should be treated as an invitation to compare records, not as a final authority over an object. Indexing is a disciplined form of reduction: it turns a complicated work into fields that can be compared across a large corpus. Title, year, edition designation, edition size, medium, publisher, and observed sales are enormously useful fields, but none of them describes the complete life of an individual sheet. The release record establishes a research hypothesis. The object, images, paperwork, and chain of custody either support that hypothesis or complicate it.
This distinction is especially valuable for print collecting because the edition is both a group and a set of individual objects. Two impressions can share a title, date, and numbered edition while having very different visual presence because of paper handling, corner condition, prior framing, light exposure, ink surface, or a missing document. The annual index cannot adjudicate those differences. It can help a collector recognize that they matter, build a list of questions before purchase, and preserve an answer after purchase.
When using comparable sales, record more than the number. Save the sale date, venue, title language, edition notation, whether the object was signed or numbered, the visible condition, and whether a frame or certificate was included. Then ask whether the offered work matches those conditions closely enough to make the comparison informative. A low result may reflect damage or uncertainty; a high result may reflect presentation, provenance, timing, or an unusually motivated buyer. The most honest conclusion is often a range of possibilities rather than a single target price.
The same caution applies to publisher and medium. A publisher credit helps distinguish a release context, and a stated process tells a collector what object-level details to inspect. Neither field is a quality guarantee. A screenprint, letterpress, lithograph, or other process should be described correctly and evaluated according to its material realities. If the listing evidence is incomplete, the appropriate response is to ask for better documentation or to price uncertainty into the decision—not to fill gaps with assumptions.
For records management, keep a single folder for each acquisition. Include the original listing, an invoice, the seller correspondence, full arrival photographs, condition notes, any certificate, and a framing record. Photograph the front, reverse, signature or edition area, and corners before the work is framed or moved. If the work is insured, add the policy record. These small steps make a collection legible to its future self. They also allow a collector to describe an object accurately without relying on memory years later.
Finally, collect with a point of view. An annual release roster can encourage completism, but completeness is not the only coherent strategy. A collection may be organized around political graphics, music-related work, ornamental imagery, a particular print process, a publisher relationship, or simply the works that remain visually compelling over time. The purpose of research is not to eliminate taste. It is to give taste a stronger factual foundation and to make the eventual choice clearer, more defensible, and easier to live with.
Dossier 12: collector conclusions
The value of a comparative cohort is not that it ranks the releases automatically. It gives a collector a structured field of view. The entries may share a period or catalog proximity while differing sharply in process, stated edition size, publisher, subject, and market visibility. Those differences should lead to better questions, not to a simplistic hierarchy.
For any offered example, begin with the exact index record and then build an object file: preserve the listing, request clear front and reverse photographs, inspect edition and signature information where relevant, note condition, and save invoices and correspondence. Compare completed sales only after accounting for meaningful differences in medium, edition, condition, documentation, framing, timing, and venue. The most durable collection is built around works that are visually persuasive and administratively legible.
Continue research through the Shepard Fairey collection, the buyer’s guide, the authentication checklist, and the price guide. This dossier is an index-led research aid, not an appraisal or forecast.
