Shepard Fairey Master Index Dossier 14: 2015–2014 Release Cohort
Cohort scope
This dossier studies a defined cohort of 17 Shepard Fairey releases selected from the Gauntlet Gallery master index, spanning 2015 through 2014. The cohort begins with Unsinkable Consumption and concludes with Interpolation Diptych 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 16 Screen Print, 1 Etching | Lithograph. Recorded publishers include Obey Giant (16), Pace Prints (1). The index associates 340 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.
Unsinkable Consumption
The master index records Unsinkable Consumption as a 2015 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 Unsinkable Consumption forms part of the 2015 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 12 cleaned public-sale observations for this entry. Its reported median is $177.50, with an observed low-to-high range of $95.00 to $550.00. 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 Unsinkable Consumption, 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 2015 yearbook, Unsinkable Consumption 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.
Water Is The New Black
The master index records Water Is The New Black as a 2015 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 Water Is The New Black forms part of the 2015 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 22 cleaned public-sale observations for this entry. Its reported median is $297.50, with an observed low-to-high range of $92.00 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 Water Is The New Black, 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 2015 yearbook, Water Is The New Black 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.
Time To Move On
The master index records Time To Move On as a 2015 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 Time To Move On forms part of the 2015 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 24 cleaned public-sale observations for this entry. Its reported median is $171.25, with an observed low-to-high range of $105.83 to $12,000.00. 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 Time To Move On, 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 2015 yearbook, Time To Move On 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.
Corporate Welfare
The master index records Corporate Welfare as a 2015 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 Corporate Welfare forms part of the 2015 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 27 cleaned public-sale observations for this entry. Its reported median is $165.00, with an observed low-to-high range of $100.00 to $350.00. 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 Corporate Welfare, 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 2015 yearbook, Corporate Welfare 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.
Fruits Of Our Labor
The master index records Fruits Of Our Labor as a 2015 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 Fruits Of Our Labor forms part of the 2015 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 35 cleaned public-sale observations for this entry. Its reported median is $227.00, with an observed low-to-high range of $98.99 to $620.00. 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 Fruits Of Our Labor, 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 2015 yearbook, Fruits Of Our Labor 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.
Don’t Be A MFR
The master index records Don’t Be A MFR as a 2015 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 Don’t Be A MFR forms part of the 2015 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 28 cleaned public-sale observations for this entry. Its reported median is $186.00, with an observed low-to-high range of $99.99 to $399.99. 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 Don’t Be A MFR, 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 2015 yearbook, Don’t Be A MFR 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.
Artists For Freedom
The master index records Artists For Freedom as a 2015 release: First Edition, stated edition size 400, 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 Artists For Freedom forms part of the 2015 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 400 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 25 cleaned public-sale observations for this entry. Its reported median is $175.00, with an observed low-to-high range of $99.00 to $1,040.94. 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 Artists For Freedom, 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 2015 yearbook, Artists For Freedom 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.
I Love Rock ‘N’ Roll 33 1/3
The master index records I Love Rock ‘N’ Roll 33 1/3 as a 2015 release: First Edition, stated edition size 550, 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 I Love Rock ‘N’ Roll 33 1/3 forms part of the 2015 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 550 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 10 cleaned public-sale observations for this entry. Its reported median is $257.00, with an observed low-to-high range of $125.00 to $499.99. 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 I Love Rock ‘N’ Roll 33 1/3, 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 2015 yearbook, I Love Rock ‘N’ Roll 33 1/3 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.
The Music Of David Lynch
The master index records The Music Of David Lynch as a 2015 release: First Edition, stated edition size 2100, 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 The Music Of David Lynch forms part of the 2015 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 2100 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 21 cleaned public-sale observations for this entry. Its reported median is $199.99, with an observed low-to-high range of $99.99 to $599.99. 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 The Music Of David Lynch, 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 2015 yearbook, The Music Of David Lynch 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.
Commanda Mural
The master index records Commanda Mural as a 2015 release: First Edition, stated edition size 389, medium Etching | Lithograph, 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 Commanda Mural forms part of the 2015 release roster, and its medium and publisher place it within the production ecology tracked for that year.
The stated process should be matched to the offered object and its documentation before any comparison is made. The stated edition size of 389 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 $299.71, with an observed low-to-high range of $199.00 to $999.00. 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 Commanda Mural, 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 2015 yearbook, Commanda Mural 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.
Universal Personhood Set
The master index records Universal Personhood Set as a 2015 release: First Edition, stated edition size 50, medium Screen Print, published by Pace Prints. 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 Universal Personhood Set forms part of the 2015 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 50 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 Universal Personhood Set, 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 2015 yearbook, Universal Personhood Set 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.
Society Of Destruction
The master index records Society Of Destruction as a 2015 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 Society Of Destruction forms part of the 2015 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 28 cleaned public-sale observations for this entry. Its reported median is $172.00, with an observed low-to-high range of $91.00 to $700.00. 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 Society Of Destruction, 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 2015 yearbook, Society Of Destruction 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.
Dissobey
The master index records Dissobey as a 2015 release: First Edition, stated edition size 187, 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 Dissobey forms part of the 2015 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 187 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 21 cleaned public-sale observations for this entry. Its reported median is $750.00, with an observed low-to-high range of $255.00 to $4,999.00. 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 Dissobey, 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 2015 yearbook, Dissobey 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.
Bob Marley - Slave Driver
The master index records Bob Marley - Slave Driver as a 2015 release: First Edition, stated edition size 500, 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 Bob Marley - Slave Driver forms part of the 2015 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 500 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 31 cleaned public-sale observations for this entry. Its reported median is $285.00, with an observed low-to-high range of $109.95 to $675.00. 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 Bob Marley - Slave Driver, 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 2015 yearbook, Bob Marley - Slave Driver 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.
Not One More
The master index records Not One More as a 2015 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 Not One More forms part of the 2015 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 19 cleaned public-sale observations for this entry. Its reported median is $175.00, with an observed low-to-high range of $121.00 to $499.99. 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 Not One More, 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 2015 yearbook, Not One More 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.
Farewell To Freedom
The master index records Farewell To Freedom as a 2014 release: First Edition, stated edition size 500, 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 Farewell To Freedom forms part of the 2014 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 500 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 16 cleaned public-sale observations for this entry. Its reported median is $250.00, with an observed low-to-high range of $152.50 to $444.84. 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 Farewell To Freedom, 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 2014 yearbook, Farewell To Freedom 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.
Interpolation Diptych
The master index records Interpolation Diptych as a 2014 release: First Edition, stated edition size 550, 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 Interpolation Diptych forms part of the 2014 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 550 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 10 cleaned public-sale observations for this entry. Its reported median is $324.38, with an observed low-to-high range of $160.00 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 Interpolation Diptych, 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 2014 yearbook, Interpolation Diptych 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 2014 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 14: 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.
