Often mistaken for copies, prints are works of art in their own right—and their popularity is on the rise, writes Florence Hallett
Whether it’s pop art or Picasso, opportunities for acquiring extraordinary prints of celebrated artworks to adorn your walls have never been greater. “The prints market is incredibly broad and diverse, offering something for everyone,” says Yessica Marks, director and head of Sotheby’s prints department. “Prints allow collectors to acquire genuine and recognisable compositions by world-renowned artists,” she says.
They’re often smaller than paintings, allowing collectors to complement an existing interior scheme or display, or to create a striking talking point. Crucially, they are easy to take from one home to another, or to reposition as part of a refresh—with modern and contemporary prints enhancing interiors designed in newer styles, or providing a dynamic counterpoint to historic spaces. “Globally, we’re seeing a strong appetite for bold, colorful pop and post-war prints”, says Marks. “In recent years we’ve seen especially notable prices for complete portfolios and unique colorways of iconic screen prints by Andy Warhol.”
Exhibitions by major institutions have helped to raise the profile of the medium, and correct the popular misconception that prints are copies, rather than works of art in themselves. From Warhol’s screen prints to Edvard Munch’s experiments in woodcut, lithography, drypoint and etching, for many artists, printmaking is at the heart of their practice. “Every time a blockbuster exhibition emphasizes a particular artist’s prints, we see a surge of requests for their work,” says Marks.
Sotheby’s has seen an exceptional number of record prices achieved during the pandemic and in the years since. But while scarce and highly prized pieces can fetch in the millions, prices at auction typically begin at more accessible prices, making it an ideal starting point for new collectors. “We’re seeing an unprecedented number of new and younger bidders,” says Marks, adding that this is spurred on by improved online sales platforms.
Sotheby’s fall sale for prints, open for bidding September 18–25, has a focus on Modernist figuration, from Picasso’s splendid linocut, “Portrait of a Woman, after Lucas Cranach,” 1958, to a selection of Andy Warhol’s bold representations of historical figures, from Chairman Mao to Mick Jagger.
“We are especially thrilled to be offering a collection of Surrealist and Dada masterpieces, led by Marcel Duchamp’s celebrated and subversive ‘L.H.O.O.Q.,’” says Marks. “This idiosyncratic reinvention of Leonardo Da Vinci’s beloved ‘Mona Lisa,’ marred by a quirky mustache, has become an icon of 20th-century art,” she adds.
Another much-anticipated highlight is a group of mixed-media prints by Howard Hodgkin, from the artist’s estate. They complement his paintings, but stand as their own body of work, explains Marks: “It’s an incredible honor to be entrusted with the sale of his own collection.”
Be warned: prints can be addictive: “Frequently, collectors are first enticed by decorative or cultural value, and as they delve further, they become enamored with the intricacies of the various printmaking processes.”
Demand is so high that Sotheby’s is now offering dedicated sales in Cologne, while the newly opened Sotheby’s Maison in Hong Kong has a selection of contemporary British prints for instant purchase, with works by Damien Hirst and Marc Quinn proving especially popular. Prints are a sound investment, but may prove hard to let go, says Marks: “With proper care, prints can be exhibited and enjoyed for many years, either as standalone pieces that anchor a space or in intricate salon-style hangs.”
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