Beyond the Basics: Collecting Multiples

Multiples, Prints, and Copies 

First, some definitions, as they are essential to understanding this fascinating and sometimes confusing sector of the art market. When curators and collectors speak about multiples, they are referring to individual works of art designed to be produced in several iterations. And multiples need not be prints. The word itself is an umbrella term for a broad category of techniques including engraving and lithography but also encompassing media like metal casting, plaster, ceramics, glass, NFTs, and more. (The term “multiple” is used more frequently for sculptural works, whereas “print” connotes a two-dimensional work, such as an etching on paper.) Regardless of the material or technique, the essential factor is the artist’s intention: multiples are created from the outset to exist in numerous iterations. Multiplicity is written into its DNA. Artists relish the the expressive possibilities of the printmaking and other multiple-oriented media, but there are economic reasons for creating multiples, as well. While maintaining a collector base for their more upscale, pricier works, artists can use multiples to create a pipeline to young and budget-conscious collectors by providing less exclusive yet equally collectible works.

Curators and gallerists are often approached with the same worried question: Isn’t a print the same as a copy—like photocopying a picture from a book or tacking an M.C. Escher poster on a dorm-room wall? This question reveals a deep-seated concern for beginning buyers as to whether a multiple is a “real” work of art?  

Rest assured—a multiple is not a copy, at least not in the traditional xerox sense of the word. Though the final product will exist in numerous iterations, each individual print will still be an artisanal handmade item. Taking fine-art prints as an example, an artist creates each piece individually, “pulling” the prints one by one. And as with any handmade object, the occurrence of variations—and thus uniqueness—can be high. “There is a sense of craftsmanship and care that a printmaker must take to ink and align the print just right,” notes Cameron Johnson, a printmaker and associate professor of art at Meredith College in Raleigh, NC. “I appreciate the subtle imperfections that come with hand-printed artwork that adds the human element.” 

Additional Terminology

Another key term for collectors to understand is “edition.” An edition encompasses all copies of a print or other multiple within a single series that look as close to identical as possible. And it gets even more granular than that. For photographer and professor of art Shannon Johnstone— Johnson’s colleague at Meredith College—the term “edition” signifies that “only a certain number of prints will be made at that particular size and on that particular paper.”

Editions can be further distinguished into limited or unlimited types. For limited editions, the number of works created is predetermined, with a fixed end point. This is typically noted on the front (or recto) of a print: an artist generally signs the print and adds the edition number. For a multiple marked “3/25,” the artist is communicating that this particular work was the third iteration in an edition of 25 total multiples. Conversely, an unlimited edition allows for production with no set end; an artist might see that a particular design is very popular and might create additional examples according to demand.  

But those are not the only types of editions to look out for: there’s also the “posthumous edition,” a term that refers to artwork produced after an artist’s death. Finally, not all prints are editioned at all. Consider the monotype: as the prefix suggests, these works are one-offs that do not belong to an edition or series but are singular, one-of-a-kind pieces. 

How are multiples valued?

As head-scratching as they might seem, the above distinctions are important to grapple with, as each can affect the valuation of an artwork. So do other factors. In addition to the physical size of a work of art, the edition size is one of the primary elements of pricing. In short, the smaller the edition, the more valuable it is perceived to be. When the Brooklyn-based street artist KAWS produces a painted cast vinyl sculpture series and limits the edition to 250, the final product may be more affordable than, say, a similar item from an edition of 50. And if you happen to purchase a first edition (numbered 1/25, as an example), that distinction can translate to even greater worth. A scarcity mentality often drives pricing for multiples, and can even be a boon for collectors.  “It comes down to monopoly,” says Johnstone. “If there is a particular photograph and it only has an edition of five, and I own three of them—that means I control the majority of the edition. It becomes more valuable because, in theory, I can control the price of the edition.”

Another element in play is the medium of the artwork. One of KAWS’s cast vinyl works will be worth significantly less than a bronze figure, as bronze is considered a higher-value substance. Johnson stresses that the same goes for the creation process itself. “Not all processes take the same labor or expertise,” he says. 

Finally, collectors should not overlook the value of the human element. Any hands-on interaction—the addition of a collaged element, a hand-tinted section, or the like—is liable to further increase an artwork’s value. The presence of an artist’s signature or initials should also be considered, as signed works are generally considered more valuable than unsigned ones (which goes to explain why posthumous editions are typically worth less than those produced during an artist’s lifetime). “I was taught to sign and title my prints in pencil, which helps to indicate an original print,” Johnson says. The graphite inscription is often the final addition before the work is ready for sale.  

Why Collectors Should Consider Multiples

Collectors have historically undervalued prints due to their multiplicity, viewing them as less rare and thus less collection-worthy than a unique work. This is a common, if outdated, assumption. Try this mindset instead: multiples are more collectible because they are less expensive.

From a financial standpoint, opting for multiples is a way to collect original works of art at lower prices than you would pay for a one-off painting, sculpture, or even a drawing. It is thus one of the most accessible avenues for burgeoning collectors, enabling a collector who is not stratospherically wealthy to own a Banksy without breaking the bank. An art enthusiast might not be able to drop anything close to the record-setting amount paid for Jeff Koons’s 1986 stainless steel sculpture, Rabbit ($91 million in 2019, with versions at the Museum of Contemporary Art in Chicago, the Broad Art Foundation in Los Angeles, and the National Museum of Qatar). But Koons’s 11-inch porcelain Balloon Rabbit, produced in a limited edition of 999, can be acquired for a relative bargain price of $25,000. 

The Tourist Trap

All this being said, it is important to note that not all multiples are created equal. Exhibit A: the sale of graphic art at commercial galleries found in shopping centers and cruise ships. You’ve likely seen these and have had the following thoughts: Wow, is that a real Miro? An affordable Dalí? A Picasso print, right in front of me and for the taking? What’s the deal with these pieces? 

This is where the term “original” gets thrown around a bit loosely. Many of these graphic works are giclées, which are essentially high-quality inkjet prints, or else serigraphs, a kind of screen print. These works are mechanically mass-produced in editions to the tune of multiple thousands. Such huge runs mean that if an artist was involved in the process of their creation—and this is a big “if”—then they might simply sign the work after completion, or even just nod in its general direction. In short, a giclée might or might not be considered original, its value is probably rather low, and there are likely hundreds of identical works floating around the globe. Investment-worthy? No. Unique? No again. “They don’t have the same esteem, value, and intention in the artist’s practice,” says California-based multimedia artist Carolyn Janssen. But that does not mean that there isn’t a place for these gussied-up posters. If you like a work of art on a purely aesthetic level and are not using it to boost your investment portfolio, feel free to purchase it. But if you are concerned about the quality of the artwork, the proposed sale price, or the sales experience itself, set down that glass of complimentary sparkling wine and walk away. 

Let’s Talk About New Media 

If there has been a seismic disruption to the art world in the last decade, it is the emergence of new media, particularly the popularity of NFTs (non-fungible tokens), digital prints, and AI-assisted imagery. These works, created entirely through digital processes, and sometimes in part by digital entities, challenge the art world’s notions of uniqueness even further, though many artists now issue digital certificates of authenticity to assure collectors. While this arena remains untested for segments of the art world—many museums are still hesitant to add NFTs to their collections, though the Los Angeles County Museum of Art (LACMA) and the Museum of Modern Art (MoMA) are among several that have—they have proven popular with collectors for their relative accessibility and affordability. But understandably, collectors continue to voice concerns.

While exploring all the big questions about new media may lie beyond the borders of this article—and collectors should always perform due diligence as it pertains to any purchase—there may be a more familiar way to frame those concerns. As with all new forms of expression and reproduction of art, change can be difficult until the technology is proven useful. Video art was one widely ridiculed among art cognoscenti, but today you’ll rarely find a contemporary art museum that does not feature a video in its collections or exhibitions. But here’s another catch: videos typically exist in multiples and editions, too. Does this diminish the work’s ability to be shown or enjoyed by the public? Not really. Multiplicity simply enables more of the world to enjoy more art, no matter the medium. 

Tips for Beginning Collectors

Collecting multiples provides an accessible and fun way to engage with original artworks. But as with any venture, it is essential to do your homework. Be sure to research the artist, their methods, and the specific print or prints that interest you, all of which can be key to understanding a work’s context, its perceived and actual value, and whether it makes sense for your budget. 

Next, confirm the piece’s edition, if any, and check to see if it is numbered and/or contains the artist’s signature, initials, stamp, or other identifying element. This is also true, albeit in a digital format, for NFTs. 

Be sure to purchase a work of art directly from the artist or from the gallery that represents them. This will help to ensure that you are purchasing a work that has been vetted—and even better, it is more likely to come with a certificate of authenticity. Moreover, doing so helps to support the artist in the creation of further works that might someday find their way into your blossoming collection—a win for everyone involved. 

Continuing to gain a deeper understanding of the ever-evolving arena of multiples can help you as a collector to discover greater acquisition opportunities, to make more informed decisions, and to build a much stronger comfort level as you explore a brave new world building an art collection that you can be proud of—and afford.