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For example, Damien Hirst’s Perillartine (2011) from the esteemed 40 Woodcut Spots series is estimated on MyArtBroker at £4,250-£6,500. This piece, originating from one of Hirst’s most sought-after collections and featuring one of his renowned motifs, comes from a limited edition of 55. With significant demand for these earlier works, especially following Hirst’s series of print drops with HENI, Perillartine has demonstrated an impressive 27% increase in Average Annual Growth Rate (AAGR) over the last five years, making it an attractive entry point into the market of this Turner Prize-winning artist.
Similarly, works from Bridget Riley’s Lozenges series, valued below £10,000, have shown AAGR increases of 30-80%, further highlighting the investment potential within this segment. Even works by Keith Haring and Andy Warhol, such as select prints from Warhol’s Ladies And Gentlemen portfolio, fall within this price bracket. These works carry immense cultural significance, and offer collectors of all ages the opportunity to collect artworks from the King of Pop Art – something they might think impossible.
The challenge seems to be that Gen Z have yet to fully recognise the investment potential inherent in art, particularly in prints and editions. As this generation begins to accumulate more disposable income for investment in alternative assets, prints emerge as a strategic avenue to access mature, established artist markets at a fraction of the cost of original works. These prints offer not only the opportunity to own a piece of art history, but also the potential for tried and tested value growth – distinguishing them from the more speculative investments in emerging artists. In their decisive pull away from the traditional venue of the auction house, the race is officially on to build an art market that accommodates this next generation of collectors.
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