A survey conducted among 240 collectors

As part of its mission to understand the market, Artsper conducted a survey among 240 collectors to analyze their perception of editions and the criteria they use to assess value. The goal was to better understand how the categories used by professionals are actually interpreted by buyers. The results highlight a significant gap between the industry’s terminology and the collectors’ framework for understanding.

Takashi Murakami, Cherry Tree, 2025 available on Artsper

A term primarily associated with the publishing world

The word edition is instinctively linked to the world of books: publishing, press, literature, bookstores. Before it is seen as a term within the art market, it refers to a well-established editorial and cultural universe.

When applied to art, the term is mostly associated with technical concepts like lithography, screen printing, etching, or prints. The idea of a "limited edition" often comes up, but without a shared definition. The term remains polysemic and does not constitute a category that is immediately clear to collectors.

Primarily seen as a production logic

When asked about the activities that fall under the term edition, respondents primarily associate it with:

• the publication of books (≈80%),
• the production of artworks (≈61%)
• the manufacturing of mass-produced items (≈43%).

This perspective shows that edition is viewed more as a production and distribution logic than as an autonomous artistic category. It is not immediately recognized as an artistic format, but rather as a mode of creation and circulation.

René Magritte, Les Valeurs Personnelles, 2004 available on Artsper

The criteria that structure value

The data reveal a clear hierarchy of perceived value factors:

• The artist’s talent (≈81%)
• Rarity (limited editions, numbering, certificates) (≈65%)
• Uniqueness / originality (≈46%)

While the visual aspect is mentioned, it is of secondary importance (≈34%), and the reputation of the sales channel is not a significant factor (≈14%). Perceived value thus relies primarily on intrinsic elements of the artwork itself, with authenticity markers playing a central role.

Sometimes unclear categorization

The analysis of specific cases reveals significant variation in responses. For numbered editions by well-known artists, respondents are uncertain whether to categorize them as limited editions, prints, screenprints, or reproductions.

Even when an artwork has strong artistic legitimacy, the terminology does not guarantee uniform understanding. This confirms that the current categories do not always align with the intuitive framework of collectors.

However, when it comes to industrially produced, non-numbered objects, the distinction between mass-produced items and artworks is clearer. The perceived boundary rests more on the signature, numbering, and validation process than on the format itself.

Felipe Cuoco, Parting Glacier, 2025 available on Artsper

The central role of signature and numbering

Multiples are not outright rejected. A significant portion of respondents believes they make the artwork more accessible. However, their value is strongly conditioned: the majority feels that the pieces must be signed and numbered to retain full legitimacy.

The manufacturing process also influences perception. Works perceived as created through a manual process are valued more highly than those associated with purely automated production.

Clear preferences for limited editions

In comparisons between different forms of editions, limited editions and traditional techniques (engraving, lithography) are clearly favored over open editions or prints perceived as more reproducible.

Collectors prefer formats where rarity and the framework for the work are explicitly established.

Key takeaways

The data highlight three main conclusions:

1. The term edition is largely understood through its editorial meaning, which can lead to confusion when used in an artistic context.
2. Collectors structure their judgment around rarity, signature, and the production process more than the vocabulary used.
3. The current terminology is not always sufficient to clearly guide purchasing decisions. Providing clarity about the differences between prints, limited editions, and reproductions is an important step in improving understanding.

In a market where editions play a vital role in accessibility and diffusion, the precision of language becomes a strategic factor. The clearer the characteristics of an edition (such as the print run, technique, and validation), the more its value is readable for collectors.

Karolina Orzelek, Wishing Trees, 2020 available on Artsper