Edition

Edition

An edition refers to a specific set of prints or artworks that are produced at a certain time or for a particular event.

Each piece in an edition is usually numbered and may be signed by the artist, which adds to its value and collectibility. The size of the edition—how many pieces are produced—can also influence the value of each individual piece. Editions are common in the art world, allowing artists to reach a broader audience while maintaining the integrity and value of their work.

44 results found for "Edition"

Artist

Sarah Zucker

Sarah Zucker (she/they/he) was born in 1985 in Cleveland Heights, Ohio. She now lives and works in Los Angeles, California.

Sarah Zucker
Print

Lemonhead

A child slides free from reality in Hiroya Kurata’s sun-kissed vignette.

For his paintings, Hiroya Kurata draws inspiration from family life. Many are based on photographs he takes during adventures with his wife and three children. Tenderness is balanced with bizarre artistic interventions. In this case, the subject’s head becomes a large smiling lemon.

Complete with deckled edges and a silkscreen varnish seal, aptly-titled Lemonhead translates a recent painting of the same name into an edition of 40 signed prints.

Lemonhead
Print

Afro Painter

Afro Painter is an abstract rebellion against conformity.

Based on an original work from Jansen’s anonymous Faceless series (2012), the edition challenges idealised stereotypes in painting and traditional portraiture. The portrait, influenced by his younger self, encapsulates the painter's inner battle. The subject is broken down into abstract parts which call for rebuilding, reflective of the artist’s personal journey as an artist in solitude with PTSD. Strong parallels can be drawn between the edition and works by German interwar artists such as Otto Dix and George Grosz; creating works as radical in their sociopolitical commentary as they are in style.

Afro Painter
Sculpture

GIANTS, High jump in Rio

A miniature giant by legendary photographer, JR.

In his ongoing Giants series, JR takes over buildings and monuments worldwide with enormous black and white portraits. The project began in Rio de Janeiro during the 2016 Olympics – championing determined world class athletes who didn’t quite make the cut. Mohamed, a Sudanese high-jumper, took his place on the roof of a foreclosed apartment building overlooking the ocean.

A first-of-its-kind sculpture archives the moment at a domestic scale. The figure, printed on acrylic, can be affixed to a scaffold made from welded steel rods and displayed in isolation, or placed on top of a bespoke plinth which doubles up as an edition box.

“All my works are ephemeral. If you go back to Rio it’s not there, but it’s there in people’s minds. For the people who haven’t seen it, here is the proof that it at some point existed.”

Watch the accompanying film to hear JR’s reflections on scale, scaffolding and the importance of protecting his naivety.

GIANTS, High jump in Rio
Print

BLOOM

With a blossoming symbol of growth and renewal, Marcela Flórido explores the beauty of self discovery.

Playful, sensitive, bold – Flórido’s first print edition, BLOOM, embodies her intentions as an artist. The edition is based on a large-scale painting from 2022, an experiment in symmetry. Flórido foregrounds her cartoonish pseudo-self, a recurring subject for her recent artworks. She draws from a wealth of art historical references, from Modernism to Baroque, Hilma Af Klimt to Tarsal do Amaral, culminating in a vibrant exploration of selfhood.

Each print has been uniquely hand-finished by the artist with flowers in a variety of colours, patterns and mediums, inviting collectors to connect with their print on a deeper level.

BLOOM
Print

Security

Ripcache goes incognito with an edition of surveillance-inspired prints, each holding its own secret.

Tribute to Ripcache's commentary on privacy and binary visual language, Security pushes the boundaries of printmaking as an edition of 32 unique prints. Behind a triangle in the lower left corner lies a private key, granting access to a wallet which contains an accompanying NFT. The private keys are concealed beneath scratchable black ink – only revealed if a collector chooses to deface their artwork. Would you vandalise your print to gain access?

Each print is paired with an NFT of the same artwork. Claiming instructions will be shared with collectors after launch.

Security
Print

slime XCIX

Slathered in a crimson ooze, slime XCIX is born.

The print edition translates an original painting from Kotao Tomozawa’s slime series into six silkscreen layers, finished with a dusting of glitter. The artist’s hyper-realistic style is emphasised through the use of a high gloss varnish seal, mimicking the translucent effect seen in her paintings. The composition further contributes to the idea that this image could be a photograph, resembling that of a polaroid picture.

The uncanny appears in various forms throughout Tomozawa’s practice. In this instance, a plastic doll. Slime is another recurring motif, as the artist recalls calming moments from her childhood spent playing with the substance. Combined with the use of red, a sinister undertone pervades – the slime coating appearing like a mask, falling unnaturally to leave the doll’s eyes and mouth uncovered.

slime XCIX
Sculpture

Toy Car

The classical bronze nude is reframed in Toy Car by Yu Nagaba.

With an arm melodramatically thrown over her head, the sleek female figure is based on a recurring character in Yu’s two and three-dimensional artwork, and represents the artist’s first figurative sculpture edition. The only clue as to where she is reclining is the toy car placed that accompanies her.

Inspired by Yu’s endeavours in graphic design, the edition constitutes a modern, minimal reworking of motifs and references from art history, such as Matisse’s reclining nudes. Frosted white paint is applied in several layers to the cast bronze sculpture – finished with flashes of platinum leaf.

Toy Car
Print

The Aquarium (Hand-finished)

Tinged with mischief and joy, Szabolcs Bozó unveils a fantastical sub-aquatic world.

When painting an original artwork for Art Basel Miami, Bozó was inspired by Ocean Drive. The beach, vivid architecture and neon lights all inform his underwater scene. Characters swimming through the piece began as sketches rooted in the artist’s Hungarian heritage. Influences spanning animation, folklore and mythology emerge in their unusual characteristics.

Treating each hand-finished edition as an original work, Bozo gets lost in the textural brushstrokes he adds whilst working from his studio floor. Each footprint or pawprint from his dog is left on the surface as ‘imperfections’ that are integral to his practice.

“Everyone digests art differently. Although I’m the one making the work, I don’t want to force my perspective on someone else and taint their enjoyment of it.”

The Aquarium (Hand-finished)
Print

Trespassers

James Jean’s Woodcutter meets Haroshi’s GUZO in a first-of-its-kind collaborative print.

Once strangers on opposite sides of the world, a kinship between the two artists ensued after noticing similar motifs in their work online. Both were riffing on traditional Japanese woodwork, and ideas for a collaborative edition soon followed.

Axe thrown over his shoulder, a defiant Woodcutter emerges from the forest with a freshly-felled GUZO under his arm. Faces look out from the wheels of his rippling skateboard, inspired by the tree-dwelling Kami spirits said to assist hunter-gatherers in Japanese folklore. The distinctive patterning of GUZO's body is derived from recycled skateboards – stacked, glued and carved by Haroshi to create his sculptures – and calls to themes of community and counter-culture.

"It’s uncertain whether he stole or rescued a much coveted Guzo, but what is clear is that he is a trespasser, and he has an expression of defiance as he pushes his way through a passage less travelled."

Each print is produced by Lamina, founded by James Jean and Brad Keech. The embossed prints are delicately finished with metallic foil, placing an emblem for each artist above his signature.

Trespassers
Print

Open Eyes (Flower)

Animations by Jake Fried find physical form in an edition of monochromatic lenticulars.

Traversing digital and physical art, Open Eyes (Flower) transforms the illusory subjects and movements of Fried’s NFTs into an ever-shifting lenticular. The artist’s animations require painstaking repetition – drawn one layer at a time, by hand, before being scanned and combined into digital artworks. Eight individual frames have been used as the basis for the intricate three-part lenticular.

Each print is paired with an NFT of the same artwork. Claiming instructions will be shared with collectors after launch.

Open Eyes (Flower)
Print

La Grière

Jean Jullien creates a postcard vision of summer on the French coast.

La Grière depicts a beach landscape dotted with bikini-clad bodies, buckets and sandals. A fascination with observation is at the core of Jullien’s work, using art to create a visual commentary on the everyday. Simplicity is his philosophy and his practice. Trips to the Western coast of France inspire the print’s title and contents, where Jullien will often sketch from life on the beach. In a setting where everything is on show, Jullien’s featureless figures remain anonymous.

Available for 24 hours only, the edition of signed prints recreates an original painting from Jullien’s first European institutional exhibition – STUDIOLO at MIMA Museum, Brussels. Worldwide shipping is free.

La Grière
Artist

Kotao Tomozawa

Kotao Tomozawa (she/her) was born in 1999 in Bordeaux, France. She now lives, works and studies in Japan as a Graduate student at Tokyo university of the arts.


Kotao Tomozawa
Collectible

I'M LUV (XL)

Wearable art from the world of LY & LUV.

A pair of limited edition hoodies – one white, one black – accompany a collection of new paintings by LY created for a pop-up in London. I’M LUV, constructed from luxuriously-soft organic cotton, is emblazoned front and back with a nonplussed rendition of the artist’s faithful companion. On the reverse, arms folded sullenly. On the front, peering through a small rectangular window.

I'M LUV (XL)
Collectible

I'M LUV (L)

Wearable art from the world of LY & LUV.

A pair of limited edition hoodies – one white, one black – accompany a collection of new paintings by LY created for a pop-up in London. I’M LUV, constructed from luxuriously-soft organic cotton, is emblazoned front and back with a nonplussed rendition of the artist’s faithful companion. On the reverse, arms folded sullenly. On the front, peering through a small rectangular window.

I'M LUV (L)
Collectible

I'M LUV (M)

Wearable art from the world of LY & LUV.

A pair of limited edition hoodies – one white, one black – accompany a collection of new paintings by LY created for a pop-up in London. I’M LUV, constructed from luxuriously-soft organic cotton, is emblazoned front and back with a nonplussed rendition of the artist’s faithful companion. On the reverse, arms folded sullenly. On the front, peering through a small rectangular window.

I'M LUV (M)
Collectible

I'M LUV (S)

Wearable art from the world of LY & LUV.

A pair of limited edition hoodies – one white, one black – accompany a collection of new paintings by LY created for a pop-up in London. I’M LUV, constructed from luxuriously-soft organic cotton, is emblazoned front and back with a nonplussed rendition of the artist’s faithful companion. On the reverse, arms folded sullenly. On the front, peering through a small rectangular window.

I'M LUV (S)
Collectible

BLOOM (XL)

Wearable art from the world of LY & LUV.

A pair of limited edition hoodies – one white, one black – accompany a collection of new paintings by LY created for a pop-up in London. BLOOM, constructed from luxuriously-soft organic cotton, is emblazoned with a pair of LUVs looking out from dense greyscale foliage – cropped to resemble one of the artist’s circular canvases. On the front, LUV becomes a vase for a small bunch of flowers.

BLOOM (XL)
Collectible

BLOOM (L)

Wearable art from the world of LY & LUV.

A pair of limited edition hoodies – one white, one black – accompany a collection of new paintings by LY created for a pop-up in London. BLOOM, constructed from luxuriously-soft organic cotton, is emblazoned with a pair of LUVs looking out from dense greyscale foliage – cropped to resemble one of the artist’s circular canvases. On the front, LUV becomes a vase for a small bunch of flowers.

BLOOM (L)
Collectible

BLOOM (M)

Wearable art from the world of LY & LUV.

A pair of limited edition hoodies – one white, one black – accompany a collection of new paintings by LY created for a pop-up in London. BLOOM, constructed from luxuriously-soft organic cotton, is emblazoned with a pair of LUVs looking out from dense greyscale foliage – cropped to resemble one of the artist’s circular canvases. On the front, LUV becomes a vase for a small bunch of flowers.

BLOOM (M)
Collectible

BLOOM (S)

Wearable art from the world of LY & LUV.

A pair of limited edition hoodies – one white, one black – accompany a collection of new paintings by LY created for a pop-up in London. BLOOM, constructed from luxuriously-soft organic cotton, is emblazoned with a pair of LUVs looking out from dense greyscale foliage – cropped to resemble one of the artist’s circular canvases. On the front, LUV becomes a vase for a small bunch of flowers.

BLOOM (S)
Collectible

I'M LUV (XS)

Wearable art from the world of LY & LUV.

A pair of limited edition hoodies – one white, one black – accompany a collection of new paintings by LY created for a pop-up in London. I’M LUV, constructed from luxuriously-soft organic cotton, is emblazoned front and back with a nonplussed rendition of the artist’s faithful companion. On the reverse, arms folded sullenly. On the front, peering through a small rectangular window.

I'M LUV (XS)
Collectible

BLOOM (XS)

Wearable art from the world of LY & LUV.

A pair of limited edition hoodies – one white, one black – accompany a collection of new paintings by LY created for a pop-up in London. BLOOM, constructed from luxuriously-soft organic cotton, is emblazoned with a pair of LUVs looking out from dense greyscale foliage – cropped to resemble one of the artist’s circular canvases. On the front, LUV becomes a vase for a small bunch of flowers.

BLOOM (XS)
Print

Mai (Afterlife) after Sir Joshua Reynolds' Portrait of Mai (Omai), 1776 and Frederick Douglass, 1850

Mai (Afterlife) after Sir Joshua Reynolds' Portrait of Mai (Omai), 1776 and Frederick Douglass, 1850 are a pair of time limited editions launched in support of the National Portrait Gallery in London. Re-opening in June 2023, the Gallery's diversified collection focuses on presenting an inclusive and dynamic picture of the people who have contributed to the rich history of the United Kingdom.

Checkout from this page to order both prints in one shipment. For details of each artwork, visit their individual pages.

Mai (Afterlife) after Sir Joshua Reynolds' Portrait of Mai (Omai), 1776 and Frederick Douglass, 1850
Print

Tiff

In Tiff, Shaina McCoy sets a faceless portrait in a sea of textured turquoise.

Translating an original painting into print form, the edition takes inspiration from family archives and photographs. Discernible only by her dark hair and sports jersey, the subject’s eschewed features create a sense of universality – encouraging the viewer to make connections with their own memories. McCoy’s thick application of oil paint and broad brushstrokes are closely replicated using innovative UV flatbed techniques, mimicking her rich painterly surfaces through layers of raised texture.

Tiff
Print

Frederick Douglass, 1850

With an edition of silkscreen prints, Elizabeth Peyton makes an emotive tribute to a seminal figure in the history of America.

In Frederick Douglass, 1850 (2020), Peyton renders the titular American abolitionist, orator and writer from the neck up. The intimate and closely-cropped scale emphasises the minimalism and physicality of her brushwork, and heightens the emotional intensity of her subject's expression. She builds up the contours of Douglass’s face from short, watery dabs of oil paint – lending the composition a sense of spirited lightness.

Peyton’s artwork has been meticulously translated into a 32-layer, limited edition silkscreen in close collaboration artisan printmakers at Make-Ready in London – one of a pair of editions launched in support of the National Portrait Gallery in London. Re-opening in June 2023, the Gallery's diversified collection focuses on presenting an inclusive and dynamic picture of the people who have contributed to the rich history of the United Kingdom.

Frederick Douglass, 1850, 2023, silkscreen print © Elizabeth Peyton

Frederick Douglass, 1850
Print

Mai (Afterlife) after Sir Joshua Reynolds' Portrait of Mai (Omai), 1776

In support of the National Portrait Gallery in London, Elizabeth Peyton depicts the subject of Reynolds’ eighteenth century portrait in gestural fuchsia.

Reynolds’ original painting portrays Mai – a Pacific Islander from Raiatea who travelled to England in 1773 and became a prominent figure in aristocratic society – at full length, barefoot in flowing robes. In her rendition, Peyton focuses entirely on Mai’s face, which she renders evocatively in loose strokes of oil paint.

Peyton’s artwork has been meticulously translated into a 15-layer, limited edition silkscreen in close collaboration artisan printmakers at Make-Ready in London – one of a pair of editions launched in support of the National Portrait Gallery in London. Re-opening in June 2023, the Gallery's diversified collection focuses on presenting an inclusive and dynamic picture of the people who have contributed to the rich history of the United Kingdom.

Mai (Afterlife) after Sir Joshua Reynolds' Portrait of Mai (Omai), 1776, 2023, silkscreen print © Elizabeth Peyton.

Mai (Afterlife) after Sir Joshua Reynolds' Portrait of Mai (Omai), 1776
Sculpture

CHATTE PARFAITE

30 unique artworks form an ensemble of grinning bronze cats by Ryan Travis Christian.

The devilish cat originates from Christian’s drawing Cut Dick, depicting a row of cats standing in hell. In a sculptural re-imagining, each cat holds a framed graphite drawing, riffing on vintage rubber-hose animation.

Spanning loaded themes such as gunplay, medication, self depreciation and dizzying abstract patterns, each drawing is a dive into the artist’s mind. With a plethora of satirical connotations attached to each illustration, Christian hopes for the viewer to determine what story each cat holds.

Please note that works from the edition will be randomly assigned.

CHATTE PARFAITE
Print

Strawberry Tears

Absurdism, horror, and cultivated arbitrariness meet canonical oil painting in a distorted portrait by Christian Rex van Minnen.

Grotesque and yet – somehow – delicious, plump gummy sweets float above a pulled and pinched face, veiled by a tattoo-esque layer of lurid cartoons. With a focus on tonal depth and richness of colour, the edition is printed in 34 distinct layers and finished with gold shimmer. Embossing and gloss varnish cause the gummies to jump forth from their surroundings, to surreal effect.

Specks, bubbling and pitting are a conscious choice by the artist, conceived to echo the aged surfaces of the centuries-old Dutch Masters paintings that inspire his work. The irregularities, unique to each print, are achieved by curing layers of ink for less time than usual – an experimental technique developed in collaboration with printmakers at Make-Ready in London.

The resulting artwork deftly entwines the precise technicalities of silkscreen printing with its lyrical unpredictability.

Strawberry Tears
Print

Sweet Bloom (Purple)

Flowers bloom in three different colours in Deborah Segun’s cubist-inspired vision of femininity.

Influenced by the collective experience of womanhood, Sweet Bloom (Purple) is an exploration of delicacy. A subject’s face hovers between a hand and flower. The silkscreen print accentuates the two-dimensionality of Segun’s works, emphasising her use of line to make the distinct shapes appear like cut-out collage.

The edition is available in three colour variations – blue, purple and yellow – in which the colours of the petals, hair and nails alternate.

Sweet Bloom (Purple)
Print

Sweet Bloom (Yellow)

Flowers bloom in three different colours in Deborah Segun’s cubist-inspired vision of femininity.

Influenced by the collective experience of womanhood, Sweet Bloom (Yellow) is an exploration of delicacy. A subject’s face hovers between a hand and flower. The silkscreen print accentuates the two-dimensionality of Segun’s works, emphasising her use of line to make the distinct shapes appear like cut-out collage.

The edition is available in three colour variations – blue, purple and yellow – in which the colours of the petals, hair and nails alternate.

Sweet Bloom (Yellow)
Print

Sweet Bloom (Blue)

Flowers bloom in three different colours in Deborah Segun’s cubist-inspired vision of femininity.

Influenced by the collective experience of womanhood, Sweet Bloom (Blue) is an exploration of delicacy. A subject’s face hovers between a hand and flower. The silkscreen print accentuates the two-dimensionality of Segun’s works, emphasising her use of line to make the distinct shapes appear like cut-out collage.

The edition is available in three colour variations – blue, purple and yellow – in which the colours of the petals, hair and nails alternate.

Sweet Bloom (Blue)
Print

Portrait of dazzle #150-P

Exuding mystery and glamour, Portrait of dazzle #150-P foregrounds the power of a gaze.

Based on an original work, the print edition sets Matsuyama’s feminine subject against a bold red backdrop, accentuating her sharp silhouette. Disguised by stripes and spots, a pair of deadpan eyes are the only discernible feature, confronting the viewer from underneath a low fringe. Matsuyama’s Portrait of dazzle series explores notions of camouflage. The name and patterns are derived from battleship designs during World War 1, when 'dazzle camouflage' made it difficult to ascertain whether a target was close by or far away. This motif first appeared in an installation by Matsuyama from 2016, and has since featured prominently throughout his practice.

Portrait of dazzle #150-P

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Parra's studio, with Parra at the centre, his back to the camera as he works on the large painting takes centre stage, showing a faceless blue woman in a striped dress, painted in red, purple, blue and teal. The studio is full of brightly coloured paints, with a large window on the right and a patterned rug across the floor under the painting.