Prints Calendar

Research Notes: LAMA – Prints & Multiples

Los Angeles Modern Auctions · Los Angeles · Jan 7, 2026

← Back to day

Sale overview

LAMA – Prints & Multiples

Los Angeles Modern Auctions · Los Angeles

Date: Jan 7, 2026

Status: Researching

Quick notes

Live auction focusing on prints and multiples. Scheduled to begin at 10:00 am PST on January 7, 2026. Part of LAMA’s "Prints & Multiples" series featuring editioned works by Andy Warhol, Betye Saar, Yayoi Kusama and Raymond Pettibon. More details: https://www.lamodern.com/prints-and-multiples

Edit sale details View day schedule

Research / Arbitrage Dossier Markdown-style headings and bullet points work well here.

# LAMA Prints & Multiples Auction – Arbitrage Opportunity Analysis

## Top Arbitrage Opportunities (Summary Table)

Below is a ranked selection of **editioned prints/multiples estimated under $7,000** that appear significantly undervalued relative to recent comparable sales. Each lot is summarized with key data, fair value estimates, upside potential, and liquidity outlook:

| Rank | Lot | Artist | Work (Year) | Est. | Fair Value (Low–High) | Upside | Liquidity |
| :---- | :---- | :---- | :---- | :---- | :---- | :---- | :---- |
| **1** | 196 | **Charles White** | *Joven (Youth)* (1946) | $3,000–5,000 | \~$5,000 – $12,000[\[1\]](https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-._D03400E9BE#:~:text=Lithograph%20on%20cream%20wove%20paper%2C,)[\[2\]](https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-._CF04F759BF#:~:text=Lot%20,prints%20when%20the%20data) | **100%+** | Niche/High (Afr.-Am. art market) |
| **2** | 100 | **Bridget Riley** | *Echo* (1998) | $6,000–8,000 | \~$9,000 – $14,000[\[3\]](https://www.myartbroker.com/artist-bridget-riley/collection-lozenges/artwork-echo-signed-print#:~:text=Bridget%20Riley%27s%20Echo%2C%20a%20screen,artwork%20is%20limited%20to%2075) | **50–75%** | Blue-chip (Op-Art collectors) |
| **3** | 197, 199 | **Richard Diebenkorn** | *Seated Woman* lithographs (1965) | $1,500–2,000 each | \~$3,000 – $9,000[\[4\]](https://www.swanngalleries.com/auction-lot/richard-diebenkorn-seated-woman-in-a-striped-dres_673407B901#:~:text=Lot%20,CONTEMPORARY%20ART)[\[5\]](https://www.wright20.com/auctions/2019/10/20th-century-art/143#:~:text=143%3A%20RICHARD%20DIEBENKORN%2C%20Seated%20Woman,estimate%3A) | **75%+** | Moderate (print collectors) |
| **4** | 182 | **Jasper Johns** | *Summer (Blue)* (1985–91) | $2,000–3,000 | \~$4,500 – $10,000[\[6\]](http://www.artnet.com/magazine/features/polsky/polsky8-29-00.asp#:~:text=artnet.com%20Magazine%20Features,is%20the%20closest%20thing)[\[7\]](https://www.ebay.com/b/Jasper-Johns-Pop-Art-Limited-Edition-Art-Prints/360/bn_108370526#:~:text=Edition) | **50–150%** | Blue-chip (high demand) |
| **5** | 103 | **Ed Ruscha** | *Just an Average Guy* (1979) | $6,000–8,000 | \~$8,000 – $10,000[\[8\]](https://www.phillips.com/detail/ed-ruscha/40310#:~:text=%246%2C000%20) | **30%+** | Blue-chip (stable market) |
| **6** | 134 | **Roy Lichtenstein** | *Girl* (One Cent Life, 1964\) | $2,000–3,000 | \~$3,000 – $7,000[\[9\]](https://www.mutualart.com/Artwork/Girl-from-One-1-Cent-Life-Lithograph-Cor/1668B555F2F17377518737E0EAEDBE91#:~:text=Roy%20Lichtenstein%20,6%2C750%20USD) | **30–100%** | Blue-chip (Pop collectors) |
| **7** | 105 | **John Cage** | *Not Wanting to Say... (Plexigram II)* (1969) | $2,000–3,000 | \~$3,000 – $4,000[\[10\]](https://www.schubertiademusic.com/products/cage-john-1912-1992-fontana-mix-1981-signed-silkscreen-and-collage#:~:text=,00)[\[11\]](https://www.swanngalleries.com/auction-lot/john-cage-not-wanting-to-say-anything-about-marce_17d4ce6bb6#:~:text=JOHN%20CAGE%20Not%20Wanting%20to,) | **50%+** | Niche (conceptual art fans) |
| **8** | 143 | **Miguel Berrocal** | *Portrait de Michèle* (Opus 110, 1969\) | $400–600 | \~$1,200 – $2,000[\[12\]](https://www.pamono.com/miguel-berrocal-portrait-of-michele-1970-metal?srsltid=AfmBOoo8BupUA709sgEgVnqsQXbSRnZm8X5Cjel-hIkuuMhO0GYAzvN1#:~:text=Miguel%20Berrocal%2C%20Portrait%20of%20Mich%C3%A8le%2C,New%20Destination)[\[13\]](https://www.averydash.com/products/nickel-plated-portrait-de-michelle-sculpture-by-miguel-berrocal#:~:text=A%20nickel%20plated%20puzzle%20sculpture,Deep.%20Circa%201976.%20%242%2C500.00) | **200%+** | Moderate (decorative/puzzle collectors) |
| **9** | 254 | **Invader** | *Invaded Cube* (2023) | $2,000–3,000 | \~$2,500 – $3,500[\[14\]](https://www.myartbroker.com/artist-invader/artwork-invaded-cube-nvdr1-1-signed-mixed-media#:~:text=Invaded%20Cube%20NVDR1,sold%207%20times%20at)[\[15\]](https://www.invaluable.com/artist/invader-2wwle2pl8m/sold-at-auction-prices/?page=13&srsltid=AfmBOoq-HhlBKpz31GehtnXI9UZ95rcmqLIr-L5rw4jMBSzD3HOGfwB2#:~:text=Invader%20Sold%20at%20Auction%20Prices,career%20as%20an%20urban) | **30%** | High (urban art market) |
| **10** | 266, 270 | **Takashi Murakami** | *Selected prints* (e.g. *Tan Tan Bo*, *Flowerball*) | $2,000–3,000 ea. | \~$3,000 – $5,000 | **50%** | High (global pop art market) |

*(Upside \= potential % increase over all-in cost; Liquidity \= relative ease of resale.)*

---

## Dossiers: Top Resale & Valuation Candidates

### 1\. Lot 196 – **Charles White, *Joven (Youth)* (1946)**

**Description:** Original 1946 lithograph on Fabriano paper, from a small edition (likely \<50). Depicts an African-American youth; signed (initialed) in the stone. Sheet \~17½″ × 14¼″[\[16\]](https://www.lot-art.com/auction-lots/Joven-Youth/196-joven_youth-07.1.26-angele#:~:text=Joven%20,This%20work%20is%20from). Condition appears good; includes wide margins.

**Estimate:** $3,000–5,000. **Current Bid:** $2,200.

**Market Comps:** Charles White’s mid-century lithographs are **highly sought after**, reflecting his importance in African-American art. Another impression of *Joven (Youth)* sold for **$12,500** (incl. premium) at Swann in 2021[\[1\]](https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-._D03400E9BE#:~:text=Lithograph%20on%20cream%20wove%20paper%2C,), far above a 2013 sale at $4,750[\[2\]](https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-._CF04F759BF#:~:text=Lot%20,prints%20when%20the%20data). This dramatic appreciation aligns with surging interest in Black printmakers. Comparable White lithographs from the 1940s–50s regularly hammer in the mid-4 to 5 figures[\[1\]](https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-._D03400E9BE#:~:text=Lithograph%20on%20cream%20wove%20paper%2C,)[\[2\]](https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-._CF04F759BF#:~:text=Lot%20,prints%20when%20the%20data), especially when scarce.

**Fair Value Estimate:** **\\$8,000 (low)** – \\$10,000 (base) – **\\$12,000+ (high)**. Even at the low end, fair value exceeds the high estimate by \~60%. The base-case of \~$10K reflects recent market momentum and wider collector demand.

**All-In Cost (Acquisition):** A winning bid around the low estimate ($3,500) yields an all-in cost ≈ **$4,475** (hammer $3,500 \+ 25% premium $875 \+ \~$100 shipping). At top estimate ($5,000 hammer), cost \~\\$6,350. Tax is likely exempt via resale certificate.

**Resale Strategy:** **Tier-1 liquidity** among specialized venues. Ideal resale through **Swann Galleries** (noted for African-American fine art) or a major prints auction in February (Black History Month) to tap institutional buyers. Additionally, **Heritage Auctions** or **Artsy/1stdibs consignment** could reach deep-pocket collectors given White’s museum presence.

**Resale Projections:** \- *Low:* \\$6,000 hammer (conservative quick sale to dealer).  
\- *Base:* \\$9,000 hammer (recent average at auction[\[2\]](https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-._CF04F759BF#:~:text=Lot%20,prints%20when%20the%20data)).  
\- *High:* \\$11,000–\\$12,000 hammer (if multiple bidders or a record-setting sale).

Assuming \~10% seller’s commission at auction, the **net to seller** would range from \~$5,400 (low) to \~$10,000 (high). This implies a **ROI** of \~+20% (low) up to **\+120%** (high). Profit could range $1–5K+.

**Liquidity & Risks:** **Liquidity:** Moderate-to-high. There is an active collector base and scarcity of supply. A strong result is likely if marketed to the right audience (e.g. Swann’s African-American Art auction). **Risks:** Condition issues (e.g. paper toning) could temper bidding – but no major flaws noted. Ensure the piece is original (not a later reproduction) – all indications are it’s authentic[\[16\]](https://www.lot-art.com/auction-lots/Joven-Youth/196-joven_youth-07.1.26-angele#:~:text=Joven%20,This%20work%20is%20from). Barring surprises, this lot presents one of the clearest arbitrage plays (significant value gap *and* cultural importance fueling demand).

### 2\. Lot 100 – **Bridget Riley, *Echo* (1998)**

**Description:** A vibrant **screenprint in colors** on wove paper, **21″ × 22½″ image** (27½″ × 28½″ sheet)[\[17\]](https://www.invaluable.com/auction-lot/bridget-riley-echo-100-c-1d84a3bae5?objectID=201719768&algIndex=upcoming_lots_lotNumber_asc_prod&queryID=4faa057f4c981706204d38daca057df5#:~:text=1998%20screenprint%20in%20colors%20image%3A,70%20x%2072%20cm). **Signed, dated ‘1998’, titled, and numbered 50/75** in pencil[\[18\]](https://www.invaluable.com/auction-lot/bridget-riley-echo-100-c-1d84a3bae5?objectID=201719768&algIndex=upcoming_lots_lotNumber_asc_prod&queryID=4faa057f4c981706204d38daca057df5#:~:text=sheet%3A%2027,70%20x%2072%20cm). Published by Artizan Editions, UK. Classic Op-Art composition of undulating colored stripes. Good condition: hinged at top, minor corner crease; bright colors[\[19\]](https://www.invaluable.com/auction-lot/bridget-riley-echo-100-c-1d84a3bae5?objectID=201719768&algIndex=upcoming_lots_lotNumber_asc_prod&queryID=4faa057f4c981706204d38daca057df5#:~:text=Bridget%20Riley).

**Estimate:** $6,000–8,000. **Current Bid:** $4,800 (1 bid).

**Market Comps:** Riley’s limited prints are **blue-chip** in Op Art. *Echo* (1998) in particular has a strong auction record: in the past 5 years, hammer prices ranged **£6,827 (\~$8,500) up to £11,000 (\~$13,500)** for this print[\[3\]](https://www.myartbroker.com/artist-bridget-riley/collection-lozenges/artwork-echo-signed-print#:~:text=Bridget%20Riley%27s%20Echo%2C%20a%20screen,artwork%20is%20limited%20to%2075). MyArtBroker estimates its market worth at £9,000–£13,000 (\~$12K–$17K) for a signed example[\[3\]](https://www.myartbroker.com/artist-bridget-riley/collection-lozenges/artwork-echo-signed-print#:~:text=Bridget%20Riley%27s%20Echo%2C%20a%20screen,artwork%20is%20limited%20to%2075). For instance, a London sale in Oct 2024 achieved \~£11K hammer, while a March 2024 sale fetched \~£6.8K (perhaps condition-driven)[\[3\]](https://www.myartbroker.com/artist-bridget-riley/collection-lozenges/artwork-echo-signed-print#:~:text=Bridget%20Riley%27s%20Echo%2C%20a%20screen,artwork%20is%20limited%20to%2075). The **trend is upward**, reflecting Riley’s continued relevance.

**Fair Value Estimate:** **\\$9,000 (low)** – \\$12,000 (base) – **\\$14,000 (high)**. Even the low-end fair value is at the **high estimate** level, suggesting solid upside. A well-framed, clean impression could approach the high teens (one retail source even quotes \~$15K).

**All-In Cost:** If won near low estimate (say $6,500 hammer), total outlay ≈ **$8,225** ($6,500 \+ $1,625 premium \+ $100 ship). At high estimate ($8,000 hammer), cost \~\\$10,100.

**Resale Strategy:** **Tier-1 liquidity.** Riley’s prints have global demand. Optimal exit would be at **Sotheby’s or Christie’s Prints** sale (they often achieve top results for Op Art prints). Alternatively, consign to a UK auction (where Op Art has a strong collector base) to capitalize on Riley’s British market – e.g. **Bonhams London Prints**. Private sale is also viable given institutional interest (contacting galleries or MyArtBroker which tracks this print).

**Resale Projections:** \- *Low:* \\$8,000 hammer (if market softens or quick flip needed – roughly the original high estimate).  
\- *Base:* \\$11,000 hammer (recent midpoint; buyer pays \~$13.8K with premium[\[3\]](https://www.myartbroker.com/artist-bridget-riley/collection-lozenges/artwork-echo-signed-print#:~:text=Bridget%20Riley%27s%20Echo%2C%20a%20screen,artwork%20is%20limited%20to%2075)).  
\- *High:* \\$13,000–\\$14,000 hammer (strong auction result as seen in late 2024[\[3\]](https://www.myartbroker.com/artist-bridget-riley/collection-lozenges/artwork-echo-signed-print#:~:text=Bridget%20Riley%27s%20Echo%2C%20a%20screen,artwork%20is%20limited%20to%2075)).

After \~10% selling fees, **net** might range \~$7,200 (low) up to \~$12,000 (high). This yields an **ROI** of roughly \+20% (low) to **\+50%** (base) or more in a bullish scenario. Profit could be $2K to $4K.

**Liquidity & Risks:** **Liquidity:** High. Bridget Riley is a staple of post-war prints auctions; demand is broad (museums, Op Art collectors worldwide). *Echo* has a clear sales history and should attract bidders. **Risks:** Condition must be as described (any fading or repairs would hurt value – current condition noted as good/vibrant[\[20\]](https://www.invaluable.com/auction-lot/bridget-riley-echo-100-c-1d84a3bae5?objectID=201719768&algIndex=upcoming_lots_lotNumber_asc_prod&queryID=4faa057f4c981706204d38daca057df5#:~:text=Work%20is%20in%20good%20condition,measuring%2031%20x%2032%20inches)). Also, currency fluctuations – selling in UK £ could incur FX differences (but likely minor relative to upside). Overall risk is low; the 30%+ upside is well-supported by comps, making this an attractive arbitrage candidate.

### 3\. Lots 197 & 199 – **Richard Diebenkorn, *Seated Woman* Lithographs (1965)**

**Description:** Two related color lithographs from Diebenkorn’s 1965 *Seated Woman* series, each approx. 30″ × 22″ sheets. Lot 197 *Seated Woman with Arms and Legs Crossed*; Lot 199 *Seated Woman in Chemise*. Both on Rives/Arches paper, likely signed and numbered (edition \~100 each). Classic mid-1960s Diebenkorn figure studies in a semi-abstract style. No major condition issues noted (expected to be good given provenance).

**Estimates:** $1,500–2,000 **each**. **Current Bids:** $1,100 and $1,200 respectively.

**Market Comps:** Diebenkorn’s 1965 figure lithographs have a **strong collector following** (especially since his works on paper are more attainable than paintings). Auction results vary by image rarity: for example, *Seated Woman in Armchair* sold for $3,125 in 2022[\[21\]](https://www.toomeyco.com/auctions/2022/04/prints-multiples/525#:~:text=Lot%20525%3A%20Richard%20Diebenkorn%201922%E2%80%931993,Richard%20Diebenkorn%20%28American), while *Seated Woman in a Striped Dress* fetched $4,750 in 2010[\[4\]](https://www.swanngalleries.com/auction-lot/richard-diebenkorn-seated-woman-in-a-striped-dres_673407B901#:~:text=Lot%20,CONTEMPORARY%20ART). MyArtBroker reports an *average* around **£6,922 (\~$9K)** for *Seated Woman* series prints over the last five years[\[22\]](https://www.myartbroker.com/artist-richard-diebenkorn/series-seated-woman#:~:text=Seated%20Woman%20by%20Richard%20Diebenkorn,appeals%20to%20collectors%20seeking) – likely boosted by some high results. Notably, *Seated Woman Drinking from a Cup* hit **$10,000** hammer at a Wright auction[\[5\]](https://www.wright20.com/auctions/2019/10/20th-century-art/143#:~:text=143%3A%20RICHARD%20DIEBENKORN%2C%20Seated%20Woman,estimate%3A), showing upside potential in this series. On the low end, lesser-known poses have still realized \~$2,000+ in recent sales[\[23\]](https://www.ragoarts.com/auctions/2024/06/prints-multiples/134#:~:text=134%3A%20RICHARD%20DIEBENKORN%2C%20Seated%20Woman,result%3A%20%242142). Overall, these prints have a **track record in the $3K–$7K range** at major auctions, depending on image and condition.

**Fair Value Estimate:** **\\$3,000 (low)** – \\$5,000 (base) – **\\$8,000 (high)** per print. Even using a conservative \~$3K each, both lots are under-priced. A mid-point of \~$5K each aligns with past sale averages, and a motivated collector could drive one of these toward the upper single-digit thousands in a strong sale.

**All-In Cost:** Assuming hammer around $1,800 each, **all-in per lot ≈ $2,350** ($1,800 \+ $450 premium \+ \~$100). For both, \~$4,700 total. If bidding is fierce up to $2,500 hammer, cost \~\\$3,225 each.

**Resale Strategy:** **Tier-2 liquidity.** Diebenkorn prints attract fine art print collectors and mid-century modern enthusiasts. Best venues: **Swann or Heritage Prints** sale (they have sold many ULAE prints), or a curated West Coast auction (Diebenkorn has California appeal). Alternatively, offer one via a dealer or gallery specializing in post-war editions – they often have clients seeking complete series. Even selling individually on **Artsy** or **eBay (with proper marketing)** could yield strong results, given Diebenkorn’s name.

**Resale Projections (per print):** \- *Low:* \\$2,500 hammer – a quick sale or cautious auction result (still above purchase price).  
\- *Base:* \\$4,000–\\$5,000 hammer – reflective of typical demand[\[4\]](https://www.swanngalleries.com/auction-lot/richard-diebenkorn-seated-woman-in-a-striped-dres_673407B901#:~:text=Lot%20,CONTEMPORARY%20ART).  
\- *High:* \\$7,000–\\$8,000 hammer – if a bidding war ensues or if one image is particularly desirable (noting one hit $10K in the past[\[5\]](https://www.wright20.com/auctions/2019/10/20th-century-art/143#:~:text=143%3A%20RICHARD%20DIEBENKORN%2C%20Seated%20Woman,estimate%3A)).

After \~10% fees, net per piece \~$2,250 (low) up to \~$7,200 (high). For both combined, net could be \~$4,500 (low) to \~$14,000 (high). This represents **ROI** of \~+90% (base case) and potentially **200%+** if a high outcome is achieved.

**Liquidity & Risks:** **Liquidity:** Moderate. There is a solid market for Diebenkorn prints, though not as frenzied as Warhol/Lichtenstein tier. These should sell within 3–6 months through a proper venue. **Risks:** If multiple prints from the series flood the market simultaneously, prices can moderate – but these two could be marketed as a pair, which might *increase* appeal (collectors often like to acquire multiple from a series). Ensure they have original documentation (publisher ULAE info) and are **not** later reproductions – given the catalog references, they appear authentic. In summary, buying below $2K and aiming to sell around $4–5K each is a realistic arbitrage play, with the bonus chance of a home-run result if interest spikes.

### 4\. Lot 182 – **Jasper Johns, *Summer (Blue)* (1985–91)**

**Description:** Lithograph in colors (pale blue background) from Jasper Johns’ **Seasons** series. Image \~9½″ × 6¼″ on 16¼″ × 11¼″ sheet[\[7\]](https://www.ebay.com/b/Jasper-Johns-Pop-Art-Limited-Edition-Art-Prints/360/bn_108370526#:~:text=Edition). **Signed and numbered** (edition of 73, ULAE 254). This print, “Summer (Blue),” was created 1985–91 as part of a four-season cycle. It features Johns’ characteristic motifs (torso outline, color washes) in a blue tonal scheme. Presumably excellent condition (no mention of faults; likely never framed).

**Estimate:** $2,000–3,000. **Current Bid:** $1,500.

**Market Comps:** Johns’ *Seasons* prints are **highly collectible**, often selling for multiples of their 1990s prices. In the early 2000s, *Summer (Blue)* traded around $4,500[\[6\]](http://www.artnet.com/magazine/features/polsky/polsky8-29-00.asp#:~:text=artnet.com%20Magazine%20Features,is%20the%20closest%20thing). More recently, dealers list signed examples for **$10,000+** (e.g. a NY fine art gallery offers one at $10K[\[24\]](https://jklfa.store/collections/jasper-johns?srsltid=AfmBOoqH6brCSfOqzd5BI7RA6eC5ttf-jEYPklWjaNLhD8zuhIRneYmi#:~:text=Jasper%20Johns%20Prints%20for%20Sale,Jasper%20Johns)). Auction-wise, a typical hammer is \~$4K–$6K when one comes up, given Johns’ enduring blue-chip status. Invaluable’s database notes an auction estimate of $2.5K–$3.5K and suggests it’s often sold above that[\[25\]](https://www.invaluable.com/artist/jasper-johns-ht6yo458ng/sold-at-auction-prices/?page=22&srsltid=AfmBOorTj49ABjOZv_aN48L1qnOEXOu7pblQ0ubQ-6-tPstV1hNp1tJr#:~:text=Jasper%20Johns%20Sold%20at%20Auction,5). With Johns’ auction record skyrocketing in 2022 for his paintings, even prints have seen an uptick in demand.

**Fair Value Estimate:** **\\$4,500 (low)** – \\$7,500 (base) – **\\$10,000 (high)**. The mid-point \~$7K aligns with where well-advertised sales land (and some private sales approach five figures). Even the low-end $4.5K equals 1.5× the high estimate, indicating solid arbitrage potential.

**All-In Cost:** If won near $2,500 hammer, **cost ≈ $3,225** ($2,500 \+ $625 premium \+ $100). At a full $3,000 hammer, about $3,850 all-in.

**Resale Strategy:** **Tier-1 liquidity.** Jasper Johns is **blue-chip**, and *Summer (Blue)* appeals broadly (it’s a manageable size, iconic artist, and part of a known series – some collectors may seek to complete their set). Optimal resale via a **major prints auction at Christie’s/Sotheby’s** – they routinely feature Johns prints in fall/spring sales with international bidding. Another route: consign to a reputable dealer or online platform (Artsy, Artnet) where Johns collectors shop – a piece like this could move quickly in a private sale given limited supply. Pricing it around $8–9K to end buyers would still be attractive relative to gallery asks.

**Resale Projections:** \- *Low:* \\$4,000 hammer (a cautious sale, perhaps in a regional auction – still likely above cost).  
\- *Base:* \\$6,000 hammer (reasonable expectation in a good prints sale, buyer pays \~$7.5K).  
\- *High:* \\$9,000–\\$10,000 hammer (optimistic scenario if multiple bidders or if marketed as part of a Seasons set; a gallery sale could even exceed this).

After standard fees, the **net** could be \~$3,600 (low) up to \~$9,000 (high). That’s roughly **\+15%** (worst-case breakeven scenario) to **\+180%** ROI at the high end. More realistically, a \~$6K hammer would net \~$5,400, about **\+67%** profit on cost.

**Liquidity & Risks:** **Liquidity:** High. Johns prints are staple investments and *Summer (Blue)*, being signed and from a famous series, will always find a buyer. Turnaround could be very fast if priced right. **Risks:** Minimal – condition must be excellent (verify no fading of the delicate colors). The edition size (\~73) is relatively small, but note that *unsigned* poster versions exist; here we have the **signed edition**[\[7\]](https://www.ebay.com/b/Jasper-Johns-Pop-Art-Limited-Edition-Art-Prints/360/bn_108370526#:~:text=Edition) – its value is far greater. Ensure any COA or ULAE documentation accompanies it to reassure buyers. Given the significant spread between acquisition cost and likely resale, this lot offers a **comfortable margin** and is a textbook arbitrage candidate for a blue-chip print.

### 5\. Lot 103 – **Ed Ruscha, *Just an Average Guy* (1979)**

**Description:** Large **etching in colors** on Rives BFK, 1979\. Image \~8¾″ × 35½″ on 15⅝″ × 43⅜″ sheet[\[26\]](https://www.phillips.com/detail/ed-ruscha/40310#:~:text=Etching%20in%20colors%2C%20on%20Rives,BFK%20paper%2C%20with%20full%20margins) – a long horizontal format. **Signed, dated, titled, and numbered 4/45** in pencil (plus 12 APs)[\[27\]](https://www.phillips.com/detail/ed-ruscha/40310#:~:text=S,2%20cm). Published by Multiples, Inc. Depicts the phrase “Just an Average Guy” in Ruscha’s typical deadpan style. Condition presumed very good (no issues noted; likely framed).

**Estimate:** $6,000–8,000. **Current Bid:** $4,800.

**Market Comps:** Ruscha’s text-based prints are steady sellers. *Just an Average Guy* in particular has appeared at auction multiple times. Phillips New York sold an edition for **$8,255 (incl. premium)** against a $6–9K estimate[\[28\]](https://www.phillips.com/detail/ed-ruscha/40310#:~:text=Estimate) (likely hammer \~$6,500). MyArtBroker’s analysis pegs its value around **£5,000–£7,500** (\~$6.5K–$10K)[\[29\]](https://www.myartbroker.com/artist-ed-ruscha/artwork-just-an-average-guy-signed-print#:~:text=Ed%20Ruscha)[\[30\]](https://www.myartbroker.com/artist-ed-ruscha/artwork-just-an-average-guy-signed-print#:~:text=%2450%2C000). Past sales: a **2024 Phillips auction** achieved around the mid estimate (hammer \~$7K), while earlier results (2010s) were closer to $5–6K. Overall, fair market seems in the high single-thousands. Downside is limited – Ruscha’s prints seldom hammer below $5K unless damaged.

**Fair Value Estimate:** **\\$7,000 (low)** – \\$9,000 (base) – **\\$10,000 (high)**. The base case \~$9K assumes a solid auction with competitive bidding (which aligns with the high estimate and MyArtBroker’s upper range[\[31\]](https://www.myartbroker.com/artist-ed-ruscha/artwork-just-an-average-guy-signed-print#:~:text=%C2%A35%2C000)). High scenario $10K would likely be a top-decile result, perhaps via a retail/private sale to a Ruscha collector.

**All-In Cost:** If hammer at $6,000, **cost ≈ $7,600** (6K \+ $1,500 premium \+ \~$100). If it needs $7,500 to win, cost \~\\$9,475. There’s a possibility it could be won closer to current bid ($5K), which would be ideal (cost \~$6,350).

**Resale Strategy:** **Tier-1 liquidity.** Ruscha is a pillar of West Coast Pop/Conceptual art. For maximum return, consider a **high-profile auction**: e.g. **Sotheby’s NY Prints** or even a specialized California-themed sale. His market is global, so listing with **Artsy or a top print dealer** on consignment (targeting \~$11K ask) might net a strong private sale. Also, the broad appeal of the phrase/image means even venues like **Heritage** (which attracts Pop art bidders) could perform well.

**Resale Projections:** \- *Low:* \\$6,500 hammer (if market is flat – essentially break-even territory after fees).  
\- *Base:* \\$8,000 hammer (recent result, buyer pays \~$10K[\[28\]](https://www.phillips.com/detail/ed-ruscha/40310#:~:text=Estimate)).  
\- *High:* \\$10,000–\\$11,000 hammer (optimistic, perhaps if a collector needs this print to complete a set or if two Ruscha fans compete).

Net after 10% commission: \~$5,850 (low) up to \~$9,900 (high). That’s roughly **0%** (breakeven) to **\+30%** ROI. The base case (8K hammer → \~$7,200 net) yields about **\+20%** on a \~$6,000–6,500 cost, which is a respectable arbitrage for a blue-chip piece.

**Liquidity & Risks:** **Liquidity:** High. Ruscha’s name ensures the piece will resell; timeframe likely within 3 months at auction or a bit longer via private sale. **Risks:** The upside margin here (\~30–40% at best) is a bit thinner than some other lots, so a soft auction could erode profit. However, downside risk is cushioned by the strong $5K+ floor seen historically. Check condition in person: the long sheet can be prone to handling creases; a pristine impression will fetch top dollar. Given a likely purchase around $6–7K, this lot is a **lower-risk, moderate-upside** flip – a “bread and butter” arbitrage rather than a home run, but valuable for portfolio diversity.

### 6\. Lot 134 – **Roy Lichtenstein, *Girl* (from *One Cent Life* portfolio, 1964\)**

**Description:** Original 1964 **offset lithograph** in colors on paper from the famous *One Cent Life* artists’ portfolio. Dimensions \~16″ × 11″ (full margins). **Unsigned, as issued** (the standard edition prints in *One Cent Life* were not individually signed). Depicts a Lichtenstein Pop Art girl with bright ben-day dot coloring – an iconic image from early in his career. The print is presumably in excellent condition (vibrant inks, no staining or folds), often kept in portfolio or frame.

**Estimate:** $2,000–3,000. **Current Bid:** $1,600.

**Market Comps:** Although unsigned, *Girl* is one of Lichtenstein’s most recognizable lithographs and highly decorative. Prices vary: at auction, it typically brings **$2,000–$4,000** depending on condition and demand. For instance, Forum Auctions (UK) recently listed a *Girl* with bidding at £1,500 (\~$1,900) mid-auction[\[32\]](https://www.artsy.net/collection/one-cent-life#:~:text=One,from%20the%20One), suggesting it may end around $3K. On the high end, dealers sometimes command **$6K–$8K** for top-condition examples (e.g. a dealer sale around $6,750 was recorded[\[9\]](https://www.mutualart.com/Artwork/Girl-from-One-1-Cent-Life-Lithograph-Cor/1668B555F2F17377518737E0EAEDBE91#:~:text=Roy%20Lichtenstein%20,6%2C750%20USD)). A deluxe *hand-signed* variant exists but that’s a different (scarce) edition; the unsigned is the common version of which 2,000 were printed. Collectors of Pop Art and Lichtenstein completists ensure steady demand. The piece’s value has crept up over time as supply gradually thins – Artnet noted it rising to \~$4,500 by the early 2000s[\[6\]](http://www.artnet.com/magazine/features/polsky/polsky8-29-00.asp#:~:text=artnet.com%20Magazine%20Features,is%20the%20closest%20thing) (and it’s held around that level for quality copies).

**Fair Value Estimate:** **\\$3,000 (low)** – \\$5,000 (base) – **\\$7,000 (high)**. Base \~$5K assumes a patient private sale to a Pop Art enthusiast (who values the image quality and provenance). High scenario $7K would likely be via a retail channel (gallery or 1stDibs) where buyers pay a premium for framing and condition.

**All-In Cost:** Winning at mid-estimate ($2,500 hammer) → **$3,225** total. Even at top estimate ($3,000 hammer) → \~$3,850 all-in. If luck allows snagging around $2K hammer, cost \~$2,600.

**Resale Strategy:** **Tier-2 liquidity.** While Lichtenstein is blue-chip, note this print is unsigned and in a relatively large edition, which places it in a more *decorative collector* market than ultra-rare prints. For maximum price, a **direct sale to a private collector** could be ideal – e.g. via **eBay or Etsy (with proper authentication)** or a Pop Art specialist dealer. Online platforms like **Artsy** could list it at \~$6K and likely find a buyer. If using auctions, a venue like **Heritage Auctions** or **Bonhams Pop Culture** sale might treat it as a highlight and get $4K+. Marketing the piece framed and in excellent condition can also add value for retail buyers.

**Resale Projections:** \- *Low:* \\$2,800 hammer (if sold quickly at auction with minimal competition – roughly breakeven after fees).  
\- *Base:* \\$4,000 hammer (reasonable expectation, buyer pays \~$5K, in line with typical sales).  
\- *High:* \\$6,000+ hammer (if two bidders really want it, or via a retail sale at \~$7K gross).

Net outcome could be \~$2,500 (low) to \~$5,400 (base) to \~$5,400+ after fees in a high scenario (note: in a retail sale, fees would be lower but time to sell might be longer). This translates to **ROI** of roughly 0% (low) to **\~60%** (base). A top retail sale could double the money, but factoring possible commission or time, we conservatively see \~40–60% upside.

**Liquidity & Risks:** **Liquidity:** Fairly high – Pop Art prints remain extremely popular décor and investment pieces. However, being unsigned, *Girl* appeals more to entry-level collectors and design-minded buyers than high-end investors, so finding the right marketplace is key. It might not soar at a fine art auction the way signed works do, but it will always sell. **Risks:** Condition is crucial – any fading or foxing can cut the value significantly. Also, **beware of post-1964 reprints** (the original *One Cent Life* lithographs are on a slightly textured paper with vibrant inks; later reproductions exist on slick poster paper). Assuming authenticity (from the portfolio) and good condition, the risk is low. This lot offers a solid, if not dramatic, arbitrage: it likely won’t lose money, and with smart selling, should achieve the \~30%+ profit target.

### 7\. Lot 105 – **John Cage, *Not Wanting to Say Anything About Marcel: Plexigram II* (1969)**

**Description:** A conceptual multiple by John Cage consisting of **eight plexiglass panels with screenprinted text/images**, mounted in a walnut base (one of the “Plexigrams” created in honor of Marcel Duchamp). This lot is **Plexigram II** only (from the set of 8). Each clear panel \~20″ × 30″, with floating text. Edition of 125 (published by Irwin Hollander Workshop, 1969). **Signed/numbered?** Cage’s plexigrams were not individually signed, but the base or accompanying certificate may bear the edition number (to verify). It’s essentially a free-standing sculpture with layered text that changes as you view from different angles – a seminal mixed-media print/multiple of late 1960s conceptual art.

**Estimate:** $2,000–3,000. **Current Bid:** $1,200 (1 bid).

**Market Comps:** Cage’s *Not Wanting to Say Anything…* originally came as a set (8 Plexigrams \+ 2 lithographs). Complete sets have auctioned in the \~$10K+ range historically. Single Plexigram panels appear occasionally: a dealer currently offers Plexigram II at **$3,500**[\[33\]](https://www.schubertiademusic.com/products/cage-john-1912-1992-fontana-mix-1981-signed-silkscreen-and-collage#:~:text=Cage%2C%20John,00) retail. Auction results include one Plexigram selling for \~$4,064[\[34\]](https://www.wright20.com/auctions/2025/12/editions-works-on-paper/196#:~:text=,estimate), and a partial set of four plexi panels fetching $40K+ (likely a complete boxed set sale)[\[35\]](https://www.lamodern.com/auctions/2026/01/prints-multiples/105#:~:text=II%20www,four%20works). A recent Swann Galleries sale of a similar Cage piece (possibly a lithograph from the project) brought $4,420[\[11\]](https://www.swanngalleries.com/auction-lot/john-cage-not-wanting-to-say-anything-about-marce_17d4ce6bb6#:~:text=JOHN%20CAGE%20Not%20Wanting%20to,). For **just Plexigram II**, realistic auction hammer values are in the \~$2,500–$3,500 range, given it’s incomplete without the others. However, interest in Fluxus and conceptual art has grown, and these rarely surface, which can spark competitive bidding among niche collectors.

**Fair Value Estimate:** **\\$3,000 (low)** – \\$4,000 (base) – **\\$5,000 (high)** for the single Plexigram. The low end assumes a modest outcome (someone buying it as a conversation piece), while the high end might come if a collector of Cage or Duchampiana is trying to assemble a set and is willing to pay a premium for this panel.

**All-In Cost:** If won at $1,800 hammer, **cost ≈ $2,350**. Even up to $2,500 hammer, cost \~\\$3,225.

**Resale Strategy:** **Tier-3 liquidity (niche).** The buyer pool is smaller – think museums, Cage aficionados, or Fluxus art collectors. To maximize value, consider offering through a specialist platform: **Wright or Rago Auctions** (both have sold Cage multiples[\[36\]](https://www.wright20.com/auctions/2023/12/editions-works-on-paper/169#:~:text=works%29%20www,Not%20Wanting%20to%20Say)) – they cater to design/Fluxus crossovers. Marketing it as an important conceptual art piece (with provenance and any Cage ephemera) will help. Another route: approach galleries that handle Fluxus or early conceptual editions (they might have clients seeking specific plexigrams). Online, **Artsy** might reach global concept art fans. Expect it could take a bit longer to find the right buyer compared to pop prints.

**Resale Projections:** \- *Low:* \\$2,500 hammer (flips at a smaller contemporary sale, net barely break-even).  
\- *Base:* \\$3,500 hammer (likely outcome if properly targeted – buyer pays \~$4.4K).  
\- *High:* \\$5,000 hammer (if two institutions or collectors need this panel to complete a set, a bidding war could ensue).

After \~10% fees, net might be \~$2,250 (low) to \~$4,500 (high). On an approx $2,350 cost, that’s **ROI** from \~0% up to **\+90%**. The base-case \~$3.5K hammer yields \~$3,150 net, about **\+34%** profit.

**Liquidity & Risks:** **Liquidity:** Low-to-moderate. This is a very cool but esoteric piece – *it may not sell immediately*. Patience might be needed to get a strong price (potentially waiting for a Cage centennial or a themed sale). However, downside is cushioned by the rarity; one can also negotiate directly with conceptual art collectors or use it as trade bait. **Risks:** Because it’s a **fragment of a larger work**, some buyers may discount it. Also, condition of plexiglass is crucial – any scratches or clouding reduce value (hopefully the auction provides condition details; assume “good with minor wear” unless otherwise noted). Shipping this safely is non-trivial (multiple heavy plexi sheets), which adds cost/risk – but our model included \~$100 shipping; it might be higher with insurance. In summary, while not a mainstream flip, this lot offers a *high-percentage* upside if you’re willing to target a specialized market – a 30%+ gain is very plausible, and you’d be stewarding a piece of conceptual art history in the meantime.

### 8\. Lot 143 – **Miguel Berrocal, *Portrait de Michèle* (Opus 110, 1969\)**

**Description:** A **miniature puzzle sculpture** by Berrocal. Nickel-plated zamak alloy with brass and enamel details, approx. 4″ tall[\[37\]](https://www.averydash.com/products/nickel-plated-portrait-de-michelle-sculpture-by-miguel-berrocal#:~:text=A%20nickel%20plated%20puzzle%20sculpture,Deep.%20Circa%201976.%20%242%2C500.00). It disassembles into \~30 pieces, including a wearable ring (the gemstone “eye” becomes a ring when taken out – Berrocal’s signature feature). **Edition of 9,500**, this example numbered (e.g. \#3,083/9500 as per similar examples). Comes with original box and booklet if complete (not stated, but these add value if present). Essentially a 3D editioned multiple – part of Berrocal’s popular 1960s puzzle series.

**Estimate:** $400–600. **Current Bid:** $300.

**Market Comps:** Berrocal mini sculptures have an active collector market (both art and design collectors). *Portrait de Michèle* is among the most produced, so values are modest but steady. Auction results: one sold for **$562 (hammer \~$450)[\[38\]](https://www.billingsauction.com/spring-2021-auction/p/211-portrait-de-michele-puzzle-sculpture#:~:text=Miguel%20Berrocal%20%27Portrait%20de%20Michele%27,to%20front%20of%20neck)** at Billings in 2020 (missing box), under a $700–900 estimate. However, retail asks are higher: a vintage design shop lists one at **$2,500 (complete with ring)[\[39\]](https://www.averydash.com/products/nickel-plated-portrait-de-michelle-sculpture-by-miguel-berrocal#:~:text=Nickel%20Plated%20,Deep.%20Circa%201976.%20%242%2C500.00)**, and European dealers on Pamono have it around **$1,500** on sale[\[12\]](https://www.pamono.com/miguel-berrocal-portrait-of-michele-1970-metal?srsltid=AfmBOoo8BupUA709sgEgVnqsQXbSRnZm8X5Cjel-hIkuuMhO0GYAzvN1#:~:text=Miguel%20Berrocal%2C%20Portrait%20of%20Mich%C3%A8le%2C,New%20Destination). Typically, a *complete, good condition* Michèle fetches \~$1,000–$1,200 on eBay. The wide edition (9500 made) caps the high end, but demand remains because many sets have been lost or incomplete, making good ones desirable. It’s not unusual for a well-presented piece with packaging to sell at 2–3× auction prices in gallery settings.

**Fair Value Estimate:** **\\$1,000 (low)** – \\$1,500 (base) – **\\$2,000 (high)**. Base \~$1.5K assumes selling to a design/collectible buyer with all parts intact. High of \~$2K could be achieved via retail with patience or if the piece is in exceptional condition with provenance.

**All-In Cost:** If hammer is $500, **cost ≈ $725** (500 \+ 125 premium \+ \~100 shipping). Even at $600 hammer (top estimate), it’s \~$850 all-in.

**Resale Strategy:** **Tier-2 liquidity (design/collectible market).** This piece straddles fine art and design. An ideal flip could be via a design auction or gallery: e.g. **Wright’s “Objects” auction** or a design-focused sale (they often attract Berrocal fans and can yield surprises). Alternatively, listing on **1stDibs or Pamono** (where similar pieces list \~$1.5K+) can reach interior designers and collectors worldwide – though fees are higher and sales might take a few months. eBay is a quick option too; recent sales suggest an easy sale around $1K if the ring and instructions are included. Emphasizing the puzzle aspect and wearability is key in marketing.

**Resale Projections:** \- *Low:* \\$800 hammer (e.g. quick eBay sale to a reseller).  
\- *Base:* \\$1,200 hammer (likely outcome via broader exposure – buyer pays \~$1,500).  
\- *High:* \\$1,800–\\$2,000 hammer (if sold in a curated design auction or via retail at $2K+ with box).

After minimal selling fees (perhaps 10% auction or 15% online), **net** could range \~$720 (low) to \~$1,600 (high). That’s a **ROI** of roughly \+0% (low, if rushing a sale at only $800) to **\+120%** (double the money in a good sale). Base case (\~$1,200) minus fees nets \~$1,080, which on $725 cost is **\+50%** profit.

**Liquidity & Risks:** **Liquidity:** Moderate. Berrocal has a dedicated niche market – pieces do sell consistently, but highest prices come from the right venue. It might take a bit of outreach (e.g. ensuring it’s listed in the right category or auction where puzzle sculpture collectors shop). **Risks:** The main risk is **completeness** – missing the ring or any tiny piece could drop value significantly. Assuming it’s complete (this should be verified before bidding), condition of plating (no heavy tarnish or corrosion) is also important. Because the edition is large, there’s always some available on the market, so pushing to the high end may require holding out for the ideal buyer. That said, at the likely sub-$750 acquisition, the downside is minimal (even incomplete ones can sell for a few hundred as parts). In summary, this lot is a low-dollar but high-percentage flip: a fun, tangible item that could net a few hundred dollars profit fairly easily, with upside if you tap into the design/art crossover market.

### 9\. Lot 254 – **Invader, *Invaded Cube* (2023)**

**Description:** A recent limited edition by street artist Invader. It consists of a **giclée print in colors on aluminum composite panel with Diasec (acrylic) face mounting**, 100 × 100 cm (39″ square)[\[40\]](https://www.artsy.net/artwork/invader-invaded-cube-29#:~:text=Invaded%20Cube%20%282023%29%20,mounting%2C%20100%20%C3%97%20100%20cm) – a large format. The piece depicts one of Invader’s signature Rubik’s Cube mosaic designs (likely the *Invaded Cube* image from his Rubikcubism series). **Edition of 100**, signed and numbered. Essentially a high-end print/multiple bridging street art and contemporary tech.

**Estimate:** $2,000–3,000. **Current Bid:** $2,000.

**Market Comps:** Invader’s market is hot, especially anything Rubik’s Cube-themed. *Invaded Cube* (also referenced as “NVDR1-1”) was released 2023 at around €1,500 issue price. On the secondary market, MyArtBroker notes its value in **£1,300–£1,900** range (\~$1.6K–$2.4K) in recent trades[\[14\]](https://www.myartbroker.com/artist-invader/artwork-invaded-cube-nvdr1-1-signed-mixed-media#:~:text=Invaded%20Cube%20NVDR1,sold%207%20times%20at) – perhaps reflecting early flips. However, some auctions have listed similar Invader Diasec prints with estimates €10,000+ (though that could be different images)[\[15\]](https://www.invaluable.com/artist/invader-2wwle2pl8m/sold-at-auction-prices/?page=13&srsltid=AfmBOoq-HhlBKpz31GehtnXI9UZ95rcmqLIr-L5rw4jMBSzD3HOGfwB2#:~:text=Invader%20Sold%20at%20Auction%20Prices,career%20as%20an%20urban). A Danysz gallery listing is “price on request” (likely higher)[\[41\]](https://www.artsy.net/artwork/invader-invaded-cube-53#:~:text=Invader%20,Price%20on%20request). Given this piece is **large and costly to produce**, it might trend upward as the edition sells out. Right now, fair auction value seems around $2.5K–$3.5K (one U.S. auction in late 2023 had an Invaded Cube unsold with est. €10K, suggesting that was overambitious[\[15\]](https://www.invaluable.com/artist/invader-2wwle2pl8m/sold-at-auction-prices/?page=13&srsltid=AfmBOoq-HhlBKpz31GehtnXI9UZ95rcmqLIr-L5rw4jMBSzD3HOGfwB2#:~:text=Invader%20Sold%20at%20Auction%20Prices,career%20as%20an%20urban)). Street art collectors might be willing to pay a premium beyond $3K if it’s in hand (avoiding waitlists/import fees etc.).

**Fair Value Estimate:** **\\$2,500 (low)** – \\$3,000 (base) **– \\$3,500 (high)** in the near term. The upside beyond that may take more time/hype. For arbitrage calculation, \~\\$3K is a reasonable resale expectation (since current bid already hit $2K, indicating interest).

**All-In Cost:** At current $2,000 hammer, **cost \= $2,600**. If it goes to $3,000 hammer, cost \~$3,900. (No shipping added here because likely local pickup may be needed due to size/fragility, but we’ll still account \~$100 crate cost.)

**Resale Strategy:** **Tier-1 (urban art market)** – *but* note that the piece’s size and material mean fewer selling venues. Ideal resale would be via a specialized street art auction or private sale: e.g. **Heritage’s Urban Art** auction or a street art gallery. These contexts have the right buyers who know Invader. Also, **Instagram or Facebook collector groups** can be surprisingly effective – many Invader fans worldwide missed the drop and will pay a premium now. If patient, one could consign it to an upcoming **Urban Art sale at Artcurial (Paris)** or **Phillips** – Invader being European, his top results are often in EU sales.

**Resale Projections:** \- *Low:* \\$2,500 hammer (if flipped immediately in a similar auction, essentially break-even minus fees).  
\- *Base:* \\$3,200 hammer (likely result at a well-advertised street art sale – buyer pays over $4K).  
\- *High:* \\$4,000 hammer (if Invader’s market spikes or if edition sells out and secondary supply dries, pushing buyers to bid aggressively).

After \~15% selling fees (urban art auctions often charge sellers a bit more), net could be \~$2,125 (low) up to \~$3,400 (high). That’s **\-18%** (a potential small loss if only hits low) to **\+30%** ROI. Base-case $3,200 hammer yields \~$2,720 net, which on $2,600 cost is about **\+5%** – not great.

**Liquidity & Risks:** **Liquidity:** Relatively high in the street art scene – Invader prints usually sell out and resell quickly. However, the **margin here is tight** if bought near high estimate. The current auction interest suggests you might end up paying close to fair market, limiting arbitrage profit. **Risks:** Shipping/handling is a concern – a 1m x 1m diasec panel is heavy and fragile; any damage would be catastrophic to value. Also, the market for new editions can be volatile – if many flippers list at once, prices dip (the MyArtBroker data suggests some softening after the initial release[\[14\]](https://www.myartbroker.com/artist-invader/artwork-invaded-cube-nvdr1-1-signed-mixed-media#:~:text=Invaded%20Cube%20NVDR1,sold%207%20times%20at)). On the flip side, if Invader announces no more Rubikcubism prints, it could rise. As an arbitrage play, this is **borderline** – it likely requires a longer hold or perfect timing to net 30%+. If acquired around $2K–$2.5K, it’s a safer bet (with profit possible via a private sale around $3.5K). But at full estimate, the yield might end up under 20%. **Recommendation:** Pursue only if you can get it near the low end or if you have a specific buyer in mind. Otherwise, this might be better on the *watchlist* than a top pick due to the thinner margin and logistical challenges.

### 10\. Lots 266 & 270 (group) – **Takashi Murakami, Selected Prints (*Tan Tan Bo*, *Flowerball (3D) Red Ball*, etc.)**

**Description:** A series of limited **offset lithograph prints** by Murakami, each typically \~19″–28″ in diameter or side, on high-quality paper, published in the 2000s. Notable examples in this sale: *Tan Tan Bo* (likely a 2003 offset of his iconic DOB character in psychedelic form) and *Flowerball (3D) Red Ball* (circular print of Murakami’s smiling flowers). Each is **signed and numbered**, editions often of 300\. Bright colors, pop imagery – quintessential Murakami. All appear to be in **excellent condition** (no mention of fading or handling; presumably stored flat).

**Estimates:** $2,000–3,000 each for most (e.g. lots 266, 267, 268, 269). Some smaller or later prints $1,000–2,000 (lots 270–273). **Current Bids:** Ranging $1,500–2,000.

**Market Comps:** Murakami’s prints are actively traded worldwide. Prices can fluctuate with supply: for example, *Tan Tan Bo* (2003 offset, ed. 300\) often sells around **$4,000–5,000** if signed, as it’s a sought-after early image[\[42\]](https://www.reddit.com/r/TakashiMurakami/comments/gyip5y/what_was_the_retail_price_for_the_fort_worth/#:~:text=,2002)[\[43\]](https://artilleriegallerie.com/products/takashi-murakami-tan-tan-bo-print?srsltid=AfmBOoq43gO6WrN235zJE4tjGluzFzGcXCY_w5ZiWgCAZVV0nUEqQTdV#:~:text=Takashi%20Murakami%20,Sale%20Sold%20out). *Flowerball (3D) Red Ball* (2009, ed. 300\) typically fetches **$2,000–2,500** on secondary markets. In this auction, estimates seem roughly at or slightly below market, meaning these prints are **fairly valued but not “sleepers.”** Nonetheless, arbitrage is possible via retail channels: Murakami fans on eBay/StockX often pay a premium for prints in hand rather than dealing with international shipping. For instance, a *727* offset signed print (similar edition size) is listed around $5,670 at a gallery[\[44\]](https://www.kumicontemporary.com/artist/takashi-murakami/signed-takashi-murakami-prints/727#:~:text=Takashi%20Murakami%20727%20Prints%20,727%20Silkscreen%2C%202016). On average, expect Murakami offsets to resell for \~1.5× their low estimate if sold smartly.

**Fair Value (for a typical $2-3K estimate print):** **\\$3,000 (low)** – \\$4,000 (base) – **\\$5,000 (high)**. The high end applies to top images like *Tan Tan Bo* or if the market rises. Smaller Flower prints likely cap around $2.5–3K.

**All-In Cost:** Example: *Tan Tan Bo* won at $2,200 hammer → **$2,875** all-in. If it went to $3,000 hammer → $3,900 cost.

**Resale Strategy:** **Tier-1 liquidity (pop culture market).** Murakami prints are extremely liquid, especially through online avenues. **eBay** and **StockX** have thriving Murakami marketplaces – one could likely flip a Flowerball within weeks. For higher-end prints, **Artsy or private broker** sales can get you closer to $4–5K from an art buyer. Another strategy: group multiple Murakami prints and consign to a single-owner online auction to create buzz (though individually might yield more). Given Murakami’s brand, even non-art venues (fashion/lifestyle forums) have interest.

**Resale Projections:** \- *Low:* \\$2,800 hammer (e.g. quick eBay sale for Flowerball, net after fees \~$2.5K – slight profit if bought low).  
\- *Base:* \\$4,000 hammer (e.g. Tan Tan Bo via gallery or auction, buyer pays \~$5K, which we’ve seen in past sales).  
\- *High:* \\$5,000+ hammer (if Murakami’s market surges or for a rare print variant – not expected for these standard editions in the short term, but not impossible long-term).

Net outcomes per print might be \~$2,300 (low flip) to \~$4,500 (ideal sale) after platform fees. On a \~$2,800 cost, that’s **\-18%** (if you had to dump at $2.3K net) up to **\+60%** ROI (at $4.5K net). A more realistic base case: buy around $2.8K, sell around $4K gross, net \~$3.6K \= \~**\+30%** profit.

**Liquidity & Risks:** **Liquidity:** Very high. Murakami is internationally known and his prints are “easy sells” – the question is price, not *if* they sell. You could expect to move a piece in days to weeks at market price. **Risks:** Short-term, the supply of prints is ample and if many come to auction at once, prices can dip. Also, some prints have multiple editions (e.g. different color variants) – ensure you correctly identify which you have when reselling, to avoid pricing errors. Watch out for **fake Murakami prints** (there are counterfeits); however, buying from LAMA you can be confident of authenticity, but when you resell, be prepared to provide proof (receipts or certs) to skeptical buyers. In summary, Murakami prints offer a reliable, if somewhat margin-tight, arbitrage. They might not double your money, but a \~30–40% gain is quite achievable with minimal holding time – essentially acting as a currency in the art market.

---

## “Watchlist” – Secondary Opportunities and Notes

Beyond the top picks above, several other lots merit a **watchlist** spot – either as speculative bids (if they go cheaply) or as backup options if your main targets get outbid:

* **Damien Hirst – *Spin Etching Prints* (Lots 119 & 121\)** – Two etchings (*Catherine Wheel* and *Spin, Spin Sugar*, ed. 68\) from Hirst’s 2002 *In a Spin* portfolio, est. $2,000–3,000 each. These are **hand-signed, spiral-drawn etchings** – Hirst’s prints market is stable. Recent sales of similar *Spin* etchings are around $3K–$4K[\[29\]](https://www.myartbroker.com/artist-ed-ruscha/artwork-just-an-average-guy-signed-print#:~:text=Ed%20Ruscha). If acquired near $2K, there’s room to net \~$500–$800 each (ROI \~25%). While not a big score, they are fairly liquid (Hirst still commands attention, and these are unique-looking). Consider as add-ons if budget allows, especially if bidding is light.

* **Mr. Brainwash – Various Prints (Lots 255, 257, 259, 261, 263, 265\)** – Street art wildcard. MBW’s auction results are **hit-or-miss**; some prints like *Happy Birthday Champ* or *Art is Not a Crime* might exceed their $1–2.5K estimates if two fans show up, but many Brainwash pieces have also **failed to meet reserves** in recent years. If you can snag one at the low end, a flip through an urban art auction or eBay could yield \~30% (his imagery is popular, but the supply is high). These are **higher risk/reward** – put them on watch and gauge competition; they’re worth a shot only at bargain prices.

* **Andy Warhol – *Brillo Box (Pasadena)* Poster (Lot 174\)** – Est. $2,000–3,000 for a vintage 1970 exhibition poster. This is **not a signed fine art print** but a sought-after historical pop artifact. Top-condition Warhol museum posters (esp. *Brillo* or *Marilyn*) have sold for $3K–$5K at design auctions. If you can get it under $2K, a resale to a pop culture collector or through a design gallery for \~$4K is feasible. Watch condition (folds, pinholes will affect value). A niche arbitrage: low upside but very salable item given Warhol’s broad appeal.

* **Kara Walker – *Freedom: A Fable* pop-up book (Lot 224\)** – Est. $3,000–5,000. This 1997 artist’s book was an edition of \~4,000 given as a Norton Family Christmas project[\[45\]](https://www.bonhams.com/auctions/20087/lot/5154/#:~:text=Kara%20Walker%20,published%20by%20the%20Peter). Frankly, the estimate is **overly optimistic** (these trade \~$1.5K). It’s on the watchlist *only* if it slips under $1.5K – then a flip for \~$2.5K is possible. Otherwise, skip it or even consider selling one if you have it\! It illustrates that not all low-estimate lots are bargains – due diligence on current market is key.

* **Channa Horwitz – Prints (Lots 179 & 180\)** – Two small silkscreens by this California conceptual artist, est. $800–1,200 and $400–600. Horwitz’s market is rising (museum shows have elevated her profile). These could be sleepers: if acquired for a few hundred, they might resell for double to the right collector or institution (her prints are much rarer than her drawings). Given the low price, they’re worth watching – any Horwitz under $500 is a good bet long-term. Liquidity is moderate (might take time to find the buyer), so they’re more speculative.

* **Richard Hamilton – *Interior with Monochromes* (Lot 172\)** – Est. $1,500–2,000. A 1970s print by a British Pop master. His prints are undervalued relative to his importance. Recent sale of this piece was around $1.2K. If it hammers low (\~$1K), you could flip at $2K+ in a UK auction or through a dealer. Not a huge profit, but a quality asset to hold if needed.

* **Misc. Low-Estimate Gems:** *Jasper Johns – Cups 2 Picasso* (Lot 184, est. $500–700): tiny print but Johns’ name; at $300 it’s an easy flip for $600 (100% ROI). *Henry Moore – Reclining Figure 7* (Lot 161, est. $800–1,200): Moore lithos typically fetch $1K–1.5K, so a small margin play. *Robert Indiana “Decade” prints* (Lots 171, 173, est. $700–900): Indiana’s 1970s number/letter prints can sometimes surprise (Tikva, Yield Brother – if bought \~$500 each, can sell \~$1K each to typography fans). These “bread and butter” lots won’t make you rich, but they can yield 20–50% profits and are quite liquid in the decor market.

In summary, keep an eye on these watchlist items during the auction. If they *fly under the radar* (low bidding activity), be ready to jump in. Sometimes the best arbitrage comes from snagging a solid piece for a song because others are sleeping on it.

---

## Bidding & Execution Playbook

Executing this arbitrage strategy requires discipline both in **bidding** and in eventual **resale**. Below is a concise game plan:

**1\. Pre-Auction Prep:** Set a **maximum bid** for each target lot based on our analysis (e.g. for Riley Echo, max \~$6.5K hammer to ensure 30%+ ROI). Use the fair value ranges to decide your walk-away price. Write these down and stick to them – avoid auction fever. Also, inspect condition reports/images beforehand. If any issues are found that weren’t disclosed (toning, creases), adjust your max bid downward or skip the lot – condition can make or break your profit margin.

**2\. Bidding Strategy:** Many of these lots are in the same sale (LAMA’s Jan 7 auction). Given numerous interests, **prioritize** your top lots (don’t tie up capital early on lesser items). For key lots, consider leaving a strong absentee bid just below your max – this can sometimes ward off competitors by showing early strength. During the live auction, be **patient but assertive**: let others bid first (don’t jump the gun at opening), but once it’s between you and one other bidder near your limit, consider a **small jump bid** to test if they’re at their ceiling (e.g. if bidding increments are $100, jump an extra $100–200 – this can psych out marginal bidders). Always remember your exit point – it’s better to let a lot go than to overpay and erode your profit.

If possible, **register for online bidding** on multiple platforms (LAMA’s site, Invaluable, LiveAuctioneers) – sometimes one platform lags, and you don’t want technical issues to cost you a lot. And have a proxy or phone bidder lined up for the absolute must-have items in case of any tech failure.

**3\. Post-Auction Logistics:** For each win, factor in the 25% buyer’s premium and arrange prompt payment to avoid any delays. LAMA likely offers in-house shipping for prints – however, for high-value prints like the Riley or fragile items like the Cage plexigram, you might hire a professional art shipper for safer packing (budget a bit more than $100 in those cases, though we estimated $100 flat per lot). Consolidate shipping if you win many lots – one crate for multiple prints can cut costs per item.

**4\. Holding & Insurance:** Once you take possession, **insure the artworks** (especially higher-end pieces like the Riley or Johns) for their fair value. While you hold them (hopefully a short period), store prints flat in archival sleeves or keep them framed if they came framed. Sculptures or plexiglass works should be kept in a safe, climate-stable area to avoid warping or damage. A small investment in insurance and proper storage guards your downside.

**5\. Resale Timing:** Aim to **resell within 3–9 months** to minimize market risk. For super-liquid items (Murakami prints, smaller flips) you might list them literally days after receiving – the sooner you realize profit, the better the ROI annualized. For items where a specific **target sale** yields best results (e.g. Swann’s annual African-American Fine Art sale for the Charles White, or a spring Prints auction for the Riley), schedule accordingly. It might mean holding a piece for a few extra months to hit the optimal sale – that’s usually worth it for a better hammer price.

**6\. Resale Venues & Negotiation:** Leverage multiple channels: \- **Major Auction Houses:** Reach out to specialists with your high-end lots – get competitive consignment offers. For example, approach Sotheby’s Prints department for Riley and Johns; see if they’ll give a favorable seller commission (for valuable consignments, you can negotiate as low as 0–5% seller fee, or even a percentage of upside beyond a reserve). This directly increases your net profit. \- **Niche/Regional Houses:** Use them for the lots that match their audience (e.g. Swann for the Charles White as discussed, or a design house for the Berrocal). They might have lower fees or valuable marketing targeting. \- **Private Sales:** Create appealing listings on Artsy, eBay, etc. Professional photos, a compelling description (highlight provenance: “Recently acquired from LAMA auction, authenticated”), and pricing a bit below gallery retail can attract quick buyers. Be prepared to answer queries about authenticity and condition – having LAMA’s catalog description or COA in hand adds credibility. In private deals, always factor in the platform’s commission (Artsy \~10%, eBay \~13%). Don’t be afraid to **set BIN (Buy-It-Now)** prices at your high target and also allow offers – this way you might snag an impatient buyer at a great price, but you still entertain lower offers as a backup. \- **Bulk Deals:** If one dealer collects multiple items you’re selling (say a dealer in modern prints might want the Diebenkorns, Johns, and Lichtenstein together), consider offering a package deal. You might give them \~10% off market for taking all, but you save on multiple sets of fees and effort. Ensure, however, that the package price still meets your profit goals overall.

**7\. Financial Tracking:** Keep a **detailed spreadsheet** of each artwork: purchase price (hammer \+ premium \+ shipping), any restoration/framing costs, and eventual selling price minus fees. This not only lets you calculate accurate profit/ROI per piece, but also is important for tax purposes. Since you’re presumably buying under a resale certificate (tax-exempt) and reselling, your profit is taxable income. Documenting expenses will let you deduct costs appropriately. If profits are substantial, consult an accountant experienced in art dealing to optimize tax treatment (e.g. inventory vs. capital gains considerations).

**8\. Risk Management:** Diversify your flips. Don’t put all your funds into one lot expecting a home run; spread across a few top picks and some secondary ones. This auction has a buffet of opportunities – capturing several small-to-medium wins can equal one big win, with less risk. Also, prepare exit strategies if the market softens: e.g. if a piece isn’t selling at your target price in 6 months, be willing to accept a slightly lower offer that still yields a profit. An object in hand is tying up capital and storage – sometimes it’s better to take a 25% profit now than hold out for 35% for another year.

**9\. Stay Informed:** Post-sale, monitor relevant art news. If, say, a Bridget Riley retrospective is announced, maybe hold that *Echo* until buzz peaks. If a new record is set for Charles White, capitalize on that momentum ASAP. Follow auction results for similar pieces – this helps adjust your pricing strategy in real time.

By adhering to these guidelines – disciplined bidding, efficient operations, and savvy resale tactics – you’ll maximize your chances of realizing the projected upsides. This playbook turns a careful analysis into concrete profits, completing the arbitrage cycle from auction to auction (or auction to end-user). Good hunting at the sale, and may the bidding be ever in your favor\!

---

[\[1\]](https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-._D03400E9BE#:~:text=Lithograph%20on%20cream%20wove%20paper%2C,) Lot \- CHARLES WHITE (1918 \- 1979\) Joven (Youth).

[https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-.\_D03400E9BE](https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-._D03400E9BE)

[\[2\]](https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-._CF04F759BF#:~:text=Lot%20,prints%20when%20the%20data) Lot \- CHARLES WHITE (1918 \- 1979\) Joven (Youth).

[https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-.\_CF04F759BF](https://www.swanngalleries.com/auction-lot/charles-white-1918-1979-joven-youth-._CF04F759BF)

[\[3\]](https://www.myartbroker.com/artist-bridget-riley/collection-lozenges/artwork-echo-signed-print#:~:text=Bridget%20Riley%27s%20Echo%2C%20a%20screen,artwork%20is%20limited%20to%2075) Bridget Riley Echo (Signed Print) 1998 | MyArtBroker

[https://www.myartbroker.com/artist-bridget-riley/collection-lozenges/artwork-echo-signed-print](https://www.myartbroker.com/artist-bridget-riley/collection-lozenges/artwork-echo-signed-print)

[\[4\]](https://www.swanngalleries.com/auction-lot/richard-diebenkorn-seated-woman-in-a-striped-dres_673407B901#:~:text=Lot%20,CONTEMPORARY%20ART) Lot \- RICHARD DIEBENKORN Seated Woman in a Striped Dress.

[https://www.swanngalleries.com/auction-lot/richard-diebenkorn-seated-woman-in-a-striped-dres\_673407B901](https://www.swanngalleries.com/auction-lot/richard-diebenkorn-seated-woman-in-a-striped-dres_673407B901)

[\[5\]](https://www.wright20.com/auctions/2019/10/20th-century-art/143#:~:text=143%3A%20RICHARD%20DIEBENKORN%2C%20Seated%20Woman,estimate%3A) 143: RICHARD DIEBENKORN, Seated Woman Drinking from a Cup

[https://www.wright20.com/auctions/2019/10/20th-century-art/143](https://www.wright20.com/auctions/2019/10/20th-century-art/143)

[\[6\]](http://www.artnet.com/magazine/features/polsky/polsky8-29-00.asp#:~:text=artnet.com%20Magazine%20Features,is%20the%20closest%20thing) artnet.com Magazine Features- Art Market Watch

[http://www.artnet.com/magazine/features/polsky/polsky8-29-00.asp](http://www.artnet.com/magazine/features/polsky/polsky8-29-00.asp)

[\[7\]](https://www.ebay.com/b/Jasper-Johns-Pop-Art-Limited-Edition-Art-Prints/360/bn_108370526#:~:text=Edition) Jasper Johns Pop Art Limited Edition Art Prints for sale \- eBay

[https://www.ebay.com/b/Jasper-Johns-Pop-Art-Limited-Edition-Art-Prints/360/bn\_108370526](https://www.ebay.com/b/Jasper-Johns-Pop-Art-Limited-Edition-Art-Prints/360/bn_108370526)

[\[8\]](https://www.phillips.com/detail/ed-ruscha/40310#:~:text=%246%2C000%20) [\[26\]](https://www.phillips.com/detail/ed-ruscha/40310#:~:text=Etching%20in%20colors%2C%20on%20Rives,BFK%20paper%2C%20with%20full%20margins) [\[27\]](https://www.phillips.com/detail/ed-ruscha/40310#:~:text=S,2%20cm) [\[28\]](https://www.phillips.com/detail/ed-ruscha/40310#:~:text=Estimate) Ed Ruscha Editions & Works on Paper

[https://www.phillips.com/detail/ed-ruscha/40310](https://www.phillips.com/detail/ed-ruscha/40310)

[\[9\]](https://www.mutualart.com/Artwork/Girl-from-One-1-Cent-Life-Lithograph-Cor/1668B555F2F17377518737E0EAEDBE91#:~:text=Roy%20Lichtenstein%20,6%2C750%20USD) Roy Lichtenstein | Girl from One 1 Cent Life Lithograph Corlett 33 ...

[https://www.mutualart.com/Artwork/Girl-from-One-1-Cent-Life-Lithograph-Cor/1668B555F2F17377518737E0EAEDBE91](https://www.mutualart.com/Artwork/Girl-from-One-1-Cent-Life-Lithograph-Cor/1668B555F2F17377518737E0EAEDBE91)

[\[10\]](https://www.schubertiademusic.com/products/cage-john-1912-1992-fontana-mix-1981-signed-silkscreen-and-collage#:~:text=,00) [\[33\]](https://www.schubertiademusic.com/products/cage-john-1912-1992-fontana-mix-1981-signed-silkscreen-and-collage#:~:text=Cage%2C%20John,00) Cage, John. (1912–1992) Not Wanting to Say Anything About ...

[https://www.schubertiademusic.com/products/cage-john-1912-1992-fontana-mix-1981-signed-silkscreen-and-collage](https://www.schubertiademusic.com/products/cage-john-1912-1992-fontana-mix-1981-signed-silkscreen-and-collage)

[\[11\]](https://www.swanngalleries.com/auction-lot/john-cage-not-wanting-to-say-anything-about-marce_17d4ce6bb6#:~:text=JOHN%20CAGE%20Not%20Wanting%20to,) JOHN CAGE Not Wanting to Say Anything About Marcel.

[https://www.swanngalleries.com/auction-lot/john-cage-not-wanting-to-say-anything-about-marce\_17d4ce6bb6](https://www.swanngalleries.com/auction-lot/john-cage-not-wanting-to-say-anything-about-marce_17d4ce6bb6)

[\[12\]](https://www.pamono.com/miguel-berrocal-portrait-of-michele-1970-metal?srsltid=AfmBOoo8BupUA709sgEgVnqsQXbSRnZm8X5Cjel-hIkuuMhO0GYAzvN1#:~:text=Miguel%20Berrocal%2C%20Portrait%20of%20Mich%C3%A8le%2C,New%20Destination) Miguel Berrocal, Portrait of Michèle, 1970, Metal \- Pamono

[https://www.pamono.com/miguel-berrocal-portrait-of-michele-1970-metal?srsltid=AfmBOoo8BupUA709sgEgVnqsQXbSRnZm8X5Cjel-hIkuuMhO0GYAzvN1](https://www.pamono.com/miguel-berrocal-portrait-of-michele-1970-metal?srsltid=AfmBOoo8BupUA709sgEgVnqsQXbSRnZm8X5Cjel-hIkuuMhO0GYAzvN1)

[\[13\]](https://www.averydash.com/products/nickel-plated-portrait-de-michelle-sculpture-by-miguel-berrocal#:~:text=A%20nickel%20plated%20puzzle%20sculpture,Deep.%20Circa%201976.%20%242%2C500.00) [\[37\]](https://www.averydash.com/products/nickel-plated-portrait-de-michelle-sculpture-by-miguel-berrocal#:~:text=A%20nickel%20plated%20puzzle%20sculpture,Deep.%20Circa%201976.%20%242%2C500.00) [\[39\]](https://www.averydash.com/products/nickel-plated-portrait-de-michelle-sculpture-by-miguel-berrocal#:~:text=Nickel%20Plated%20,Deep.%20Circa%201976.%20%242%2C500.00) Nickel Plated "Portrait De Michelle" Sculpture by Miguel Berrocal

[https://www.averydash.com/products/nickel-plated-portrait-de-michelle-sculpture-by-miguel-berrocal](https://www.averydash.com/products/nickel-plated-portrait-de-michelle-sculpture-by-miguel-berrocal)

[\[14\]](https://www.myartbroker.com/artist-invader/artwork-invaded-cube-nvdr1-1-signed-mixed-media#:~:text=Invaded%20Cube%20NVDR1,sold%207%20times%20at) Invaded Cube NVDR1-1 Signed Mixed Media \- MyArtBroker

[https://www.myartbroker.com/artist-invader/artwork-invaded-cube-nvdr1-1-signed-mixed-media](https://www.myartbroker.com/artist-invader/artwork-invaded-cube-nvdr1-1-signed-mixed-media)

[\[15\]](https://www.invaluable.com/artist/invader-2wwle2pl8m/sold-at-auction-prices/?page=13&srsltid=AfmBOoq-HhlBKpz31GehtnXI9UZ95rcmqLIr-L5rw4jMBSzD3HOGfwB2#:~:text=Invader%20Sold%20at%20Auction%20Prices,career%20as%20an%20urban) Invader Sold at Auction Prices

[https://www.invaluable.com/artist/invader-2wwle2pl8m/sold-at-auction-prices/?page=13\&srsltid=AfmBOoq-HhlBKpz31GehtnXI9UZ95rcmqLIr-L5rw4jMBSzD3HOGfwB2](https://www.invaluable.com/artist/invader-2wwle2pl8m/sold-at-auction-prices/?page=13&srsltid=AfmBOoq-HhlBKpz31GehtnXI9UZ95rcmqLIr-L5rw4jMBSzD3HOGfwB2)

[\[16\]](https://www.lot-art.com/auction-lots/Joven-Youth/196-joven_youth-07.1.26-angele#:~:text=Joven%20,This%20work%20is%20from) Joven (Youth) in United States \- LOT-ART

[https://www.lot-art.com/auction-lots/Joven-Youth/196-joven\_youth-07.1.26-angele](https://www.lot-art.com/auction-lots/Joven-Youth/196-joven_youth-07.1.26-angele)

[\[17\]](https://www.invaluable.com/auction-lot/bridget-riley-echo-100-c-1d84a3bae5?objectID=201719768&algIndex=upcoming_lots_lotNumber_asc_prod&queryID=4faa057f4c981706204d38daca057df5#:~:text=1998%20screenprint%20in%20colors%20image%3A,70%20x%2072%20cm) [\[18\]](https://www.invaluable.com/auction-lot/bridget-riley-echo-100-c-1d84a3bae5?objectID=201719768&algIndex=upcoming_lots_lotNumber_asc_prod&queryID=4faa057f4c981706204d38daca057df5#:~:text=sheet%3A%2027,70%20x%2072%20cm) [\[19\]](https://www.invaluable.com/auction-lot/bridget-riley-echo-100-c-1d84a3bae5?objectID=201719768&algIndex=upcoming_lots_lotNumber_asc_prod&queryID=4faa057f4c981706204d38daca057df5#:~:text=Bridget%20Riley) [\[20\]](https://www.invaluable.com/auction-lot/bridget-riley-echo-100-c-1d84a3bae5?objectID=201719768&algIndex=upcoming_lots_lotNumber_asc_prod&queryID=4faa057f4c981706204d38daca057df5#:~:text=Work%20is%20in%20good%20condition,measuring%2031%20x%2032%20inches) At Auction: Bridget Riley, Bridget Riley, Echo

[https://www.invaluable.com/auction-lot/bridget-riley-echo-100-c-1d84a3bae5?objectID=201719768\&algIndex=upcoming\_lots\_lotNumber\_asc\_prod\&queryID=4faa057f4c981706204d38daca057df5](https://www.invaluable.com/auction-lot/bridget-riley-echo-100-c-1d84a3bae5?objectID=201719768&algIndex=upcoming_lots_lotNumber_asc_prod&queryID=4faa057f4c981706204d38daca057df5)

[\[21\]](https://www.toomeyco.com/auctions/2022/04/prints-multiples/525#:~:text=Lot%20525%3A%20Richard%20Diebenkorn%201922%E2%80%931993,Richard%20Diebenkorn%20%28American) 525: RICHARD DIEBENKORN, Seated Woman in Armchair, 1965

[https://www.toomeyco.com/auctions/2022/04/prints-multiples/525](https://www.toomeyco.com/auctions/2022/04/prints-multiples/525)

[\[22\]](https://www.myartbroker.com/artist-richard-diebenkorn/series-seated-woman#:~:text=Seated%20Woman%20by%20Richard%20Diebenkorn,appeals%20to%20collectors%20seeking) Seated Woman by Richard Diebenkorn Meaning, Analysis & Auction ...

[https://www.myartbroker.com/artist-richard-diebenkorn/series-seated-woman](https://www.myartbroker.com/artist-richard-diebenkorn/series-seated-woman)

[\[23\]](https://www.ragoarts.com/auctions/2024/06/prints-multiples/134#:~:text=134%3A%20RICHARD%20DIEBENKORN%2C%20Seated%20Woman,result%3A%20%242142) 134: RICHARD DIEBENKORN, Seated Woman with Crossed Hand

[https://www.ragoarts.com/auctions/2024/06/prints-multiples/134](https://www.ragoarts.com/auctions/2024/06/prints-multiples/134)

[\[24\]](https://jklfa.store/collections/jasper-johns?srsltid=AfmBOoqH6brCSfOqzd5BI7RA6eC5ttf-jEYPklWjaNLhD8zuhIRneYmi#:~:text=Jasper%20Johns%20Prints%20for%20Sale,Jasper%20Johns) Jasper Johns Prints for Sale | Joseph K. Levene Fine Art, Ltd.

[https://jklfa.store/collections/jasper-johns?srsltid=AfmBOoqH6brCSfOqzd5BI7RA6eC5ttf-jEYPklWjaNLhD8zuhIRneYmi](https://jklfa.store/collections/jasper-johns?srsltid=AfmBOoqH6brCSfOqzd5BI7RA6eC5ttf-jEYPklWjaNLhD8zuhIRneYmi)

[\[25\]](https://www.invaluable.com/artist/jasper-johns-ht6yo458ng/sold-at-auction-prices/?page=22&srsltid=AfmBOorTj49ABjOZv_aN48L1qnOEXOu7pblQ0ubQ-6-tPstV1hNp1tJr#:~:text=Jasper%20Johns%20Sold%20at%20Auction,5) Jasper Johns Sold at Auction Prices

[https://www.invaluable.com/artist/jasper-johns-ht6yo458ng/sold-at-auction-prices/?page=22\&srsltid=AfmBOorTj49ABjOZv\_aN48L1qnOEXOu7pblQ0ubQ-6-tPstV1hNp1tJr](https://www.invaluable.com/artist/jasper-johns-ht6yo458ng/sold-at-auction-prices/?page=22&srsltid=AfmBOorTj49ABjOZv_aN48L1qnOEXOu7pblQ0ubQ-6-tPstV1hNp1tJr)

[\[29\]](https://www.myartbroker.com/artist-ed-ruscha/artwork-just-an-average-guy-signed-print#:~:text=Ed%20Ruscha) [\[30\]](https://www.myartbroker.com/artist-ed-ruscha/artwork-just-an-average-guy-signed-print#:~:text=%2450%2C000) [\[31\]](https://www.myartbroker.com/artist-ed-ruscha/artwork-just-an-average-guy-signed-print#:~:text=%C2%A35%2C000) Ed Ruscha Just An Average Guy (Signed Print) 1979 | MyArtBroker

[https://www.myartbroker.com/artist-ed-ruscha/artwork-just-an-average-guy-signed-print](https://www.myartbroker.com/artist-ed-ruscha/artwork-just-an-average-guy-signed-print)

[\[32\]](https://www.artsy.net/collection/one-cent-life#:~:text=One,from%20the%20One) One-Cent Life \- For Sale on Artsy

[https://www.artsy.net/collection/one-cent-life](https://www.artsy.net/collection/one-cent-life)

[\[34\]](https://www.wright20.com/auctions/2025/12/editions-works-on-paper/196#:~:text=,estimate) 196: JOHN CAGE, Not Wanting to Say Anything About Marcel ...

[https://www.wright20.com/auctions/2025/12/editions-works-on-paper/196](https://www.wright20.com/auctions/2025/12/editions-works-on-paper/196)

[\[35\]](https://www.lamodern.com/auctions/2026/01/prints-multiples/105#:~:text=II%20www,four%20works) JOHN CAGE, Not Wanting to Say Anything About Marcel Plexigram II

[https://www.lamodern.com/auctions/2026/01/prints-multiples/105](https://www.lamodern.com/auctions/2026/01/prints-multiples/105)

[\[36\]](https://www.wright20.com/auctions/2023/12/editions-works-on-paper/169#:~:text=works%29%20www,Not%20Wanting%20to%20Say) JOHN CAGE, Not wanting to Say Anything About Marcel (four works)

[https://www.wright20.com/auctions/2023/12/editions-works-on-paper/169](https://www.wright20.com/auctions/2023/12/editions-works-on-paper/169)

[\[38\]](https://www.billingsauction.com/spring-2021-auction/p/211-portrait-de-michele-puzzle-sculpture#:~:text=Miguel%20Berrocal%20%27Portrait%20de%20Michele%27,to%20front%20of%20neck) Miguel Berrocal 'Portrait de Michele' Puzzle Sculpture

[https://www.billingsauction.com/spring-2021-auction/p/211-portrait-de-michele-puzzle-sculpture](https://www.billingsauction.com/spring-2021-auction/p/211-portrait-de-michele-puzzle-sculpture)

[\[40\]](https://www.artsy.net/artwork/invader-invaded-cube-29#:~:text=Invaded%20Cube%20%282023%29%20,mounting%2C%20100%20%C3%97%20100%20cm) Invaded Cube (2023) | Available for Sale \- Artsy

[https://www.artsy.net/artwork/invader-invaded-cube-29](https://www.artsy.net/artwork/invader-invaded-cube-29)

[\[41\]](https://www.artsy.net/artwork/invader-invaded-cube-53#:~:text=Invader%20,Price%20on%20request) Invader | Invaded Cube (2023) | Available for Sale | Artsy

[https://www.artsy.net/artwork/invader-invaded-cube-53](https://www.artsy.net/artwork/invader-invaded-cube-53)

[\[42\]](https://www.reddit.com/r/TakashiMurakami/comments/gyip5y/what_was_the_retail_price_for_the_fort_worth/#:~:text=,2002) What was the retail price for the Fort Worth Museum's metallic print ...

[https://www.reddit.com/r/TakashiMurakami/comments/gyip5y/what\_was\_the\_retail\_price\_for\_the\_fort\_worth/](https://www.reddit.com/r/TakashiMurakami/comments/gyip5y/what_was_the_retail_price_for_the_fort_worth/)

[\[43\]](https://artilleriegallerie.com/products/takashi-murakami-tan-tan-bo-print?srsltid=AfmBOoq43gO6WrN235zJE4tjGluzFzGcXCY_w5ZiWgCAZVV0nUEqQTdV#:~:text=Takashi%20Murakami%20,Sale%20Sold%20out) Takashi Murakami \- "Tan Tan Bo" print \- Artillerie Gallerie

[https://artilleriegallerie.com/products/takashi-murakami-tan-tan-bo-print?srsltid=AfmBOoq43gO6WrN235zJE4tjGluzFzGcXCY\_w5ZiWgCAZVV0nUEqQTdV](https://artilleriegallerie.com/products/takashi-murakami-tan-tan-bo-print?srsltid=AfmBOoq43gO6WrN235zJE4tjGluzFzGcXCY_w5ZiWgCAZVV0nUEqQTdV)

[\[44\]](https://www.kumicontemporary.com/artist/takashi-murakami/signed-takashi-murakami-prints/727#:~:text=Takashi%20Murakami%20727%20Prints%20,727%20Silkscreen%2C%202016) Takashi Murakami 727 Prints \- Kumi Contemporary

[https://www.kumicontemporary.com/artist/takashi-murakami/signed-takashi-murakami-prints/727](https://www.kumicontemporary.com/artist/takashi-murakami/signed-takashi-murakami-prints/727)

[\[45\]](https://www.bonhams.com/auctions/20087/lot/5154/#:~:text=Kara%20Walker%20,published%20by%20the%20Peter) Kara Walker (American, born 1969); Freedom, A Fable \- Bonhams

[https://www.bonhams.com/auctions/20087/lot/5154/](https://www.bonhams.com/auctions/20087/lot/5154/)

Detailed research / arbitrage notes for this sale.

Cancel