Collecting Murakami, Kusama and Nara Prints from Japan
Three Japanese artists dominate the international market for contemporary art from Japan. According to artnet's figures for October 2024 to September 2025, Yayoi Kusama's works brought about $104.6 million at auction, Yoshitomo Nara's about $65.2 million and Takashi Murakami's about $11.5 million, with Murakami offering the most lots of the three. Paintings by all three now sell for millions; their prints are where most collectors start, and Japan is where many of those prints were first sold.
Why Japan matters for these prints
All three artists built their careers partly through Japanese galleries, museums and publishers, and many editions were first sold in Japan, often to collectors who framed them and kept them carefully. The Japanese secondary market therefore holds a deep supply of signed prints, plates, multiples and exhibition editions. It also holds many copies and decorative reproductions, which is why examination matters.
The artists and their editions
- Yayoi Kusama: screenprints of pumpkins, nets, dots and flowers, signed in pencil, usually with the title and date, and numbered within modest editions. Her pumpkin prints are the most sought after; specialist valuations for many run well into five figures in US dollars.
- Yoshitomo Nara: signed lithographs, screenprints and offset prints of his children and animals, as well as unsigned editions, ceramics and plates. Signed works command much higher prices than unsigned ones of the same image.
- Takashi Murakami: a large body of signed and numbered offset prints, many in editions of 300, alongside smaller screenprint editions. Flowers, DOB and the skull and mushroom series are the core subjects.
Reading a print
- Technique: screenprints lay down flat, opaque layers of ink; offset prints are made on a lithographic press and show a fine dot pattern under a loupe. Neither is better in itself, but they are priced differently.
- Signature and number: a pencil signature and edition number (for example 125/300) in the margin are the norm. A printed signature in the image is part of the design, not a hand signature.
- Publisher marks: some editions carry a publisher's blind stamp or a certificate. Keep any gallery invoice or certificate with the print.
- Edition versus reproduction: exhibition posters, museum-shop prints and decorative reproductions are common and are not editions. Descriptions in Japanese such as 模写 (copy) and 複製 (reproduction) say so plainly.
Condition and provenance
- Light: bright pinks, reds and yellows fade in sunlight. Compare colours with well-preserved examples.
- Framing: acid-free mounts and UV-filtering glazing protect value; tape and old mounts can stain paper.
- Handling: look for creases, dents and rubbing, especially on large sheets.
- Provenance: a purchase record from the publisher, gallery or a recognised dealer is worth as much as condition when the time comes to sell.
How we present each work
Every print we offer is examined in Japan, with the signature, number, technique and condition photographed front and back, and ships flat or framed in a rigid crate, insured and tracked. Each carries our authenticity guarantee: should an independent written opinion find a piece not genuine within 30 days, we refund the price and the cost of its return.
Questions collectors ask
Is an unsigned edition worth buying?
Yes, at the right price. Unsigned editions are an accessible way to own an image, but signed examples hold value better and resell more easily.
How large is a typical edition?
It varies by artist and publisher, from a few dozen for some screenprints to 300 or more for many offset prints. Smaller editions are scarcer.
Can you find a particular print?
Yes. Tell our Hunting Salon™ the title, year or edition you have in mind, and the curator desk will reply within one to three business days.
Continue reading
- Shin-hanga Woodblock Prints: Hasui, Yoshida and the seals that date them.
- Japanese Designer Archives.
- Why Japan Is the World's Finest Market for Pre-owned Luxury.