Guide : Vente aux enchères ou vente privée sur le marché de l'art

The Risk of Auction for Prints and Editions

The nature of editions ensures that there is rarely just one opportunity to acquire a work, making the auction model’s appeal of “once-in-a-lifetime” bidding far less compelling for both buyers and sellers.

With editions, if the price isn’t right for the buyer at that moment of sale and doesn’t align with the fair market bracket for the work, there is little motivation to keep bidding. A prints and editions auction - whether live or online - lacks the sense of rarity and exclusivity that accompanies a masterpiece that may have remained in private hands for generations and is truly one-of-a-kind. For prints, another opportunity to acquire a work from the same series is always just around the corner.

One can draw parallels between the print market and the designer jewellery or handbags market; the wine and watches market too. The truth is, once bidding surpasses fair market value - unless the edition number holds personal significance - only a reckless buyer would keep pushing. All the more reason to understand the value, scarcity and condition of the print you're looking to bid on.

With major Contemporary art collectors looking for the best return on their investments, it’s no wonder the trends are favouring online platforms offering the same global reach and world-class expertise as leading auction houses, for a fraction of the price backed up with the assurance of the exact return, and the exact price tag.

If you are looking to sell your print exactly when you want, without costs, and with assurance of the end result, then auction houses simply can’t accommodate the request, due to their pre-planned calendar and the overheads of running a traditional and expensive auction house model.

Private Sales Advantages

At MyArtBroker, our objective is to return you more or the same as you would have at auction, as fast as possible on your terms, and without risk. Our seller’s fees are always at 0%. You have the ability to sell whenever you want, but we advise on the very best time to release the value of your work.

As the largest dedicated prints and editions network in the world, and as a specialist online platform, that audience is undiluted and focuses primarily on getting our clients a better deal.

How Does Auction Work?

Auctions work by taking food off both sides of the table: firstly a commission off the seller: to sell, you’ll pay 15% of the hammer price sometimes plus marketing, cataloguing, shipping, insurance and storage fees which you can have waived for higher value works; and to buy, you’ll pay up to 28% of the hammer price plus VAT on that Buyers Premium. If the artwork sells for well over the high estimate you could also be subject to a 1-2% performance commission. The traditional auction model takes food off both sides of the table.

For a expert insights into how the art auction process actually works, read our comprehensive guide.

If you want to buy at auction:

1. Wait for the auction date and either be there in person, on a pre-arranged call with a specialist, or you can be logged in online at the right time at the right lot (they recommend allowing 60-100 lots per hour). Or you can leave an absentee bid and keep your fingers crossed.
2. Be in the right place, on the right bid, at the right time, it is essential.
3. Remember to have done your research on the price and the work you're bidding on, and know the top bid that you’re willing to pay, (add 30%) and stick to it.

If you want to sell at auction:

1. Choose an auction house and email them, or submit an online form. First off is the task of finding the right auction for your print, this will be in consultation with one of the house’s specialists, who will normally want to see your work in person. They will advise on pricing strategy, and then suggest which sale would be best for it.
2. Once everything is decided between you and the specialist, an administrator will contact you with your paperwork. It will then be up to you to manage and pay for your work to be shipped to the auction house’s storage facility ahead of the auction.
3. The next auction will likely be a few months down the line as auction seasons are static. Even if the auction is soon, consignment deadlines are usually 2 to 3 months prior so be prepared to wait.
4. You may be asked, particularly with a print sale, to wait until the next auction after the one upcoming, especially if the house has a print from the same series already consigned. This is in order for two prints from the same series or portfolio don’t depreciate each other in the same sale.
5. If your work sells at auction, you'll be notified at what amount and you will receive payment a few weeks after the sale completes. Auction houses such as Christie’s also charge a 2% Performance Commission fee in the event that your print sells for above the high estimate you agreed upon consignment.
6. If your work doesn’t sell, you’ll be expected to manage and pay for the safe return of your work, and pay the unsold fees to the auction house – often 1.5% of the average of the high and low estimate they list it at. You will then have anything from two weeks to one month to collect the unsold work from their storage facility before it starts accruing storage fees which can be hefty.

For further insights into how valuations are determined and how external factors influence pricing, read How Auction Houses Determine Art Valuations.

A Close-Up Look At Auction Commission In the Current Market

Sotheby's New Fee Structure – 2026 Update

In 2026, Sotheby’s revised its buyer’s premium again. While the headline suggests only a 1% increase, the more significant shift is the expansion of the highest premium tier. The 28% rate now applies to works hammering up to $2m – previously closer to $1m – meaning a larger portion of the active mid-market now sits within the highest premium band before stepping down to 22%.

In practical terms, a $1m hammer now results in a $1.28m purchase price before tax.

This follows a period of experimentation. In early 2024, Sotheby’s introduced a simplified structure: a flat 20% buyer’s premium up to $6m, and 10% above that, alongside a standardised 10% seller’s commission up to $500,000. The stated goal was transparency and increased transaction flow.

However, the experiment was short-lived.

While buyers welcomed lower premiums, the standardised seller’s commission removed flexibility at the top end. Traditionally, major consignors could negotiate reduced or waived fees. Under the revised structure, that leverage narrowed. High-value sellers began favouring rival houses or private transactions where terms were more negotiable.

As global art sales declined in 2024, competition for major consignments intensified. By the end of that year, Sotheby’s reversed course – reinstating a tiered buyer’s premium and returning to negotiable seller commissions.

The 2026 adjustment builds on that return to tiering – but with a meaningful structural change. By extending the 28% bracket up to $2m, Sotheby’s has shifted more revenue weight into the segment where transaction volume remains strongest.

Rather than innovation, this sequence reflects recalibration.

Fee architecture is one of the clearest indicators of how an auction house reads the market. And over the past two years, Sotheby’s has tested simplification, flexibility, and now a more revenue-secured mid-tier structure.

In a market that remains selective, that evolution is telling.

The Benefits of Selling Prints Privately through the MyArtBroker Model

What Does It Cost To Sell Privately, Via MyArtBroker?

MyArtBroker operates on a 0% seller’s fee model. There are no marketing, catalogue, or storage fees deducted from the agreed return. Sellers agree on a target net price in advance. If that price cannot be achieved in line with fair market value, the consignment is not taken on.

This structure removes the uncertainty associated with vendor commission, performance fees, and unsold penalties common in the auction model.

Unlike traditional auction houses, MyArtBroker focuses exclusively on prints and editions. Over the past two decades, this specialisation has enabled the development of a concentrated collector network and category-specific expertise. Because the platform operates without the overhead of physical salerooms and fixed auction calendars, it can maintain a leaner cost structure.

Revenue is generated on the buyer’s side of the transaction. While auction houses may charge buyers up to 28%–30% above the hammer price (before VAT), a brokerage model can operate with greater flexibility, particularly within the mid-market segment where transaction volume is strongest.

How it works at MyArtBroker:

1. Once contact is made, a dedicated specialist – typically with auction-house experience – is assigned to the consignment.
2. The work is condition-checked, provenance is verified, and a fair market valuation is agreed.
3. The artwork is then privately introduced to a targeted collector base rather than placed into a public auction calendar. There are no fixed sale dates, no catalogue deadlines, and no risk of public unsold results.
4. When a buyer is secured and funds are cleared, payment is released and logistics are handled through approved conservators and shippers.

How Does MyArtBroker Offer This Service At 0% And Auction Houses Can’t?

The difference is structural rather than promotional.

Auction houses are designed to operate across multiple categories, geographies, and sale formats, with significant overhead and fixed seasonal calendars. A specialist brokerage model, by contrast, focuses narrowly on editions, liquidity, and active collector demand within that segment.

For prints and multiples – where scarcity behaves differently from unique works – access to a niche network and pricing precision often matter more than saleroom theatre.

For buyers, the model allows considered decision-making without live bidding pressure. For sellers, it removes timing constraints and fee layering.

In a market where transaction costs are increasingly scrutinised, that distinction becomes more relevant.

For an in-depth look at the various selling avenues in the print market, refer to our market report, How to Sell Prints in the Current Market.

Should You Sell Your Print Online?

If you’re considering selling your print online, expert guidance remains essential. While digital platforms have transformed access and visibility, they do not replace specialist knowledge – particularly in areas such as condition, provenance, pricing strategy, and timing.

Art is both a financial and cultural asset. Navigating the market without informed advice can expose sellers to undervaluation, misrepresentation, or unnecessary risk.

At MyArtBroker, specialists guide clients through the full transaction process – from valuation and authentication to negotiation and logistics. The aim is to remove complexity while ensuring pricing reflects current market conditions and real collector demand.

For those wishing to explore additional industry expertise, professionals can also be accessed via The Directory.

How To Sell Art Safely Online?

Selling art online requires due diligence.

Use secure platforms. Verify track records. Speak directly to specialists. Transparency around condition, edition number, and provenance is critical – particularly in the prints and multiples market, where authenticity concerns remain prevalent.

While trust in digital transactions has grown, online marketplaces can still struggle with issues of verification and pricing accuracy. Working with a recognised fine art professional adds a layer of security and accountability.

Collectors seeking specific works can also utilise targeted listing platforms such as a Trading Floor model, which connects verified buyers and sellers within a controlled environment.

With recent data showing that 75% of new online buyers are motivated primarily by value potential, it is clear that transaction efficiency and cost transparency are becoming increasingly important. As auction fees rise, more collectors are evaluating alternative models that offer comparable expertise with different cost structures.