London’s mid-market is quietly asserting itself. At Frieze London 2025, which opened its tents in Regent’s Park this October, demand for works under $200,000 remained firm, while prints and editions showed renewed momentum, even as the global market remained subdued at the top end. The fair’s atmosphere was measured rather than exuberant, signalling a shift towards steady sales and realistic pricing over spectacle.
After several years of rapid post-pandemic growth, global art sales fell by around 12% in 2024, with the UK market down approximately 5%. Dealers arrived with cautious expectations, yet many reported steady sales in the $70,000–$180,000 range, particularly for smaller paintings, works on paper, and editioned works. These figures may lack the drama of multimillion-dollar headlines, but they suggest a market recalibrating rather than contracting.
The shift towards the mid-market appears structural. Collectors remain active but increasingly prioritise works that are fairly priced and relatively liquid. Many buyers are now often younger, with technology or finance backgrounds, data-driven and cautious about speculative pricing. Editioned works meet these criteria, offering access to recognised artists without the financial exposure of unique, high-value pieces.
Galleries have adapted accordingly. Several were seen to have structured their Frieze presentations around works priced between $40,000 and $120,000, aiming to cultivate relationships with new collectors rather than rely on a single high-value sale. The approach proved effective as many booths in this range sold out early. The trend reflects a market prioritising stability and liquidity over hype, with sustained engagement increasingly valued over headline-grabbing transactions.
Prints and editions have emerged as a reliable growth segment. Platforms specialising in multiples reported a 53% increase in sales in 2024, with more than 14,000 editioned works sold worldwide. While modest compared with the broader painting market, these figures indicate steady demand from a wide collector base. Prints increasingly occupy a middle ground between investment and accessibility, and many collectors are treating them as core holdings rather than entry-level acquisitions. Editions also allow galleries to engage new buyers at lower price points while maintaining turnover and long-term client development.
Demographics are reinforcing this trend as much of the high-end print market, million-pound Warhols, Lichtenstein’s, and Richters, remains in older collections that will likely begin to change hands over the next decade. Their successors are more comfortable with reproducible media and online platforms and are willing to buy works that are not unique, provided they carry cultural weight and investment potential. London, with its established gallery infrastructure, active secondary market, and international collector base, is well placed to support this transition.
Frieze was busy but calm and the tone of the fair reflected this moderation within the market. Dealers reported steady activity and informed buyers rather than speculative rushes. Institutional representatives were active, while private collectors focused on works whose pricing aligned with both artistic merit and market logic. The overall impression was of a market measured rather than overheated, with London maintaining its reputation as a stable hub for serious collecting, particularly at mid-market levels.
For collectors, the sub-$200,000 tier now represents a credible and sustainable area of focus. Editioned works and modestly priced originals offer a way to participate in the market without excessive risk. For galleries, offering works at realistic price points builds long-term client relationships and maintains turnover. For artists, particularly those producing editions or smaller works, the renewed attention to this segment provides opportunities for visibility, engagement, and income less dependent on top-end fluctuations.
It should still be noted however that assets in the mid-tier remains uneven, and buyers still need to consider edition sizes, provenance, and the artist’s career stage. The current strength in the sub-%200,000 range reflects disciplined collecting rather than speculative enthusiasm, suggesting a market stabilising from within rather than relying on headline-grabbing sales.
Frieze London 2025 confirmed that the market is stabilising through breadth rather than excess. Demand has shifted toward accessible, well-priced works, with prints and editions among the few segments showing consistent growth. London’s role as a centre for contemporary art appears secure, even if the pace is slower and more deliberate than in previous cycles. In a year when the global market’s upper tiers are subdued, Freize London 2025 reflects a quiet resilience. As collectors take a more considered approach and are engaging thoughtfully, galleries must align pricing with realistic expectations, and artists producing editioned and smaller works are finding steady support. Rather than a period of contraction, Frieze London 2025 put forward a market that places value in sustainable participation rather than spectacle. Prints and editions have moved from peripheral categories to central indicators of the market’s evolving health, offering a clear view of how contemporary collecting is adapting in London and beyond.
Further related reading:
https://www.myartbroker.com/investing/articles/defence-of-investing-prints-editions-market