Shame: two print colours, separate proofs and four unique gouaches

Cleon Peterson’s 2026 Shame prints turn on two distinctions that are easy to lose in a short listing: black and gold use different papers, and each colour has its own regular edition and artist’s-proof allocation. The related Underdogs presentation also offers four unique gouaches, including an original called Shame. A common title or recognisable figure does not make those paintings part of the numbered screenprint edition. Black print; gold print; original works.

Black and gold: support is part of the identity

Both print colours measure 70 × 50 cm and are signed and numbered. Underdogs identifies the black version as a screenprint on white Multidesign Rough 1.5 paper at 300 gsm. For gold, it specifies a two-colour screenprint on Fedrigoni Sirio Black paper at 290 gsm. The change therefore involves the colour and named stock of the support as well as the image’s ink treatment. A generic description of a “Shame print on paper” leaves out information needed to identify which object is being offered.

Each colour has fifty regular examples plus ten APs. These are separate colour-specific allocations, not fifty sheets shared between black and gold. At the October 8, 2026 check, each regular option was available at €150; each AP option displayed €270 but was unavailable. The quoted amounts are current publisher offers, not verified original issue prices. Paying more for a proof would not establish a larger sheet, different paper or hand finishing: the publisher does not announce those differences between its regular and AP options.

The official product photograph for each colour is used by the publisher across the regular and AP selections, which have no separate variant image. It identifies the composition and paper colour, not the exact proof notation or serial number of an individual impression. That limitation matters when comparing a seller’s photograph with the publisher’s representative image.

Four unique works, including another Shame

Underdogs lists four Peterson gouaches on paper from 2026 in The Jaunt by Underdogs: Truth and Fate and Destiny at €1,800 each, and Shame and They come at night at €2,700 each. The exhibition page identifies these as unique works and presents them through enquiry. Its public enquiry instructions are more useful to a collector than treating a catalogue listing as an immediate checkout offer. Original sale dates and current reservation status are not established.

The images make the relationship between the works legible. Shame isolates a bowed, kneeling figure beside a long blade; Fate and Destiny and They come at night set figures in direct confrontations. Truth places a solitary standing figure against a red-and-black horizon. These are observations of the gallery’s exact product images, not claims that every subject illustrates a named event. The gouache Shame and its print counterpart share a recognisable composition, but the sources do not establish a production sequence or state that the gouache is the preparatory original for the screenprint.

The gallery photographs show frames around the gouaches. The inspected written listings do not specify sheet dimensions, paper brand, signature terms or whether framing is included in the quoted offer. Those questions should be resolved with the gallery before comparing a framed total size with the prints’ stated sheet measurements. No print edition size or AP designation should be carried over to these unique paintings.

A travel project with several outcomes

The Jaunt by Underdogs brought Peterson’s new unique works together with works by Abel Macias and Cody Hudson at Festival Iminente in Lisbon, September 17–20, 2026. The organiser describes a project in which artists travel somewhere unfamiliar and develop work from that encounter. This establishes the setting of the four gouaches, without turning the exhibition opening into a sale date for every print or original. The print product records carry a 2026 work year; their precise original sales window remains unstated.

For collecting purposes, the most useful choice is consequently specific: one of two print colours, its regular or AP allocation, or one of four separately titled gouaches. Colour, support, edition category and acquisition route all change the object under discussion. The catalogue entries below preserve those differences rather than treating eight configurations as interchangeable versions of one print.