Poise: four editions, two release routes

Martin Whatson’s 2026 Poise release comprises four materially different editions: the main screenprint, a hand-finished etching, and hand-finished versions on clear acrylic and corroded brass. GraffitiPrints lists all four as sold out. Its displayed prices range from £295 for the main print to £1,250 for brass, before the separately stated shipping and UK VAT. These are the publisher’s displayed prices, not resale valuations; the retained campaign independently confirms the main print’s £295 release price.

The edition name matters more than the shared dancer

The main version is a 24-colour screenprint on 330 gsm Somerset Satin, measuring 66 × 49 cm, in an edition of 792. The publisher describes it as signed and stamped. The three special editions are larger at 80 × 59 cm and explicitly hand-finished with spray paint and Posca pens. They should not be identified from the dancer motif alone: a listing needs the support, dimensions and edition designation as well as an image of the actual object.

The etching uses 300 gsm Fabriano paper and has an edition of 50, listed at £895. GraffitiPrints specifies that only the dancer was printed; the finishing supplies the colour around the figure. Compared with the fully printed main composition, this makes the applied marks part of the particular impression’s identity. An edition-level promotional photograph establishes the format, but a buyer considering a specific example would still want photographs of that example rather than assuming its marks match the promotional image.

Clear acrylic and corroded brass are separate objects

The clear-acrylic edition combines six-colour screenprinting with hand finishing on 4 mm acrylic. The brass edition uses five-colour printing and hand finishing on 1 mm corroded brass. Each is an edition of ten, signed by Whatson; their listed prices are £995 and £1,250 respectively.

Equal dimensions and edition sizes do not make the two supports interchangeable. In the official images, the acrylic version leaves a pale field around the dancer, whereas the brass version places the figure against a visibly mottled metal surface. The colour intervention therefore sits within a different surrounding field in each. For identification and display planning, support and thickness are more useful distinctions than treating these as two paper colourways. Neither carries the main screenprint’s paper specification or edition count.

The release used two buying mechanisms

The publisher’s campaign separated applications for the three special editions from the main print’s timed sale. Special-edition applications closed on May 3, with selected buyers due to receive PayPal invoices during May 4–6. The announcement’s midnight wording is ambiguous, so it does not support a precise closing instant here. A successful application was not the same thing as an open shop purchase.

The main edition then sold during May 7–9, with 5 p.m. endpoints stated but no explicit timezone attached to that window. Its final edition of 792 belongs to that timed release; the three smaller fixed editions have their own counts. GraffitiPrints also advertised a separate unique mosaic prize for main-print purchasers. That commission is not a fifth numbered print edition, and the announcement does not establish the eventual draw result.

All four product pages state that a certificate of authenticity accompanies the work. Together, the certificate, exact support, stated signature treatment and photographs provide a more useful identification record than the shared title alone. The existing main-edition report provides further context on Poise’s place within Whatson’s dancer imagery.