The notion of limited editions and the numbered prints that go with them is a notion that developed in the
late 19th century. Earlier prints were limited in the number of their impressions solely by market demand
or by the maximum number that could be printed by the medium used.
A limited edition print is one in which a limit is placed on the number of impressions pulled in order to create a
scarcity of the print. Limited editions are usually numbered and are often signed to increase prestige,
rarity and to induce building collections.
The number of prints in any edition is established by the artist beforehand, though normally imposed by
plate wear (etchings, aquatints, woodblocks, lithographies, all wear down at a different rate).
Each impression in the edition is signed and numbered by the artist in pencil.
There are usually two numbers separated by a slash, (for example: 4/25). This means that 25 prints are the total impressions
of this numbered edition, while 4 is the specific designation for that particular impression.
For every edition there are also artist proofs which are extra prints pulled by the artist to proof the edition.
There can also be different states from any particular editions, as well as publisher's prints.
The artist proofs or publisher's prints may never exceed 10% of the total number of impressions in one edition.
Once an edition is complete the original block,
plate or stone is either defaced or destroyed so that no more can be made.
How are fine art prints numbered?
Prints are not signed and numbered in the order in which they were printed.
Therefore, an impression with a lower number isn't more valuable or better than an impression with a higher number.
Although each pass of the plate through the etching press wears down the plate a little, editions of 75 to 100
impressions don't suffer any loss in quality.
>> Learn more about numbering prints
What increases value in a print?
A natural consequence of making prints by hand is difference within the edition when
interpretive variations occur with different ways of removing ink from the plate.
Handcoloring may further increase the value of a print encompassing mediums of watercolor,
acrylic, pencil or gouache for coloration of the work.
The price of each print is generally based on the size of the edition; prints from a limited edition,
are worth more than those from an unlimited edition.
The smaller the edition, the better.
Although in editions all prints look the same, slight differences can
be found.
di The master printer or the artist himself will constantly check for consistency
and sameness when priting an edition. This is not always easy to obtain as
the thickness or consistency of the etching ink as well as the dampness of the etching paper and the speed of
the etching press will also affect the final look of each impression.
Prints can also be manipulated on purpose when wiping or adding color, creating a different print each time. This is
also known and monoprinting.
Rembrandt, for example, used to wipe his plates with a personal style, changing and moving the ink here and there
so as to have diffferent tones from one impression to the other.
The real value of visual art lies in its ability to enhance our lives, moving or exciting our senses.
