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The firm Currier and Ives described itself as "Publishers of Cheap and Popular Prints". At least 7,500 lithographs were published in the firm's 72 years of operation. [8] Artists produced two to three new images every week for 64 years (1834–1895), [9] producing more than a million prints by hand-colored lithography.
Old master print is a term that at this period includes popular prints, but later is restricted to more expensive and purely artistic prints. Although early information as to prices is almost non-existent, it is clear from a number of sources that small woodcuts were affordable by at least the urban working-class, and much of the peasant class ...
Prints are generally sold as limited editions, with a print being cheaper than a drawing or painting because the artist/gallery makes more money by selling multiples. An artist's proof has special value because of its extra rarity and its possible differences from the "standard" print, factors that are often reflected in its price. [7]
A print that copies another work of art, especially a painting, is known as a "reproductive print". Multiple impressions printed from the same matrix form an edition. Since the late 19th century, artists have generally signed individual impressions from an edition and often number the impressions to form a limited edition; the matrix is then ...
Previously artists in printmaking mostly printed their own prints, as for example Rembrandt did; he had a printing press for etchings and engravings in his house. For woodcuts the blockcutter had long been a specialist artisan, sometimes famous. Printing of lithographs from the 19th century on has normally been a specialist process.
Art was considered to be highly important in this cause and political artists were using journals and newspapers to communicate their ideas through illustration. [18] El Machete (1924–29) was a popular communist journal that used woodcut prints. [18] The woodcut art served well because it was a popular style that many could understand.
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