Posters, Prints and the Art of Michael Bedard
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The Art of Michael Bedard

New ProductsCheeky Bears(limited edition)English HeritageOther Limited EditionsTraditional BearsSoft Toys and Bedroom TidiesHorses and RockersNightware Cases and SachetsMerrythought AccessoriesGlobal Investor bookshop: finance books, investment books, trading booksDakota Dugout by Ann TurnerTRACK-LINK is the premium on-line community for the hobby of AFV Model building.But what isn't commonly known about Bedard is the wealth of material he has created over the last thirty years that has never been published. Works of art that are as bizarre and wonderful as the ducks are amusing. It's that body of work which inspires the projects he has undertaken with Planet West Publishers.Kathleen Barr asLooney Tunes - Daffy Duck3 in x 4 inBuy This Magnet At AllPosters Framed | Mounted"Bedard retains the Chinese ideals of brevity and balance to give the book authentic charm."-CM MagazineThe Market Weddingby Cary FaganRead a description for this book at pdstore Language Arts - Forms and genres of writingIndependentShared with an adultAdd to Cartmore infoCrossing25.5 x 24 All EU/UK students are fully funded either by industry, or the Engineering & Physical Sciences, Biological Sciences, Environmental and Medical Research Councils as well as charities and University Scholarships. Minimum stipends are 10500 /annum and we are looking for at least 40 research students this year. Applications from international students are welcomed.Yvonne RomainBenny Golson: Up Jumped Benny (autographed) 18.98ar70741aLimited EditionPersonally autographed by Benny Golson[Add to Cart] [View Cart]Return to citation in text: [1] [2] [3]Main PC Playstation 2 Xbox GameCube Game Boy Wireless N-GageMehr von den Darstellern und Regisseuren:Home | Contact Us | Shopping CartAdvanced Search | Information | Join Affiliate ProgramHuge selection ceramic music boxes include angel, carousels, instruments, custom, religious gifts, reuge and porter disc players, ballerina gifts pianosJournal Rubric:Collectors now associate limited editions with collecting fine prints. However, Chris Lane, co-owner with Donald H. Cresswell of The Philadelphia Print Shop, Ltd., one of the most prestigious print and map shops in the country, says limited editions are relative newcomers to the print-making landscape. The notion of limited editions-and the numbered prints that go with them-is a notion that developed in the late 19th century, explains Chris, who is second vice president of The American Historical Print Collectors Society. To some degree, it was a marketing ploy. They thought: 'If we limit the number of impressions and put numbers on them they will be treated as a fine art rather than as commercial prints.' And they were right. Limited editions were a response to the mass-production of images that became possible with modern printing techniques such as the lithograph. Before this period, Chris explains, all prints were limited editions by necessity, so nobody bothered to number them. That's why the question Chris has heard often- Is this a limited edition? -doesn't really apply to prints made before the late 19th century. With an engraving, printers could only make 500 to 1,000 impressions before the copper plate would wear out, Chris explains, noting that wood blocks were also fragile templates. And even if they could run off 10,000, they couldn't sell close to that number. Demand was limited because until the early 19th century only the upper classes had the excess income to indulge a taste for fine prints. That began to change as a more affluent middle class entered the print-buying market. Printmakers responded to the increased demand by mass producing their prints. Printmakers such as Currier and Ives took full advantage of the new technology, issuing huge numbers of prints.But as the print supply expanded, sale price per image plummeted. Printmakers responded with limited editions, a way of making more money with fewer prints. American artist James McNeill Whistler and other artists producing etchings at the end of the 19th century took full advantage of limited editions. Today, many fine prints are numbered. A lot of people focus on the numbers, says Chris. They think that's what gives it value. But it's a marketing tool, especially today. The bottom line is that a print has to be intrinsically good to have value. It has to have quality. If somebody is only making 50 copies of a print that doesn't mean that any one of the 50 is any good. The first question is and always should be: 'Is this print worth having?'



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