Color Lithograph, Multi-Plate, Edition of 250

This work is a color lithographic print attributed to Daniel Richter and dated 2002, produced as part of a numbered edition of 250 impressions. The sheet presents a multi-color lithographic composition printed on handmade paper with a deckled edge, suggesting workshop-assisted editioning rather than studio self-printing. The printing system appears to involve multiple lithographic matrices, likely aluminum plates or transfer lithography derived from drawn originals, used to build sequential color passages. The edition notation “29/250,” pencil signature, and date inscription correspond to conventional gallery-distributed contemporary print editions of the early 2000s. Within the context of Richter’s early post-1990s graphic output, such editions function primarily as controlled reproduction vehicles translating painterly imagery into lithographic format for the collector print market. The work sits within the broader traditions of contemporary European studio printmaking in which artists collaborate with professional printers to extend painted motifs into editioned works on paper.

I. Primary Materials, Support & Impression Stability

The sheet is printed on handmade rag-based paper exhibiting a deckled perimeter edge characteristic of mould-formed production. Paper weight appears consistent with medium-weight fine art print paper typically used for lithographic editions, likely within the range of approximately 250–300 gsm, providing sufficient rigidity to accept multiple ink passes without distortion. Fiber distribution appears even, suggesting cotton rag rather than wood pulp. The paper surface demonstrates moderate absorbency, allowing lithographic ink to sit slightly within the fiber rather than forming a heavy surface film. Ink coverage across color passages appears generally stable with no immediate indication of plate slippage or misfeed stress. The sheet remains planar, and no evidence suggests structural weakness such as severe cockling, compression creases, or paper fatigue. Minor tonal variation within lighter color fields is consistent with lithographic roll-up rather than deterioration. The material system overall indicates a stable impression intended for standard archival storage conditions.

II. Matrix Method & Production

The print was likely produced through a multi-plate lithographic process, each color layer printed sequentially using separate matrices. Given the period and the graphic sharpness typical of contemporary workshop practice, the matrices were most likely aluminum lithographic plates rather than traditional Bavarian limestone stones. The imagery suggests a combination of drawn and wash-based marks that may originate from lithographic crayon and tusche or from transfer processes derived from preparatory drawings. Plate preparation would have involved standard chemical processing with gum arabic and nitric acid to establish hydrophilic and oleophilic zones. The edition size of 250 indicates a workshop-managed production run rather than experimental studio printing. Consistency of color fields and graphic edges suggests disciplined press operation and controlled plate alignment. The presence of edition numbering implies a fixed edition printed in a single coordinated run or in tightly controlled printing sessions.

III. Drawing, Registration & Technical Resolution

The composition is structured through overlapping linear and silhouette elements that rely on layered registration rather than tonal lithographic modeling. Registration between color layers appears controlled within normal workshop tolerances, with no evidence suggesting systematic drift across plate sequences. The drawing logic favors graphic silhouette and branching linear elements rather than subtle crayon modulation, indicating that the lithographic process was used primarily as a means of translating strong painterly motifs into print form. The background passages show horizontal tonal fields that appear to result from either wash lithography or textured plate treatment. Registration alignment between these fields and the darker structural forms remains stable, indicating careful key-image sequencing during plate preparation. Edition notation in graphite and the date inscription are consistent with standard contemporary print signing practices carried out after printing and drying.

IV. Ink Surface & Material Treatment

The inks appear to be oil-based lithographic inks with medium viscosity suitable for color layering. Pigment density within darker passages indicates relatively high pigment load to maintain opacity against the underlying color fields. Lighter cyan and turquoise layers exhibit thinner ink films consistent with diluted or extended ink mixtures intended to create atmospheric fields without excessive buildup. Ink surfaces appear matte to semi-matte, suggesting no later varnish or coating has been applied. There is no evidence of hand-coloring or secondary media application. Slight irregularities within the lightest tonal bands likely result from plate roll-up behavior during printing rather than later abrasion. Edge areas and non-image margins appear free from significant handling wear, indicating limited direct contact since printing. The ink layer overall appears chemically stable with no immediate signs of oxidation discoloration.

V. Formal Language & Art Historical Lineage

The print falls within the category of contemporary multi-color lithography derived from painterly source imagery. The compositional strategy relies on silhouette figures interwoven with branching linear structures, a visual language associated with Richter’s early 2000s transitional phase when figurative elements began reappearing within his otherwise abstract or politically charged compositions. The graphic organization prioritizes contrast between dense black forms and saturated blue and green fields. Such visual structuring reflects broader traditions in post-1980s European painting translated into editioned graphic form through lithography. The use of layered color planes and energetic line work situates the image within contemporary German graphic practice rather than within classical lithographic traditions emphasizing tonal drawing. The print functions primarily as a graphic extension of studio painting rather than as a matrix-driven exploration of lithographic technique.

VI. Production Context & Market Position

Daniel Richter, born 1962 in Germany, emerged in the 1990s as a prominent figure in contemporary European painting. Editioned lithographs associated with his work were commonly produced through professional print workshops serving gallery networks. The edition size of 250 reflects a commercial yet controlled distribution model typical of early 2000s contemporary art prints issued through galleries or specialized publishers. Such prints were generally offered to collectors as accessible works on paper connected to the artist’s painting practice. The production context suggests collaboration between the artist and an experienced lithographic workshop responsible for plate preparation and press operation. The edition structure indicates the print was intended for the international contemporary print market rather than institutional portfolio publication.

VII. Preservation State & Intervention Evidence

The sheet appears structurally stable under standard archival handling conditions. Paper tone remains even, suggesting limited exposure to ultraviolet light or acidic storage environments. Marginal areas appear free of trimming, indicating the sheet likely retains its original deckled edge. There is no visible evidence of hinge staining, adhesive residue, or backing removal that would indicate prior framing intervention. The surface remains free of abrasion or pressure damage associated with improper stacking. No indications of conservation washing, infill, or paper repair are apparent. Overall preservation state corresponds with a print stored in a flat graphic cabinet under controlled conditions. The stability of the ink layer and absence of mechanical damage support the assessment of minimal prior handling.

VIII. Market Standing & Value Estimation

Color lithographs by Daniel Richter from the early 2000s occupy a moderate tier within the contemporary works-on-paper market. Edition sizes of approximately 200–300 impressions limit rarity but maintain steady collector interest due to the artist’s reputation in contemporary painting. Comparable Richter lithographs from this period typically circulate within a secondary market range of approximately 1,900 to 2,600 EUR depending on subject desirability, impression quality, and condition. Sheets retaining full margins, clear signatures, and stable paper condition command the higher portion of that range. Liquidity remains strongest within specialized contemporary print dealers and regional European auction houses rather than within major evening sales. Replacement cost through gallery channels may exceed secondary market resale levels due to retail markups, but intrinsic value remains tied primarily to authorship recognition and edition integrity rather than to lithographic rarity.