Peter Hansen 1870 Limited Edition Print

Limited edition prints labeled “Peter Hansen 1870” appear regularly in the secondary market, and they can be confusing. Is the artist the noted Danish painter of the Funen circle? Does “1870” refer to the creation date, a printing date, or just a commemorative reference? And is the print an original hand-pulled impression or a later photomechanical reproduction with marketing gloss?

This guide explains how to attribute the right “Peter Hansen,” what “limited edition” should mean, how to examine the object technically, and how to date and value it with confidence.

Which Peter Hansen do you have? Untangling the attribution

• Multiple artists share the name Peter Hansen. The most widely collected is the Danish painter Peter Marius Hansen (1868–1928), affiliated with the Funen Painters. Works firmly by his hand are primarily oils and drawings from the late 19th to early 20th century. While original prints by him are not common, reproductions after his paintings exist.

• Red flag if tied to 1870: If your print is attributed to the Danish Peter Marius Hansen, a date of “1870” is problematic. He was two years old that year. A print bearing “1870” might therefore reference:

  • An image dated “after 1870” or “circa 1870” by another artist named Peter Hansen.
  • A reproduction after a painting depicting life around 1870.
  • A publisher’s series title (e.g., “Scenes of 1870”) rather than an actual creation date.
  • A modern marketing date with vintage aesthetics.

• Signature and inscription checks:

  • Compare the signature on your print to known exemplars for the specific Peter Hansen you believe it to be. Look for consistency in letter forms, slant, and typical placement (e.g., lower right margin in pencil versus a signature within the image on the plate/stone).
  • Watch for “plate signatures” (the name appears as part of the printed image). A plate signature is not the same as a hand-signed edition.
  • Look for language consistency. Danish titles or inscriptions suggest a Danish origin; German, French, or English inscriptions may point elsewhere.

• Publisher and printer clues:

  • A blindstamp (embossed mark) or printed imprint along the lower margin can identify a workshop or publisher. This can confirm whether you’re dealing with a legitimate edition, a later restrike, or a commercial reproduction.

Bottom line: Pin down the artist identity first. Without the right Peter Hansen, any valuation is speculative.

What “limited edition” should mean—and common pitfalls

“Limited edition” is one of the most abused phrases in the print market. For serious appraisal, use the printmaking definition, not the marketing one.

• True limited editions:

  • Produced directly by or under the supervision of the artist from an original matrix (plate, block, stone, or screen).
  • Numbered in fraction form (e.g., 12/50) and often signed in pencil. Additional proofs may include A.P. (Artist’s Proof), E.A. (Épreuve d’Artiste), H.C. (Hors Commerce), P.P. (Printer’s Proof), T.P. (Trial Proof), and B.A.T. (Bon à Tirer).
  • Edition size and paper may be documented in a colophon or publisher record.

• Historically, numbering practices matter:

  • Systematic fraction numbering (e.g., 5/100) became common only in the early 20th century. If your piece claims “1870” but is numbered “125/250,” that numbering aligns with a later 20th-century practice, not 1870.
  • Hand-signed editions in pencil also became widespread in the late 19th to early 20th centuries. A pencil signature dated 1870 is atypical and warrants scrutiny.

• Reproductions and photomechanical prints:

  • Offset lithographs, collotypes, photogravures, giclées, and other photo-based processes are often marketed as “limited edition” but are not original prints in the traditional sense unless the artist conceived the work specifically for that medium and edition.
  • Some publishers add edition numbers to reproductions to create scarcity. This does not equal the value of an original hand-pulled print.

• Posthumous prints and restrikes:

  • Posthumous editions may be pulled from the original plate or block after the artist’s death, typically authorized by an estate. They may bear estate stamps rather than a hand signature.
  • Restrikes can vary in quality and value and must be clearly identified.

In short: If “limited edition” is a selling point but the method is photomechanical and the artist did not supervise the edition, treat it as a decorative reproduction with lower collectible value.

Technical examination: How to read the object

A disciplined visual and tactile exam reveals most of what you need to know.

• Paper

  • Type: Laid paper (with chain and laid lines) was common in earlier periods; wove paper became widespread in the 19th century. Heavy, bright-white, uniformly smooth papers often indicate modern stock.
  • Watermarks: Look for known watermarks (e.g., Arches, Rives, Whatman). Watermark chronology can help date the sheet. If the watermark post-dates 1870, the print cannot be from 1870.
  • Edges: Deckle edges suggest hand-made or mould-made paper. Cut edges may indicate trimming or a book/portfolio origin.

• Printing method

  • Intaglio (etching/engraving/drypoint): Expect a plate mark indentation, slight plate tone, and possible burr (a fuzzy, velvety line) in drypoint. Ink sits in recessed lines; you can sometimes feel a slight emboss.
  • Relief (woodcut/linocut): Ink sits on the raised areas; look for the impression of the block and occasional woodgrain pattern.
  • Lithography (stone/planographic): Crayon-like textures and even, flat tones. No plate mark from recessed lines; may have a faint platemark from a transfer process, but typically different from intaglio.
  • Screenprint/serigraph: Flat, opaque color layers, often with slight edge ridges at color boundaries.
  • Photomechanical (offset, halftone, giclée): Under magnification, offset shows rosette dot patterns; giclée shows microscopic aerosol-like dots without mechanical rosettes; collotype has a reticulated gelatin pattern.

• Signatures and inscriptions

  • Pencil signature in the margin typically indicates an artist-approved edition. A signature printed within the image is a reproduction of the signature, not a hand-sign.
  • Compare handwriting at the fraction (e.g., 34/200) and the signature. Inconsistent graphite tone, pressure, or style can reveal added signatures or doctored numerations.

• Marks and imprints

  • Printer’s blindstamps and publisher chops add credibility. Cross-reference the mark with known workshop catalogs when possible.
  • Copyright lines: The presence of “©” with a year places the print no earlier than the 20th century (e.g., mid-1900s if the typography suggests that).

• Condition factors that materially affect value

  • Light-stain (overall yellowing/fading in the exposed area) and mat burn (brown line from acidic mats).
  • Foxing (rust-colored spots), paper losses, tears, folds, and creases.
  • Abrasion to the ink layer, scuffing, or color fading (especially in fugitive inks or aniline dyes).
  • Trimming into or near the image or plate mark reduces desirability, especially for older intaglio prints where margins matter.

Document all observations with measurements (image size and sheet size), condition notes, and photographs.

Dating the piece: Does “1870” withstand scrutiny?

Before accepting “1870” as a creation date, evaluate:

• Numbering method: Fractional edition numbers strongly suggest 20th-century practice. The higher the edition size, the more modern it likely is.
• Watermark chronology: If the paper bears a watermark from a mill or brand established after 1870—or a logo style used later—the sheet is later.
• Photomechanical indicators: Halftone or inkjet patterns indicate a 20th/21st-century reproduction, regardless of any earlier date noted.
• Typography and labels: Look at any printed captions, typesetting style, and font. Modern fonts and photographic screens point to a later edition.
• Provenance documents: Gallery invoices, exhibition labels, or collection stamps can date when the object was in circulation. A framer’s sticker with a ZIP code or a telephone format can place the framing to a particular decade.

If the image relates stylistically to late 19th-century Danish painting, but the object’s materials are modern, you’re likely looking at a later reproduction “after” Peter Hansen, not an 1870 original or an artist-authorized print.

Provenance, comparables, and market value

Value hinges on authorship, medium, edition status, and condition.

• Provenance

  • Assemble a chain of ownership: receipts, gallery labels, exhibition catalogs, and estate paperwork. Even small details (a bookstore price tag, a regional framing label) can anchor the print in time and place.
  • Collection or estate stamps may substitute for a hand signature in posthumous issues.

• Comparables (“comps”)

  • Seek sales of the same image, medium, and edition size. Note whether those examples were hand-signed, plate-signed, or unsigned.
  • Adjust for differences: sheet size, margins present or trimmed, condition defects, and whether the impression was printed by a reputable workshop.
  • Differentiate original prints from reproductions. Auction listings often specify “after” when the print is based on a painting by the artist but not an original print conceived by the artist.

• Market context

  • Works firmly attributed to a major artist’s hand (e.g., an original lithograph signed by the artist) command substantially higher prices than reproductions with large edition sizes.
  • Local demand matters. Danish subject matter and provenance can attract Scandinavian buyers; decorative buyers elsewhere may value the image rather than authorship.

If your “Peter Hansen 1870” turns out to be a late 20th-century offset lithograph in an edition of 500 with a plate signature, expect decorative value. A hand-signed, small-edition original print on period paper by the correct artist, with strong provenance, belongs in a different tier.

Care, conservation, and insurance

• Handling and storage: Use clean, dry hands or cotton gloves. Store flat in acid-free folders. Avoid attic/basement extremes.
• Framing: Use museum-grade mat board, hinged with Japanese paper and wheat starch paste. Glaze with UV-filtering acrylic or glass. Keep off direct sunlight.
• Conservation: Do not attempt to bleach or wash foxing yourself. Consult a paper conservator for deacidification, stain reduction, and tear mending.
• Documentation: Keep a condition report and photographs. For insurance, ensure the description specifies medium, edition, signature status, and any marks.

Proper care preserves both aesthetic and market value, and sound documentation supports appraisals and claims.

Practical appraisal checklist

• Identify the artist

  • Compare signature to verified exemplars for the specific Peter Hansen.
  • Note language of title/inscriptions and any monograms.

• Verify the printing method

  • Use a loupe: intaglio lines vs halftone/giclée dots.
  • Look for a plate mark (intaglio) or surface ink characteristics (relief/litho/screen).

• Assess “limited edition” claims

  • Is there a pencil signature and fraction? Are they consistent with early 20th-century or later practices?
  • Any proof marks (A.P., H.C., P.P.) or a publisher’s colophon?

• Check paper and date clues

  • Watermark presence and known date ranges.
  • Edge type (deckle vs cut), sheet tone, and texture.

• Search for marks

  • Printer/publisher blindstamps or imprints.
  • Estate stamps or collection marks.

• Record condition

  • Light-stain, mat burn, foxing, tears, creases, trimming.
  • Note image and sheet dimensions.

• Build provenance and comps

  • Gather any labels, invoices, or catalog mentions.
  • Compare to sales of the same image/edition/medium; adjust for condition.

• Conclude

  • Original artist’s print, authorized posthumous, restrike, or decorative reproduction?
  • Provide a value range aligned with comparables and condition.

FAQ

Q: My print says “1870” but is numbered 125/250 in pencil. Is it from 1870? A: Unlikely. Fractional numbering of editions became standard in the 20th century. A numbered edition like 125/250 points to a later printing, most often a 20th-century reproduction or an artist-authorized edition made long after 1870.

Q: The signature is part of the image—does that count as hand-signed? A: No. A signature that is printed within the image is a plate or stone signature, reproduced with the image. A hand-signed print will have a pencil (occasionally ink) signature in the margin, separate from the printed image.

Q: How can I tell if it’s an original print or a photomechanical reproduction? A: Use a 10x loupe. Original intaglio shows incised lines and often a plate mark; lithography shows crayon-like textures without halftone dots; woodcuts show relief ink and sometimes woodgrain. Offset prints reveal rosette halftone dots; giclées show uniform micro-droplets without mechanical rosettes.

Q: Are posthumous prints valuable? A: They can be, especially if pulled from the original matrix by a respected workshop and documented by an estate. However, they usually carry less value than lifetime, hand-signed editions and more than generic reproductions, with value heavily dependent on documentation and condition.

Q: What if I can’t match the signature to any known Peter Hansen? A: Consider that the attribution may be incorrect or that the print is a decorative reproduction using a generic or stylized signature. In that case, focus valuation on image appeal, condition, and decorative market comparables rather than fine art print comp sets.

A careful, methodical approach—starting with attribution, then medium, then edition status—will clarify what a “Peter Hansen 1870” limited edition print really is and where it sits on the spectrum from fine print to decorative reproduction.