There is a standard way to sell art prints on the internet. You cap the run at fifty, number them by hand, add a certificate, and let the arithmetic of scarcity do the rest. It works. It is also not what is happening here.
These prints are open edition: giclée on archival cotton rag, printed from the graphite and ink originals, made when someone orders one. There is no number in the corner and no certificate in the tube.
Scarcity would be aimed at the wrong person
The people who buy these are not building a portfolio. They are buying one print, usually of one specific drawing, because something in it landed. They want it on a wall in a room they actually live in. A limited run does nothing for that person except make the thing harder and more expensive to get, and add a small anxiety about whether they should have bought two.
What the work is about argues against it
The drawings are about intimacy and how difficult it is — quiet, unguarded, frequently unglamorous moments between women. Wrapping that in the language of acquisition works against the picture. An image about recognising yourself should not arrive framed as an asset class.
What you do get
Archival cotton rag, pigment inks, and colour that holds. The line reproduces the way it was drawn, which for work built almost entirely out of graphite pressure is the part that actually matters. If the edition is ever capped for a specific piece, it will say so on that piece's page, plainly, without a countdown.
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