Care · Editions, authenticity

One hundred prints. One portrait. One book.

Every object we make is finite. Nothing is reprinted, no portrait is duplicated, no book is repeated. This is how we count, sign, and retire the work.


Section one · Prints

Every print is one of a hundred.

Each edition in the Print Archive is capped at one hundred impressions. Every sheet is numbered by hand on the back in the format no. 23 / 100, signed with Kirsten's initials and the year, and pressed with the Mi Amor Mi Vida mark in the bottom-right corner.

The numbering is sequential and honest. If your print is numbered 23, twenty-two sheets went out the door ahead of it — no proofs squirrelled away, no house copies kept back for resale.

Section two · Certificate

Letterpressed, hand-signed, dated.

Every print ships with a small letterpressed certificate of authenticity. It carries the title of the work, the edition number, Kirsten's hand-signature, and the date the print was pulled. The certificate is printed on the same cotton stock as the print itself, and it is the document that establishes provenance.

Keep it with the print. If the piece ever changes hands — as a gift, a loan, or a sale — the certificate travels with it.

Section three · Retirement

At one hundred, the plate retires.

When the last of the hundred sells, the product is archived from the shop. The plate is not rerun. The edition is not extended. The piece is not relisted in a different size or a different colourway a year later as a workaround. It is finished.

The only place a retired edition remains visible is in our own record — a bound ledger kept by us, with the title, the dates, and the ninety-nine other homes the sheets now live in.

Section four · Portraits, books

One portrait. One book. One of one.

Commissioned portraits are one-of-one by default. We keep a single archival photograph of the finished piece in our house record, and nothing more. The drawing itself is yours in the only form it will ever exist.

Cartoonized Keepsakes are each illustrated from source photo to approved artwork. Physical goods carry the house proofing decisions into paper, frames, apparel, mugs, and packaging. If a second object is commissioned on the same subject, it is its own object — placed again, proofed again, approved again.