Since the seventeenth century, printers have struck off a small part of an edition on a larger, stronger or finer paper than that used for the common copies: this is the large-paper issue, reserved for dedicatees, prominent subscribers and connoisseurs. In the eighteenth century, the luxury editions of the Fermiers généraux or of Didot thus numbered their copies on Holland paper or on grand raisin; in the nineteenth, with Charpentier and Lemerre, and then in the twentieth with Gallimard and Grasset, the large-paper issue became a codified practice, announced by the justification of the print run, on Japon, Holland, vellum or laid paper.
A large-paper copy is verified first by the justification, where one exists, and then by the paper itself: its tone, its texture, its watermark, its dimensions before trimming, compared with those of an ordinary copy. Ampler margins, retained deckle edges and the absence of trimming are all telling signs. Its value derives from its genuine rarity, its rank within the hierarchy of papers of the print run, and the condition of the copy — luxury papers, moreover, often keeping better than ordinary paper.
The large-paper issue is frequently confused with the limited deluxe edition: the former is a paper, the latter is the most luxurious part of a print run, which may comprise several papers. A copy on a luxury paper printed in large numbers, as with certain post-war vellums, does not have the rarity one might suppose. Lastly, copies of the ordinary run have sometimes been trimmed to the same dimensions as a large-paper copy, or the reverse: only the substance of the paper settles the matter.