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84:, who began the practice of issuing small editions of proofs for collectors, often before the "lettering" or inscription below the image was added. The practices of signing or numbering impressions in the main edition had not begun, and in the absence of this, it is normally only when the image is clearly different from the final form that the term proof has any meaning.
60:, and sometimes the number of artist's proofs, which belong to the artist, can be twenty or more. By convention, the artist is not supposed to sell these at once. However, some artists use it as a method of re-issuing an edition that has sold out, marking such editions for example 'Artist's Proof no.8 of 50.'
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Since many printmaking processes require expensive equipment, most artists choose to work with specialist printers. The print shop provides technicians skilled in the process; the artist provides the art. It is customary in these cases to pay the technicians with a signed artist's proof, in addition
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to his wages. The print shop will also retain a proof, normally signed off as "bon à tirer" ("good for printing" in French) to use as a control example against which the other impressions are compared. This has resulted in some very impressive collections of prints owned by printmakers themselves.
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Art historians, curators, and collectors view working proofs as especially desirable because of their rarity, the insight they may give into the progress of the work, and because they may well have belonged to the artist. Especially in the case of dead artists, they can be the only evidence of the
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Collectors also usually prefer final artist's proofs even when they are identical to the main edition; if nothing else the print may have been presented to a friend by the artist. Prints are generally sold as limited editions, with a print being cheaper than a drawing or painting because the
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himself, was a great taker of proofs, but these are normally described as different states - his record was nine for one etching, although this involved returning to an older print he had sold many copies of, and largely reworking it.
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artist/gallery makes more money by selling multiples. An artist's proof has special value because of its extra rarity and its possible differences from the "standard" print, factors that are often reflected in its price.
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process to see the current printing state of a plate while the plate (or stone, or woodblock) is being worked on by the artist. A proof may show a clearly incomplete image, often called a
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151:. Some lithographs may be hand signed in the border and labeled "Epreuve D'Artiste", which means Artist's Proof, which also increases its value.
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The term "proof" is generally, but not consistently, applied only to prints from the late eighteenth-century onwards, beginning with the
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which are taken for the printer to see how the image is printing, or are final impressions the printer is allowed to keep.
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of the print. States are numbered I, II, III etc., in the sequence they were produced, which can normally be determined.
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Prints and
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An artist's proof is also known as a "comp" or "complimentary" if given to printers.
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artist's incremental development of an image, something not usually available with
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348:. Vol. 3. Translated by Grieco, Allen J. Paris: Scafa, Inc. p. 263.
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But the term proof can be used in the case of a clear working proof of an
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Artist's proofs are not included in the count of a limited
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379:"Proof prints, part two; or, Proofs and proofiness"
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281:The Complete Manual of Relief Printmaking
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346:A Technical Dictionary of Print Making
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383:Folger Shakespeare Library
377:Blake, Erin (2013-06-25).
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316:Blake, Erin (2013-05-28).
279:Simmons, Rosemary (1988).
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405:Printmaking techniques
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287:. pp. 168–169.
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388:2023-12-01
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262:2023-12-01
216:2023-12-01
193:References
149:sculpture
145:paintings
100:Rembrandt
21:Eric Gill
415:Category
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171:See also
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104:etchings
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207:"Proof"
122:(1504,
64:History
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147:, or
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