Artist's proof
An artist's proof is a single print taken in the printmaking process to see the current printing state of a plate while the plate (or stone, or woodblock...) is being worked on by the artist. Rembrandt's etching are notorious for having many artist's proofs in circulation: while some artists regard them as competing works and destroy them, others recognize their unique value to the art world and to the community of collectors. Art historians, curators, and collectors view them as a snapshot of a work in progress, illustrative of the path the artist took; especially in the case of dead artists, they can be the only evidence of the artist's incremental development of an image, something not usually available with drawings, paintings, or sculpture.Collectors also value artist's proofs because they are unique images. Prints are generally sold as limited editions, with a print being cheaper than a drawing or painting because the artist/gallery makes more money by selling multiples. An artist's proof has special value because of its uniqueness and its possible differences from the "standard" print, factors that are often reflected in its price.
Since printmaking is a very technical area compared to other mediums, many artists choose to work with print shops, rather than develop the expertise themselves. The print shop provides technicians skilled in the process; the artist provides the art. It's customary in these cases to pay the technicians with a signed artist's proof, in addition to his wages. This has resulted in some very impressive collections of prints owned by printmakers themselves, built over a long career working with a wide variety of artists.
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when I had satisfied myself as to that, I would have found my mate. I
again, brooding.] I would not exact pledges of him. I would say to
care of my child. You may go away when you wish . . . that rests with
do not feel that way about me?
OCEANA. Not the least little bit, Freddy.
FREDDY. And if I waited ever so long?
OCEANA. I do not believe that I should ever feel it, [She puts her
Face it like a man. It is one of those things that we cannot help . .
Nature's voice speaking to us. It means no disgrace to you that I do
signal that Nature gives us, that we wait for, and dare not disregard.
one entranced.] You must let me teach you . . . you must let me help
yourself. Perhaps you and Ethel can go back with me to my island . . .
with admiration. She presses his arm.] Now promise me.
FREDDY. What?
OCEANA. That you will be a man.
[They gaze into each other's eyes.]
ETHEL. [Off.] Oceana!
OCEANA. Here is your sister. Let us not trouble her. [Aloud.] Ethel!
ETHEL. [Enters in street costume.] Oh, here you are! And your new
legs outside.
ETHEL. And did you get something beautiful for tonight?
OCEANA. I got something that will do.
ETHEL. Oceana, when am I to see the dance?
OCEANA. I told you, when I have my costume.
ETHEL. But when will that be?
OCEANA. When my trunks have come.
FREDDY. They came this afternoon.
OCEANA. Oh! Then we'll have it to-morrow morning! And I'll show you.
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