History
The term "proof" is generally, but not consistently, applied only to prints from the late eighteenth-century onwards, beginning with the English mezzotinters, 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.
In old master prints, a proof will be described as belonging to a different state of the print. States are numbered I, II, III etc., in the sequence they were produced, which can normally be determined.
For example Rembrandt, who had his own printing-press and printed at least the earliest copies of his etchings 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.
But the term proof can be used in the case of a clear working proof of an old master print, like the two impressions of Albrecht Dürer's Adam and Eve (1504, British Museum and Albertina, Vienna) which show the figures largely finished but the background with only the main outlines lightly done.
Read more about this topic: Artist's Proof
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