PROOF IN ART, the name given to an impression of an engraving "pulled" or struck off, from the plate, with or without the signa ture of the artist. After the various "proofs" and 'states,' there comes, finally, the "finished' or 'publication state,' preceded by the last proof passed by the artist as 'ready for print ing" Each of the impressions issued to the public is classed under one of the following headings: (1) Artist's proofs; (2) proofs be fore letters; (3) lettered proofs (or proofs after letters), and (4) prints. These headings do not necessarily correspond with 'states' of a plate. They are simply description of the amount of lettering printed on the impressions to which they refer. The 'publication line' should be on every impression and is the only lettering which appears on artist's proofs. Proofs before letters have printed on them the names of the artist and engraver of the work, in addition to the 'publication line,' but they are without the title. They are stamped on the right.
Lettered proofs have printed on them the names of the artist and engraver of the work and the title of the subject. They are also stamped on the right. Prints have all the above-mentioned printing, but the style in which the title is printed is altered in some manner from that appearing on the proofs. They are not stamped at all. To-day artists who 'pull' their own proofs usually sign in pencil.
A "wax proof' is a tentative proof by the engraver for the purpose of learning what re touching may be necessary. It is obtained by filling in the lines with lampblack and applying it to a sheet of paper coated with white wax and exerting upon it a gentle pressure with a burnisher.
'Proof with letter' is applied to proofs in which the lettering is grilled with "hatch ings* (small lines).
'Proof with white letter' is a proof in which the characters of the legend or Inscription are only indicated by outlines.
'The word (state) and (proof,) writes Dr. Frank Weitenkampf, 'call for explanation.) Their use is not always well defined. In a general way it may be said that the 'proof) is usually applied to an impression taken from i the plate in the earlier clearly unfinished stages, while is used to indicate stages of rel ative completeness. As the engraver, or etcher, works on his plate, he takes an impression oc casionally to get the effect of what he has done. Such impressions are known as 'trial proof s) or 'working-proofs.) There are many ways of making changes. Work on copper plates may be obliterated by scraper and bur nisher or the plate may be beaten up from the back on an anvil by a hammer. A portion of a wood block may be cut out and a plug of wood inserted in its place to be re-engraved. A piece may even be added to an engraved block or plate and the engraving then enlarged. Occasionally an etcher will try his point on the margin of the plate or even execute some slight sketch. Chodowiecici did this; Buhot did
it to a very elaborate extent. Such marginal sketches are called 'remarques.' And from this habit originated the systematic production of 'remarque proofs) against which Whistler di rected his fine sarcasm. But he also declaimed vigorously against the presence of any margin at all. A margin on the plate is not a neces sity, but a proper amount of margin is un doubtedly a protection for a print. In modern times the whole matter of (proofs) and (states) was brought into a regular system, impressive to the buyer and profitable to the producer. There may be, for example, successively trial proofs, finished proof, proof with remarque, artist's proofs, before all letters (or inscrip tion), with names of artist only, with inscription, in open letters, with letters filled or solid, with publishers' address. And the 'states) again may be on India or Japan paper and on plain paper.
'The importance of a good impression is paramount and the good impression is the re suit of the printer's skill and the of the plate. For this reason, also, early (states) are sought by collectors, but even more, per haps, because they are rare. For rarity plays a very important part in the collector's list of reasons. In reality, mere priority of does not mean much in itself. The very fact that the artist thought it necessary to create a later 'state) by making corrections or additions, is significant. Such an afterthought may raise a plate from comparative insignificance to tell ing force or it may spoil it altogether. Turner's 'Calm) (No. 44 of the Liber) is usually con sidered much finer in the third than in the first. The Techener reissue of Jacque mart's 'Gemmes et Joyaux> is better than the first 'state,' says Wedmore. In the second 'state) of Whistler's (Kitchen) a large amount of added dry-point work appears, especially on the walls leading to the window, increasing the richness and harmony to a remarkable extent. On the other hand, the luminous quality and reflected light in the first (state) of Turner's (Crypt of Kirkstall Abbey) have become dull and flat in the second. Some of Meryon's plates have distressing additions in the later (states,' strange birds and beasts and human beings, sometimes of a troubled mind. Nor could any amount of working change the fumbling effect of the body in Whistler's (Becquet) (the (cello player)), in which the in terest is absolutely concentrated on the well wrought head. There may be various reasons for preferring an early Experience, developed taste and acquired knowledge of the individual case will determine your choice.' Bibliography.— Weitenkampf, Frank, to Appreciate Prints) (New York 1916) ,• Hamerton, Philip Gilbert, and Etchers) (London 1880); Hamerton, Philip Gilbert, (The Graphic Arts) (London 1882).