Artist Proofs in Screenprinting: What Collectors Should Know

I've been hand-pulling screenprints for 26 years. Every time I finish an edition, someone asks about the prints marked AP.

Artist proofs matter to collectors. They affect rarity, price, and what you're actually buying. Let me explain how I handle them and what you should look for.

What Artist Proofs Actually Are

Artist proofs are prints outside the numbered edition. Traditionally, printmakers kept a small number for their own use. Testing colour balance, archiving technique, showing galleries.

I mark mine AP and number them separately. If I'm printing an edition of 50, I might pull 5 artist proofs. They're marked AP 1/5, AP 2/5, and so on.

They're not mistakes or seconds. They're identical to the numbered edition. Same paper stock, same ink mixing, same registration. The only difference is the marking.

The History Behind Artist Proofs

The practice comes from traditional printmaking workshops. Master printers would pull extra impressions to keep as reference. Documentation of ink formulas, layer sequences, technical notes.

In commercial print studios, these were called printer's proofs or workshop proofs. The artist kept separate proofs for exhibitions and their archive.

Today the lines are blurred. Many printmakers work alone, so artist proofs and printer's proofs are the same thing.

How Many Artist Proofs Should Exist

Industry standard is 10% of the edition size. A 50-print edition gets 5 APs. A 100-print edition gets 10.

I stick to this. It keeps editions tight and collectors confident about scarcity.

Some printmakers push it higher. I've seen 20% or more. That dilutes the edition. If someone claims a 30-print edition with 15 artist proofs, the real edition is 45 prints. Ask questions.

Are Artist Proofs More Valuable

Not usually. Same print, same process. The numbering differs.

Occasionally APs sell for slightly more because collectors like the association with the artist's personal archive. But I price mine the same as the numbered edition.

What matters is the total number of impressions. A 50-print edition with 5 APs means 55 prints exist. That's the true scarcity.

Other Proof Markings You'll See

Printer's proofs are marked PP. These were historically for the master printer's archive, separate from the artist's proofs.

Bon à tirer means "good to print" in French. It's the proof the artist approves before the edition run. Usually only one exists. Marked BAT.

Hors commerce means "not for sale." Marked HC. These were meant for exhibitions or loans, not commercial sale. Some galleries use them for display copies.

Trial proofs or working proofs are test prints during development. Marked TP. These show process but aren't part of the final edition. Colour might be off, registration loose.

I don't mark working proofs for sale. They're studio scraps. But some collectors like them for the insight into process.

What to Check When Buying an Artist Proof

First, confirm the total edition size and number of APs. A gallery should disclose this. If they don't, ask.

Second, check the marking. Hand-written pencil is traditional. I sign and number every print in the margin, bottom left for number, bottom right for signature.

Third, verify the AP count makes sense. If the numbered edition is small but the APs are many, something's off.

Fourth, ask if the AP is from the artist's own archive or if it was released for sale. Some artists release APs gradually. Others keep them permanently. That context matters for future value.

How I Handle Artist Proofs in My Practice

I pull 10% as APs. Always.

I keep half for my archive. Technical reference, exhibition loans, personal collection. The other half I release with the edition or shortly after.

I mark them clearly in pencil. AP numbering, signature, year, edition title if there is one.

Every print gets the same paper stock. I use Somerset or Fabriano. 300gsm. Archival quality. The same water-based inks, same hand-pulling technique, same drying time between layers.

An AP from my studio is identical to number 12 or 37 in the edition. The only difference is what I've written in the margin.

Why Edition Integrity Matters

Collectors trust printmakers who are consistent. If I say 50 prints plus 5 APs, that's what exists. I don't go back later and print more.

Once I've finished an edition, I clean the screens or retire them. No reprints. Ever.

That's the promise of a limited edition. Scarcity isn't just marketing. It's craft discipline.

Questions to Ask Before You Buy

How many prints in the numbered edition? How many artist proofs? What's the total?

Is the artist proof hand-marked? Signed and numbered by the artist?

Was this AP released by the artist or purchased from their archive?

Does the printmaker document their editions publicly? Do they have a record you can verify?

These questions protect you. They also show the seller you know what you're looking at.

Final Thoughts on Artist Proofs

Artist proofs are a legitimate part of printmaking tradition. Done right, they don't dilute an edition. They're part of the craft's history.

But transparency matters. A printmaker should tell you exactly how many impressions exist. If they won't, walk away.

Buy based on the total print run, the quality of the print itself, and your trust in the artist's practice. The letters AP or the edition number are just markings. What matters is the work.

If you'd like to see the prints I'm currently making, visit olifowler.com. Every edition is strictly limited and hand-pulled. Once they're gone, they're gone.