In response to my inquiry about artist proofs, I received this fantastic email response. I thought it would be helpful to post it for everyone's benefit:
This is an important issue for prints and photographs, and there are, as always, conflicting views. Many photographers refuse to assign editions, and they are perfectly right to do so. Lee Friedlander is one notable artist who does not print in editions, and there are plenty of others. Not until the explosion in the photography market in the 80s did editioning become such a big deal. Prints (lithograph, silkscreen, woodcut, etc.) are historically a different issue, since they approximate or spin off from an artist's "unique" work.If it is a new edition, and none have been sold, the first collector should be offered edition 1/5. The prints, ed 1-5 and any proofs, should be numbered along the lines of:
1/5
2/5
3/5
4/5
AP 1
AP 2
etc.If you sell the prints in order of the edition, you have the most control over distributing the prints. You can look in the storage box and count #s 3-5 and know 1 and 2 are sold.
The concept of higher numbers or APs being less valuable is misguided, and I believe it comes from the practices of artists (or others) creating very large editions, such as a Dali edition of 300. Ed. 290/300 has little sentiment to it, while 5/5 is much easier to comprehend.
NY State has laws setting guidelines for what constitutes an artist's edition. Anything beyond 200 (?should confirm this, try the nyfa website) is thus considered a commercial print/poster.
I think we've discussed this before, but the recurring question of value across edition #s is moot, since all prints in a professionally composed edition are identical in printing/quality/documentation. Unless, by design, the prints vary intentionally throughout the edition. When a print sells up to 10/15 and the dealer increases the price, the value of previously sold works 1-9 goes up as well.
All of this ignores the emotion involved in making an art purchase. Someone being offered 1/5 may wonder why no other prints are sold, and think it is less desireable. OR, they may be so excited to be have first crack they can't wait and must have it.
To answer the direct question you posed, if I could buy 3, 5, or the AP, I would ask where 1, 2, and 4 were, and who the AP belonged to. Often APs are distributed to the Artist, printer, and others as a way to compensate for printing expenses. The AP is as good as the rest, but an experienced print collector will want to know how the other prints have been distributed/sold.
see this
and...
follow the nga link to Glossary
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