Artist's proofs are a special subset of the regular limited edition. They usually sell for 10-30% more than the regular edition. Artist's proofs began back when limited editions were all hand-pulled from a one-man litho press. The artist's proofs were the first prints pulled off a fresh "stone" (the plate which was drawn or etched by the artist to create the prints). The stone wore down as the number of prints was increased, so that the APs were the sharpest and most colourful of the lot. Thus, they sold for more, being a better product.

These days, in the world of modern offset lithography, all the prints in an edition are nearly identical. Artist's proofs maintain their collectability and value because A) They are a small subset of the edition, and B) they usually come directly from the artist. In these days of mass marketing, getting something directly or even indirectly from the artist is rare. Publishers usually turn over the artists proofs to the artist for his or her own use, and retain all the other prints in the edition.

How rare? it varies. Traditionally, artist's proofs number 10% or less of the total edition, so if there is an edition of 500, usually there will be only 50 artist's proofs.

Artist's proofs are signed "A/P" or "Artist's Proof" and may or may not be numbered with the serial number of that portion of the edition.

Artist's proofs are generally considered a status symbol in the world of art collecting. And their resale value is proportionally higher than the numbered editions

Robert JACKS

BIOGRAPHY

From his home near Castlemaine in central Victoria, Australia, accomplished abstract artist, Robert Jacks, works as painter, printmaker, sculptor and teacher.

Born in Melbourne in 1943, Jacks is one of Australia’s most important and accomplished abstract artists, and is a veteran of more than 50 solo exhibitions and many group exhibitions.

Trained in sculpture at Prahran TAFE and painting at RMIT, Jacks soon rose to prominence, with his first solo exhibition at Melbourne’s Gallery A in 1966, through to his representation in The Field in 1968. This exhibition was to launch the new National Gallery of Victoria in St Kilda Road, and with it, a wider appreciation of Jacks’ unique Geometric abstraction.

The early 70’s saw Jacks move to New York, where, from his home studio loft in Soho, he eagerly embraced the flourishing conceptually oriented minimalist art movement, along with the accompanying lifestyle of exhibitions and nightlife.

"There are times in your life when you need to be right in the middle of it," he says. "There are other times in your life when you need to get out of town. Monet left Paris."  And so Jacks left the maddening crowd behind, choosing the quieter, more private lifestyle of rural Victoria. 

Today, reminders of his heady 60’s student days can be seen in his two purpose-built granite studios; one devoted to his huge retro record collection; the other, a testament to his artistic pursuits with its bohemian paint-splashed interior.

Jacks’ work has evolved over the past 20 years into a more painterly and graphic abstraction, The Spanish music that stirred his spirit as a young student continues to fuel his art with passionate inspiration. The recurring guitar symbol in his more recent works mirrors Jacks’ personal imagery, in which he sees the voluptuous curves of a woman within the sensuous shape of a guitar. Jacks bends and moulds his guitar shapes, imbuing them with beautiful melds of colour against their hard edges.

"Colour is the main mood in a painting, the heart of the painting, whereas drawing is the brain of the painting," says Jacks.  Jacks retains a deep connection with his immediate surroundings and draws on his personal experiences, which are continually reflected in his paintings and sculptures.