Then there are proofs called Collaborator Proofs

(noted as: C/P). Often times in work with sculpture, several

people will be employed such as the patina artist.  This

artist, working as a collaborator, may receive several pieces

to test the patina's on.  This addition to the edition will

range from 5-10% of the edition size.

Finally this brings us to what is called "Hors de

C o m m e r c e , " which are proofs given to art galleries for

window display as a way of promoting the artwork itself.

Some artists in today's market use these in adjunct to their

selection of limited editions.

Most artists charge a premium for the adjunct

editions. The reason being, each edition size of the adjunct

types is much smaller than the main edition. Therefore if

there are only 10 prints in an adjunct edition they

should be worth more than a print from the main

edition. Some artists will enhance or hand-embellish proofs

to back up the increase in value. If an artist normally does

hand embellishing in the main edition, they will do extra

hand embellishing on the proof. Some artists will choose to

do a re-mark . A re-mark is a small original sketch or

drawing done either on the piece itself or just below where it

ends and open canvas begins.  This is a special way of

boosting the value of the adjunct editions.

It's always important to understand what you're

purchasing.  Is it the standard type edition?  Is it the

printer's proof? Is it an artist's proof? In general you should

really judge for yourself how having one of these editions vs.

having a regular edition would psychologically make you

feel. Because there is really no rule within the art industry

itself stipulating what an artist should charge; the bottom-

line question often is, whether or not you believe you

got a the right deal for your money.  There are a

percentage of artists who place no higher value on adjunct