Artist's Proof. One of the first productions of a medallic item, intended for the artist, and usually marked in some way. It forms, somewhat, the artist's medallic portfolio,

for exhibition or to show prospects his style and accomplishments. Occasionally the artist preferred to have matching clichés of the obverse and reverse, instead of a two-sided medal. These could then be mounted for display to exhibit both sides.

History of Artist’s proofs. This term did not exist when medals were created by diesinkers in their own studio or shop. They undoubtedly retained samples of their work to show prospects, but no such item has been found with these special markings.

Only at the end of the nineteenth century and the change of technology, when

medallic patterns were created by sculptors instead of dies engraved by hand, the artist

was separated from the production of the medal. It became a professional courtesy to present the artist with the final stage of his creation. Furnishing this sample, then became

a custom of the mint or medallic firm, and to indicate the piece was the artist's copy, it was often so marked on the edge.

The French were first to acknowledge this tribute to a medallic item's creator.

French medallists did the most, beginning in the 1880s, to develop the technology of creating an oversize pattern and mechanically reducing and cutting the dies to the size required. French-made medals are occasionally found today with edgelettering identifying the piece was intended for the artist.

The artist's proofs that appear on the market are undoubtedly from the artist's estate and are highly prized by collectors. The wording may differ, but they all mean the same: artist's proof, artist's copy, artist's replica, or even author's proof. In America the Medallic Art Company had a policy of furnishing the sculptor a copy of his creations, but did not mark the edge unless so requested by the artist. The custom continues.

See proving, author’s proof, sculptor’s copy.