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9 State

DEFINITION

The relationship of a work created in multiples, such as a print, to other stages of the same work.

SUBCATEGORIES

GENERAL DISCUSSION

This category is applicable to works created in multiples, particularly prints such as etchings printed from plates that are altered repeatedly. It may also refer to any sequence of related stages that together build toward the creation of a work of art or architecture. Each variation in the plate or stage of production is identified as a particular state. Since works of art produced in multiples typically vary slightly, identifying the state of a specific work makes it possible to distinguish it from other quite similar works. Differences in the application of ink to the same state of the plate are not separated states. Printmakers may make proofs to test their work on the plate; proofs sometimes survive and are typically named (e.g., artist’s proof).1

While state is primarily associated with graphic works, some sculptures have terms associated with them that refer to their state, such as artist’s proof. This category could also be used to refer to stages in the construction of a work of architecture.

Numbered and named states

can be expressed as a ratio of the state of the object to the number of known states. This should be combined with the name of the person who identified the total number of states, and the date of the publication in which the schema of possible states was delineated. Different authors may enumerate a varying number of possible states of a work, and alternate sequences of these states.

Unnumbered states also exist; these usually date from the time before a print was in circulation or before a work was completed. These are identified by specialized terms such as printer’s proof and bon à tiré proof.

Sources

The identification of the state of a work may require the expertise of a connoisseur if a published catalogue raisonné does not exist. The enumeration of states is often speculative, as not all states of a work may be known or described. Much of the literature on printmaking has focused on the identification of the various states of an artist’s graphic works. Unless an inscription exists on the object, identifying the state may be difficult; secondary sources or other works may be consulted to identify a specific state. Prepublication states such as working proofs often have inscriptions that identify their purpose.

Uses

The state of a work helps to identify it and distinguish it from other similar works. Positioning a print within the process of the development of an idea is important for the researcher; it places the work in the creative process, as various states of a print or bronze show differing stages in the development of an idea. Comparing different states of a work can illustrate the development of its various versions. Once a work has been positioned within the creative process, it can be dated with more accuracy and evaluated with more certainty.

Cataloging rules

For the subcategories in this section, basic recommendations and discussion are provided below. For a fuller, more prescriptive set of cataloging rules for some of the subcategories, see “Chapter 3: Physical Characteristics” in Cataloging Cultural Objects (CCO), which deals with a critical subset of the CDWA.

RELATED CATEGORIES and ACCESS

If a work has been reissued, in whole or in part, at a later date, this should be indicated in the category. Different versions of a work, such as copies after a work, re-creations, replicas, or reproductions of it, are not considered states and should be recorded in . This includes the following examples: 1/4-scale version, 1/2 or half-scale version, full-scale version, small version, and version A. If the block, plate, or negative that a work was printed from is known to exist, it should be recorded in . If state is determined on the basis of comparison with another work, the latter should be noted in .

The state of a work can often provide clues to its dating. The creation date of the work should be specified in the subcategory . Object component parts, lots, or collections, such as tea sets, or nests of baskets, are not covered in the subcategory. See . If a work is not in its original state or condition, this should be indicated in the category .

9.1. State Description

DEFINITION

For a work that was created as multiples, an indication of the relationship of the state of the work to other stages of the multiples.

EXAMPLES

  • 2:8
  • bon Ă  tirer
  • printer’s proof
  • hors commerce
  • final state
  • artist’s proof
  • proof before letters
  • experimental proof
  • progressive proof
  • printer’s proof
  • counter proof
  • unnumbered
  • 1st of 3 states (Robison (1986))2
  • variant of state I (Bartsch 171-II (129))3
  • AdhĂ©mar 54.X 4
  • Reed and Shapiro 52.XV-XVIH 5

DISCUSSION and GUIDELINES

Optional: For prints and as appropriate for other works produced in multiples, record an indication of the relationship of the state of the work to other stages of the multiples, if known. Any stage in the development of a printing plate at which impressions are taken is a State; a new State occurs when the matrix (plate) is altered (e.g., lines are added or erased). A work’s state may be expressed as a ratio of the state to which this work belongs out of the number of known states (e.g., express the 2nd of 5 states as 2:5). It may also be identified by a descriptive phrase, such as final state or print before letters.

Format and syntax

List the ratio of the state of the work to the total number of known states, using a colon (e.g., express the 3rd of 5 states as 3:5). Alternatively, express the state in natural word order (e.g., 3rd of 5 states). If the number of states is unknown, list the numeric indication of the state (e.g., 3rd state). For unnumbered states, record the appropriate term. Use lower case. Avoid abbreviations, except for abbreviations for numbers (e.g., use 2nd rather than second). Use ordinal numerals (e.g., 4th) and Arabic cardinal numbers (e.g., 5), as appropriate. Record other terminology in the language of the catalog record. If no English term exists and non-English terms must be used, include the appropriate diacritical marks (e.g., bon Ă  tirer).

If scholars disagree or are uncertain about the state, clearly indicate this in the display (e.g., possibly 2nd of 4 states). If you do not know the total number of states, include the known state and omit the total number of states (e.g., 2nd state). When more than one study of an artist’s oeuvre exists, or there is disagreement about the number of states of a particular work in existence, the identification of the state should also include the name of the author of the catalogue raisonné used to identify the state, and the date it was published; Adhémar 54.X and Reed and Shapiro 52.XV-XVIH actually refer to the same state.

Types of states

Use the following terminology for various types of states and proofs. For additional types of proofs, see the sources of terminology listed in the Terminology/Format section below.

  • Numerical states: For most indications of , record numerical references as described above (e.g., express the 1st of 3 states as 1:3).

  • Artist’s proof: Use artist’s proof (or epreuve d’artiste) for impressions printed especially for the artist and excluded from the numbering of an edition. On the print, you may find it abbreviated as AP or EA, and numbered with an edition number according to the number of artist’s proofs pulled (e.g., AP 2/12).

  • Bon Ă  tirer: Use bon Ă  tirer (or right to print) for the proof approved by the artist to establish the standard for all of the other prints in the edition.

  • Hors-commerce: Use hors-commerce, meaning “outside the commercial edition,” for proofs that were excluded from the numbering of an edition; were not originally intended for sale; or are not artist’s proofs, printer’s proofs, or bon Ă  tirer. You may find it abbreviated HC on the print.

  • Printer’s proof: Use printer’s proof for impressions printed as tests for the printer and excluded from the numbering of an edition. You may find it abbreviated PP on the print.

TERMINOLOGY/FORMAT

Free text: This is not a controlled field. Maintain consistent capitalization, punctuation, and syntax where possible. For the named proofs, use terms derived from the Art & Architecture Thesaurus (AAT) Hierarchy Display (Objects facet, Visual Works hierarchy, proofs (prints by function)) or from the National Gallery of Art Glossary. Index the state in and , discussed below.

9.2. State Identification

DEFINITION

The identifying number or name assigned to the state of a work that exists in more than one form.

EXAMPLES

  • 2
  • 10
  • artist’s proof

DISCUSSION and GUIDELINES

Optional: Record the number of the state being cataloged. If the state is named, record the name.

TERMINOLOGY/FORMAT

Controlled format and authority or controlled list: For numbered states, use whole numbers. For the named proofs, use a controlled list of terminology or the . Terms may be derived from the Art & Architecture Thesaurus (AAT) Hierarchy Display (Objects facet, Visual Works hierarchy, proofs (prints by function)) or from the National Gallery of Art Glossary.

9.3 Known States

DEFINITION

For numbered states, the total number of identified states.

EXAMPLES

  • 5
  • 11

DISCUSSION and GUIDELINES

Optional: Record the total number of known states related to the item being cataloged. For named states, this subcategory is not applicable.

TERMINOLOGY/FORMAT

Controlled format: For numbered states, use whole numbers. For named states, this subcategory is not applicable.

9.4 Remarks

DEFINITION

Additional notes or comments pertinent to information in this category.

DISCUSSION and GUIDELINES

Optional: Record a note regarding the state of the work. Use consistent syntax and format. For rules regarding writing notes, see .

TERMINOLOGY/FORMAT

Free-text: This is not a controlled field. Use consistent syntax and format.

9.5 Citations

DEFINITION

A reference to a bibliographic source, unpublished document, or individual opinion that provides the basis for the information recorded in this category.

DISCUSSION and GUIDELINES

Optional: Record the source used for the information about state. For a full set of rules for citations, see R.

TERMINOLOGY/FORMAT

Authority: Ideally, this information is controlled by citations in the citations authority; see .

9.5.1 Page

DEFINITION

Page number, volume, date accessed for Web sites, and any other information indicating where in the source the information was found.

DISCUSSION and GUIDELINES

Optional: For a full set of rules for pages, see .

TERMINOLOGY/FORMAT

Free-text: This is not a controlled field. Use consistent syntax and format.

Examples

Most typical type of state, identification and total number of states are known:

  • State Description: 3:5
    State Identification: 3
    Known States: 5

Named state:

  • State Description: artist’s proof
    State Identification: artist’s proof
    Known States: N/A

Uncertain state:

  • State Description: possibly 3rd of 4 states
    State Identification: 3
    Known States: 4

Unknown number of known states:

  • State Description: 2nd state
    State Identification: 2
    Known States: unknown

Unknown number of total states:

  • State Description: final state
    State Identification: final
    Known States: unknown

Citing the source:

  • State Description: 1st of 3 states (Robison (1986))
    State Identification: 1
    Known States: 3
    Citations: Andrew Robison. Early Architectural Fantasies: Catalogue Raisonné of the Piranesi Etchings. Washington, DC: National Gallery of Art, 1986.

Revised 4 January 2024
by Emily Benoff

Notes

  1. For further discussion, see Paul Goldman. Looking at Prints, Drawings and Watercolours: Guide to Technical Terms. London and Malibu: British Museum in association with the J. Paul Getty Museum, 1988, 54-55. ↩︎

  2. Andrew Robison. Piranesi: Early Architectural Fantasies: Catalogue Raisonné of the Etchings. Washington, DC: National Gallery of Art, 1986. ↩︎

  3. Agostino Carracci. Coat of Arms of Cardinal Franciotti, in Italian Masters of the Sixteenth Century, edited by Diane De Grazia Bohlin, from Illustrated Bartsch, vol. 39 (formerly vol. 18, part 1). New York: Abaris Books, 1980, 212. Note: Roman numeral indicates state; Arabic numerals in parentheses indicate page number in the original edition. ↩︎

  4. Jean Adhémar and François Cachin. Degas: The Complete Etchings, Lithographs and Monotypes, translated by Jane Brenton (New York: Viking Press, 1974); French ed.: Edgar Degas: gravures et Monotypes. Paris: Arts et Métiers Graphiques, 1973. ↩︎

  5. Sue Welsh Reed, Barbara Stern Shapiro, et al. Edgar Degas: Painter as Printmaker. Boston: Museum of Fine Arts, 1989. ↩︎