That was also the question for me and was the reason that I put
everything into a "note per negative" fashion. The example I used didn;t
show any printing information and I forgot to add that when I make a
print, I go back to both my written notes (if they're handy) and always
to my computer notes and add the printing info. I include things like
type of enlarger, size of bulb, type of paper, filters used, exposure
times as well as developing times and chemicals for the paper.

I do have a (personal) issue with the idea of recording the printing
info. I have a feeling that it will work ok as long as I and whoever
follows, remembers that it is "guidelines" I've written so that I/we can
reproduce the print with minimal effort. The sticking point will be
things like different batches of paper, different mixes or types of
developer (whatever's handy is likely what will get used?), age of the
light bulb in the enlarger, is it even the same enlarger for the next
set of prints?

So...........the reason I make these notes is in order to provide
guidelines for my next work. I can also use these notes to help me see
how I am progressing in both printing and picture taking. I doo a
duplicate set on the computer from my written notes so that I can search
them if I'm looking for something specific.

Your question about print accessibility for the few (relative to the #
of negs) that you plan to print and keep?.......hmmm. Unless you can
formulate an analogue idex of some sort, whether by type of photo
(scenic, portrait etc.) or type of film or camera, and then cross
reference that to the negative and the print physical storage areas, the
only way to access them easily is going to be by numbering them and
creating a software database that can be searched and sorted.

end of my $0.02

cheers

The key requirement for something to become art is that someone sees it.

Take a tip from artists that have gone before: Don't archive a damn thing.

Sell, give away, scatter to the winds your output and the people
who like it will archive it for you.  

If you are _really_ good then at your retirement or death you
should torch (or have torched) your darkroom with all your
negatives and remaining prints.  Invite the newspapers to watch.  
This increases the value of your work immeasurably and everyone will
want to have a look at it to know what all the fuss is about.  Dollars
to donuts some self-appointed critic in said curious mob
will anoint you a genius and you will be on your way.

Of course, to be a great artist you first have to be dead.

If you put all your creations away in a Yuppie-fetish Light-Impressions
'Boxe' then sooner or later it will come into the hands of a
philistine [or man of good taste] and it will be "Oh no, _more_ of
this stuff -- what _was_ he thinking?  Another one for the dumpster".

Your throw-away, Ritz processed, rapidly fading vacation snaps of
Aunt Martha will be kept and cherished, copied and hung over the
fireplace irregardless.  Aunt Martha will be remembered and you
will be forgotten.

That is what I do except display prints are marked in the front lower
(wider) left hand border with Roll/neg number and file copies of final prnts
are marked with carrier hgt, exposure info, filter no. and roll/neg.

My filing system is the same as yours w/ the exception that I do not have
customers to worry with.  I haven't bothered with a databasebecause my print
library is still easy to access physically.   Although I can see a simple
database can make things easier if I get a large enough library.

Right now, if I want to make another copy of a print, I get the negative
info from the display print.  Pull the negative and the file print.  File
print tells me what I did.  Make a test print and dry.  Adjust for paper
differences.  Print.  While the absolute values of the exposure in
manipulation data may not fit the new paper, I have found they get me close
and that the relative changes generally hold.  Sure beats starting all over
again.

If you don't rub on them you could use china markers.

Bob

I do one better I use a single hole punch and designate variations
as a set multiple number of holes,...I just write the sequence changes
into my darkroom log book.

For prints that require more than simple manipulation that can be noted on
the back, I file two copies.  One is the final print.  The other is the
straight print with the basic exposure.  On the back are the basic exposure
notes.  On the front is my manipulation map w/ settings.

For the truly creatively impaired ,....what Nicholas stated as
translated by me:

In other words it takes some skill to save yer arse, and not a lot
to show off :-)

This from the guy who admits to writing "with a Sharpie" on the back of
his test prints???