< CREATING A CAST WAX PATTERN
EDITION NUMBERS
The edition number placed on each copy of a sculpture series provides information on both the total number of copies produced, and the sequential number of each cast in the series. The process of editioning a sculpture series is quite straightforward, if sometimes misunderstood. The following is an outline of the basic principals involved in numbering a cast edition.
There is no legal obligation on a sculptor to restrict the number of casts that are produced from an original design – provided no edition limit has been indicated or otherwise attributed to an earlier copy of the same work..
Any sculpture series (ie multiple copies of the same design) that is to be limited to a finite number – ‘the edition’ – is usually divided into two distinct parts. The first part of the edition can be referred to as the ‘artist’s series’. The artist’s series, according to convention, is normally limited to a total of two casts. This first series is traditionally noted using one of the following forms – 00/1 and 00/2, or alternatively – AC/1 and AC/2 for ARTIST’S COPY (some use the printer’s annotation ‘AP’ or ‘artist’s proof’). The artist’s copies are for the sculptor’s personal reference or archive and these casts are not normally made available for sale.
The the second category, which might be better referred to as the ‘public series’, is also noted in a ‘fractional’ format. The first figure or NUMERATOR denotes the cast’s position in the production sequence. The second figure or DENOMINATOR indicates the total number of copies available in that edition. Editions of sculpture are conventionally defined by multiples of three, 3, 6, 9,12 and so on, though any convenient total number is acceptable provided this figure is not altered after edition is released. According to this convention, the fifth cast produced in a limited edition of twelve will be indicated as 5/12. The numbering sequence of this public edition does not take into account the existence of any artist’s copy; therefore, if the artist has already taken their full compliment of two reference copies, by the time the fifth copy of the public edition is produced a total of seven casts will be in existence. Once the edition has been completed, the reproduction mould is destroyed, though unlike editions of printed material, a ‘cancellation copy’ is not produced from the distressed reproduction mould.
Practical guidelines on the appropriate limit for an edition are more or less useless, because the value and desirability of a cast sculpture is dependant on many variables. It is unusual (though by no means unheard of), for fine art editions of any scale to exceed a maximum of twelve to fifteen copies. Under French law (revised most recently in 1981), the first twelve copies of an edition are recognised as being ARTISTICALLY AUTHENTIC (subsequent copies, are legally classed as ‘reproductions’ only). Similarly, US Customs recognises the first ten of an edition as being ‘original’ (this assessment is primarily intended as a reference for import and duty purposes).
There are ways of increasing the numbers available from an ‘edition’ once the original mould has been destroyed – the most usual here being to re-mould the master pattern or an earlier cast copy. The both are dubious practices at best, and most likely fraudulent (at least morally). The latter technique referred to as SURMOULAGE is especially insidious, in some jurisdictions it is considered legal to make a copy of an owned artwork (a common justification is to keep the original under lock and key, using the copy for display); the irony is that some artist's works have become so devalued by widespread copying that a good many of [their] works in circulation are potentially worth little more than the metal used to cast them.
There are a great many complicated ethical issues concerning cast artworks and similar reproductions, too detailed to be discussed in depth here; however, serious artists are advised to be very specific and transparent about their policy towards editions of their work. Professional artists should maintain extensive records and catalogues, and also make clear statements in their wills and testaments as to what further reproduction of their work (if any), is permissible after their death.
One final point, is that there is no obligation upon sculptors to have their foundry cast an entire edition in one go. Copies can quite properly be ordered both on a 'one at a time' basis and over an extended period of time – though foundries will often offer significant discounts to artists who order multiple copies of a sculpture paid for in advance.
MONGRAMS, SIGNATURES & DATES / FOUNDRY MARKS >
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