< COMMON WAX FAULTS
EDITION NUMBERS
The edition number provides important information on both the total number of copies produced from each master pattern, and the sequential production number of each cast in the series. The process of editioning a sculpture series is quite straightforward, if occasionally 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 and the sculpture is not later passed off as part of a limited edition.
Any sculpture series 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 in 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 normally intended for the sculptor’s personal reference or archive and these casts are not normally made available for wider release.
The the second category, which might be better referred to as the ‘public series’, is also notated 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.
Deciding upon a suitable total for an edition can be problematic for sculptors. Too large an edition can reduce each cast sculpture’s intrinsic and monetary value – small edition numbers indicate limited availability, which in turn can attract a premium price. Higher numbered editions (which may occasionally run to hundreds of copies), are usually most applicable to small scale, mass produced works such as those commissioned for commercial ‘collections’ (often seen advertised on the back pages of colour magazine supplements).
On the other hand, too small an edition will restrict the artist’s potential to sell more of each sculptural design, and perhaps limit potential income. There are ways of increasing the numbers available from an ‘edition’ – the most usual here being to make minor changes to the master pattern or even adjust each additional wax taken from the original reproduction mould. Such methods are [arguably] at best less than professional, and at worst fraudulent. In the long run, dubious practices such as SURMOULAGE (creating a new reproduction mould from an existing bronze cast), or adjusting master patterns and waxes to create ‘run on’ editions, are almost certainly counterproductive, especially if the collectors who acquired the earlier work in good faith feel cheated.
There are a great many complicated ethical issues concerning cast artworks and reproductions, too detailed to be discussed in depth here; however, serious artists are advised to be very specific and transparent about their policy towards their editions. 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.
Practical guidelines on the appropriate limit for an edition are more or less useless, because the financial worth and marketability of a sculpture cast is dependant on many variables, including the status of the artist and the appeal of the sculpture to potential purchasers. With this in mind though, it is fair to say that small scale sculptures are typically cast in greater edition numbers than large scale sculptures. 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).
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.
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