Bronze Editions Explained: original, multiple, or unique piece
Bronze Editions Explained: original, multiple, or unique piece
When an artist wants to have their work cast in bronze, the question quickly arises: how will the work be positioned? As a pièce unique, as an original in a limited edition, or as a multiple? This classification not only determines the status of the sculpture but also how galleries and collectors approach it.
The frame of reference: French tradition as the standard
The main starting point for the terminology surrounding bronze editions is French legislation. In 1935, the designation bronze d’art was legally protected, and a 1981 decree established further obligations regarding transparency in the art market. Subsequently, in 1993, professional organizations formulated the Code de Déontologie des Fondeurs d’Art, which still serves as a guideline.
Although not codified in Belgian law, the sector in Belgium adheres to these principles almost systematically. They therefore serve as a common reference framework for artists, galleries, and foundries.
Pièce unique
A pièce unique is a single, unique piece, without an edition. This can be a deliberate artistic choice, or it can technically arise from the casting process (for example, in lost-wax casting). For monumental sculptures, artists often opt for a pièce unique or a very limited edition, as scale and cost naturally impose limitations. A pièce unique inherently holds a different status than a work that is part of a series.
Original
An 'original' refers to a limited edition. According to classical standards, a bronze edition comprises a maximum of 12 copies: 8 numbered sculptures (1/8 to 8/8) and 4 épreuves d’artiste (EA), also internationally known as AP (Artist Proof). Traditionally, the numbered sculptures are designated with Arabic numerals (1/8, 2/8, …), while the EAs are noted in Roman numerals (EA I/IV to IV/IV).
Numbering typically starts with the numbered copies, followed by the EAs; historically, in the French tradition, this order was often reversed. Back then, EAs served as test pieces, allowing the artist to refine the sculpture before the commercial series commenced. Nowadays, EAs are mainly used for archiving, quality control, or exhibitions, but the artist is also free to sell them. Technically, an EA does not differ from a numbered copy within the same edition, although no two sculptures are ever completely identical due to the artisanal nature of casting and the manual finishing of bronze.
For larger sculptures, a smaller edition is typically chosen (2 - 4 pieces in the edition, with fewer EAs).
Additionally, after completing the initial edition of 8 numbered copies and 4 EAs, an artist may consider creating a supplementary series. This could involve a reduction or enlargement, or be executed in a different material or patina. However, creating too many such series can detract from the exclusive character of the work.
Furthermore, editions do not necessarily have to be cast all at once. Often, a first copy is produced for exhibition, with the remaining pieces only cast upon sale. For smaller sculptures, it might be more cost-efficient to realize the entire edition in a single production run, but this ultimately remains a strategic and budgetary decision for both the artist and the foundry.
Multiple
When more than 12 copies of the same model are produced, it is referred to as a multiple. Technically, this is entirely feasible, as a high-quality silicone mold can last for many years. However, in the classical tradition, the work thereby loses its status as an original.
Destruction of the mold
It is customary that, once an edition is fully cast, the artist can instruct the destruction of the mold. This prevents any unauthorized additional castings from being made thereafter. The foundry can then provide proof of the mold's destruction, which is important for transparency towards buyers and collectors.
Surmoulage and authenticity
A particular point of concern is surmoulage: the creation of a mold based on an already cast bronze sculpture, rather than from the original model in wax or clay. Although this sometimes happens when the original model or mold has been lost, it comes with significant disadvantages:
With each casting, bronze shrinks slightly, causing surmoulages to be smaller and details to blur.
The Rodin case is well-known: many of his surmoulages noticeably differ in size and sharpness from the original editions.
Surmoulages increase the distance from the artist's original artistic intervention, which impacts both authenticity and appreciation.
By understanding these terms and traditions, artists and foundries can establish clear agreements together. Transparency and diligence are crucial in this process to respect the artistic intention and safeguard the credibility of the work.
Frequently Asked Questions:
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The artist or client always remains the owner of the mold.
