Constantin Brancusi, La Muse Endormie, 1923-2010; polished bronze, 7 3/8 x 10 1/4 x 6 1/8 inches, 18.7 x 26 x 15.6 cm; Edition of 8 | via
A recent exhibition of five works by the Romanian artist Constantin Brancusi at the Paul Kasmin Gallery in Manhattan offered an example of the creative accounting that happens in the art multiples field, the market that deals in works produced in editions, such as graphic and photographic prints, as well as cast sculptures. The show consisted of five polished bronze sculptures produced recently by the Brancusi Estate from the artist’s own molds that were left in his studio. If one happened to read the exhibition catalogue, it noted that these sculptures are posthumous. The wall text next to each work only does so indirectly: “Constantin Brancusi, La Muse Endormie, 1923–2010, polished bronze, 7 3/8 x 10 1/4 x 6 1/8 inches, edition of 8.” It did not clarify that the 1923 date refers to when the artist first produced the sculpture, while the 2010 date indicates when the heirs authorized a new edition. (Multiple requests for comment from Paul Kasmin Gallery went unanswered.)
It isn’t unheard-of, or even unethical, for posthumous copies to be made from an original mold, photographic negative, or graphic printing plate. At photography auctions and at many galleries where photographs are sold, for instance, one may see the notation “1927/1970s” to indicate when the image was taken and when printed. That tells prospective
