A few words regarding limitations

We are not talking here of working with modelling plaster: we are clearly referring to something unique - i.e. a one-of-a-kind.

Different to working with porcelain. Porcelain is a poured substance and therefore requires a mould, which can be poured, i.e. the artist models and builds up the model to correspond to the moulds. Bear in mind: the more extreme and the more complicated the model, the more expensive and complicated the construction of the mould and the greater the reject rate in the subsequent removal from the mould, grinding and baking of the porcelain!

Also illuminating, that genuine one-off's in porcelain are extremely rare! For this, the mould construction is much too complicated! The product would be extremely expensive! Nevertheless, there are, of course, one-off's in porcelain - however, these works are mostly created unintentionally!

The artist, after preparing the prototype, specifies a maximum for how often a doll, a figure or an object is to be reproduced. This is marked by carving, mostly by carving into the back of the head.

After the presentation of the so-called "artist's exemplar" from restricted lines, orders are collected, which then must be processed. Worth remembering, however, no artist is obliged to complete the originally specified number when no orders are to hand. Any artist may conclude a series early or not get it underway at all!

This happens from time to time - the reasons are many! It is possible, of course, that a work meets with a poor response among collectors - not every single work can be appreciated alike. In such a case the artist will try to work it out by developing new ideas in order to improve his or her work!

Things get problematical when a mould turns out to be too complicated, i.e. when grinding and baking, the rejects exceed by a wide margin the usable return. When every new pour ends in frustration! Before a series can get underway, the mould is destroyed due to frustration. Often to the disappointment of the collector, of course.

Also during so-called "lows", artists are inclined to destroy moulds. Everything, which no longer seems to be important, is cleared up and thrown out. And so from many a planed small limited edition only one genuine unique piece remains left over!

A good alternative to the genuine one-offs, for artists and collectors, is the vario small limited edition! True, in this case the number of times the built mould may be used is specified; the finishing is, however, carried out individually according to mood and inclination.

Only that which has already been produced, is offered for sale. Each work can be just as individual as a one-of-a-kind piece; as only the basic mould is used, everything else is entrusted to the artist's creativity. And a piece is only then finished when the artist is so inclined! For this reason, vario small limited editions can continue on for a number of years!

This is best seen in the year number, which is quoted against the different works shown on this website: Basically, the year of modelling is given. The time taken until all pieces of a series are completed is not obvious from this! Only in vario small limited editions can two year numbers be quoted. The first is the year of the modelling; the second is the year of production of the portrayed work.

Frequently, when a new model is started, the artist no longer likes the "old". Obvious, as almost without exception, the artist regards his or her latest work as the best. This can also lead to series, no longer liked by the artist, coming to a premature end; even the moulds are destroyed on the spur of the moment. That collectors are not always in agreement with this approach is certainly understandable!

Fact: If a series is limited to ten pieces, then only a maximum of ten pieces can and may be produced. No one can compel the artist, however, to actually produce this number!

At the end of the day, the number of pieces actually produced in a limited edition (small or restricted) remains the little secret of the individual artist. Therefore, never build up false hopes for a series - it can very rapidly cease to exist!

This is particularly true when new conceptions are put forward as genuine "runners". I have often experienced this at exhibitions: collectors, who merely wanted to make their purchasing decisions in peace and quiet, found it was too late when they arrived the next day: all pieces in the meantime had been reserved.