Additional factors that can affect sculpture prices and/or value

l. Differences in Materials & Time

All my sculptures start as clay which is hand modeled. Once modeled, there are three pathways that my sculpture can follow. Each pathway will have a different cost of materials and time.

 Creating A Finished Ceramic ORIGINAL Sculpture 

(This is a one-step process.) The hand modeled sculpture is fired in a kiln and receives a patina. 
The sculpture is then mounted. There is only one original.

Carved stone sculpture

Of all the ways of making sculpture, carved stone is the most demanding and time consuming. To begin with, the medium is hard and brittle and has natural faults and defects that are hidden. The work itself is slow and extremely dusty, requiring physical protection and specialized tools. The end result is a one-of-a-kind sculpture. Because of the above, the price for this medium is higher. 

Creating a Bonded Mineral Serialized Original Sculpture

(This is a two-step process.) A silicone or urethane mold is made over the hand modeled clay. This mold will allow casting different materials. For example, today there are several types of epoxy resins that can be cast. These serve as a bonding agents for minerals like sand, marble or varied metal powders allowing exceptionally beautiful and unique finishes not available in antiquity. Once the cast is finished the piece is mounted or framed.

Creating a Cast Bronze Serialized Original Sculpture

(This is a three-step process)Once the rubber mold described previously exists, a wax male is cast. In a further step, a casting mold made of ceramic shell is made over each wax male. The casting mold is then fired in a kiln to make it solid and melt the wax out of the cavity. This is called the lost wax process. Once the sculpture is cast inside the ceramic shell mold, the mold is broken to extract the cast metal. The cast metal is then refinished and receives a chemical patina. The finish is then protected with wax or special varnish. Each cast piece is considered an original. For every sculpture, the artist must cast a wax, work or ”chase” the wax, make a new casting mold on each wax, and then finish or “chase” the metal. Each piece is then individually patina-ed. The patina can be affected by moisture in the air, the strength of the chemicals, and the hand of the artist. Due to the above process, no two pieces will be xactly alike.

ll. The number of pieces in the series

The law of supply and demand dictates that the smaller the series, the higher the value. Therefore, it is not the same to buy a sculpture that is 1 out of 7, than 1 out of 500. My cast bronze sculptures are a series of 7 or 9. My bonded material sculptures are a series of 25. I do this to maintain the value for the collector.

lll. Proper Provenance and documentation

As all collectors know, “Provenance” is a very important factor in protecting the value of fine art. My sculptures are all signed Eduardo Gomez Rojas, and dated (month and year) when it was modeled. It also includes the serial number; for example, 1/7 or 3/9. Where there is not sufficient space, I sign EGR with the date and the serial number. I try to maintain good records of my sales. If possible, I take pictures with the commissioner or the collector so they can have this documentation plus the invoice as proof of provenance. All my invoices state specifically the date of the sale as well as the name of the sculpture and the serial number.

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