Signed James Fraser Pocahontas Native American Bronze Sculpture Statue Figure
Condition: This sculpture is in perfect condition.
Bronze Dimensions with Marble Base:Height 32" X Width 12"
Marble Dimensions:8" X 8"
Height without base: 31"
Weight :25 LBS
Inventory : 32-1801714623
Pocahontas (1595 –1617), later known as Rebecca Rolfe, was a Virginia
Indian chief's daughter who assisted colonial settlers at Jamestown.
She later converted to Christianity and married the English settler
John Rolfe. Her notoriety came from the recounted tale told by John
Smith of how she rescued him after being captured. She stands
peacefully with her eyes raised towards the sky pleadingly. With no
fear in her eyes, she seems to surrender to a higher power with her
arms open and palms up. She wears a knee-high dress and a lone feather
sits atop her silky hair. This would make a great gift to any history
buff or lover of Native American culture. 100% bronze and handmade,
this two-toned brown patina sculpture was cast using the Lost Wax
Method" and mounted on a marble base. It features the signature J.E.
James Earle Fraser (1876-1953) was an American sculptor and the
foremost portrait sculptor of his generation. Born in Winona,
Minnesota, Fraser was exposed to the frontier life and Native
Americans, who were being pushed further west or confined to Indian
reservations. These early memories were later on expressed through his
Bronze Sculpture Casting Tour
The process of bringing a bronze sculpture to life using
the lost-wax method is something you'll appreciate after taking
this tour- Enjoy
The Lost Wax Casting Process
Here Artist original clay sculpture is nearly ready for the foundry. Note the artist is still adding the finishing touches.
Most sculptors prefer to work with clay or wax; some however, do use wood and other mediums. Here the finished original clay is now complete. The sculptor will take it to the foundry now, get a bid then begin the first stages of the lost wax process.
The first step can be shocking for some as they begin to decide how this original will be cut up.
In order to prepare the original clay sculpture for molding, it will be dissected by cutting the clay with wire and by cutting the armature with a saw. The armature is what helped support the clay in place while the artist was creating it. Note the registration marks which later in the process will serve to realign the parts.
Shown here are the sections of the original clay sculpture after having been dissected.
Now the various parts of the original are carefully mounted on clay plugs before the rubber mold material is applied. The clay plug later serves as a pour spout for the mold.
As you can see now they begin painting the latex rubber onto the original together with the clay plus that's been added in layers. Notice the shim line that will alter serve as a separation line for dividing the mold in half.
A lock and tab system has been applied (see the edge) so that the mold will be able to be opened and closed securely. Once the rubber mold has been completed, a plaster or fiberglass "mother" mold is applied to the outside which will preserve the integrity of the rubber mold.
The "mother" mold is now complete, the next step is to separate the two halves of the mold and remove the original from inside.
The next step is to remove the artists' original and reassemble the clean, empty mold. Now a way pattern will be poured by building several layers of the hot wax within the rubber mold. A layer is poured, allowed to dry until there is about a 1/4 inch thick wax pattern made of the artists' original. It is very important to note that the wax pattern is a hollow duplicate of the artists' original.
Now the wax pattern is taken to the wax "chasing" room of the foundry. Here much time is dedicated to the restoration of the wax pattern to the exact likeness of the artist original. All bubbles and imperfections are "chased" away in this process.
Eventually there will need to be a way for the hot, molten bronze to funnel its way into a ceramic type mold, shown here the wax pattern is sprued and mounted on a wax cup. The red spures serve as gates and vents later in the process.
Notice the wax trees are then taken to what is known as the slurry room where the time consuming process of building the ceramic shell will begin.
First the wax tree is dipped into a slurry tub and coated. The slurry itself is basically made up of colloidal silica.
While it is still wet, the tree is coated with the first layer of sand which is made up of fused silica. This process takes about 8 days to complete. Each day it is dipped in slurry and once again coated with the silica sand. The silica sand used goes from very coarse to very fine beginning to end. Eventually the shell will be approximately 1/2 inch thick.
The complete, dry shell (remember it still contains the wax pattern inside) is placed in the burnout kiln where the shell is cured and the wax pattern is melted out, hence the term "lost wax". Each time another number in the edition is cast a new wax pattern must be made from the mother mold which is again lost in the process.
Now the shell is ready to receive the molten bronze. It is poured at a temperature of about 2,000 *F.
After the bronze is cooled, the shell cracks on its own accord and is manually removed from the bronze. This could also be called the "lost shell" method if casting. The sculpture is now "metal on the floor".
Any gates and vents are removed from each section of the sculpture and the pieces are then welded back together. One can realize the tremendous time and labor involved just up to this point.
Once the pieces of the sculpture have been reunited, or welded back together, the weld lines are then tooled out and any imperfections in the metal are corrected. This takes place in the metal room where the critical talent of the artisan's transforms the parts into a hollow bronze duplicate of the original clay model.
The completed metal sculpture is then heated with a torch in order to make it ready to receive patina.
The patina process is the result of chemical and heat applied in layers. This is an art in itself and requires years of training to master. No two patinas can turn out exactly alike.
It can take anywhere from 8 to 16 weeks for one casting depending how busy a foundry is.
In conclusion, remember that as an example if there are going to be 100 bronze casting in the edition, this whole process is done over and over for each number in the edition. They are truly original castings. The only step that can be "re-used" in casting another number in the edition is the "mother mold" in the very beginning. Once all numbers have been cast (the amount of numbers is decided by the artist before casting begins), the mother mold is destroyed.
The Art of Lost Wax
Lost wax casting has been around for thousands of years, yet few people
understand how the process actually works.
Although mechanization has facilitated the lost wax process of bronze
casting, the procedure is basically the same as that used by the Chinese when
they first developed the process in the 2nd millennium BC.
The Rubber Mold
First the artist creates an original sculpture out of any number of media,
including stone, wax, clay, wood and pottery.
This image is coated with a silicone rubber molding material that makes
two rubber mold halves (each rubber mold has a front and a back piece). A
fiberglass outer shell is added to the back of each mold so it retains its
shape and rigidity during subsequent uses.
These molds are the only components that are ever re-used in the casting
process. All other components are re-created for each casting.
The Wax Positive
Once the molds are done, the insides are coated with layers of wax. The
halves are then bound together and wax poured inside to complete the wax
image being created.
Once the wax has cooled, the mold is peeled away, yielding a wax image
(the wax positive") duplicating the original sculpture.
This image must then be "touched -up" to remove any seam lines, scratches
or other flaws, as well as to recreate any pattern or texturing that was
lost or damaged when the wax was made.
The quality of the finished bronze relies on a clean, high quality mold
and an impeccably recreated wax image that is as near to perfect as possible.
The next step, "gating", is the application of a series of tubes and
funnels that allow the molten bronze to flow through to the bottom of the
ceramic shell and the hot gases to escape at the same time.
These sprus are created by attaching wax rods to the finished wax form at
strategically spaced locations.
Ceramic Shell Casting
After the gating is completed each wax form is dipped in a liquid ceramic
silica-sand compound so it is completely coated inside and out. Holes
called "patches" have been cut into the wax to allow an entrance to the inside
of the form.
The form is subsequently dipped 6 to 12 or more times over a period of
several days until the desired shell thickness is achieved.
Once these ceramic shells have dried thoroughly the pieces are placed into
an autoclave and the wax is melted out (hence the term "lost wax"), to be
reclaimed and used again. The shells are then cured in a kiln so they will
withstand the temperature of the molten bronze being poured into them.
Bronze ingots are melted to a temperature of approximately 2000ï¿½F and
poured into the cured ceramic shells.
As the sculpture cools the ceramic shell begins to pop away from the
This shell will be completely broken away, using a hammer and chisel,
before the superfluous metal materials are cut away.
The casting is then sandblasted in preparation for metal finishing.
Any pieces of a sculpture that were cast separately are welded back onto
the sculpture and any seam lines or other imperfections are removed or
Finally, any texturing that was lost or damaged in the casting or welding
process is recreated.
The sculpture is then polished in preparation for application of the
The different colored finishes that are possible on cast bronze sculptures
are called patina's.
The various colors, patterns and textures obtained in the patina process
are achieved through a combined application of chemicals and heat, augmented
by hand stippling, or spraying with an air brush, and sealed with lacquer
Most bronzes are part of a "limited edition" containing a fixed number of
This edition number is decided by the artist, usually after the first
piece has been cast, and individually stamped on each piece (i.e. 1/100) thus
concluding the process of bronze sculpture production.
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