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Details about  Signed Moreau Nude Boy Hunter Bronze Statue Art Deco Sculpture Figure Figurine

Signed Moreau Nude Boy Hunter Bronze Statue Art Deco Sculpture Figure Figurine See original listing
Signed-Moreau-Nude-Boy-Hunter-Bronze-Statue-Art-Deco-Sculpture-Figure-Figurine
Item Ended
Item condition:
--not specified
Ended:
Apr 01, 2012 04:24:12 PDT
Starting bid:
US $189.00
0 bids ]
Shipping:
$29.95 Standard Shipping | See details
Item location:
Mineola, United States

Description

eBay item number:
320875878507
Seller assumes all responsibility for this listing.

Item specifics

Type:

Sculptures

Subject:

Figures & Nudes

Listed By:

Dealer or Reseller

Region of Origin:

Europe

Medium:

Bronze

bronze_deal
Signed Moreau Nude Boy Hunter Bronze Statue Art Deco Sculpture Figure Figurine
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Condition: This sculpture is in a perfect condition.
Bronze Dimensions with Marble Base:Height 22" x Width 12"
Marble Dimensions:Diameter 9"
Height without base: 21"
Weight :26 LBS
Inventory :65DS1679456

Out for a day of hunting, he successfully slays his fowl and heads home. Armed with a crossbow, he casually tosses the prey over his broad shoulder. A quiver of extra bows is slung across his back. He wears no more than a the hide of a deer around his muscular waist and sandals. You can still see the deer's head and antlers. He appears to be rather young but has been trained to hunt for his own food since he was just a boy. 100% bronze and handmade, this brown patina sculpture was cast using the "Lost Wax Method" and mounted on a black marble base. It is signed by the artist A. Moreau.


Auguste Moreau (1834 to 1917) was born in the early 19th century and studied under Mathurin Moreau. Auguste Moreau worked as a sculptor and specialized in figures, statuettes and groups, mainly in marble. He made his debut at the 1861 Salon in Paris and continued to play an active part in the Salon des Artistes Francais as a member of the Societe des Artistes Francais until 1910.

Bronze Sculpture Casting Tour

http://www.kellysgalleryatjoseph.com/artists/barton/austin_barton.html

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.

http://www.kellysgalleryatjoseph.com/artists/barton/austin_barton.html

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.

http://www.kellysgalleryatjoseph.com/artists/dotson/dotson.html

The first step can be shocking for some as they begin to decide how this original will be cut up.

http://www.kellysgalleryatjoseph.com/artists/eck/doug_eck.html

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.

http://www.kellysgalleryatjoseph.com/artists/curtiss/shelley_curtiss.html

Shown here are the sections of the original clay sculpture after having been dissected.

http://www.kellysgalleryatjoseph.com/artists/stewart/linda_stewart.html

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.

http://www.kellysgalleryatjoseph.com/artists/usher/kristi_usher.html

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.

http://www.kellysgalleryatjoseph.com/artists/osborne/leo_osborne.html

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.

http://www.kellysgalleryatjoseph.com/artists/cross/dick_cross.html
http://www.kellysgalleryatjoseph.com/artists/norman/tim_norman.html
http://www.kellysgalleryatjoseph.com/artists/goldstein/goldstein.html

The "mother" mold is now complete, the next step is to separate the two halves of the mold and remove the original from inside.

http://www.kellysgalleryatjoseph.com/artists/holmes/holmes.html

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.

http://www.kellysgalleryatjoseph.com/artists/galleryex/galleryex.html

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.

http://www.kellysgalleryatjoseph.com/artists/hyde/hyde.html

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.

http://www.kellysgalleryatjoseph.com/artists/joell/joell_fuchs.html

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.

http://www.kellysgalleryatjoseph.com/artists/joell/joell_fuchs.html

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.


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