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Details about  Clarinet Woodwind Player New Orleans Artist Street Musician Bronze Marble Statue

Clarinet Woodwind Player New Orleans Artist Street Musician Bronze Marble Statue

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Item Information

Item condition:
Brand New
Price:
AU $597.38
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AU $149.14 Standard delivery from outside AU | See details
 
Item location:
Great Neck, New York, United States
 
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International shipping and import charges paid to Pitney Bowes Inc. Learn More- opens in a new window or tab
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14 day money back, buyer pays return postage See details

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eBay item number:
321350403248
Seller assumes all responsibility for this listing.
Last updated on  03 Oct, 2014 22:50:00 AEST  View all revisions

Item specifics

Condition:
Brand New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is ... Read moreabout the condition
 
bronze_deal
Clarinet Woodwind Player New Orleans Artist Street Musician Bronze Marble Statue
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Condition: This sculpture is in a perfect condition.
Bronze Dimensions with Marble Base:Height 16.5" x Width 13"
Marble Dimensions: 5" X 4".
Height without base: 13"
Weight : 17 LBS
Inventory:29YRD4879392


This figurine is a great way to show you're love for music off in your home. Great gift for anyone with a passion as strong as yours. A handsome bronze statue of a Black Musician playing the clarinet, standing. About 16.5" in height. Felt covered underside on the marble base. The 100% bronze sculpture was cast using the ancient method of lost-wax casting and stained with a brown patina finish. The bust is mounted upon a black, variegated marble base with the artist Dwight's signature.

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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Postage and handling

Item location: Great Neck, New York, United States
Posting to: Australia, Europe, Asia, United States, Canada, Brazil, New Zealand
Excludes: United States, France, Germany, Italy, Spain, United Kingdom
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Return policy details
We want you to be completely satisfied with your purchase, but recognise that there are occasions when you want to return an item. This Returns Policy is designed to make the returns process simple for you. Please take reasonable care of this item. You should feel free to examine the item as you would in a shop. Do not use the item once you have decided to return it. What to do if you change your mind and no longer want the purchase? You can cancel this purchase after you have received the item. Please note that we do not accept cancellations of custom-made items or, for hygiene reasons, swimwear, lingerie or pierced jewellery, where the hygiene seal has been removed. To cancel this purchase, please contact us. We will provide you with return address details. If you have already received the item, you must return it intact and undamaged to the address we provide. In some cases, we may arrange for the item to be collected from you. We will issue a full refund for your purchase, including original postage costs. You are responsible for return postage costs. We will not charge any restocking fees or other administration fees What to do if your item is incorrect, faulty or damaged? If you feel that the item you purchased is incorrect, faulty or damaged, please contact us to discuss a resolution. This Returns Policy does not affect your legal rights, such as, your rights relating to faulty or mis-described items.

Refunds by law: In Australia, consumers have a legal right to obtain a refund from a business for goods purchased if the goods are faulty, not fit for purpose or don't match description. More information at returns - opens in a new window or tab.

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