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Bronze Marble Statue Mercury Male Nude mercury Caduceus
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Description
Think Bronze, takes pride in our superb collection of museum quality Bronze Statues, handpicked from the finest artistry's using old world standards around the globe. The attentions to the intricate details of these luxurious works of art are amazing and the brilliance of the figures unsurpassed.
From art Nuevo to art deco, wildlife nature to equestrian, classical to contemporary, religious to renascence or nude, you will find a remarkable assortment of diverse Art forms and sizes, coupled with undeniable values makes Think Bronze a fantasy playground for art collector and lover in you.
This item selling in Upscale Art Galleries and Museum galleries for up to $1800.00 - $2,800.00 when it can be found. This is a sophisticated Piece, perfect for any art lovers home, office, or place of business. Don't miss your opportunity to own this wonderful and rare piece, Buy it Now! Bid with confidence, NO RESERVE, Bid or Buy it Now! We carry the finest Art works in our inventory, for questions on this item and/or more Art information please visit our store, our other auctions or inquire.
About the Statue: This nude statue is by
the world-renowned artisan, Benvenuto Cellini. It depicts the Greek God,
Hermes. In the Roman adaptation of the Greek religion, Hermes was identified
with the Roman god Mercury, who, though inherited from the Etruscans, developed
many similar characteristics, such as being the patron of commerce. Mercury
(Hermes) acted as messenger of the gods and a deity of wealth, trade and
travelers. He assisted many gods by using his winged sandals.
Hermes is the Messenger of the Gods in Greek mythology. An Olympian
God, he is also the patron of boundaries and of the travelers who cross them, of
shepherds and cowherds, of thieves and road travelers, of orators and wit, of
literature and poets, of athletics, of weights and measures, of invention, of
general commerce, and of the cunning of thieves and liars. His symbols include
the tortoise, the cock, the winged sandals, and the caduceus. The analogous
Roman deity is Mercury.
He wears shoes with wings on them and uses them to fly freely between the
mortal and immortal world. Hermes was the youngest of the Olympian Gods Hermes,
as an inventor of fire, is a parallel of the Titan, Prometheus. In addition to
the lyre, Hermes was believed to have invented many types of racing and the
sport of wrestling, and therefore was a patron of athletes.
This statue is made from quality lost wax bronze and rests on black marble
base. Signed "B. Cellini."
About
the Artist: Benvenuto Cellini.(3 November 1500 – 13 February
1571) was an Italian goldsmith, painter, writer, architect, and sculptor, of the
Renaissance. Benvenuto Cellini was born in Florence, Italy where his family had
been landowners for three generations.
Cellini
was an accomplished versatile artist of the Italian High Renaissance. The
autobiography that he wrote is considered priceless in the modern day, partly
because of the information that it includes about the High Renaissance. He also
wrote other books as a talented author. Cellini was involved in the crafting of
coins and other jewelry designs. He was a Master Craftsman, although he was not
involved in any guilds. Cellini had many designs for metalwork.
Cellini
was involved in many famous works of art. As a goldsmith, he made a Saltcellar
for Francis 1 of France. Many works of gold were included in Cellini's schedule.
Other works of art that Cellini created are the silver figures of Jupiter, Juno,
Vulcan and Mars. Among Cellini's most famous works of art are the carved
crucifix of black and white marble, the Perseus of bronze, a marble statue of
Apollo, and many paintings and sculptings at Fontainbleau School. Probably his
most famous sculptural work of art is the Nymph of Fontainbleau, which was
sculpted in bronze. His first large scale sculptural works were the bust of
Julius Cesar and a bronze relief of the Nymph of Fontainbleau. Cellini was
famous as an architect, and made plans for the Neptune Fountain in Piazza
Sigralin.
Cellini
strongly influenced the painting and sculpting at Fontainbleau School, and he
set high technical standards for the sculptors that followed him. Cellini had
the finest metalwork in the Renaissance.
Condition: This sculpture is in a very good condition. Bronze Dimensions with Marble Base:Height 28" x Width 10 1/2" Marble Dimensions: DIAMETER 9". Height without base: 23" Weight : 28 LBS Inventory;1190B16111
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.
Gating
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.
Lost Wax
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.
The Pour
Bronze ingots are melted to a temperature of approximately 2000°F and poured into the cured ceramic shells.
As the sculpture cools the ceramic shell begins to pop away from the bronze.
This shell will be completely broken away, using a hammer and chisel, before the superfluous metal materials are cut away.
Sandblasting
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 "chased".
Texturing
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 patina.
Patinas
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 and waxes.
Limited Editions
Most bronzes are part of a "limited edition" containing a fixed number of castings.
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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