The LOST WAX PROCESS is one of the oldest techniques practiced today, dating back thousands of years the process has been altered very little. From liquid metal an image emerges, as solid as the artist's vision. Its multiple step creation generates a partnership between ARTIST and FOUNDRY, where the sculpture is typically taken to be cast, and a shared commitment to excellence with each step.

The artist begins by creating the ORIGINAL SCULPTURE -- this is typically sculpted from clay or wax but other materials may be used such as stone or wood. A MOLD is made from the original by covering the original with four to five layers of liquid latex, then plaster is applied for support. Depending on the size and complexity of the original it may be cut into smaller pieces to facilitate with this step.

Next, the mold is ready for WAX POURING, a series of thin layers of wax are poured into the mold creating a 3/16" to 1/8" wall. Once cooled the rubber mold is pulled away from the wax. Using a variety of tools and hot soldering irons, mold lines will be removed and any parts reattached in WAX-CHASING. The wax is now an exact replica of the original sculpture. Again the piece may be cut into specific pieces depending on the size and design of the sculpture. The wax replica goes to the SPRUING area where wax gates, or sprues, are attached at critical points on the piece and the entire gated piece is affixed to a central wax "cup". Later these gates will become the avenues for the molten metal to flow into the piece.

The sprued wax then moves to the SHELL area where a ceramic shell is built up around the wax by dipping it into a slurry, coating it with a fine sand, letting it dry then repeating this process between 8 to 14 times. This shell is then placed in the "autoclave" where pressurized steam heat is used to melt the wax from the shell.

In the METAL POURING process, the shell is heated in the kiln to 1600 degrees and placed in sand for support. The molten metal (at approximately 2020 degrees) is poured into the tempered shell coating the sides of the shell. Once the metal cools the ceramic shell is removed with a pneumatic hammer. The now metal sprues are cut off and extensive sand blasting is performed. If the piece had been cut it is now reassembled in the WELDING area by carefully realigning and refitting the pieces. In order to weld it to appear seamless Pneumatic tools with an array of carbide burrs are used in METAL CHASING to grind down the weld areas and re-texture the bronze.

Using various chemicals a PATINA is applied to create the desired color of the finished bronze.  The method of application, temperature of the bronze, combination and strength of chemicals all contribute to the endless variety of patinas that can be achieved. The patinaed bronze sculpture is often attached to wood, stone or a combination as a BASE.

A LIMITED EDITION sculpture retains and appreciates its value over an OPEN EDITION sculpture because there are fewer made. For example, an edition of 45 means there will only be 45 of that sculpture produced, (plus an Artist Proof or Foundry Proof possibly), ed/25 = 25 cast, etc. The lower the edition the higher the value will increase and visa-versa. Open editions mean that they will supply as much as the demand warrants, so it could be as low as 50 or as much as 1,000's, often times open editions are unnumbered and difficult to know how many are cast

An ARTIST PROOF from a limited edition sculpture simply means that the artist chose to cast an additional sculpture either as a proof (to see how the piece would work prior to casting an edition) or to keep for themselves (work they are particularly fond of). As the work appreciates the AP's tend to be more sought after, and may bring a higher value. Not all limited edition pieces have AP's.

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