John Thomas Smith’s etching, Very Fine. Jacob Simon[email protected]21 February 2011. This account takes up where Timothy Clifford’s essay, The Plaster Shops of the Rococo and Neo-Classical Era in Britain leaves off (Clifford 1992). It sent Domenico Brucciani to Santiago da Compostela in 1866 and Giovanni Franchi to Florence in 1867, as part of a much wider campaign. Waterproof Cast/ Plaster Protector #1 . Remember that the code is only valid until 30. Such figures were used to ornament interiors from the grandest country houses to the most ordinary homes. Several historic cast collections survive more or less intact: that of Sir John Soane at Soane’s Museum put together in the late 18th and early 19th centuries (www.soane.org/collections_legacy/casts/), the later 19th-century collection of plasters casts and electrotypes at the Victoria and Albert Museum (Cast Collection - Victoria and Albert Museum), the cast collections at the Royal Academy, begun after the Academy’s foundation in 1768 and continued into the early 20th century, the Edinburgh cast collection at Edinburgh College of Art, including part of the late 18th and early 19th-century collections of the former Trustees’ Academy and the Oxford University collection of classical casts, largely at the Ashmolean Museum, much of which was assembled from 1887 (www.beazley.ox.ac.uk/sculpture/plastercasts/cast). Make sure you order the plain white finish. Where an individual maker or a particular cast collection is referred to in the above text, the information is sourced in the online directory, British bronze sculpture founders and plaster figure makers, 1800-1980. Best value for money. Fig.5. A generation later, during the First World War, Brucciani & Co Ltd ran into financial difficulties as the museum and school of art markets declined. Such figures might be bronzed to give them a more solid appearance and to suit the heavy feel of Regency interiors. In the period under review, it is possible to identify a variety of such connections: James De Ville worked for Joseph Nollekens, Matthew Mazzoni for Richard Westmacott, James Cockaine and Peter Sarti for Francis Chantrey, Fernando Meacci for Edward Onslow Ford and Alfred Gilbert, the Smiths for Eric Gill and Charles Wheeler and ‘Mac’ Mancini for Barbara Hepworth. Their moulds and a few tools were sent on ahead by wagon to Chambery, capital of the French department of Savoy, where they would make their first stay. When I started my online activities in the field of classical art, I offered my own Plaster Casts for Cast Drawing at a reasonable price at www.cast-drawing.com, as the market only offered expensive goods from real sculptors. More details of the individual plaster figure makers and sculptors' moulders discussed in this account can be found in the online directory, British bronze sculpture founders and plaster figure makers, 1800-1980. Fig.3. 1. They can be finished in a variety of patinas. Both Barbara Hepworth and Maurice Lambert used ‘the renowned plaster caster’, Domenico (‘Mac’) Mancini. A nice selection of plaster casts of the human form, as well as plaster geometric shapes. Fig.7. In a remarkable account, the story was told of Italian plaster figure makers, from the mountains north of Lucca, journeying across Europe, to France, Germany and even to Russia (‘Wandering Italians’, Penny Magazine, 2 February 1833, no.54, p.42, accessible on Google Book Search). A recent resurgence of interest in the use of these aids to teach art fundamentals has inspired Statue.com to create a collection of Artist Cast … For artists, plaster casts could be both an ornament and an inspiration. On our sites, advertisements and links to the Amazon.com site are integrated through Amazon, where we can earn money through reimbursement of advertising costs. These itinerants sought not to settle in England but to return home with enough money to become owners of a house and a little land in the immediate neighbourhood of the villages where they were born. Sculptors’ moulders from 1880. Substitutes for a Master: use technology to improve your artistic skills. When visiting Tuscany in the 1890s, Hubert Crackanthorpe wrote home of a hermit at a tiny mountain chapel, ‘a splendid old boy with a flowing white beard’, who turned out to have lived for twenty years in the Euston Road, working as as a sculptors’ moulder for Mullins, Thomas (of Capri), Onslow Ford and others (David Crackanthorpe, Hubert Crackanthorpe and English Realism in the 1890s, 1977, pp.98-9). They were also used as sources of inspiration for artists, designers and others, whether in artists’ studios or in museums and academies. This is the Museum of Classical Archaeology Collections online database of the plaster cast, pottery sherd and paper squeeze collections. In both cases, they approached the Board of Education to take over all or part of their businesses. The younger generation of English-born makers, with a few exceptions such as Robert Shout, did not play such a significant part in the popular market and diversified into related trades as did James Cockaine, James De Ville, Humphrey Hopper and William Pink. On arriving at Chambery, the artist, or the captain of this company would set to work, despatching his boys through the city and the little towns and villages in the neighbourhood, to sell the figures which he had rapidly made. For abbreviations, see Resources and bibliography. Suppliers included Peter Chenu, James De Ville, the Giannelli family, Francis Hardenberg, Humphrey Hopper, the Papera family and Robert Shout. Some expeditions further afield were privately financed. Fine Arts!!’). He was not the only artist collecting such casts. Records from The Glasgow School of Art document purchases and repairs from J. Giusti & Co. from as early as 1890, and casts related to those in the collection … Classic Plaster Moulds are proud to display our extensive range of ceiling roses that span 35 years in the trade. Through the sculptor, Sir Richard Westmacott, and his agent Matthew Mazzoni, the British Museum supplied casts from the Elgin marbles to the court of Tuscany in 1818, and the following year to the courts of Rome, Naples and Prussia and the academy at Venice, in each case at the expense of the Treasury (Jenkins 1990 p.102). We might also wonder how the change in medium, from marble or bronze to plaster, alters how we feel about that sculpture. As one leading sculptor put it, ‘a moulder… is to the profession what a frame-maker is to the painter’ (E. Roscoe Mullins, A Primer of Sculpture, 1889, p.21). Plaster Casts: Making, Collecting and Displaying from Classical Antiquity to the Present (Transformationen der Antike Book 18) eBook: Frederiksen, Rune, Marchand, Eckart: Amazon.co.uk: Kindle Store The collection of the Museum of Classical Archaeology ranges from the largest of sculptures to the smallest of artefacts. The market for plaster figures reached its height in the 19th century. Switchboard: +44 (0) 20 7306 0055, We are currently closed until spring 2023, while essential building works take place, 1. Of Flaxman, it was said that he had ‘kept a large shop in the Strand, for the sale of plaster figures, which was not then so hackneyed a trade, as it has now become by the large importation of Italians’ (Gentleman’s Magazine, vol. This trade began in about 1820 and was extremely popular for several decades. The Architectural Museum in London, founded in 1851, was one such collection. While there had long been an interest in classical antiquity, the arrival of the Elgin marbles in London, and their display at the British Museum from 1816, opened up new markets for plaster casts as museums and academies in Britain and on the Continent began to develop more comprehensive cast collections for teaching purposes and for wider display, as will be discussed in more detail in section 4 below. In the second half of the 19th century, London institutions and museums were actively building collections of  casts of architectural details and of works of art, as well as of fixed monumental work, both from Britain and abroad. Clifford established the importance of such figure sellers in 18th-century Britain, especially in London, and their role in supplying figures and plasterwork for ornamenting and lighting interiors, and for use as models for manufacturers such as Wedgwood. In the early 19th century, Italian figure makers began to come to Britain in increasing numbers to produce ornaments for town and country houses and to sell cheap plaster figures as an itinerant trade. While at first these two activities, plaster figure making and bronze sculpture founding, were largely separate, as the century progressed some plaster figure makers came to specialise as sculptors’ moulders and also began to have an impact on the trade in electrotype reproductions. Plaster Casts (900 plaster casts of classical sculpture in the Ashmolean Museum) The Plaster Casts database is a legacy database created as part of an EU R&D project in telecommunications in 1994. The business of producing plaster figures became associated with immigrant Italian workers, mainly from the province of Lucca, who would come to London in groups and who would sell plaster figures on the streets. The use of plaster casts in the early 19th century 3. Italian figure makers in the 19th century 4. Fig.6. In the case of Papera, we know that he built up a remarkable clientele of leading figures in society within a few years of arrival, including the Duke of Richmond, the Earl of Warwick, Sir George Beaumont and Sarah Siddons. Fig.4. Plaster casts, generally in the form of classical figures, were used as elegant supports for interior lighting, a trade which reached its height in the early 19th century. He worked extensively for Edward Onslow Ford and Alfred Gilbert in the late 1880s and early 1890s, until his death in London in 1893, age 56. t: 020 7223 2360 e: [email protected] Lavender Hill Colours ® 146, Battersea Business Centre 99-109 Lavender Hill London SW11 5QL The making and collecting of plaster casts from the antique is a result of the discovery in Rome of famous pieces, such as the Laocoon Group, from around 1500. Many of these men and boys will have been on lengthy fixed-term contracts, of as much as three years, under which they were paid a bonus on completion, leading to occasional abuse of the system whereby they were harassed towards the end of their contract to the point that some left in desperation, losing their wages and their bonus (see Lucio Sponza, Italian Immigrants in Nineteenth-Century Britain: Realities and Images, 1988, pp.76, 78). Meet Cynthia Plaster Caster, The Groupie Who Made Molds Out Of Rock Music’s Most Famous Penises For decades, Cynthia Plaster Caster tracked down legendary rock stars and made plaster molds of their penises. John Baptist Giannelli was in London by 1777, Anthony Sartini by 1785, Bartholomew Papera by about 1789 and Ambrose Pelligrini by 1790. Joseph Caproni employed five men in 1871 and Onarato Regali six or seven. But even this reduced business foundered in the 1950s at the nadir of the taste for plaster casts. plaster cast for 0.0 Check out my other items!WHY NOT CHECK OUT THE OTHER ITEMS IN MY SHOP MANY FINE EXAMPLES UP FOR GRABSAS OTHERWISE STATED IN ITEM … Plaster is white so there is no color distracting the student. Plaster casts, generally in the form of classical figures, were used as elegant supports for interior lighting, a trade which reached its height in the early 19th century. A further act was passed in 1814. Search over 215,000 works, 150,000 of which are illustrated from the 16th Century to the present day. Clifford saw the great boom in plaster shops as dwindling and collapsing in the 1830s but it is now clear that while the market for figures for lighting and furniture declined, there was a growing interest in collecting plaster casts for museums and academies, as well as a taste for more modest figures in ordinary homes. Nineteenth century Art instruction often included the use of sculptural models as teaching aids for drawing, painting, study of anatomy and sculpture study, known as Drawing Casts to emphasize the study of form and the visual effect that light and shadow had on these forms. Very Cheap (fig.3), shows how well-established this street trade had become in the public imagination by the time of its publication in 1815. Discovery, reception and diffusion of classical art - Sculpture - The Classical Art Research Centre and The Beazley Archive - The University of Oxford This page is intended as a source of information for art students who want to learn classical painting. Such was the British Museum's influence that the very word, formatore, crept into the English language as a result of its use by museum officials in the 1830s. Select art materials for classical art training in the atelier tradition. Retailing of plaster figures took place through street trading in London and elsewhere and by travel to provincial towns to set up temporary shop, in both cases with a view to the household market for popular and contemporary figures. Domenico Brucciani’s invoice for moulding and reproducing the tomb effigy of Robert, Duke of Normandy in Gloucester Cathedral, 1875 (National Portrait Gallery records, Duplicates of Accounts). The leading English figure makers of the late 18th century were in retreat: John Cheere died in 1787, James Hoskins in 1791, William Collins in 1793, Charles Harris in 1795, Richard Parker in 1799 and John Flaxman senior in 1803. But not all such street vendors were boys. Sir Thomas Lawrence’s Private Sitting Room (fig.4) was ornamented with an array of classical and other casts. Texts address plaster casts and related themes from antiquity to the present day, and from Egypt to America, Mexico and New Zealand. Evidence for migrant groups of plaster figure makers in Britain comes through the official ‘Returns of Aliens Passengers’, recording foreigners landing in Britain and through the 10 yearly census returns. Fig.2. As a result, many 19th-century plaster figures are marked with the maker’s name. [photo: View of Melbourne’s casts in 1872 (1 of 2 albumen silver photographs): detail (SLV H96.160/1789)] Introduction to Melbourne’s plaster cast collection The production of replicas of famous statues, already widespread in the ancient Roman period, grew in popularity and accessibility after 1850, with the availability of cheaper, good quality plaster casts… Nothing special and in any case not expensive. Such figures might be bronzed to give them a more solid appearance and to suit the heavy feel of Regency interiors. But after a few years I stopped selling my own Plaster Casts and put affiliate offers from Amazon on my website, where I earned a small commission. And the offered Alginate for making your own Plaster Cast is not suitable for every object – taking an impression of hands with Alginate makes most sense. Our cast collection is one of very few surviving plaster cast collections in the world today – and we have more than 450 of our casts on display in the Cast Gallery, including our famous painted … After that the code no longer works. They would find plaster and other simple materials for forming figures locally. A cast might even be painted, reproducing an aspect of classical sculpture that is … They would cross the Apennines and the Alps, marching in a little corps of twelve or fifteen. 1. Charles Stewart Parnell, plaster cast attributed to Fernando Meacci of bust by Mary Grant, 1892 (National Portrait Gallery). The special boxes seen below were made by the Dresden antiquary P.D. In photographs such as 'The Faun' (2007), the London based Liane Lang emphasizes the sensuous potential of plaster casts after classical nudes, as well as their lifelessness by staging them together with life-like reproductions of human limbs made of latex, wax, silicon, or rubber, that disturb the viewer as they appear … They are of interest to classical archaeologists, art historians, the history of collecting, curators, conservators, collectors and artists. Getty Images Cynthia “Plaster Caster” Albritten When it comes to groupies, there’s no doubt … Although the trade declined as the century progressed, plaster figure makers could still be found describing themselves as phrenological bust makers, namely Alfred Mazzoni in 1861 and more especially Ambrose Vago in 1881. There was also a period when plaster phrenological heads were a focus for the study of the human head. To take a single example of the market, the amateur watercolourist and floor cloth manufacturer, John Samuel Hayward (1778-1822), purchased various casts between 1800 and 1817, some from abroad but mainly from leading London figure makers of the time, Flaxman in 1800 and Shout in 1804, but subsequently from Italians, Papera from 1804 until 1817 as his main supplier, Giannelli in 1806 and then Mazzoni in 1816 and 1817 as his next important supplier (summary listing by Robert Barnes from bills for casts supplied to Hayward, V&A National Art Library, MSL/1943/920C). Italian figure makers in the 19th century, Bronze sculpture founders: a short history, Cast Collection - Victoria and Albert Museum, www.beazley.ox.ac.uk/sculpture/plastercasts/cast, The Cast Courts - Victoria and Albert Museum, British bronze sculpture founders and plaster figure makers, 1800-1980. In London directories, ‘plaster cast figure makers’ of apparently Italian origin, already common at the beginning of the 19th century, dominated as the century progressed (as analysed by Peter Malone). These figure makers left ‘Little Italy' and Clerkenwell to follow the sculptors, whether to Chelsea, Fulham or St John's Wood. Antonio Stoanbi, age 56, appears in the 1881 census as a hawker in plaster figures in Raffaello Sani’s household in Gray’s Inn Road. It was also a time when the demand for bronze statues was growing as a result of the desire to commemorate the wartime heroes and political leaders of the day through public statues and church monuments. Articles explore the functions, status and reception of plaster casts … I bought this for £28 and used it a couple of this is a model of a road over rail bridge by s d mouldings now rare. 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