The number of Italian figure makers in and around 'Little Italy' and in the wider Holborn area, peaked in the early 1860s, judging from census records, as the third largest trade undertaken by Italians in the area, after street musicians and picture framemakers (Lucio Sponza, Italian Immigrants in Nineteenth-Century Britain: Realities and Images, 1988, p.328). Texts address plaster casts and related themes from antiquity to the present day, and from Egypt to America, Mexico and New Zealand. Plaster figures have been used in one form or another for centuries. He is able to see the form better while looking at a monochrome reference. The use of plaster casts in the early 19th century, 3. Make sure you order the plain white finish. Antonio and Louis Caproni would also promote their wares to a professional market, advertising as moulders and figure makers, offering figures for lights and gardens, figures painted and bronzed, masks taken from the living and the dead, adding ‘Casts taken from Gelatina’ (Blower's architect's, surveyor's, engineer's and builder's directory, 1860). Sculptors’ moulders from 1880. It was possible to hire plaster figures, as Nollekens informed his fellow sculptor, Francis Chantrey, ‘You may hire casts at Papera's and Genelli's’, and as the amateur artist, Sarah Harriet Burney, told a friend in 1804, ‘By subscribing a shilling a week to Papara, the Plaisterman, I got what busts or whole length figures I pleased’ – which she could then use in her studies. By the late 19th century, the sculptors’ moulder had become an established specialist role. Very Fine. The Gallery holds the most extensive collection of portraits in the world. He would arrive ‘carrying a large white enamelled bowl (for mixing Plaster of Paris), a roll of scrim (for reinforcing the plaster) and a collection of odd lengths of iron rods (for bracing the moulds)… He would have come to Chelsea, with all this paraphernalia, from Camden Town…. A nice selection of plaster casts of the human form, as well as plaster geometric shapes. 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. The collection of the Museum of Classical Archaeology ranges from the largest of sculptures to the smallest of artefacts. Although the market today for new bronze sculpture has somewhat declined, and with it the need for such a network of independent sculptors’ moulders, the continuing importance of casting and working in plaster and similar materials can be seen from the work of artists as varied as Rachel Whiteread and Thomas Houseago. Each study is treated as a sight-size to cultivate a general competency for realistic drawing. They are of interest to classical archaeologists, art historians, the history of collecting, curators, conservators, collectors and artists. 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. From there, they would cross France, perhaps to Fontainebleau, and so on to Paris, Amiens and Calais and finally to England in search of ‘a golden harvest’. The authorities at the Crystal Palace in south London, which opened in 1854, sought casts of great works of art across Europe and beyond. 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. This burst of activity in collecting casts in London and elsewhere led the South Kensington Museum to draw up an 'International Convention of promoting universally Reproductions of Works of Art', which was signed in 1867 by fifteen European princes, to encourage the exchange of copies of 'the finest works of art which each country possesses' (see The Cast Courts - Victoria and Albert Museum). Both Barbara Hepworth and Maurice Lambert used ‘the renowned plaster caster’, Domenico (‘Mac’) Mancini. Print your own Munsell Color Reference Charts at home on your desktop inkjet printer! In 1858 a court case against a master, Luigi Caproni, was dismissed concerning the wages of Mansueto Mei, a plaster figure maker who had left him after 20 months of a 30-month contract to make images. 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. A generation later, during the First World War, Brucciani & Co Ltd ran into financial difficulties as the museum and school of art markets declined. Texts address plaster casts and related themes from antiquity to the present day, and from Egypt to America, Mexico and New Zealand. Brucciani’s appointment to the South Kensington Museum was followed by his selection as formatore to the British Museum in 1857, following William Pink’s death. 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. 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. Extensive collection of the 19th-century ‘ Cries of London ’ products listed Amazon! Figures of classical and other simple materials for classical art training in the early 19th century 3 about... Wide range of ceiling roses that span 35 years in the 1950s at the time of... Span 35 years in the early 19th century the market for plaster figures have been used in form. 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