Ukraine Bronze Table Bells – How A Bell Happens
October 17, 2012 at 4:20 pm #12150halanbParticipant
Marina Kyrychenko, a friend who works with Andrey Martynyuk in the selection and distribution of the bells, suggested some bells based on Russian fairy tales.
Her preference was The Tale of The Golden Cockerel, by Alexander Pushkin, 1834.
This was based on Legend of The Arabian Astrologer from Tales of The Alhambra by Washington Irving, 1831.
Designer/artist Vyacheslav Maleev was asked to create some clay models based on the characters in the tale, and these are the result.
(1) The clay models will be used to create two rubber molds. Each mold will be used to create a wax figure for each bell to be cast.
(2) Each wax figure, with sprues and vents attached, will be invested with (dipped into) a ceramic slurry, and each coat allowed to dry for a day or so before the next coat is added. Normally about ten coats are required.
(3) The ceramic figures will be placed in a kiln and the wax melted out (lost wax), leaving an exact cavity in the shape of the final bell.
(4) Molten bronze will be poured into the ceramic shell. When dry, the ceramic material will be broken away, leaving the bronze bell with all the sprues and vents attached.
(5) These bronze sprues and vents will be cut off, and the areas where they attached to the bell will be finished by hand to restore the lost detail.
(6) The bell is polished, a clapper installed, a chemical patina applied to the bell, and polished again.
For more information, see The Lost Wax Process of Casting Bells by Gerry Ballantyne, ABA Book IV, pages 8-9.
January 7, 2013 at 5:32 pm #17176halanbParticipant
These pictures show the clay model for a new Archer matchholder/bell and the black wax figure
that will be invested and cast. (The quiver will be cast separately.)
This picture shows the clay model for a new Joan of Arc bell and the black wax figure
that will be invested and cast.
The first picture shows various objects that have been invested (coated) with ceramic material, the wax melted out, and then cast with bronze. Note the attached vents and sprues so the wax and air can flow out and the molten bronze flow in.
The second picture shows a “tree“, a group of objects linked together so they can be cast at the same time. (This is the way Gerry Ballantyne cast his bells.)
This picture shows a Columbina that has had the investment material removed. Note the remnant of a sprue inside the bell and the stub remnants of several vents (behind the neck, on the horn, and between the antennae) that still must be removed.
These pictures show Andrey holding an unfinished and a finished Italian Nun.
These pictures show the Tsar and Sorcerer after the investment material has been removed and preliminary finishing work done. Note that at this point there are still a few traces of the ceramic shell and some minor repairs to be completed.
These are the finished and polished Tsar and Sorcerer bells ready for shipment.
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