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Herman Bergman Sculpture Foundry

- Established 1895

Specialized in bronze and fine art castings.

More than 120 years of accumulated knowledge and experience.
Which makes us the largest and oldest bronze foundry in scandinavia specialized entierly in the casting of works of art.

Logo

If you are looking for someone to cast your art project please use the contact information below.



H. Bergman Sculpture Foundry

Sandsborgsvägen 44 C
122 33 Enskede   On map.

Phone:   +46(0)8-659 15 00

E mail: info@bergmanskonstgjuteri.se

We use either cire-perdu or sandcasting, depending on wishes of the sculptor or specific technical problems.

Since its foundation at the end of 19th century the company has been carrying on research work and developing its activities in order to constantly improve moulding, assembling and oxidation.

Nevertheless, we are convinced that nothing can replace the bronze founders manual skill and artistic jugement when it comes to obtaining outstanding results.

Located in Stockholm, Sweden.

For information in Swedish





Herman Bergman Sculpture Foundry.

- From sketch to monument.

Our customer base stretches from artists to public and private clients. You have probably seen some of our castings in public squares, parks and institutions. We use multiple technics, Sand mold casting and Cire Perdue(Lost Wax) with our own investment technique and with the “ceramic-shell” process, as well as in combinations. The casting method chosen is the appropriate, to the object. We are proficient in everything from moldmaking, castings, patina and chasing. As well as complicated installations and maintenance. We at Bergman’s has a broad contact network with artists, gallery owners, architects and construction firms. This allows us to undertake turnkey contracts from model to a finished sculpture installed. (Even if it’s a fountain or a electrical heated bench).


Horse
One of two horses from the Triumphal Quadriga, in Stockholm

You can also order bronzes from Bergman’s collections of classical sculptures. One example is the bronze horses on Blasieholmen, Stockholm. Also known as the Horses of Saint Mark (at St Mark’s Basilica in Venice).

Over 120 years of combined knowledge and experience from bronze and fine art castings, ensures that our customers feel confident they receive professional craftsmanship.

– Casting at “Bergmans” has a value in itself.


Bronze

Mans Head
Man's Head - sculptor Liss Eriksson. This is a fine example of one of our oxidizings. We use a very wide range of colors accordingly to the artists desires.

Bronze is a mixture of 85% copper and 15% other metals, usually zinc, tin, and sometimes silica, so called “silicone brons”. Bronze has a melting point of about 900 C. The casting temperature is varying for different casting methods, approximately 1030-1180 C. Bronze has been used for the casting of artefacts in 1000s of years. The sheer beauty of bronze and it’s durability are the reasons that many great renaissance masters such as Michelangelo, Andrea Riccio, Donatello, Andrea del Verrocchio and Rodin used bronze as final material for his sculptures.

As well as many of our Swedish sculptors:

Carl Eldh, Marie-Louise Ekman, Carl Milles, Astri Taube, Asmund Arle, Ruth Milles, Arvid Backlund, Lena Lervik, Richard Brixel, Marianne Lindberg De Geer, Bror Chronander, Aline Magnusson, Axel Ebbe, Hertha Hillfon, Christian Eriksson, Ann-Sofi Sidén, Liss Eriksson, Assa Kauppi, Torsten Fridh, Carin Ellberg, Carl Frisendahl, Eva Lange, Stig Blomberg, Hanna Beling, Bror Hjorth, Kajsa Mattas, Johan Tobias Sergel, Klara Kristalova, Per Hasselberg, Tilda Lovell, Eric Grate, Åsa Wrange, Anders Zorn, Carolina Benedicks-Bruce, Willy Gordon, Siri Derkert, Torsten Renqvist, Louise Lidströmer, Arvid Knöppel, Lena Cronqvist, Peter Linde, Linnéa Jörpeland, Bernt Notke, Cecilia Edefalk, Torsten Jurell, Katrine Helmersson, Eva Löfdahl, Sonja Petterson. Samt många andra.





Herman Bergman Sculpture Foundry.

- Short history.

Herman
Herman Bergman 1869-1954

Herman Bergman started the Fine Art Foundry more then 120 years ago. It is the largest and oldest fine art foundry in Scandinavia.

One reason it has survived this long is due to our two casting techniques that complement one another.

The first dates back to ancient times, and is known worldwide with as Cire perdue (Lost wax-casting). Particularly well suited for detailed sculptures, art objects.

The second is a product of the industrialization and is known by Sand mold casting or Sand casting. It has been used very successfully when casting large statues and monuments, as well as smaller but less intricate objects.

Some of the works casted by Herman Bergman Fine Art Foundry throughout the years are Carl Milles “Poseidon” in Gothenburg, “Orpheus” in Stockholm and Bror Hjorths “Näckens polska”(the Dansing waterspirit or “the Necks Polska”) in Uppsala. More recently we did cast Lenny Clarhälls “Ådalsmonumentet”, the beautiful ancient “Horses of Saint Mark” at Blasieholmstorg and Milles “Hevenly father on the firmaments arc” at Nacka Strand.

The foundry, previously located on Roslagsgatan in Norrmalm, at the hart of Stockholm. Relocated in early 1950ths to the foundrys current premises in Enskede. Just south of central Stockholm.


“The County Board finds that Herman Bergman Fine Art Foundry AB is of great importance from a cultural and art historic point of view. The foundry has existed for more than 100 years and is one of the oldest fine art foundrys. Many of the country’s foremost sculptors have had their works produced here including Carl Milles. The foundry’s staff has an invaluable experience and skillset that must be passed on.”

County Administrative Board of Stockholm 2001-03-20.


Anniversary
Anniversary of the Art Foundry 20/10 1909
Anniversary of the Art Foundry 20/10 1909
In this picture: The architect and etcher Herman Hägg (fr. London), Medal engraver Erik Lindberg, Admiral and sculptor Otto Strandman, sculptor Carl Fagerberg, Professor Adolf Lindberg; The sculptor Carl Eldh, Professor Axel Tallberg, The Art Caster Herman Bergman.







Herman Bergman Sculpture Foundry

- Technical overview.

Mould making

Mould making.

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Mould making.

A silicone mould is made from the artist's original. This mould is used to make a hollow wax reproduction of the original. En silikonform görs efter konstnärens original.
Cire perdue

Cire perdue - Lost wax.

Image

Cire perdue - Lost wax.

Hot wax is brushed into the mould parts. These are assembled and wax poured in, joining the parts.
Wax chasing

Wax chasing.

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Wax chasing.

When the wax has cooled, the wax reproduction is taken out. And then the moulded joints and other defects are retouched or "chased" away.
Spruing & Gating

Spruing & Gating.

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Spruing & Gating.

Then wax sprues and gates is soldered on to the wax reproduction, in a system that allows bronze to flow into and fill the mould of the sculpture.
Investing

Investing.

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Investing.

After the wax reproduction is coverd by sprues and gates, it is invested (covered) in either a slurry and ceramic sand or our own castable ceramic investment.
De-waxing

De‑waxing.

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De‑waxing.

The mould is then baked in the oven, at about 750°. The wax flows out, leaving a hollow cavity in the mould. Which has now become sintered ceramic and thus will withstand the 1100° liquid bronze.
The sand mount

The sand mount.

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The sand mount.

The sand mount is usually done with oil or water based sand and decides where the part line goes. The sand casting technique is a direct imprint technique, this means that the cast mould is made directly against the original sculpture.
Piece sand mould

Piece sand mould.

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Piece sand mould.

The whole original is covered by a piece mould. Somtimes alot of pieces due to the complexity of a sculpture, as in a large 3d puzzle. This is done to make it possible removeing the original, aswell as to keep alot more deatail than normal sand moulding. The pieces are made by hand to ensure not to damage the original.
Core-Making

Core‑Making.

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Core-Making.

When the outer mould parts are completed, a inner form is made "the core", leaving a gap between the outer and the inner mould for the bronze to fill. The core is Built around a skeleton of iron rods. Suspending the core, in the void created by the outer mould.
Casting - The pour

Casting - The pour.

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Casting - The pour.

The hot moulds are strengthend by steel bands, and packed in sand, for personal safety as well as for quality. Obtaining outstanding results demands a fault free pour.
Devesting & Cleaning

Devesting & Cleaning.

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Devesting & Cleaning.

Deveting is the process during which the invetment is removed from the bronze. Skill and strength are combined with axes, hammers and power chisels.To remove the ceramic still stuck to the bronze. Sprues and gates are cut away and the casting is sandblasted clean to minimize damage to the chasing tools.
Welding & Assembly

Welding & Assembly.

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Welding & Assembly.

When sculptures are cast in multiple sections the parts is welded, solderd or assembled by screw joints. Welding is also the main tool to rectify cast defects and cast technical "holes".
Bronze Chasing

Bronze Chasing.

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Bronze Chasing.

Chasing is essential to take down welds and to address the slight imperfections that may from the casting or shell building process.
Patina & Waxing

Patina & Waxing.

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Patina & Waxing.

The bronze sculpture is oxidized with acids, salts and other chemicals giving the desired look. Sometimes less orthodox methods also are used depending on the sculptors wishes. Usualy ending with a protective wax layer for durability and shine.
Installation

Installation.

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Installation.

The sculpture is placed, positioned and anchored to the ground.
Maintenance

Maintenance.

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Maintenance.

Maintaining a sculpture is important. Gennerally washing and waxing is recomended each other year for outdoor sculptures, this however is more important in the begining. When the sculpture is older than about 10 years we recommend each 6th year. Smaller damages like scratches and broken off pieces are repaired.




Herman Bergman Sculpture Foundry

- The Rainbow. Lord placing new stars on heaven.
  Crafting the sculpture.


Clay modeling
Skissen förstoras
The sketch is enlarged on pieces of wood.

The sculpting made by Marshall Fredericks, 87, who was Carl Milles assistant for many years. Based on Milles sketches, the lord and angel are enlarged.

With the help of a pointing machine, a rough enlarged skeleton is first made of wood. The skeleton then built on with smaller pieces of wood that eventually form a three-dimensional structure.

Stommen kläs med lera
On top of the skeleton, clay is modeled into a finished sculpture.
Rough modeling is the first step. Layers of clay are applied to create the shape of the sculpture. Then the precision work begins. Small lumps of fine clay are applied and modeled until the sculpture has its final form. It is now ready for casting the plaster copy.


Plaster casting
Head of the angel
Head of the angel.

Plaster is applied in several layers, but first metal rails are placed on the clay model, where it must be divided to become external molds for the original plaster model.

The plaster solidifies and is divided into molds, which are coated on the inside with a release agent.

New plaster is poured in.

The molds are "thrown" around to distribute the plaster as accurately as possible.
Now your plaster original is an exact copy of the clay model, ready to be sent to the foundry for molding


Sand molding
Formflaska med formsand.
half of a casting flask with sand, (drag)

Genomskärning av formflaskan.
Cross section of the mold flask.

The plaster model may be devided into several parts, to fit the frames with lids, so-called mold flasks. The model is then placed in a frame with mounting sand. Around the the model, "pieces" of sand (hardened with resin and phosphoric acid) are created. This so that the model can be removed from the mold. Air- and sprue channels are then created in the resin sand. The other part of the frame is fitted. On top of the "pieces", a layer of resin sand is added to coat and fix the "pieces". It forms the so-called cope. The lid is put on and the frame is turned. The mounting sand is removed and the procedure is repeated on the other part of the sculpture. Then turning the frame so that the cope ends up on the bottom. The "pieces" are moved over to the coat, as a puzzle.
The sculpture is removed.

A 5 mm thick layer of clay is laid against the insides, which corresponds to the thickness of the bronze. An inner core of resin sand is made to create the cavity in the sculpture. The core is reinforced in the pieces and the cope. The clay is removed and the frames are put together.


Gjutning
Gjutning
Bronze casting

Liquid bronze, approx. 1,075 ° C, is poured into the pouring cup. The bronze flows through the sprues into the mold and solidifies. The mold flask is opened and the sand and core are removed by sledgehammer.


Bronze Chasing

After casting, all parts are assembled with welding. Welds, joints, cavities and other imperfections are removed.

Technical problems are solved, such as attachments for the stars and the Lord. Constructive reinforcements of the sculpture and the pillar mount made in stainless steel.

The sculpture is then patinated, ie treated with salts, acids and oxides to get the right color. The sculpture is now ready to be assembled on site.


Manufacturing of the Rainbow.
Himmelsbågen
Lord placing new stars on heaven.

The bow is made of stainless steel plates that are welded together. After polishing and blasting, it is delivered to Nacka Strand.


Mounting

The Lord is mounted on the stainless steel arch which is then raised on the pier head. The angel is anchored in concrete at the foot of the arch.

"Lord on the Rainbow" is complete with the water function installed.

Graphics: ANN-SOFI MARMING







Herman Bergman Sculpture Foundry

- eavning classes in bronze casting.

bronze cat
Bronze Head of the Cat goddess Bastet. Egypt, 26th dynasty

Create your own bronze sculpture

Evening classes in bronze casting.
We go through all the steps from mold making to finished bronze, wax copy, retouch, sprue and gateing, investing, burnout, casting, chasing and patina.

Bring your own original or make a new during the course. The fees include materials and the finished bronze.*

Instructor / Supervisor: Anneli Scheutz (Also tutors in bronze at the Swedish Royal Academy of Art).

Location: At our premises at Sandsborgsvägen 44 C in Enskede. (Subway Skogskyrkogården.)

The number of participants is limited, so first come first served. Please contact us for more information and registration.


*The course applies to a sculpture corresponding a volume that of half the size of a swedish standard milk carton, and with a maximum height of 20 cm and a width of 7 cm. If the sculpture is larger or more complicated and involves a larger mold, expect to create the sculpture under the duration of several courses. Anmälningsvillkor Kursstart och kallelse Innan kursen startar får du alltid en skriftlig kallelse med lokal och tider angivna. Med kallelsen följer också en inbetalningsanvisning. Kursavgiften betalas före kursstart. Enligt separat överenskommelse innan kursstart, kan avgiften delas upp i två delar.





Herman Bergman Fine Art Bronze Foundry 

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Herman Bergman Fine Art Bronze Foundry 

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