Lost wax artistic foundry




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The Salvadori Arte artistic foundry produces works of art in metal such as bronze, brass, aluminium, stainless steel and other alloys, using the traditional and millenary method of “lost wax” casting. The management has been carried on since the mid-60s of the last century by the Salvadori family, whose techniques and knowledge have been handed down by the ancient metallurgical factories of Pistoia. Some works made by Salvadori Arte are housed in the most famous museums and art collections, as well as in countless squares and gardens of cities and metropolises around the world. On commission, the foundry has the necessary skills and techniques to create customized works of art.


Italian Art Foundry


alvadori Arte is an art foundry who produces artworks in bronze and other metals, with the method of lost wax. Established in 1964 in Pistoia, Tuscany, the Salvadori Arte art foundry is the last heir of an old local metallurgical tradition. The company operates in efficient work spaces, all located on the ground floor of an industrial building with an indoor area of 700 square meters and outdoor spaces measuring 600 square meters. Within this structure it is possible to carry out large-scale works, thanks to high grade lifting gear that allows the realization of sculptures up to a height of 6 meters, and even higher outdoors.

Italian Art Foundry

Some works created by Salvadori Arte are housed in the most famous museums and art collections, as well as in countless squares and gardens in cities and metropolises around the world. On commission, the foundry has the skills and techniques necessary to create customized works of art.


Works Created




Completed Projects



Our achievements

The "Zeus" of Athens, the Horses of Saint Mark's in Venice, the "Marco Aurelio" of the Campidoglio in Rome, the large sculptures of the Renaissance have been made with the same procedure that, through the time, has remained partially unchanged.
This technique consists in covering with wax, that will be later modelled a refractory clay support; then another clay layer is put on the wax so that is encased between two masses of clay.
By heating this clay container to a high heat, the wax melts and drips ut through some purposely made holes.
The liquid alloy is then poured into the thin space left by the wax, usually just a few millimetres, then the allow cools and hardens the bronze cast has been accomplished.
The most frequently used bronze alloy is composed of copper and tin.
It allows for a thin and regular surface. After the casting it is necessary to free the sculpture from a lot of outer drippings and to finish and to chisel the surfaces.
At last, through oxidation and thermal treatment, the bronze receives the desired patina.
Salvadori Arte is the last heir of Pistoia's great metallurgical tradition, which started in the eleventh century and reached its greatest splendour in the first decades to the twentieth century when the Lippi and Michelucci foundries were still active.

The Salvadori Arte foundry makes bronze sculptures for the most important Italian and foreign artists as Roberto BARNI, Luigi ONTANI, Claudio PARMIGGIANI, Mario MERZ, Steven COX, Jorio VIVARELLI, Igor MITORAJ, Mark KOSTABI, Beverly PEPPER, Ilya KABAKOV, Leonid SOKOV, Grisha BRUSKIN, Umberto MASTROIANNI, Pericle FAZZINI, Domenico PALADINO, Daniel SPOERRI, Antonio MANZI, Robert MORRIS, Bino BINI, Fernando BOTERO, Giuliano VANGI, Edoardo BRUNO, Mario  CEROLI, Pawel ALTHAMER, Alexander KOSOLOAPOV, Caleb O'CONNOR etc..
Some of its bronzes are found in the most important museums and art collections in the world, as well as in countless squares and park located in the cities of art.

Reflections on sculpture

"Nobody has luckily been so senseless - say in Paris or in New York - to experience a pure sculpture, leaving aside vision and limiting to the tactile pleasures of angular, of rough, of vitreous, of metallic, of smooth, of convex, of concave and of harsh.
A sculptural work is in fact visual and we might nearly define it infinite, because we can stare at it by almost infinite angles.
When it comes to equestrian effigies, it gets to epic. I now remember Gattamelata and Colleoni, two bronzes looking t one another from Padua and Venice borders. I recall the Lee statue in a square of South, its eyes towards the North.
I remember to have touched a petal of the lotus flower where Buddha of Nara seats, tall and fearfull.
I recall to have touched the Sphinx, that Erodotus saw and defined loaded with Sahara and time.
I remember Henry Moore’s big shapes, which are about to become human and do not lose their magic.
I childishly recall two Victorian marble lions, at the foot of a marble staircase, playing with snakes in the hall of a railway station. Sculptures are bodies among bodies, outer outlines which men’s invention drops among others populating space and whose image, according to idealism, may be space itself.
Oddly enough its material character emphasizes its fantastic character. Each statue is a Golem. Psychanalists have popularized a parlour game which consists of asking everyone what a certain word suggest to him.
I leave written here what suggests me the word sculpture"

Jorge Luis Borges

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