Statue.com is pleased to offer this unique collection of original sculpture by artist Sigrid Herr. This work addresses the essence of woman with a sensitive celebration of femininity.

The sculptures are made from resin, a synthetic polymer, which is very durable. The cast resin pieces are coated with steel, in the form of an atomized powder. The sculptures then get dampened with a solution of salt and vinegar to begin oxidation. No toxic chemicals are involved. When displayed outside, the appearance of the surface will change over time under the influence of the weather. Rust can be wiped or brushed off, but oxidation will continue with exposure to moisture. Spraying the piece with a flat, or semi-gloss, clear varnish may stop the rusting process, though use of high-gloss varnish is discouraged. These pieces should do well in rain and temperatures above freezing; however, under harsh winter conditions, the expansion and contraction of ice in crevices may crack the piece. It is, therefore, recommended that the sculpture be brought inside when freezing temperatures threaten.

Sigrid Herr sculpture in landscaping provides original outdoor statuary for architects, gardeners and landscapers for use in gardens and yards. Her work makes a statement in professional offices for therapists, healers or health professionals of traditional and alternative medicine who want to welcome their clients with a positive and beautiful work of art. For those who wish to give a symbol of peace, or strength, of beauty, Sigrid Herr sculpture is a gift with meaning.

Statue.com is pleased to offer an extensive collection of sculpture reproductions by artist Amilcare Santini.

Amilcare Santini was born April 18, 1910 in Cecina (Livorno) not far from the art centers of Florence, Siena, Pisa and Volterra. From a very early age he showed obvious signs of a predisposition to modeling in clay. Finished with elementary schools, and without any guidance or art classes, he began to create his first models in clay and alabaster, getting his inspiration from the Tuscan countryside. His parents were certain that the life of this child would be dedicated entirely to art when, at 11 years of age, he modeled a clay copy in reduced size, of the monument to the fallen (heroes) of the city of Cecina, a momument that he had seen placed in a public square in the town. There followed a two-year apprenticeship in association with one of the famous workshops of the masters of Florentine sculptors at the end of which, in 1924, Tito Bianchi, owner of the most important factory of statues of the time, with a center in Cecina, impressed with the skill of Santini, decided to take him in as an official sculptor of the Society. During that period he developed a remarkable skill in the execution of classical Greek and Roman-type statues, and in particular a style of creating figurines of children, angels, and little girls, destined for production in alabaster and plaster painted by hand.
His collaboration with Tito Bianchi ended in 1939 and Amilcare began to work on his own. We owe to this period the creation of Nativity statues that we still find today in Italian homes and in countries all over world. Many important factories of Lucca, (Fontanini, Marchi, and Viviani), have had the use of his collaboration and even today, after 50 years, they are using figures drawn from the models of Amilcare Santini.
Immediately after the War, during his collaboration with the makers of religious statues, he modeled a plaque representing the figure of a Madonna that became famous in all the world. It depicted the "Madonna of Tears" of Syracuse (Sicily) that on August 29, 1953 was said to cry tears.This happened in the home of two humble workers. Amilcare Santini was called to Syracuse to certify that the tears were genuine and shortly after was received in a special audience with Pope Pius XII together with civil and religious authorities of Syracuse.
In the post-was period (1948) he started a small laboratory for the fabrication of rubber stamps drawn directly from his original models made and destined for statuary workshops all over the world. In 1958, together with his son, Nedo, he decided to begin his own production of alabaster and oxolyte statues under the name of S.A.C. of Santini Nedo (industria Statue Artistiche Cecinesi) in a small plant on Via della Madonna 12 in Cecina.
Amilcare Santini passed a great part of his life in his shop. "I like to do even the most humble jobs" he used to say, "like making the clay, because this is a fundamental operation to adequately sensitize my hands to the use of this material for the job at hand". For the creation of his models, Amilcare almost always used the clay which he reclaimed from the banks of the Cecina River. He would make a muddy liquid that, placed in a terracotta container (called in Tuscany a "coppo") for around 4 weeks, was slowly allowed to form a sediment. Subsequently, he would mold the clay with his own hands until it reached the right consistency in order to proceed to the creation of the figure. "When in the morning I set off on foot towards the shop, I see to my left the trestle; next a small bench where I have put the clay and all the tools. Facing the door there is a long table where I have arranged some terracotta heads and statues already finished. A little farther on there is a small bench where I chisel the models assigned for production and, over on the other part of the room, are all the plaster copies and a large library full of art books."
Only one passion distracted him from his job: hunting. During that period of the year his creativity was reduced to the "faint light", to the great disappointment of his relatives.
To those who have gone to find him in his shop, Amilcare has always said that 90% of his work was the exclusive fruit of his creativity using only his own hands and a few small pieces of equipment. "All my tools could be (held) in one hand; in fact I use only little sticks of wood that I have constructed with my own hands in order to mold the clay, and some steel punches that I use to engrave the models in production so as to obtain the maximum perfection in the details of the eyes and hands, the hair, the hats, and in the distinctive parts of the dresses."
Amilcare Santini was never a good promotor either of himself or his work. He said, "I always worked, and I always refused to participate in shows featuring sculpture. I never did any publicity for myself of any kind". Amilcare Santini died after a short illness on January 15, 1975.