The Stories and the People, Part 1: Caproni

Posted by Kayla Fletcher on

Plaster Casters

Plaster reproductions of classical sculpture were once an integral educational tool in teaching people classical history in the United States. Casts were widely used in museums, public buildings, and schools.

Casters, through the ages, have played an important role in the creation and reproductions of sculptures. Aside from studios that made copies of classical or Renaissance works, the accomplished caster worked side by side with the great sculptors of originals. He could make a masterpiece remain a masterpiece or in a short time he could potentially ruin many months of sculpting.

The casters’ challenge would be to pour a faithful and strong plaster copy without damaging the mold.

This oftentimes took great physical strength and the casters were a robust bunch of guys as you can see here.

black and white photo of two men from P.P. Caproni and Brother posing with large plaster molds

Photo from: Kurutz, Gary F. (1989). Architectural Terra Cotta of Gladding, McBean. Sausalito, CA: Windgate Press. Pg. 43

 

The Start of P.P. Caproni and Brother

Between 1892 and 1952, the leading supplier for high-quality plaster casts was P.P. Caproni and Brother in Boston, MA.  The Giust Gallery (now the Caproni Collection) traces its lineage back to the Caproni brothers, Pietro and Emilio. They identified all their casts with a hallmark that was embedded into the bottom surface, the impression of which you can see in many of our casts today.

photo of bottom of small bust plaster cast by P.P. Caproni and Brother showing embedded metal hallmark

Pietro Caproni, the founder of the company, was born in Barga, Italy in 1862.

photo of town of Barga, Italy with alps in background

Photo from: https://commons.wikimedia.org/wiki/File:Barga_Alps.jpg

He left Italy and came to Boston in 1876 and shortly after was listed in the Boston City Directory as an “image maker” working as an apprentice at the Paul Garey plaster cast studio.

The First Catalog and the Culture of Casts

After Caproni’s apprenticeship of seven years, he perfected his craft and became aware of the nature of the cultural community for whom he was creating the casts. As Paul Garey retired in 1894, Caproni and his brother bought out the studio and published their first catalog: Catalog of Plaster Cast Reproductions from Antique, Medieval, and Modern Sculpture.

scanned dark tan cover of P.P. Caproni and Brother catalog with sketch of Victory of Samothrace sculpture on it

 

scanned page of P.P. Caproni and Brother catalog showing sketches of casts of hands, feet, and skull

His client list included prominent collectors such as Tiffany, Stanford White, Saint-Gaudens, Isabella Stewart Gardner, and countless schools, museums, and libraries.

 

The Growth of P.P. Caproni and Brother

They expanded their work force with craftsmen from Italy and quickly became one of the premier casts makers in the world. In 1895, Caproni purchased 2 adjoining lots on Washington Street in Boston and built the new Caproni studios. Copies of gargoyles from the Notre Dame Cathedral were placed at the corners of the studio roof.

scanned page of P.P. Caproni and Brother catalog with black and white photo of Caproni building facade with large storefront and with gargoyles on roof front corners on Washington Street in Boston

As people passed on the street they could see through the huge glass windows great pieces of antiquity such as the full-sized Victory of Samothrace and the Laocoon Group. The building totaled about 27,000 square feet and the entire first floor was devoted to the storage of molds and the casting room.

 

Work for some of Boston’s most Renowned Institutions

By 1901, Caproni published his first hard bound catalog. In addition to the Greek, Roman, and Renaissance statues and reliefs, he added the work of some modern European sculptors.

 

scanned dark green cover of P.P. Caproni and Brother catalog

The studio’s commissions and sales continued to increase and in 1902 Caproni cast the 14 classical sculptures in the niches above the audience at Symphony Hall in Boston.

photo of Boston Symphony Hall with audience

Photo from: https://commons.wikimedia.org/wiki/File:Symphony_hall_boston.jpg

 

Casting some of Europe’s Most Famous Statues

During these early years, Caproni with his mold makers made countless trips back to European museums to make piece molds of many of the world’s greatest masterpieces.

At that time, the museums and institutions had confidence in the skills of the master mold makers and would authorize permission to make the molds. Imagine going to the Vatican Museum today with a bucket of plaster and trying to make a mold of Michelangelo’s Pieta. By 1911, Caproni’s collection of molds grew to over 4,000 pieces and he printed his next and biggest catalog. This hard bound version was the largest Caproni catalog ever issued.

scanned dark tan cover of P.P. Caproni and Brother catalog

As you can see, you could purchase the full-size Laocoon Group for $200:

scanned page of P.P. Caproni and Brother catalog showing black and white photos of three plaster casts of famous sculptures

A full-size St. George or Michelangelo’s Slave was $75. Greek and Roman busts averaged $10 to $12 each:

scanned page of P.P. Caproni and Brother catalog showing black and white photos of five plaster casts of famous sculptures
scanned page of P.P. Caproni and Brother catalog showing black and white photos of twelve plaster casts of famous bust sculptures

The catalog also included hundreds of anatomical studies, ornaments, and animals.

scanned page of P.P. Caproni and Brother catalog showing black and white photos of various plaster casts of leaves, flowers, and fruit

 

The Caproni Gallery

At that time, the Caproni Gallery was divided into 5 separate areas with casts from the history of sculpture including Classical, Renaissance, Gothic, and Modern.

scanned page of P.P. Caproni and Brother catalog showing black and white photo of the gallery with statues, busts, reliefs, and other sculptures
scanned page of P.P. Caproni and Brother catalog showing black and white photo of the gallery with statues, busts, reliefs, and other sculptures
scanned page of P.P. Caproni and Brother catalog showing black and white photo of the gallery with statues, busts, reliefs, and other sculptures
scanned page of P.P. Caproni and Brother catalog showing black and white photo of the gallery with statues, busts, reliefs, and other sculptures
scanned page of P.P. Caproni and Brother catalog showing black and white photo of the gallery with statues, busts, reliefs, and other sculptures

 

A Team of Master Casters

The following years were prosperous for the Caproni studios and its continued inventory of high-quality plaster casts. The Caproni team of mold makers and casters included prominent craftsmen of that era including  Leo Toschi and Ceasar Luchini and later Nedo Cassetari and Emilius Ciampa.

This picture shows some of the Caproni casters enjoying lunch in a reproduction of the big Rhino, by Katharine Lane Weems.

black and white photo of three men eating lunch inside frame of large plaster mold of a rhino

Photo From: Ambler, Louise Todd (1987). Katharine Lane Weems: Sculpture and Drawings. Boston, MA: The Boston Athenaeum. Pg. 48

And here are 3 casters (Pictured, left to right, Adelino Vanni, Ceasar Luchini, and Leo Toschi) with a plaster copy of Houdon’s Anatomy of Man.

black and white photo of three men from P.P. Caproni and Brother posing with a large plaster cast of an ecorche

Photo Courtesy of Margaret Toschi-Luppino

 

And another photo of Caproni Casters. Leo Toschi is in the front/middle:

black and white photo of seven men from P.P. Caproni and Brother posing for a photo

Photo Courtesy of Margaret Toschi-Luppino

 

The End of an Era

Caproni died in 1928 and his death coincided with a decreasing interest in the Classics and plaster casts. Cast museums were being dismantled and with the emergence of impressionism and later abstract sculpture, the museums focused more on the exhibition of contemporary work.

The World Wars and Depression also contributed to the decline of the Caproni studios. As it declined, it changed owners about 5 times. I will write more in upcoming posts about what came of the Caproni collection, and what survives today.

 

-Robert Shure

The Giust Gallery (now the Caproni Collection)

 

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Comments


  • Dear Mr Shure, I am so pleased to find your blog. I am trying to find casts of the Parthenon west frieze to display for a few years in a special exhibit in a museum in Indiana. Ideally we would like to buy casts, but if none were for sale, perhaps we might borrow some. Are you able to tell me where Caproni’s original casts were sold? Might you know if any of those organizations would consider loaning any casts? Thank you so much,
    E. King, archaeologist , Athens, GR

    Elizabeth King on
  • I have a lincoln life mask that I have been told is a Caproni however there is no tag attached to be certain. I am looking to verify its maker.

    Dennis Tipsword on
  • I have a caproni bros. life mask of abraham lincoln and it has an imbedded tag inside. I ’m curious as to when it was made and if it has any value,monetarily or historically. Unfortunately, some has painted it-(w/acrylic?). Any info would be most appreciated.

    jfb on
  • hello ,
    any information on this is so much appreciate. I have acquired a Caproni Brothers its 59×85 piece of looks like 3
    Renaissance women. I have no idea the value or time frame on this.
    Thank You for your time
    Linda

    linda bogiages on
  • Hello,
    I am in possession of an original (I believe it is an original) 1905 Caproni frieze item #177. It is in average condition with some cracks, chips, and sadly an arm missing. Could you tell me something about it? I’m wondering if it has any value? Any information would be greatly appreciated.
    Thank you in advance,
    Katie

    Katie Haverlin on


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