Distributed by SAN LORENZO INT’L, INC. 5521 South Ridgewood Avenue - Suite 3 PORT ORANGE, FLORIDA 32127 (USA) TEL: (386) 322-0026 / FAX: (386) 322-0728 SanLorenzoDesign@gmail.com SanLorenzoDesign.com
Bortoletti Fonderia Artistica, nasce in un piccolo laboratorio ai margini della laguna di Venezia nel 1980 da quattro fratelli e dalla passione del loro padre per la scultura e la fusione del bronzo. Il processo creativo è completamente artigianale, avviene tramite la tecnica della microfusionea cera persa e della lavorazione GHO YHWUR D OXPH FRQ XQ JUDGR GL ĆQLWXUD GL altissimo livello. Tutte le nostre creazioni sono realizzate con progetti creati su carta che diventano piccoli capolavori di design. Oggi l’azienda è entrata a far parte del grande mercato senza venir meno ai propri principi e alle proprie tradizioni continuando a creare oggetti fatti a mano nello stile dell’artigianato veneziano. Le nostre creazioni sono per il pubblico un’occasione per apprezzare l’attualità di materiali che da millenni affascinano l’uomo, regalo ideale ma nello stesso tempo oggetti di FODVVH SHU LO JXVWR UDIĆQDWR GHO FROOH]LRQLVWD R desiderabile attrattiva per il turista culturale.
Bortoletti Fonderia Artistica,was founded in a small laboratory on the edge of the Venice lagoon in 1980 by four brothers and their father’s passion for sculpture and bronze. All our creations are made from jewelers and the projects are small masterpieces of design. The creative process is completely handmade with high quality Italian materials. The maturation of many years of experience has led to a leap in quality that has affected the entire creative process and has seen the emergence of new products. Today the company has entered into the great world market, without changing its principles and traditions. Our creations are an opportunity for the public to appreciate the relevance of material, which has captivated man for many years. Ideal gift but at the same time objects of class IRU WKH UHĆQHG WDVWH RI WKH FROOHFWRU RU GHVLUDEOH for the cultural tourist attraction.
Exempla “Immaginate che i vostri pensieri prendano forma” “Imagine that your thought takes form”
Exempla serie
Set
90
5DIĆQDWR VHW VFULWWXUD FRQ EDVH LQ OHJQR GL PRJDQR SHQQD FRQ SHQQLQR DQWLFR GXH FDODPDL FRQ IUHJL LQ EURQ]R SRUWDSHQQD H WDPSRQH DVFLXJD ĆUPH
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6
Set
91
(OHJDQWH VHW VFULWWXUD FRQ EDVH LQ OHJQR GL PRJDQR SHQQD FRQ SHQQLQR DQWLFR FDODPDLR FRQ IUHJL LQ EURQ]R SRUWD SHQQD WDPSRQH DVFLXJD ĆUPH H SHQQLQL GèHSRFD
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Set
92
6HW VFULWWXUD FRQ EDVH LQ OHJQR GL PRJDQR SHQQD FRQ SHQQLQR DQWLFR GXH FDODPDL FRQ IUHJL LQ EURQ]R SRUWD SHQQD LQ EURQ]R H WDPSRQH DVFLXJD ĆUPH
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7
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93
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Exempla serie
Set
94
6HW VFULWWXUD FRQ EDVH LQ OHJQR GL PRJDQR SHQQD GèRFD FRQ SHQQLQR GXH FDODPDL FRQ IUHJL LQ EURQ]R SRUWD SHQQD LQ EURQ]R H WDPSRQH DVFLXJD ĆUPH
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Set
97
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serie
Exempla
Set
10
Set
11
6HPSOLFH PD FRPSOHWR VHW VFULWWXUD FRQ SHQQD LQ OHJQR H SRUWD SHQQLQR LQ EURQ]R ERFFHWWD GèLQFKLRVWUR H SHQQLQL GèHSRFD
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Set
16
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11
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6HW VFULWWXUD FRPSOHWR FRPSRVWR GD SHQQD LQ OHJQR FRQ HVFOXVLYR SRUWD SHQQD LQ EURQ]R FRUUHGDWR GD ERFFHWWD GèLQFKLRVWUR H GXH SHQQLQL GèHSRFD
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Exempla serie 12
Set
41
6HW VFULWWXUD FRQ SHQQD LQ OHJQR FDODPDLR ODYRUDWR FRQ IUHJLR LQ EURQ]R H FRQ FDUDWWHULVWLFR SRUWD SHQQD VXO TXDOH SRWUHWH SRJJLDUH OD YRVWUD SHQQD &RUUHGDWR GD TXDWWUR SHQQLQL GèHSRFD
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Set
45
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Set
51
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Set
55
6HW VFULWWXUD FRPSOHWR FRPSRVWR GD FDODPDLR FRQ IUHJL LQ EURQ]R SHQQD LQ OHJQR SRUWD SHQQD LQ EURQ]R H WUH SHQQLQL GèHSRFD
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13
Exempla serie
Set
61
6HW VFULWWXUD FRPSOHWR GL SHQQD LQ OHJQR FDODPDLR FRQ SRUWD SHQQD SHQQLQR H WDPSRQH ,O FDODPDLR LQ EURQ]R KD OD GRSSLD IXQ]LRQH GL SRUWD SHQQD FRQ WDSSR LQ SDVWD YLWUHD PXUDQHVH
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14
Set
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Set
18
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Exempla VHULH
Exempla serie 16
Set
52
(OHJDQWH VHW VFULWWXUD SHU SUDWLFDUH OèDUWH GHOOD EHOOD FDOOLJUDĆD 3HQQD LQ YHWUR GL 0XUDQR LPSUH]LRVLWD GD XQD IRJOLD GèRUR . FDODPDLR WDPSRQH SRUWD SHQQD H GXH SHQQLQL GèHSRFD SHU ULVFRSULUH LO SLDFHUH GL VFULYHUH OHWWHUH D PDQR
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Set
62
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17
Set
42
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Set
12
6HW DQWLFD VFULWWXUD FRPSOHWR GL SHQQD LQ YHWUR GL 0XUDQR FDODPDLR FRQ SRUWD SHQQD H WDPSRQH ,O FDODPDLR LQ EURQ]R KD OD GRSSLD IXQ]LRQH GL SRUWD SHQQD FRQ WDSSR LQ SDVWD YLWUHD PXUDQHVH
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serie
Exempla
&RORUL GLVSRQLELOL $YDLODEOH FRORXUV
18
Set
03
2ULJLQDOH VHW VFULWWXUD FRQ SHQQD LQ YHWUR GL 0XUDQR DWWRUFLJOLDWR FRPSOHWR GL ERFFHWWD GèLQFKLRVWUR H SHQQLQL GèHSRFD ,O YHWUR GL 0XUDQR VDU¢ SHU YRL GLVSRQLELOH LQ YDUL FRORUL
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Set
06
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19
Set
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20
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serie
Exempla
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20
1HUR %ODFN
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21
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Set
30
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21
Set
31
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Exempla serie 22
Set
32
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15
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100
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Exempla serie 24
Set
26
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25
Set
25
6HW FRPSOHWR SHU DUUHGDUH LO WXR VFULWWRLR SHQQD H WDJOLDFDUWH H OHQWH LQ OHJQR SRUWD SHQQD LQ EURQ]R ERFFHWWD GèLQFKLRVWUR FLQTXH SHQQLQL GèHSRFD WDJOLDFDUWH H OHQWH GèLQJUDQGLPHQWR LQ YHWUR VLJLOOR LQ YHWUR EDUUHWWD GL FHUDODFFD H FUHPD RUR 7KH PRVW FRPSOHWH GHVN VHW 0XUDQR JODVV SHQ EURQ]H SHQ KROGHU ERWWOH RI LQN Ä&#x2020;YH DQWLTXH QLEV JODVV OHWWHU RSHQHU DQG PDJQLI\LQJ JODVV JODVV VHDO VHDOLQJ ZD[ DQG JROG FUHDP
serie
Exempla
Set
80
6HW VFULWWXUD FRQ SHQQD GèRFD DFFRPSDJQDWR GD SHQQLQR GèHSRFD ERFFHWWD GèLQFKLRVWUR H SHUJDPHQD FKH FL UDFFRQWD OèDIIDVFLQDQWH VWRULD GHOOD VFULWWXUD &RORUL SLXPH 9HGL S 30
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28
Set
82
6HW VFULWWXUD FRQ SHQQD GèRFD DFFRPSDJQDWR GD FDODPDLR SRUWD SHQQD LQ OHJQR H SHUJDPHQD FKH FL UDFFRQWD OèDIIDVFLQDQWH VWRULD GHOOD VFULWWXUD &RORUL SLXPH 9HGL S 30
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Set
83
6HW VFULWWXUD FRQ SHQQD GèRFD DFFRPSDJQDWR GD SHQQLQR GèHSRFD ERFFHWWD GèLQFKLRVWUR &RORUL SLXPH 9HGL S 30
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29
Set
81
(OHJDQ]D GL DOWUL WHPSL LQ TXHVWR VHW VFULWWXUD 3HQQD GèRFD GHFRUDWD GD XQ FDPHR LQ SDVWD YLWUHD PXUDQHVH FDODPDLR H SRUWD SHQQD FRQ IUHJL LQ EURQ]R WDPSRQH H SHUJDPHQD FKH FL UDFFRQWD OèDIIDVFLQDQWH VWRULD GHOOD VFULWWXUD &RORUL SLXPH 1HUR %OX %RUGHDX[
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Exempla serie 30
Set
84
6HW VFULWWXUD ê5H GL )UDQFLDë FRPSRVWR GD SHQQD GèRFD FRQ SHQQLQR GèHSRFD DQQL ç H ERFFHWWD GL LQFKLRVWUR
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Set
85
6HW VFULWWXUD FRQ SHQQD GèRFD DFFRPSDJQDWR GD TXDWWUR SHQQLQL GèHSRFD ERFFHWWD GèLQFKLRVWUR H SRUWD SHQQD LQ OHJQR
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Exempla
4XDQGR DUWLJLDQL H PDHVWUL JLRLHOOLHUL FROODERUDQR QDVFRQR SURGRWWL GL JUDQGH VWLOH H SUHJLR ,PSRUWDQWL FDODPDL LQ YHWUR H EURQ]R FHVHOODWR DOFXQL GL TXHVWL IXQJRQR DQFKH GD XWLOH SRUWD SHQQD
32
&DO 45
&DO 50
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33( 01
PPe Pen en ho holder, holder r, th the e simp simplicity mplicity y of the decorrations is wco ith tb hin t ngth f the terial combined comb ined withive the expressive strength oft of the materials. m NNa att l wood andand b b ero ive lifegive Natural wood bronze ron nzeked, worked, gto thilif ifffe to this im m ortant t element of m for yo o desk important mpo port p tant element elemen nft de ofefcorum decorum d ecorum for orury your our d desk k. Suitable Suittab ble for all ourr pens.
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Exempla
0DJQLÄ&#x2020;FR RJJHWWR LVSLUDWR DOOD PDJQLÄ&#x2020;FHQ]D GHO 3DOD]]R 'XFDOH D 9HQH]LD ,QWHUDPHQWH LQ ERQ]R ODYRUDWD D PDQR H DUULFFKLWD GD GHWWDJOL EHOOLVVLPL GHGLFDWD DL FROOH]LRQLVWL GL RJJHWWL GL VFULWWXUD FKH ULVSHWWDQR OD WUDGL]LRQH FDOOLJUDÄ&#x2020;FD
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PENS
35
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Exempla serie
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36 PENNA DOGALE ROLLER IN BRONZO 5HJDODUVL TXHVWR RJJHWWR GL ULFHUFD VWRULFD VLJQLฤ FD RIIULUVL LO SLDFHUH GL HVVHUH DFFRPSDJQDWR QHO TXRWLGLDQR GDO SLDFHUH GL ฤ UPDUH GRFXPHQWL VFULYHUH ER]]H R VHPSOLFHPHQWH PRVWUDUH RULJLQDOLWยข HG HOHJDQ]D
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The Crown Fountain and PENNA DOGALE ROLLER Roller Pens IN BRONZO 5HJDODUVL TXHVWR RJJHWWR GL ULFHUFD VWRULFD VLJQLÄ&#x2020;FD RIIULUVL LO SLDFHUH GL HVVHUH DFFRPSDJQDWR QHO TXRWLGLDQR GDO SLDFHUH GL Ä&#x2020;UPDUH GRFXPHQWL VFULYHUH ER]]H R VHPSOLFHPHQWH PRVWUDUH RULJLQDOLW¢ HG HOHJDQ]D
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20/B
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Reverie
“Oggetti utili anche al tuo diletto” “Useful object also for your pleasure”
Reverie serie 40
TL
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Reverie serie 42
TL
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TL
44
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06
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serie
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Reverie serie 48
SP
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“Un segno indelebile nell’animo volubile del tempo” “An indelible sign in a fickle soul time”
Signum serie 50
Set
73
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51
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Signum serie 52
Set
72
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Sig
30
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Sig
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about:blank
We create an inkwell with the “LOST-WAX CASTING”
Have you ever asked yourself how a product is created? Many will answer this question saying to themselves that everything, even a precious inkwell, derives from a “sketch”, a drawing on which to think and reason. This is actually the case: drawings are indeed the first “concrete” things from which all the Bortoletti products take shape, including our pens and inkwells. But how do we move on from a sketch, an idea for a product, to a real inkwell? Follow us on this short trip to discover the main phases of making an inkwell, using one of the oldest techniques still used today in making valuable, precision products. Let’s begin! The ideas for products always stem from careful reflection of the ink-well's desired shape, style, original decoration, and the pen that will go with it. To do this, first we meet up to go through all aspects. Yes, every single aspect because we pride ourselves that our products are all about the details. We then look among all the many designs that Elio Martella and Agostino Venturini have created for us, to find the one that is closest to what we have in mind. So far, we don't have physical models - only refined drawings. What’s next? Taking it from a two-dimensional design concept to a physical three-dimensional item We use “lost-wax casting”, a process that lets us create highly precise models. It is one of the most common processes also (but not only) in the production of precious items, typically in the best jewelery workshops. As mentioned, we start from a drawing and Massimo Bortoletti is responsible for this key phase. He is the one who uses a special software to “transform” the 2-D drawing into a virtual 3-D model (with related dimensions and volumes). Imagine how much sensitivity and experience is required to imagine the depths and volumes of an object that you only see drawn in two dimensions! This "virtual model" (it is 3-D only in the software) is used by a special milling machine to create the real item by boring and chiselling away a metal cube piece by piece (like a modern sculptor). The item then goes back into the hands of Elio Martella who, at the goldsmith's bench, completes it to obtain the desired shape. This is the first phase of the process. Thus, we have made the first fundamental inkwell “model”. At this point the inkwell model will be secured into a container, where silicone-based liquid rubber will be poured and left to harden. After carefully cutting away the rubber (care must be taken over this tricky operation) we will have the “mold” of the inkwell, which is the original and true starting mold. We have completed the second phase.
What about the wax? When does the was come into play?
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about:blank After checking that the two parts making up the inkwell mold are well closed and perfectly aligned, we will inject liquid wax into the empty space. Liquid wax reaches and fills all the spaces in the mold. After allowing it to cool and extracting it from the mold, we will have made a second mold that is identical to the original. We have completed the third phase.
Now we are at the stage that gives its name to this particular process: “lost-wax casting”. The waxes obtained are hot welded to a wax tree to make a "cluster" with the desired number of waxes. The cluster is then placed in a special metal-resistant container (that can withstand high temperatures) which is filled with plaster. As the plaster hardens, the container is placed in a kiln and brought to about 800 degrees. At that temperature, the wax (of which our models are made) will melt and flow along the melt and other holes (it will be "lost") leaving its perfect shape and imprint inside the plaster. We have obtained the plaster die of the inkwell, completing the fourth phase. At this point the plaster will be used as a negative mold and, by using the same holes of the casting, we will pour molten metal inside, and then allow it to cool in a controlledtemperature environment We will then complete the process by breaking the outer plaster casing and extracting the new "cluster" which this time will be made up of real bronze objects instead of waxes. We have completed the “lost-wax casting” production process. Now we will cut all the pieces one at a time, to put them to the next processing and surfacefinishing phases which to make them fit to be placed in one of our products and be used by our customers all over the world.
The end result is a revised reproduction of antique inkwells in glass with friezes and bronze caps, which add elegance and character to the product.
SAN LORENZO INT’L, INC. 5521 South Ridgewood Ave. # 3 PORT ORANGE, FLORIDA 32127 (USA) Tel: 001- (386) 322-0026 Fax: 001- (386) 322-0728 SLorenzo@aol.com ~ SanLorenzoDesign.com
10/3/2017 12:08 PM
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Bortoletti Fonderia Artistica s.r.l. – Via delle industrie, 24 – 30020 Marcon (Venezia) – tel. +390414567140 – Fax +390415953098 Reg. delle Imprese Venezia 165494 – CF e P. IVA 01476860273 www.bortoletti.com – info@bortoletti.it