Monica and Romolo had common roots in London, before they married and relocated to Rhodesia in the 50’s.
Monica, born into a middle class family in Wimbeldon. She developed taste for design early in life. Her parents were ‘in the rag trade’ with a pre depression clothing manufacture business in London. Her elder siblings attended public school (in the English sense). Later she became a buyer for all women’s products for Greatermans department store in Salisbury (Harare) – one of the premiere stores in the country – in charge of producing high level fashion garments locally. .
Romolo on the surface was a strikingly good-looking and charming man who lines and manner engendered the the feeling that his life had been one big action adventure, He started out with roots, deep in the fine art world. – he being 3rd generation to be involved with the family business – Fiorini & Carney – which was bronze casting of artistic works. The business served Henry Moore, Eduardo Paolozzi, Giacometti and luminaries through the years. He also served in the Merchant Navy during the war and was a man of many stories from distant places – much in the vein of the cartoon character Tintin.
David and Ellen recruited Romolo as manager to the then successful marble and terrazzo business, Terrastone Ltd. David’s motivation was significantly biased in favor of Romolo on the basis of his hands-on experience in lost wax bronze casting. Between them they cast numerous of David’s sculptures over the years – the first lost wax casting ever done south of the equator in Africa. The Benin Bronzes were examples of this technology was current in West Africa between 13th-16th centuries AD.
Recently unearthed super 8 videos from the late 50s, show Ellen and David on holiday adventures to remote areas of the country as well as featuring the building of the Kariba Dam between 1955 and 1959.
In the late 50’s the Fiorini’s purchased a large neighboring property to the Chudy’s and in a symbol of how close the families were, a gate was constructed in the dividing fence between the dwellings which was never locked and people wandered back and forth without notice (extending even the relaxed norm at the time which was to turn up a friends’ places unannounced). Monica and Romolo were surrogate parents for Naomi and Philip when Ellen and David set off on their mega-yearlong overland journey through the far east from India to Japan and the Island chain to Java. But, on his return David had a heart attack as a serious rift developed about Romolo’s management of the company in his absence. David never spoke to Romolo again, although he remained on good terms with Monica and her sons. He let go of the business, selling it to Romolo (‘on the never never’) – retiring to do research into Bats’ echolocation and innovating sonar devices for the blind and sonic burglar alarms, David died in 1967 of another heart attack.
Ellen temperament led her to forgive but never to forget. Her relationship with Romolo was was tempered and muted but maintained mainly for the sake of her bond with Monica. Over the years – what was now Romolo’s business, suffered during politically difficult times. He seems to have paid of some of his outstanding debts to Ellen – although resolutions are uncertain – in the day people rarely talked about money. Romolo passed away after suffering badly from emphysema in circa 1990, undoubtedly from lifelong heavy smoking which was cool in those days – till it was not.
Monica continued as a close friend and confidant till Ellen passed away in 1994. Monica remained active for a further approximately 16 years in which birding and trips into the bush became a favorite pastime, though tragically she suffered increasing vision loss in her last years.
Lost Wax Casting – Romolo Fiorini’s and his three generation family background – a brief AI summary
Romolo Fiorini (1916 – 1993) — third-generation master founder who exported the Fiorini family’s bronze-casting expertise from London to Africa
Family craft tradition
- 1909 Romolo’s father Giovanni (“Giovani”) Fiorini opened an art-bronze foundry in Winders Road, Battersea. It soon won major public commissions, including Sir William Reid Dick’s statue of David Livingstone for Victoria Falls, cast in 1934 – 54. npg.org.uken.wikipedia.org
- 1950s Giovanni’s son Remo (“Robert”) Fiorini re-established operations at Michael Road, Fulham, and entered partnership with chaser John Carney as Fiorini & Carney. Their shop became a preferred caster for Henry Moore, Eduardo Paolozzi, Giacometti and others. catalogue.henry-moore.orgtate.org.uk
Romolo’s path
Year | Event | Significance |
---|---|---|
1930s | Apprenticed in the Battersea works | Learned the entire lost-wax cycle from wax modeling to patination. davidchudy.com |
1939-45 | Served in the British Merchant Navy | Mechanical and safety training later informed furnace design. davidchudy.com |
early 1950s | Emigrated to Southern Rhodesia (now Zimbabwe) | Accepted a post with artist-entrepreneur David Chudy at Terrastone Ltd., Salisbury. Goal: create a local capability for fine-art bronze casting. davidchudy.com |
1960 | First successful lost-wax bronze pour south of the equator | Using improvised refractory bricks, grog from crushed porcelain sinks, and a paraffin–air pit furnace that “shook the ground like a buried jet engine,” Romolo directed the pour while Chudy documented the tense process. davidchudy.com |
1960-90s | Technical manager, mentor | Taught local artisans, enabling subsequent generations of African sculptors to cast in bronze without sending work abroad. davidchudy.com |
Technical ingenuity in Rhodesia
Romolo and David replaced some of the standard foundry supplies taken for granted in European centers:
- Core & mould materials: bathroom-sink porcelain ground for grog; home-made firebricks to line a 1.5 m pit-furnace.
- Fuel & airflow: 44 gallon drums of paraffin were injected into heat proofed pits with compressed air – which produced the temperature and turbulence needed for clean melts.
- Quality & safety: traditional sprue-and-vent pipework minimized trapped air; strict moisture control avoided explosive blow-outs. Photographs from the inaugural pour show onlookers’ apprehension—failure meant scrapping the entire piece and risking injury. davidchudy.com