In 1968 the foundry named Omanoot, was founded. Tradition, experiments and experience, technologic progress, faith and support of our clients made it possible to develop our plant to its present extent. A dedicated team of professionals, its majority having been trained in our workshop as sculptors, guarantee the outstanding quality of our production.
Our experience and quality brought about that famous artists have consigned their metal works to our foundry. We cast our sculptures or those of other artists in all known methods of the casting technology. Most of casts are in bronze, although we apply the same technique to aluminum and iron.
Already in the chalcolitic period - the fourth millennium B.C. - was the first time that man learned to work an alloy of copper ore, in order to design and to manufacture tools for his own use. In previous prehistoric eras, beginning with the later Neolithic age, only stone and leather had been used. This period is considered as the dawn of history, in which the infrastructure for the exciting development and progress of man's civilization since that time was laid. From the variety of findings in the Treasure Cave of the Mishmar River, we can appreciate the high level of development and the wonderful technical and artistic ability. Among the finding of the treasure are worship instruments, weapons and tools for various uses, of outstanding beauty and design (P. Bar-Adon - The Treasure Cave). The archaeologists have brought to light this lost past. We became aware of the artists' mentality through the powerful and exciting expression of beautiful vessels, warship instruments, weapons and exquisite sculptures.
Thousands of years of rust did net overcome the bronze - an alloy of copper, plumb and zinc - and the vitality and freshness of the material were conserved. It is amazing how man and his environment have changed since, but the manufacture of bronze sculptures by casting has almost remained as it was up to our days.
Especially in times of mass production and conceptual 'ready made' man longs for original, personal 'artificial production', handmade creation. All of us, who are active in creativity, should spur and deepen artistic interests by our intimate approach to bronze and our commitment to work for the free creator, the artisan and the stonecutter, and assist the craftsman.
Our job should be a partnership of craft and tradition, shape and function. Neither the person facing and needing the result should be forgotten. As the sculptor's partners, we shall struggle for our declared aim.