Three instruments conceived as objects first. Finished in liquid metal, by hand, in Cambridge. The form is fixed. The finish is never the same twice.
The same patented engineering, the same footprint, the same fifty years of restoration knowledge behind every decision. What changes is the surface, and how far an instrument can be pushed toward sculpture without ceasing to be a piano. Self-play is included as standard, whichever finish it arrives in.
Ottoman Bronze and Starlight Gold white gold leaf. The moon’s quiet authority, made permanent.
Liquid metal poured and finished by hand, so no two Lunas take the light the same way. What stays constant is the form, cast from the same engineering as every Aurora.
Sunbaked Gold and Heirloom Bronze liquid metal. Born from Californian desert sunrises.
Warmer where Luna is cool, Solis reads differently by lamplight than by day. The same hand, the same Cambridge workshop, a different story told in metal.
Named after the French for flint. A pale outer cortex. A dark quartz interior. Beauty revealed in the contrast.
Silex is the most graphic of the three, closer to a geological cross-section than a finish. It rewards being seen from more than one angle in a room.
Every Sculptural Collection piece is finished in our Cambridge workshop, by the same hands that build every Aurora. Liquid metal does not behave the same way twice, which is the point. No two pieces are identical, and none are meant to be.
Luna, Solis and Silex are starting points, not fixed editions. Aurora’s customisation runs to any colour, material and finish, and the Sculptural Collection is where that range is most visible.
