Every vessel in the collection begins as a problem: several tonnes of rock, and the question of what to remove.
No casting. No mould. No joint. A cast tub is poured in minutes and cured in hours; a monolith is found — bored, hollowed, shaped and honed from one block until the stone’s own grain decides the line. Four to twenty weeks at the bench, depending on the hardness of the stone. Some of it machine-assisted. Most of it not.
A block can be lost at any stage — a hidden fissure, a vein that runs wrong — and the work begins again. That risk is priced into every piece, and it is the reason no two vessels are alike: the block that survives is the block you bathe in.
The last thing that happens in the workshop is photography. Nothing ships until the piece has been photographed and approved — and the price you were quoted is the price you pay.