• Sculpture of the week (November 19th, 2019)

    Sullivanesque panel, after historic artifacts once on the James W Scoville building, Chicago.

    I am excited to offer this interesting  Sullivanesque 1884 design after the artifacts that were connected to  Adler & Sullivan, George Elmslie, Kristian Schneider, and  once installed on the James W Scoville building in Chicago.

    Those involved in creating the original 1884 Chicago design are said to have included;

    Dankmar Adler
    Louis Sullivan
    George Grant Elmslie
    Kristian Schneider

    Significance: The James W. Scoville factory building, designed by Adler & Sullivan contains three different designs belonging to the transitional period (1880 and 1890) of  Louis Sullivan’s architectural ornament. This structure was the best and most ornamental of all the few remaining factory buildings by Adler & Sullivan.

    Some of the original historic artifacts that were salvaged from the 1973 demolition are in the Virginia Museum of Fine Arts (VMFA) and were gifted by the Metropolitan Museum,  a set of three of these artifacts appears in the St Louis Art Museum’s web site of their holdings.

     

    The  artist working on the master clay model of this design from photos and known measurements

     

    How the original artifacts were originally used on the Scoville building’s facade

    The picture above is from a HABS study done before the building was demolished, three of these designs were installed together under the window sills on one floor.

    One of my interior cast stone casts in the aged buff yellow finish shown above, the mold for casting was taken directly from the original clay model

    SIZE: Nominal 21-1/4″ high by 13″ wide, 3″ deep.
    WEIGHT:Nominal #35
    There is also a hand-pressed, kiln fired red terracotta version available;

    The terracotta version  is;

    Nominal 11-3/4″ wide
    Nominal 19″ high
    Nominal 4-1/2″ deep

    Weight: 35#

    To purchase the fired terracotta version, the link is here;

    https://www.urbansculptures.com/cart/product/sullivanesque-panel-after-james-w-scoville-chicago-nr-ls-2/

     

     

  • Sculpture of the week Nov 12, 2019

    Art Deco Chanin Building Panel D10 “Enlightenment”

    Original design by Rene Paul Chambellan, smaller scaled reproduction modelled by Randall

    SIZE: Nominal 21″ high by 17″ wide
    WEIGHT:Approx 30-35#
    HISTORY of the building
    The 56 story tall Chanin Building is a brick and terra-cotta skyscraper located at 122 East 42nd Street, at the corner of Lexington Avenue, in Manhattan. Built by Irwin S. Chanin in 1929 It was designed by Sloan & Robertson in the Art Deco style, with the assistance of Chanin’s own architect Jacques Delamarre, and it incorporates architectural sculpture by noted sculptor Rene Paul Chambellan.
    In the lobbies, eight bronze reliefs designed by Rene Paul Chambellan are inset in the walls above ornate bronze radiator grilles. The bronze ornamentation continues in the waves on the floor, mailboxes, and elevator doors extending the general Art Deco style from the outside in. Initially a dominant landmark in the midtown skyline, the building had an open air observatory on the 54th floor. Having been surpassed in height by a number of buildings, most notably the Chrysler Building located across the street, the observatory has been long closed. The self-supporting tower atop the building is the original transmission site for WQXR-FM from 1941 to the 1960s.
    Irwin S. Chanin, was a self-made man – from poor immigrant to successful architect & developer. He wanted the building that bore his name to represent everything America and New York City meant for him, and could also be for all those that chose to seek it. He had Rene Chambellan work with Jacques Delamarre to develop a set of eight relief sculptures to represent this. There were two lobbies in the building, each have four plaques, all of which were to represent a theme of “New York, the City of Opportunity.” four of the plaques represent the Mental Life and four of them represent the Physical Life of the individual. Each plaque had a title: Mental Life: “Enlightenment,” “Vision,” “Courage,” “Achievement” Physical Life: “Endurance,” “Activity,” “Effort,” “Success”
    HISTORY of the sculptor whose artwork appears on the building
    Rene Paul Chambellan (September 15, 1893 – November 29, 1955) was an American sculptor, born in West Hoboken, New Jersey. Chambellan studied at the Ecole des Beaux-Arts and the Academie Julian in Paris and with Solon Borglum in New York City. Chambellan specialized in architectural sculpture. He was also one of the foremost practitioners of what was then called the “French Modern Style” and has subsequently been called Art Deco. He also frequently designed in the Greco Deco style. Rene had many historic and significant buildings under his belt as a sculptor, including the NY Daily News Buildings, Buffalo City Hall, NY Life insurance building. Rene also designed medals, bronze doors, and the historic city seals and other artwork adorning the old Miller Highway (West Side Highway) that ran along Manhattan’s West side along the North (Hudson) River until a collapse in 1973 resulted in it’s eventual removal.
    To purchase an interior cast of this attractive design;
  • Sculpture of the week

    In addition to the new “Artifact of the month” feature in which I detail the story, history and more of each architectural artifact in my personal collection, I decided to start a new “Sculpture of the week” feature which will showcase one of my sculptures each week.

    Inspired by a terra cotta frieze on the historic Nortown Theater, Chicago, Illinois,
    ~ I present ~
    Art Deco Nortown Spandrel Panel Nr D5
    Nortown theater Art Deco D5 (Dirty Nickel finish)

     

    Nortown theater Art Deco D6 (Dirty Nickel finish)

     

    Nortown theater Art Deco D7

    While the Nortown theater is long gone, you will be able to enjoy the lovely design in your home. Fans of Art Deco may have seen the Nortown theater in Chicago, the theater featured many interior plaster decorations as well as exterior terra cotta elements. Some of the limited number of ornaments were salvaged and were for sale, most of these exterior pieces were quite large at over 30″ wide and 20″ high, 4-6″ deep, my version of this is in a more apartment/home friendly size/weight at a nominal size of  21-1/2″ by 13-3/4.
    The Nortown Theater was located at 6320 North Western Avenue, Chicago, IL and was designed by J.E.O. Pridmore in 1931, the theater was demolished in the summer of 2007. On the facade there was a frieze band on the ground floor composed of 4 different panels assembled in a set about 17 feet long. There were 5 sets total. The sets consisted of 3 panels with this design 31″ wide, 21″ high, 5-6″ deep alternated with a “tragedy” and a “comedy” mask, and capped on both ends with a square geometric block. Thus, there were only 15 panels with this design and 5 each of the masks made, most were salvaged and offered by an antique firm in Chicago for $750 and an even  heftier price of $1850 respectively!
    After I modelled this first panel, I modelled the other two panels with the tragedy and comedy masks, thus, the series of three of these panels are completed and available individually or as a set.
    This ornaments on the building were probably made by the major company that supplied much of these to architects in Chicago- Midland Terra Cotta Co. It’s curtains for Nortown; 2 smaller cinemas to take place of old. Chicago Sun-Times, Aug 4, 2007 by Teresa Sewell The old Nortown Theater is finally coming down. The grand movie house hasn’t featured a film since 1990, but the building — famous for its striking seahorse, mermaid and zodiac motifs — has stood its ground at 6320 N. Western since 1931. Demolition of the Nortown began in 2007. Amrit Patel, who owns several Dunkin Donuts and Baskin Robbins locations, wants to build a 70-unit, six-story condo building on the site.
    To purchase one of the interior cast-stone versions of this panel, they are priced $179 each and include shipping to your door;
    D5 is ALSO available in a hand-pressed, kiln fired red terracotta

     

    Nortown theater Art Deco D5 terracotta rear view

    These are made exactly like the original antique  terracotta pieces were.
    Each of theses terracotta sculptures are personally signed, numbered and dated works of art. Please note that hand pressed is NOT the same as the much cheaper, paper-thin ceramic “slip castings” used to produce teapots, china plates, bowls and ceramic pieces! The two processes are similar only in that both use a complicated plaster mold, the difference between slip casting ceramics and hand-pressing clay is- the slip is simply poured into the mold like a plaster cast, let set a while, drained and removed just like a plaster cast. Slip casting is a condensation process, with the clay particles condensing by gravity, slip castings are usually very weak, very thin, and easy to break, this process is used for mass production. Hand-pressed clay sculpture involves real work, physically taking the moist clay and both pressing and ramming small amounts of it into the plaster mold, pressing and working it in to remove air and squeeze the clay into all of the fine details. As the sculpture is built up to the top surface of the mold it is then levelled off on the back and hollowed out by hand, leaving the clay walls about 5/8″- 3/4″ thick.
    Once the pressed-clay has remained in the plaster mold used to form it for a few hours, it is carefully removed and laid on a wire rack to begin drying. Here is another difference- the pressed-clay sculptures are completely gone over by hand with sculpture tools to add back any fine details, accent others, and generally clean up the whole surfaces, this is exactly the same processes used to create all of the architectural terracotta found on old buildings my work is based upon. These sculptures are fired in the kiln @ 2,079 degrees for about 36 hours.

    Someone recently mentioned they “hate” terracotta because they had some in the garden that “fell apart,” please do not confuse THAT type of mass produced Chinese -JUNK sold for $9.95 at Walmart with fine hand-made sculpture! The reason their “terracotta” in the garden fell apart was that it was poorly made, poorly fired at the lowest possible temperature to save time and money, and the item was sold in garden stores cheap. This stuff is NOT real terracotta, I even suspect some of it is just red tinted plaster. Due to clays’ shrinkage, the terracotta version of my design is slightly smaller than the interior cast-stone version. NOTE: on the production time, I will try to keep a few of these on hand to ship quickly, however, if I happen to run out it WILL TAKE 3 weeks to make and dry one before it can be fired, 2 weeks of that is for the slow drying out process which can’t be rushed.

    SIZE: Nominal 12-1/8″ high by 19-3/4″ wide, 2″ deep. WEIGHT: 29#.

    These are priced $259 and include delivery to the lower 48 states, I only work with red terracotta.

    To order one of these this is the link to do so;
  • Artifact of the month (November, 2019)

    Artifact: Two Large and two smaller acanthus leaves, parts of interior capitals
    Material: Cast iron
    Length: 20-1/2” , 13-1/2″ and 10-1/2″
    Origin: St Bridget of Erin church,  1100 North Jefferson st. St Louis.
    Architect: John F Mitchell, St Louis, (Cornerstone laid on Aug 7th, 1859)

     

    Demolition of St. Bridget of Erin, one of the oldest churches in St. Louis, underway
    Feb 24, 2016

    Coming down is St. Bridget of Erin, a stately brick church whose cornerstone was laid in 1859 and which for decades served St. Louis’ Kerry Patch Irish Catholics.

    Demolition of the church at the intersection of North Jefferson Avenue and Carr Street began this week. The owner, De La Salle Inc, is spending about $242,000 to have the church torn down as part of an expansion of its La Salle Middle School.

    La Salle, a charter school, plans to move in August to the North Jefferson address from 4145 Kennerly Avenue,  De La Salle bought St. Bridget and an adjoining school in October. The Archdiocese of St. Louis closed St. Bridget in 2003, and in 2012 shut down the school, built a century after the church.

    Andrew Weil, executive director of Landmarks Association of St. Louis, lamented St. Bridget’s demolition. He noted that the church is in the 5th Ward, which lacks “preservation review” of building demolition applications. As a result, the city was powerless to halt St. Bridget’s demolition, Weil said.

    This demo would never be allowed in a preservation review ward,” he said. “It is a real loss.”

    According to the archdiocese, St. Bridget was built to serve an Irish parish organized in 1853. A girls’ school run by the Sisters of St. Joseph and a boys’ school run by the Christian Brothers began there in 1871. From 1927 to 1936 it served Kenrick Prep Seminary and High School.

    Many years later, the school served children who lived at the now-demolished Pruitt-Igoe housing complex a block away.

    Before and after stripping, cleaning and oiling two of the leaves

     

    The cast iron was cast in two pieces per leaf and joined together with a mortise and tenon type joint using molten lead to secure them. They are exquisitely executed in a very bold curving top form in the middle of the best period of ornamental cast-iron in America.

    The original patterns for the leaves would have been carved out of a fine grained soft wood such as basswood, after sanding them smooth and probably shellacked they would have been used in the foundry to make green sand molds for casting the iron in, each leaf required it’s own use-once sand mold made from the wood patterns. Once the iron was cast the sand mold was broken away from the casting and the casting was cleaned up,  mounting holes drilled and then primer and paint applied.

    I am considering casting some in black resin and replicating one of the wood forms to recreate one of the capitals, only the leaves were saved.

  • Architectural Artifact of the month (October 2019)

    Artifact: Keystone, lion with ring
    Material: Grey Terra Cotta
    Identification marks: 162. inscribed in clay on top
    Dim’s h/w/d: 22-1/2” x 14-3/5” x 10”
    Weight: 65#
    Origin: NYC tenement

    A number of buildings in NYC feature this Roman inspired lion with ring keystone design, both with the integrated top cornice shown and without. The keystones date to circa 1905.

    Lions depicted with rings in their mouth were popular back in the ancient Roman era and have been used in many different applications besides architectural keystones, such as drawer and cabinet pulls, carvings on furniture and soforth.

    This particular keystone is identical to a couple I salvaged in NYC in the 1970s/1980s, though it is in better condition. This one was painted over at some point with gold paint of all things, it took a lot of effort to remove the stupid paint to restore it back to the 100 plus year patina. The gold paint is shown in the second photo below.

     

     

     

  • Architectural Artifact of the month (September 2019)

    I have 8 salvaged bricks with paw prints embedded into them recently purchased that came from various demolitions in St Louis Mo!

    Each one of these has a story but we’ll not know what it is.

    One brick has a fawn deer hoof print and one has what appears to be a kitten’s prints, all were pressed into the moist clay before the clay dried and firmed up.

     

    A 9th brick has 3 prints in it;

     

     

    A 10th one that happened to come from St Louis too but in 2014;

     

     

    This one is the best, deepest impression, I found this one myself in 1977 at 127 Pitt St NYC when it was being demolished, it was laying in the pile of bricks dropped down inside the building from the 7th floor that had been taken down, something about this brick caught my eye in the pile because it was different, I picked it up and was amazed!

    I was sure I’d never find another like it, that maybe the brick yard workers deliberately impressed a little dogs’ paw in the clay as a “time capsule” or joke! It was some 37 years later that I found 3 other different bricks with paw prints for sale. Then just recently I found someone who had over 100 that demolition crews had brought into her store over time as they found them when cleaning bricks to resell, they could get more for the paw print bricks. It is still very rare and unlikely any one building would ever have more than a couple or three of them- a lot had to be right for this to happen!

    The clay bricks had to be pliable and laid out in an easy access location where animals could even gain access to them at all, that means no fences or high storage, and the clay would only have been pliable a few hours at most once formed. They likely were formed and laid on the ground maybe in trays or on screens in the sun to dry.

     


    127 and 129 Pitt st NYC, winter 1977

    Built ca 1905

    Photo from: The Gargoyler of Greenwich Village

  • New acquisition: terracotta cornice lion, Boatman’s bank 1915 annex, St Louis MO

    I purchased one of these cornice lions last week, it came from the 1915 annex of the Boatmans’ bank building, St Louis.

    27″H 11″W 17″D, 130#

    The building was originally 7 stories high, but in 1920 they added 4 more floors on after removing the roof and cornice, and then either replacing the original cornice or re-installing it all. There were 69 lions that were scaled for a 7 story building, and when it was 11 stories they looked someone “small” scaled.

     


    Boatman’s bank annex ca 1915
    Architect: Eames and Young (active 1885-1910s)

     

    The terracotta and the lions were made by the Winkle terracotta Company, St Louis

    Photo from 1883

     

  • Architectural Artifact of the month (August 2019)

    I thought I would start a new feature here, each month I will feature and detail one artifact from my collection.

    Artifact: Corinthian Capital
    Material: Cast iron
    Identification marks: J.L. Jackson New York (foundry)
    Dim’s h/w/d:
    11” x 18-1/2”
    Weight:
    40#

    The 1850 U. S. Census recorded James L. Jackson, Iron Foundry as having invested $32,000 in capital, and owning materials consisting of 1200 tons of pig iron and 500 tons of coal valued at a combined total of $24,600. The foundry employed an average of 95 workman and paid average monthly wages of $3700. The annual product consisted of 500 tons of “grate castings” worth $50,000 and 500 tons of other castings valued at $40,000 for a combined total of $90,000.

    Thirty years later James L. Jackson, iron foundry, was enumerated again in the 1880 U. S. Census for industries. At that time capital invested had increased to $250,000. The greatest number of workmen employed was 230, and the total amount paid in wages during the year was $78,552. The value of materials owned was $106,258, and the value of the past year’s product was $210,598.

    In the early 1850s J. L. Jackson opened a second location at 55-65 Goerck St. Then in 1857 his directory listing announced that the business would “remove in September to Twenty Eighth street, a few doors east of Second Av.” The business prospered and expanded on E. 28th St., and remained there until selling out in 1882.

    James had a brother who was part of the foundry for a period from 1853 to 1874 when he moved to California, ironwork cast during his time of involvement and ads had his brother included per; “J.L. Jackson & Bro” My artifact either dates to before or immediately after the brother’s involvement, dating it to ca 1853 or ca 1874.
    Jackson’s foundry was the oldest in the city, and provided iron to some notable buildings, including- the one I lived in on Broadway!
    but also the Metropolitan Life tower, Carnegie Hall, the Puck Building and others. They incorporated in 1885 so I have to assume they changed all references to the name to & Co, Company, or similar then, so that dates my artifact to before then.

    The following obituary appeared in the New York Times, 7 Oct. 1888,

    “James L. Jackson died at his home in Yonkers Friday. He was born in this city Aug. 29, 1818, and established himself in the iron manufacturing business here in 1840. For many years he was very prominent in his line of business, and when he sold out in 1882 to what is now known as the Jackson Architectural Iron Works he was one of the oldest men engaged in it. He erected the iron portion of many prominent structures of this city, among them the Harpers’ building, the Potter Building, Cooper Institute, the Grand Opera House, and the Mills & Gibb building. He was an inventor, and obtained about 100 patents. During the war he made shells for the Government.”

     

    Goerck Street where the J.L. Jackson foundry was located no longer exists. It ran From Grand Street north to East Third Street. Named by surveyor Joseph Mangin to honor his partner, Casimir Goerck. Goerck died in 1798 before the survey could be finished.

     The Corlears Hook Houses, now the ILGWU Cooperative Village (south of Delancey) and the Baruch Houses (north of Delancey) were built over the street and what was there.

     

  • My book: The Gargoyler of Greenwich Village (update)

    I am pleased to say I now have printing for the book arranged again and the quality of the printing is excellent as before. I tried an alternate printer that was a little less cost and as soon as I got the two samples I ordered I immediately regretted it, the photos were muddy and dark, the colors washed out and even the actual photos as printed were not as clear and were somewhat “hazy” as you can see in the photo below, the upper photo in each set is the alternate printer, the bottom was printed by Amazon/KDP, mind you the original Kodak print dates back to the 1970s and has damage to it that isn’t going to go away like magic at the printer, but you can clearly see how poor the alternate printer’s work was- darker, not clear, foggy or hazy, detail is lost, the colors are dull. In contrast the Amazon/KDP is warmer, clearer/sharper, no “haze” and more vibrant colors.

    These are just quick snaps with an iPhone of the two books laid on the kitchen counter;

     

     

    The gloss cover on both printed books however looked the same and excellent;

     

    You can order a signed, numbered copy directly from me for $35 total, ppd,  or you spend more and get it from Amazon for $39.95 plus tax and shipping but they won’t be signed or numbered as they won’t pass through my hands, link to order the book;

    My BOOK The Gargoyler of Greenwich Village

     

  • Sullivanesque panel Nr 3600 Morton School, Hammond, Indiana

    A client purchased a number of sculptures for his home, one was the Morton school Sullivanesque frieze. We decided to do this interior cast stone version for him in the aged buff yellow finish and I think anyone can agree it looks very “old world” an just like a weathered antique fresh off the demolition site!

    The Oliver P. Morton High School, built in 1936 was located at  7040 Marshall Avenue, Hammond, Indiana and was demolished in the late 1980s. Once in a while an oddball piece or two of original salvaged terracotta artifacts come up for sale at pretty high prices. Many have chips and other damage to them as well as inappropriate removal by powersaws of their back sections; supposedly to reduce the weight, but which instead severely weakens the artifact and destroys it’s integrity.

    The amount of  “excess” weight removed is miniscule, on what might be 85 pounds it’s removing at best 5 to 10 pounds.

    Nominal 13-1/2″ high by 15-1/2″ wide, 3″ deep WEIGHT: 22#.

    Read more at: https://www.urbansculptures.com/sculptures/3600.php
    Copyright © 2014 Randall’s Urban Sculptures

     

  • My book

    After a whole lot of trouble and trying to come up with printer solutions I think I may have it finally under control so I can get my book printed again at a reasonable cost as before with Amazon’s CreateSpace (CS).

    CS did some kind of merger/change and I couldn’t access my CS acct or my book files to print more copies, then they told me they no longer just print books, so I wound up shopping for a new printer and found Lulu.com after finding every other printer wanted anywhere from $48 to $67 per book plus shipping to print them!

    When I was selling the book for $35 with postage included, now having to pay $48 to $67 just for printing, plus sales tax and postage to get it to me,  makes it completely unviable! Lulu’s price was comparable to CS’s price, but the problem was I tried at least six times to get my pdf files into their system and every time they went to process and print them they said there was “something” wrong somewhere around page 32… Well I looked and looked, resaved the files and on and on again and every time they uploaded and I paid for a proof copy and waited, a few days later when I was wondering WHERE the book was, I’d log in and see “ERROR” in red next to the files.

    So I went back to what was CS but is now Kindle Direct Publishing, opened a new acct since I can’t access the old CS any more, re-uploaded my files and now waiting on a proof copy to check.

    Hopefully all will look correct, and then I plan to order a bunch to have on hand so I’m not left with none and go to order a couple as needed and find the printer is no longer available or something!

    In order to get printing now, I had to put it on Amazon for sale, and because of their cost it’s $39.95 now plus shipping and tax thru them, I will be offering them still as author direct for less anyway. So THIS is the place to get my book not Amazon!

  • Morton school Hammond Indiana George Elmslie, Louis Sullivan Sullivanesque

    I’ve had this design in my lineup for  quite a while, but this week a client purchased a cast along with several others and I started thinking that since I need to order in some materials, maybe now would be a good time to order what I need to “convert” this design so it can also be offered in my hand-pressed kiln fired red terracotta.

    With an original selling for around $750 at salvage outfits I know there’s a lot of people who don’t want to pay $750 plus shipping for one of the originals, and only being able to obtain one, and it having chips and damage on top of that, but they would be interested in the design in a fired terracotta from me that can be purchased in the quantity they want or need at a quarter of that price,  and they don’t have to settle for damaged goods either!

    I’m going to have to make a new rubber mold to replace the old one I have for this as it is tearing due to the purple Quantum Silicones rubber I used years ago that turned out to be total garbage, once I do that I can  pour a rubber positive in the new mold and then make the plaster piece mold off that to use for pressing the clay version.

    The design is from the demolished Morton High School  (1936, Hammond Indiana) This was George Elmslie’s final project before his death. Elmslie was the chief ornamental designer for Louis Sullivan. This piece is cataloged as an M-5 Main building cornice from the book Architectural Ornament by Krutty and Schmitt.

    Louis Sullivan frieze Nr 3600

     

     

  • My book dilemma

    I was going to look at ordering a few copies of my book on createspace the other day, and I discovered I couldn’t log in, furthermore, the “forgot password” never sent me a confirmation/reset email
     
    I tried the email address in my autofill and 3 others I have used and never got the emails.
    So I emailed customer support on what is now known as KDP print and someone with an “Indian” sounding last name obviously had no clue, told me she couldn’t find an account with my email address on it, that if someone else published the book for me to have them use their email address, LOL!!!!
     
    After going back and forth over 3 days I decided screw it- and created an account on KDP, then I uploaded my manuscript PDF and it asked for my ISBN, I put the one in FOR my title that Ive used on it all along which I bought from Bowker directly in 2012, the freaking system tells me the number is already assigned to another title!
     
    NO KIDDING!!!! it’s assigned to the very title I’m UPLOADING go figure!!!
     
    Tried several different ways, no go, so I email them again about that and another “Indian” name wrote back telling me that the ISBN is in use for a title already… and that I could use their “free” ISBN or buy one from Bowker, oh GAWD these people are helpless!!!!
     
    So I email them back with some screen shots showing my title and ISBN in my Bowker account and told them to CALL me.
     
    6 hours later, and not 5 minutes after I bought ANOTHER $99 Bowker ISBN just to be done with the damn thing- someone from KDP Print calls me, during the course of the call I said yes, like my email said- I don’t want Amazon selling/marketing and yada yada I only want PRINTING like Ive had done by createspace since 2012, I sell my book myself retail direct, well it turns out they don’t do JUST printing any more, you have to sign up for the whole package with Amazon/Kindle marketing/listing and bla bla bla, so I said “FINE!! forget it, I have no further use for your service” and hung up on her.
     
    Good grief, if I knew createspace was going away I would have bought a bunch more books, now I had to scrounge around and try to find another printer like Createspace where I dont have to order 50 books at a time, that has 7×10 size paperback, and doesnt cost like $75 each like 48hourbooks or some others quoted!
     
    I tried to find an alt to CS 2-3 years ago and every one them cost at least twice what CS charged. my 298 page book that has a LOT of color plates in it ran me about $21 on CS, I think 48hour books quoted me something like $65 each a couple of years ago, that’s why I never switched to another printer.
     
    So I spent some time getting instant quotes and went to Lulu.com again, punched in the criteria and got a quote, some others wanted- $67 each, $56 each, well Lulu had some choices, so I tried variations and discovered the price diff between 60# paper and 80# premium paper was only $3, what was surprising is the “standard color” showed the cost would be $14.77 per book but changing that to “premium color” shot the price up to a  whopping $48 each.
     
    I ran into an issue with my cover, it said it was not sized right for the 7×10 book! it was sized fine on Createspace… so I edited the file, had to fix everything due to the change in size, created a new PDF of it and uploaded that and it went through ok then.
    So I decided to order ONE copy in the cheaper “standard color” to make sure the interior and color are all correct.
    They have a hard cover option that adds about $8 more, hardcover was not an advertised option on Createspace but I heard it had a $100 setup charge.
     
    Still, $48 is more than double what I have been paying, there’s no way I could sell a book for that kind of price, thay have been $35 with postage only because they COST me $21 plus UPS shipping TO me, so I made my cost and a very few bucks for my time.
     
    I’ll have to see how well or badly the “standard color” looks compared to what Createspace did. I upgraded the paper to coated 80# which will help.