• Louis Sullivan “Sullivanesque” design

    I just ordered the two  gallons of pourable mold rubber I need to “convert” my “Sullivanesque” design that was recently finished- into a form I can take a plaster piece mold from for pressing terracotta into. Two gallons is not enough to fill the mold, it is only enough to pour about 1″ deep, the rest of the depth will have to be plaster to save on the costs of not having to buy two more gallons of expensive  rubber.

    Sullivanesque model finished
  • Louis Sullivan Sullivanesque mold finished, and a timelapse video.

    At last the mold is finished along with the complete time lapse video for that process;

     

    I also cast the first interior cast from the mold and gave it a weathered antiqued wash so I could get a photo.

    It will be available in brick red, kiln fired terracotta as well.

    To purchase a cast of this design;

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

  • Louis Sullivan, Elmsley, Schneider James W Scoville building Chicago, model finished 12/7/2018

    I’m finished with this Sullivanesque model now and plan to start making the mold to-morrow morning. it’s moist clay, somewhat firmer than it was as it started losing moisture, but it’s still delicate and a paint brush can leave marks on the surface so I have to almost flow the first coat of rubber on rather than firmly brushing it on.
    I wanted to get the mold made before it dries since as it dries and becomes completely dry the clay shrinks about 15%, and then when pressed clay copies are made those would also shrink almost that much, so the double shrinkage of about 25% would seriously reduce the final size which I want to avoid by doing hte mold while it’s still moist and nearly the same size it was when I set it up.

        Sullivanesque model finished
  • Antique Louis Sullivan “Sullivanesque” panel arrived

    My purchased piece of Sullivanesque came today, from the 1936 Thomas A. Edison school, Hammond Indiana. The design is such that it could be situated either way shown in the first 2 photos, but hard to tell which way it was originally meant to be installed and was, it looks good either way it’s rotated, and the impressed numbers on one surface which I remember from the pieces in NYC were always on the TOP side. So which way did this go… it’s easier than it might seem to figure it out even without aphoto of the school to tell- the last photo up close tells the whole story, that black from coal soot in rain over decades would have stained the top surfaces not the bottoms, so the 2nd photo with the two small squares at the top divided into 4 smaller squares is the correct orientation.

    The back was full of mortar and brick fragments, I removed most of it but since there is an old crack a few inches long I decided to leave that one compartment as is to continue to reinforce it.

    Nice thing is, this terracotta block has it’s original depth, unfortunately it was cut out from a double panel that comprised two of these squares. Maybe the other half was damaged, maybe some misguided fool decided to try to cut the longer panel in half to make two smaller ones, who knows… but the damage is permanent on this 80+ year old artifact.

    While I’m on this topic, there is unfortunately one misguided fool in Chicago who lately seems to be offering original so called “museum quality” pieces like this that he arbitrarily decides to CUT OFF the so called “dead weight” in the back with a power saw or similar in order to reduce the WEIGHT and make it “easier” to hang on the wall!

    Good grief! he permanently destroys hand-made 80+ year old valuable artifacts like this just to remove all of MAYBE five pounds of weight off a piece like this that weighs about 40 pounds, and in the process he destroys the strength and structural integrity of the piece by cutting the back and leaving only about an inch thick left of just the front, stupid! stupid! stupid!

    Another issue is these hand-pressed terracotta artifacts all have incized or impressed numbers and letters on them- the very part the fool cuts off with power tools! those letters and numbers are part of the original setting/contract/mold numbering system used to install the pieces in the wall in the proper order on the blueprints, it positively connects the artifact to a specific unique building and maker, think of it like a serial number.

    Removing a lousy five or ten pounds off a sculpture that weighs 40 or 50 pounds is useless and makes absolutely no difference for hanging it or displaying it, in fact this piece is self standing BECAUSE it has it’s full depth, once that is cut away it no longer can do that and all it takes then is tipping or falling over once and it will break into multiple pieces and be destroyed.

    If you want something to hang on the wall, do it RIGHT with the proper anchor or bracket,  or buy a reproduction to do that with it, don’t destroy or support someone who destroys these artifacts like this just to hang it on a wall or shave five pounds off it!

    So what numbers am I speaking of on these pieces?

    Here’s an example on a keystone I own

    Another example on another keystone I own;

    And lastly;

    When the so called “dead weight” of  sawing 2 or 3 inches off the back of one of these artifacts is done, these historic, identifying numbers are lost forever. No museum I ever know of has ever altered artifacts in any destructive way like that, and calling any such wrecked artifacts “museum quality” is blatantly false advertising and destroying historic antiques on a whim, don’t be part of that destruction!

  • My Sullivanesque model,

    I had to dig out some old unfired very fragile clay models of mine from the corner in the utility room since I had to replace the sump pump hose. This model of a Louis Sullivan design I did in 2008, I’m likely going to convert it to do it in terracotta, so I left the unfired clay model out to look over and plan for that.

    This was not simply molded off an existing piece, it was modelled by me in 2008 for a Chicago client’s townhouse when he couldn’t find the exact design and quantity etc he wanted, so his contractor got hold of me and the end result was the client received three concrete casts of this, in an acid stained rusty red/orange finish.

    Measurements: Approx 19-1/2″ high, 19-1/2″ wide.

    Sullivanesque model
    Sullivanesque model
  • Adler & Sullivan, Elmsley, Schneider James W Scoville building Chicago, progress

    I am excited to get started creating a model of this interesting 1884 design after those that were connected to  Adler & Sullivan, George Elmslie, Kristian Schneider once on the James W Scoville building Chicago, and tonight I started laying in some of the rough design work to get started on this

    Adler & Sullivan, Elmsley, Schneider James W Scoville building Chicago, new model started