• Sculpture of the week (November 26th, 2019)

    Union Square Subway Station Eagle

    Interior cast-stone shown with an antique dirty bronze finish

     

    14th st subway eagle model when it was  completed.

     

    The eagle plaque sculpture  is a  bas relief and after a design by Grueby Faience Co 1904. Grueby custom made tiles and ornaments for the NYC subway stations, and at the Union Square (14th Street), Brooklyn Bridge, and 33rd Street stations these eagle plaques were installed in two slightly different configurations.

    All the ornamentation had been designed to help passengers recognize his or her station without the necessity of listening for the announcement or reading the signs.

    The Interborough Rapid Transit Subway, or IRT, was the first subway company in New York City, and opened on October 27th, 1904
    Station Decoration, Plaques: Grueby Faience Co. 1904.

    Architectural Designs For New York’s First Subway David J. Framberger Survey Number HAER NY-122, pp. 365-412 Historic American Engineering Record National Park Service Department of the Interior Washington, DC.

    SIZE: Nominal 24″ high by 19″ wide.

    The plaque is one piece made to look like the multiple pieces the originals were made from, these can be obtained in your choice of any of my usual finishes and may be purchased at this url;

    https://www.urbansculptures.com/cart/product/union-square-subway-station-eagle-nr-s2/

  • 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.