This complex design will take a while to finish!
This James W Scoville building Elmslie “Sullivanesque” sculpture is now out of the kiln, it is still about 200 degrees and had to be handled with gloves, it turned out perfect!
One can see the color change in photos from the previous dry/unfired state and now that it’s been fired to a little over 2,079 degrees, actually cone 2 tipped because I added a 15 minute “hold” at the set temperature, but because of the “heat work” it went a little higher, but the result is better and the color is nice and even top to bottom, whereas in the past the very bottom of large pieces like this would turn out slightly lighter due to slightly lower temperatures near the floor of the kiln.
A Virginia museum has an original, that one still has the old grey paint slathered all over it but the red clay underneath can be seen.
Someone has one they have been trying to sell for quite a while for $5,000 !!
Exterior Ornament from the James W. Scoville Building, Chicago (Primary Title)
Dankmar Adler, 1844-1900 (Artist)
Louis Sullivan, American, 1856 – 1924 (Artist)
Northwestern Terra Cotta Co. (Artist)
probably modeled by, Kristian Schneider (Modeler)
The first hand-pressed clay sculpture is finished and drying now before it can be kiln fired.
Once this is fired in the kiln I will have an exact size and weight and a firm price for these signed, numbered and dated works reproducing this historic George Grant Elmslie/Louis Sullivan 1884 Chicago design featuring a styled webbed lotus.
The design is an early work by these men and it dates to the foundation of what has become known as the “Sullivanesque” style of architectural ornament.
The James W Scoville building was demolished in the 1970s, many of the original artifacts were salvaged, most are in private collections while a few are in museums such as the Virginia Museum of Fine Arts where it appears in photos on their web site still sporting it’s old battleship grey paint that was slathered on the original facade over the rich red brick and terracotta.
Now instead of hoping one of these might come up at an auction, and only finding ONE when you might really need a pair for a project, and instead of paying upwards of $5,000 for one of those, these authentic hand-pressed kiln fired sculptures can be had new, in any quantity, made exactly the same way the originals were made in the 1880s- one can purchase these from me at $349 delivered (48 states only)
As can be seen in the bottom photo, these really ARE made exactly like the originals- including the typical webbed compartments in the back- the portion that was embedded into the wall.
The webbing gives considerable structural strength and stability, and when kiln fired to almost 2,100 degrees F it becomes vitrified and has less porosity than even modern hard brick. As a result these can be built into a brick or stone wall or displayed in the garden too.
These will probably be around 50 pounds in weight as this one took 60 pounds of clay.
As I look around in google and flickr’s images, there’s certainly no lack of a large variety of Sullivan & Elmslie designed architectural terracotta, both pictured on building facades as well as stripped-off artifacts such as those found at the City Museum in St Louis from demolitions.
As I find interesting designs that I like and think will sell, I’ll be working on more models of these unique and interesting designs.
I’ve already identified at least two pieces I want to model next, the first one was from the same James Scoville building as the recently finished design with the webbed lotus leaf design.
The original shown below was sold at an auction site a few years ago for a whopping $11,250 plus the usual buyer’s premium which tends to add about another 20% and sales tax on top which brought the final price on this to an insane $15,000;
I’ll probably work on developing the design and starting the model of the main section of the above in the next 2-3 weeks, I may make the side pieces as well since it’s MUCH easier to make them and have them fit properly if they are done together, it would take 10 different uniquely shaped moldings for the surround, but they were nothing but flat blocks with a half-round design on the surface acting as a nice visual border.
Probably when it’s done in fired red terracotta the pricing for each main motif sans the borders will run around $325, but it will be available in interior cast stone as well. The borders will be modelled and stored away in case a client wants them, I won’t automatically just make molds of those as there may not be any interest in the border pieces.
The other design I liked is at the City Museum in St Louis MO., I once went to St Louis to visit a friend of mine there, and to exhibit at a dog show sponsored by Purina, my hotel was some distance from the show grounds on the Purina property, but I visited St Louis.
So this is a pier capital from the Washington Irving public school that was demolished in Indiana, it was about 20″ square, with an interesting repeated design. I’ll be starting a model of this soon as well. Probably when it’s done in fired red terracotta the pricing will run around $325, but it will be available in interior cast stone as well.
The Virginia Museum of fine art which has a few artifacts from this building also has at least one of these lunettes with a very similar design on it as the spandrel panels have.
I like the shape of it as well, I have no plans to but easily could make the surrounding flat pieces for it if a client wanted them.
I will be working on this model very soon, of course it takes time and this type of work is done when I have time, and more time for the various mold making processes to get done, but progress photos will come along here soon enough.
This would most likely be priced around $325 in fired red terracotta.
The museum has their artifact sized 18-1/4″ x 18-1/2″ and 4″ deep, this size would fit into my existing kiln, so this is another design I can keep my model of full sized like the originals and offer both interior cast-stone this size but less deep to hang ON the wall, and hand-pressed terracotta which will be slightly smaller due to the shrinkage of the clay but made a nominal 3″ deep which can be additionally used outdoors in the garden or embedded into a brick or stone wall of any type.
Dankmar Adler, 1844-1900
Louis Sullivan, American, 1856 – 1924 (Architects) Northwestern Terra Cotta Co., probably modeled by, Kristian Schneider 1884-1885
A photo of the grey painted artifact in the museum which is not on public view at the museum, appears here; https://www.vmfa.museum/piction/6027262-7946023/
The artifact they have is a gift of the Metropolitan Museum of Art.
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.
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;
Now with the clay model done and ready to make the mold of this interesting webbed lotus flower motif, I have begun that process today and will be finishing it to-morrow
A timelapse video of the process; https://www.youtube.com/watch?v=CBhOYdwVyhU
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.
More progress today roughing out the upper half of this Adler & Louis Sullivan, George Elmsley, Kristian Schneider, James W Scoville building 1894 design