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NYC subway Astor Place beaver plaque Nº S1 Urbansculptures

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Seller: urbansculptures (718) 100%, Location: Iowa, Ships to: US, Item: 272279326614 Inspired by glazed panels in the historic.. 1904 Astor Place Subway Station New York City ~ I present ~ Beaver panel Nr S1 Modelled by Randall Cast with the Old Limestone Grey finish.Randall is an art scholarship recipient of Iowa Central Community College. Note to the wise: all of my sculptures are custom cast and finished, very few are kept "in stock." Below are some studio photos of my orginal clay model during it's various creation and finishing stages. These clay models are NOT molded copies taken off antiques, but were hand sculpted by Randall in the same style and configurations as 19th century and Art Deco architectural sculptures. Molds made of my clay models enable clients to purchase cast-stone or concrete casts of my models for wall decoration, garden or incorporating into a brick wall in new construction in a variety of finishes. Please read the entire auction page, it contains details on finishes, shipping and many answers to the more common questions people have Hand cast replicas of my sculpture available in interior cast-stone in your choice of several finishes. HISTORY The beaver is a nominal 22" x 14", 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 Astor Place station these beaver plaques were installed in tribute to John Jacob Astor who made his fortune with beaver pelts in the 19th century, and for whom Astor Place was named. The Interborough Rapid Transit Subway, or IRT, was the first subway company in New York City, and opened on October 27th, 1904 Astor Place station was built in large part under what had been private property along the west side of Astor Place. Several buildings were demolished to make way for the station accounting for today's odd shape of Astor Place. The heavy brick-faced square columns on the downtown platforms support the old John Wanamaker (now K-Mart) store above them. The octagon windows on the brick wall of the platform were the store's showcases. K-Mart has reopened a direct entrance to their store from the southbound platform, which had been sealed for many years after the demise of the Wanamaker's store at that location. Station Decoration. Plaques: Beavers. Grueby Faience Co. 1904. Name tablets: Grueby Faience Co. 1904.From forgotten NY; The beavers whose pelts made Astor rich are depicted in the station by Grueby. This is the first station on the line in which a graphic element of this type was executed: there would be many more in the IRT and continuing on new BMT construction on into the 1920s. While later stations would use mosaics, though, here faience was used, and you can see what we meant by rich color. The beaver, resting on a tree stump and gnawing on a trunk, is surrounded by the bellflower motif and also by the precise geometric shapes, squares and diamonds, that are also a hallmark of original subway stations: the diamond surrounded by four squares is repeated at other stations further up the line. At 22.5x14 inches these plaques are the largest in the system (excluding station name plaques), and the ten-inch borders give them added size. Extant tiles in the subway station 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. 20240 There were 49 stations on the Contract One subway, thirty-seven underground and twelve above. The underground stations, except for City Hall. No two station plans were exactly alike, but the standard local station was a "T" shape, with "arms elongated parallel to the track," and "stem under the street transverse to the main route. The raw brick walls and concrete ceilings were then turned over to Heins and LaFarge to be "beautified." The decorative scheme that they devised was certainly influenced by Parsons, for it is again similar to the Paris Chemin De Per De Sceaux in its system of wall division and ornamentation. Heins and LaFarge's plans were subject to the final approval of Parsons, who delegated authority to D. L. Turner, assistant engineer in charge of stations for the Rapid Transit Subway Construction Company. August Belmont also oversaw station decoration; he approved of the first completed station at Columbus Circle, but complained of the use of too much brick at Astor Place, 50th Street, and 66th Street. In general, the station finish consisted of a sanitary cove base that made the transition from floor to wall, upon which rested a brick or marble wainscot for the first two and one-half feet or so of wall area. This wainscot was applied to withstand the hard usage that the lower wall would be subjected to. The wainscot was completed by either a brick or marble cap, and the remainder of the wall area was covered with three by six-inch white glass tiles, completed near the ceiling by a cornice or frieze. The wall area was divided into fifteen foot panels, the same spacing as the platform columns, by the use of colored tiles or mosaic "in order to relieve the monotony that a plain-tiled surface would present." The full station name appeared on large tablets of either mosaic tile, faience, or terra-cotta at frequent intervals, while smaller name plaques were incorporated into the cornice every fifteen feet. A conscious effort was made by the architects to create a distinct wall treatment for each station, both to relieve monotony and assist in the identification of different locations, and the "extent of the decoration varies with the relative importance of the stations." Wherever possible, a local association was worked into the decorative scheme, such as the seal of Columbia University at 116th and Broadway. Heins and LaFarge used a number of different details to add interest to the stations. All of them were classically derived but designed with considerable artistic license. Examples of these details include the cornices at all stations, garlands such as at 116th and Broadway, cartouches such as at Spring Street and along the Lenox Avenue line, and flat pilasters and Greek Frets such as at 79th and 86th Streets. The quality of materials specified by Heins and LaFarge for use in the stations was extremely high. The wainscot was constructed of either buff-colored Roman brick or marble. The vent grills and light fixtures were of bronze, and the ticket booths of oak. Encaustic mosaic tile was used for the color bands and name tablets. Architectural details were executed in either glazed terra-cotta or in faience for the more important stations. Faience is terra-cotta with a more refined glaze requiring two firings which produce an opaque mat glaze. The materials were of such high quality, in fact, that their use had to be curtailed because of expense. Parsons noted in his construction diary, February 27, 1902, that he discussed reducing the expense of stations with LaFarge. By January, 1903 Parsons advised a simpler treatment for stations, and by the next month he ordered that the use of marble should be discontinued except for those stations already contracted for. Harper's Weekly · January 31, 1903 · p. 176. The decorations will be of tiles, faience, and glazed terra-cotta, with the name of the station plainly marked in panels. All the ornamentation has been designed to help the passenger recognize his station without the necessity of listening for the announcement of the of the guard or reading the signs. The sculpture is a wall hanging piece and comes with a bar hook embedded in the back. It really is a charming and very interesting piece. SIZE: Nominal 22" high by 14" wide General information applicable to all of my sculpturesPLEASE READ BEFORE EMAILING! My standard cast-stone is for INTERIOR OR UNDER A COVERED PORCH/SUN ROOM ONLY! Out in the garden they might last 4 or 5 years, maybe longer before showing weathering damage. If you are looking for something to place in the garden or build into a wall, I offer concrete as a special order item which takes approx 3 weeks. Not all pieces are available in concrete, inquire before ordering.All of my sculptures except the bookends have a heavy wire embedded on the back to hang them on the wall. I own the originals, copyrights in most cases, and the molds, I can produce any quantity and custom configurations as well. All of my sculptures are personally hand-cast in my home studio, they are signed, numbered and dated. These are cast and finished to order at the time of purchase.I do NOT ship outside the lower 48 United States any longer! FINISHES AVAILABLE Hand cast replicas of my sculpture are available in interior cast-stone in your choice of several finishes. I offer 8 different finishes, (5 are shown below) on certain pieces- 2 metallics are standard. They vary from piece to piece as this is all hand done. Actual colors displayed on your monitor will vary as well. From left to right in the photo of 5 finishes below they are; Old Dirty Bronze (metallic) Dark gold aged weathered look Old Dirty Nickel (metallic) Dark silvery aged weathered look Dirty limestone grey- varies from near black to very light grey. Buff yellow. Red terra cotta.TaupeBright gold (metallic) Shiney bright gold Old Dirty Copper (metallic) Dark Reddish aged weathered look SHIPPING I use FedEx ground service for all shipments in the lower 48 states. I do NOT ship out of the USA. Due to the size and weight of this sculpture, cardboard boxes just don't make the grade, these are shipped in custom sized CDX plywood crates. Maximum protection is a plus for my clients and myself, but please understand that it DOES take time- about a half hour to cut material and build each crate, and I do have client orders to fill, other sculptures to finish and more, so handling time on this is set as up to 10 days but in most cases it's quite a bit less. Build plywood crate, materials; 1/2 sheet plywood Shipping flat rate (interior cast-stone ONLY), anywhere in the lower 48 states, this includes a surcharge they bill shippers for any shipment not in a cardboard container. Sculptures are packed into 1/2" thick plywood crates lined with rigid foam board, packing and shreaded newspaper or excelsior, glued, joint cleated and air nailed. You will need a #2 square drive bit or large phillips driver to open the lid. I ship these larger panels in plywood CRATES instead of cardboard boxes. Maximum protection is a plus for my clients and myself, but please understand that it DOES take time- about a half hour to an hour to cut material and build each crate, this is only done on weekends- for shipping Monday or Tuesday. As we all are aware, every carrier has a fuel surcharge now added to every shipment, this means shipping costs for everything goes up. At present, the LEAST FedEx's rates show 43# will cost to ship is $25.00, and it costs a little over $48 to SF California, there is a residential pickup charge that was $6, a residential delivery surcharge that was $2, and a handling surcharge for any shipment not in cardboard containers- that means wood crates come under that and that was an extra $8.50 but now 9/2016 it is $10.50. I have set the shipping for this panel at a fair flat rate to your door. DISPLAYQUESTION: Aren't these too heavy for my plasterboard wall Randall?By no means! keep in mind- your walls weigh thousands of pounds and support the roof, they are built to support weight.HOWEVER- do not use plastic or self adhesive picture hangars of any kind, or try to simply put a screw into the thin sheetrock- these will not hold and are not designed to. The key is to install your mounting hooks or other hangars into the solid wood STUD inside the wall, these are typically spaced 16" center to center around the room. You should use an anchor rated to hold at least twice the shipping weight of the sculpture. To show proof of what a sheetrock wall can hold, here is a photo of two shelves I installed on my bedroom wall for original sculptures that I couldn't mount any other way, the brackets are screwed into the wall studs with 3" screws and there are two heavy angle irons 5/16" thick steel behind the shelves that are invisible.Total weight for the stone and terra-cotta shown- the top shelf is 175# and 125# for the lower shelf- 300# total; Here is one more photo, three of my casts shown mounted on another wall in the bedroom- Art Deco D3, Nr 649 Pan center, and Nr. 120 "Elizabeth" panel- these are likewise installed with hangars screwed into the solid wood STUDS on the sheetrock wall- 150# approximately; Another wall in the bedroom, the green copper cornice and the round lion on the left are antique salvage, the others are casts of my own sculptures. The D4 panel can be seen on the right in the bright gold finish over the head-board. NOTICE:Designs in the Urban Sculptures Collection are copyrighted with all rights reserved, this includes reproductions of antique pieces upon which I made certain modifications, alterations or changes- the changes are copyright and reproduction of same would constitute copyright infringement. I do not sell molds, nor casts for others to replicate and will enforce my proprietary rights. I reserve the right to decline sales to anyone. Original clay models by Randall (and casts made from them) all carry my impressed model numbers, dog paw-print logo, date of creation and signature on one of the sides similar to the photo below of the top of D4-R. Additionally; the casting number and casting date are inscribed by hand on the back of every cast. Randall featured in the New York TimesSunday May 20th, 2007 City section Pg CY9 Article from the Blanden memorial Fine Art Museum magazine, and a newspaper article in part about my exhibition there; Randall, Owner and webmaster of Randall's Urban Sculptures web gallery, and sculpture studio. A historical photo essay of lost buildings from NYC's architectural history. All photos and accompanying text are (C) Randall's Urban Sculptures, all rights reserved. Color: Choice of any finish I do, Material: Interior cast stone, concrete available +10%

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