{"title":"Louis Sullivan","description":"\u003cp\u003eSed arcu velit, lacinia quis scelerisque sit amet, fringilla eu nibh. In in metus vel lacus fringilla mattis vitae at augue. Nullam malesuada, urna at scelerisque consequat, enim libero commodo enim, in malesuada purus erat ut ipsum. Nunc non justo odio, sed tempus turpis. Cras et turpis turpis.\u003c\/p\u003e","products":[{"product_id":"original-museum-quality-c-1899-schlesinger-meyer-department-store-white-glazed-terra-cotta-panel","title":"original museum-quality c. 1899 schlesinger \u0026 meyer department store white glazed terra cotta panel","description":"museum-quality c. 1899-1904 white glazed exterior terra cotta panel removed from the schlesinger \u0026amp; meyer department store during renovations performed in the 1980's. the historically important salvaged panel was fabricated by the northwestern terra cotta co., chicago, il. very intricate geometric forms with ornamentation based on organic symbolism. minor surface discoloration. rear cavities have been hallowed. the early 20th century chicago department store was designed by louis sullivan, built in 1899 for the retail firm schlesinger \u0026amp; meyer, and expanded and sold to carson pirie scott in 1904. the building was part of the loop retail historic district. it was used for retail purposes from 1899 until 2007. the building is remarkable for its steel structure, which allowed a dramatic increase in window area, which in turn allowed more daylight into the building interiors, and provided larger displays of merchandise to outside pedestrian traffic. the lavish cast-iron ornamental work above the rounded tower was also meant to be functional. sullivan designed the corner entry to be seen from both state and madison, and that the ornamentation, situated above the entrance, would be literally attractive. the building is one of the classic structures of the chicago school. the ornate decorative panels on the lowest stories of the building are now generally credited to george grant elmslie who was sullivan's chief draftsman after frank lloyd wright left the firm. these ornamental additions originated from the influence of celtic metalwork. the way this technique was used by elmslie on the lower floors of the building were so elaborate that it used the natural lighting and shadows to seem almost as if it were magically floating above the ground. the top floor of the 1899 and 1904 sections of the building were recessed to create a narrow loggia topped by an intricately-detailed cornice that projected beyond the facade of the building. this was removed around 1948 and the 12th floor redesigned to replicate the lower floors. the exterior facade panel measures approximately 27 x 6 x 6 inches. call for price.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669171114282,"sku":"UR-9578-11","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20110311-20110311-20110311j_2.jpg?v=1759981203"},{"product_id":"original-museum-quality-19th-century-copper-plated-ornamental-cast-iron-guaranty-building-interior-staircase-baluster","title":"original museum-quality 19th century copper-plated ornamental cast iron guaranty building interior staircase baluster","description":"exceptional 19th century museum-quality copper-plated ornamental cast iron interior guaranty or prudential building staircase baluster. the remarkably detailed baluster panel was fabricated around 1894 by the winslow brothers foundry, chicago, il. the rare and highly sought after \"straight section\" baluster is no doubt more desirable for display purposes. the electroplated copper \"wash\" remains largely intact. surface wear consistent with age. free from cracks and\/or breaks. the guaranty building, which is now called the prudential building, was designed by the chicago-based architectural firm of sullivan and adler, and built in buffalo, new york. louis sullivan's design for the building was based on his belief that \"form follows function\". he and adler divided the building into four zones. the basement was the mechanical and utility area. the next zone was the ground-floor which was the public areas for street-facing shops, public entrances and lobbies. the third zone was the office floors with identical office cells clustered around the central elevator shafts. the fourth zone was the terminating zone, consisting of elevator equipment, utilities and a few offices. the supporting steel structure of the building was embellished with ornamental terra cotta blocks. different styles of block delineated the three visible zones of the building. sullivan was quoted as saying, \"it must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line.\" the guaranty was never meant to be the guaranty building. it was the brainchild of a buffalonian businessman hascal t. taylor to construct a speculative office building in the developing downtown district called “the taylor building.” the untimely demise of mr. taylor as the project was reaching its apogee resulted in the guaranty construction company, having been contracted to construct the structure, determining to take on the project alone. although “the entrepreneur hascal t. taylor intended this building to be a monument to himself,” the eventual monument would symbolize sullivan’s achievements much more than its creators. the guaranty building was not alone among major private building projects in buffalo at the time. two blocks away, the ellicott square building was being built to be the largest retail building in the world. this structure, extant today, exhibits an alternate exploration in the possibilities of new commercial urban architecture by charles atwood and daniel burnham. as buffalo’s downtown rose above lake erie, further feats of engineering were securing the future of the city and the built environment. although earlier attempts had harnessed the power of nearby niagara falls, it was just after the guaranty building was constructed in 1896 that the power was sent to buffalo, illuminating the city with hydro-electricity. while the exterior skin of the guaranty expresses a new form for the steel skyscraper, its plan indicates those hard realities of function necessary to construct such a building and to sell it. the building is essentially a u-shaped plan stacked upon a rectangular solid. the interstitial spaces between wings of the “u” create opportunities to introduce skylights to the lobby below, and to cover the ceilings with stained glass. the plan contained a single vertical circulation core with four elevators, a mail slot, and staircase. no fire-stair was provided or necessary. the internal portion of the “u” faces south so as to collect light for the interior recesses of the building- light being a necessary commodity to attract good tenants. sullivan spared nothing to accomplish this end for: “in order to increase the amount of light to the interior, the stairwell and the light slit facing the inner courtyard were lined with white glazed terra-cotta that was more costly than normal tiles.” the first and second floors are united both spatially and visually through additional staircases and the intention of retail occupation. mechanical systems were relegated to the basement, including the motors for the elevators, boilers, and electrical “dynamos.” entrances were provided on both church and pearl streets. a concierge desk offered services to tenants and guests including mail delivery. above the “base” of the building were a series of office floors of identical plan were placed. these floors featured private lavatories in reconfigurable office spaces. the halls were defined by wood and glass partition walls, intended to give the interior a bright and “club” like feeling. the elevators and staircases were enclosed not by walls, but ornamental iron cages permitting southern light to penetrate through the circulatory systems and into the hallways. the only exception to the rise of offices was the seventh floor with lavatories and a barbershop, and the top floor with a us weather service bureau office and spaces for building attendants. the most remarkable problem for those wishing to cast sullivan exclusively in the camp of proto-modernist designers is his steadfast and adroit insistence to ornament his buildings. ornament is one of the most defining characteristics of the guaranty as “the entire façade of this building is clothed in ornament, like hieroglyphs on the columns and walls of temples in ancient egypt.” sullivan’s ornament is unmistakably original, but it is not without precedents in the contemporary tradition of the english arts and crafts movement. “the numerous parallels between sullivan’s ornament and the architectural decoration of furness make it clear that sullivan’s ornament came directly from furness and, through him, from earlier ornament by english architects.” the context of his ornament is important as it was seen as a salient amenity for the attraction of tenants to his buildings. for all the “good taste” his ornament might project to the tenant of the 19th century, it situated his design within an anti-classicist categorization out of “good taste” in the 20th century. ironically this change was precipitated by the world's columbian exposition where sullivan was the only american to win a european design medal and the only american to offer non-classically inspired design. the guaranty, for all its evocative general expression of tectonics is equally as evocative at the scale of its modular terracotta components. “here the balance of interest between the individuals and the group to which they belong is precarious, and the sheer number of compositional elements makes it difficult to attend to the individually.\" it is difficult to determine whether the ornament serves to reinforce the building or the building reinforces the ornament. the experiential effect of so much pattern and repetitive design is homogeneity in tension with the expression of individual components. unlike the wainwright building, where ornament is more directly patterned on historical forms and where spandrels are self differentiated, the guaranty is almost brutal in the hierarchical treatment of and expression within its terracotta relief. such conforming treatment is at odds with the supposedly democratic naturalism sullivan claims for the design. especially near the base, ornamental patterns reflect the span and connection of underlying steel members. as the components rise, a rigid pattern is followed, story upon story until the cornice where the pattern explodes into an umbrageous tangle of leaves and vines, encapsulating the windows and reaching outward over the street below. the ornament tells the same story as the theory which created it: bottom, middle, top- light steel skeleton within. the modulating ornament of the guaranty also indicates the evolution of the medium for sullivan as an artist. his initial explorations were inspired directly by contemporary work and historical precedent. eventually his contact with adler and work involving the “engineers aesthetic” led to more structurally expressive forms, and eventually to an art only his own, florid and organic. “from 1885 through 1889 sullivan’s ornament lost much of its former angularity and became more sophisticated and luxuriant.” it is perhaps due to sullivan’s experiences at the ecole des beaux arts that his ornaments as well as his building are given so much expressive and didactic energy. “his evident haste in wanting to set down the architectural vision before it became blurred even in the slightest degree presumably derives from the method at the french school of working from, and staying as close as possible to, the esquisse.” this is an idea he apparently held for designing ornamental elements as well. his sketch for a column capital at the guaranty labeled “finis” indicates the level of development with which his draftsmen began work. while containing some specific information, the sketch indicates more a painterly composition than a design document. curiously, the process of design used by sullivan to create such innovation was precisely that which prevented him from evolving his conception of plan and section to something his “modern” successors would explore. “in embracing the french theories of plan and esquisse, sullivan remained firmly wedded to his time and place. . . by insisting upon the preeminence of plan, he could hardly have begun to imagine buildings with the spatial complexity of a wright or a le corbusier.”","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669435322666,"sku":"UR-11892-11","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20111101-013m_2.jpg?v=1760410690"},{"product_id":"original-late-19th-century-american-ornamental-cast-iron-schlesinger-meyer-building-baluster-fragment-designed-by-louis-sullivan","title":"original late 19th century american ornamental cast iron schlesinger \u0026 meyer building baluster fragment designed by louis sullivan","description":"c. 1899 freestanding ornamental cast iron staircase baluster fragment salvaged from the schlesinger \u0026amp; meyer (carson, pirie, scott building) during renovations necessitated by more stringent building codes. the exceptional and historically important department store baluster piece was fabricated by the winslow brothers company of chicago. comprised of delicately pierced ornamental cast iron with copper-plated finish somewhat intact. provenance report and supplemental materials are available. mounted to a solid maple wood pedestal base. the building was designed by louis sullivan, built in 1899 for the retail firm schlesinger \u0026amp; meyer, and expanded and sold to carson pirie scott in 1904. the building was part of the loop retail historic district. it was used for retail purposes from 1899 until 2007. the building is remarkable for its steel structure, which allowed a dramatic increase in window area, which in turn allowed more daylight into the building interiors, and provided larger displays of merchandise to outside pedestrian traffic. the lavish cast-iron ornamental work above the rounded tower was also meant to be functional. sullivan designed the corner entry to be seen from both state and madison, and that the ornamentation, situated above the entrance, would be literally attractive. the building is one of the classic structures of the chicago school. the ornate decorative panels on the lowest stories of the building are now generally credited to george grant elmslie who was sullivan's chief draftsman after frank lloyd wright left the firm. when elmslie left the firm himself the same distinct intricate scrollwork panels left with him and appear in his own designs; and sullivan's style proceeds elsewhere. please call for price.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669453082922,"sku":"UR-12066-11","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20111117-022n_2.jpg?v=1760147151"},{"product_id":"finely-executed-late-19th-century-guaranty-or-prudential-building-ornamental-copper-plated-cast-iron-interior-louis-sullivan-designed-baluster","title":"finely executed late 19th century guaranty or prudential building ornamental copper-plated cast iron interior louis sullivan designed baluster","description":"original 19th century museum-quality copper-plated ornamental cast iron interior guaranty or prudential commercial building interior staircase baluster fabricated around 1894 by the winslow brothers foundry, chicago, il. the electroplated copper “wash” remains largely intact. surface wear consistent with age. free from cracks and\/or breaks. exceptional both in design and fabrication. the guaranty building, which is now called the prudential building, was designed by the chicago-based architectural firm of sullivan and adler, and built in buffalo, new york. louis sullivan’s design for the building was based on his belief that “form follows function”. he and adler divided the building into four zones. the basement was the mechanical and utility area. the next zone was the ground-floor which was the public areas for street-facing shops, public entrances and lobbies. the third zone was the office floors with identical office cells clustered around the central elevator shafts. the fourth zone was the terminating zone, consisting of elevator equipment, utilities and a few offices. the supporting steel structure of the building was embellished with ornamental terra cotta blocks. different styles of block delineated the three visible zones of the building. sullivan was quoted as saying, “it must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line.” the guaranty was never meant to be the guaranty building. it was the brainchild of a buffalonian businessman hascal t. taylor to construct a speculative office building in the developing downtown district called “the taylor building.” the untimely demise of mr. taylor as the project was reaching its apogee resulted in the guaranty construction company, having been contracted to construct the structure, determining to take on the project alone. although “the entrepreneur hascal t. taylor intended this building to be a monument to himself,” the eventual monument would symbolize sullivan’s achievements much more than its creators. the guaranty building was not alone among major private building projects in buffalo at the time. two blocks away, the ellicott square building was being built to be the largest retail building in the world. this structure, extant today, exhibits an alternate exploration in the possibilities of new commercial urban architecture by charles atwood and daniel burnham. as buffalo’s downtown rose above lake erie, further feats of engineering were securing the future of the city and the built environment. although earlier attempts had harnessed the power of nearby niagara falls, it was just after the guaranty building was constructed in 1896 that the power was sent to buffalo, illuminating the city with hydro-electricity. while the exterior skin of the guaranty expresses a new form for the steel skyscraper, its plan indicates those hard realities of function necessary to construct such a building and to sell it. the building is essentially a u-shaped plan stacked upon a rectangular solid. the interstitial spaces between wings of the “u” create opportunities to introduce skylights to the lobby below, and to cover the ceilings with stained glass. the plan contained a single vertical circulation core with four elevators, a mail slot, and staircase. no fire-stair was provided or necessary. the internal portion of the “u” faces south so as to collect light for the interior recesses of the building- light being a necessary commodity to attract good tenants. sullivan spared nothing to accomplish this end for: “in order to increase the amount of light to the interior, the stairwell and the light slit facing the inner courtyard were lined with white glazed terra-cotta that was more costly than normal tiles.” the first and second floors are united both spatially and visually through additional staircases and the intention of retail occupation. mechanical systems were relegated to the basement, including the motors for the elevators, boilers, and electrical “dynamos.” entrances were provided on both church and pearl streets. a concierge desk offered services to tenants and guests including mail delivery. above the “base” of the building were a series of office floors of identical plan were placed. these floors featured private lavatories in reconfigurable office spaces. the halls were defined by wood and glass partition walls, intended to give the interior a bright and “club” like feeling. the elevators and staircases were enclosed not by walls, but ornamental iron cages permitting southern light to penetrate through the circulatory systems and into the hallways. the only exception to the rise of offices was the seventh floor with lavatories and a barbershop, and the top floor with a us weather service bureau office and spaces for building attendants. the most remarkable problem for those wishing to cast sullivan exclusively in the camp of proto-modernist designers is his steadfast and adroit insistence to ornament his buildings. ornament is one of the most defining characteristics of the guaranty as “the entire façade of this building is clothed in ornament, like hieroglyphs on the columns and walls of temples in ancient egypt.” sullivan’s ornament is unmistakably original, but it is not without precedents in the contemporary tradition of the english arts and crafts movement. “the numerous parallels between sullivan’s ornament and the architectural decoration of furness make it clear that sullivan’s ornament came directly from furness and, through him, from earlier ornament by english architects.” the context of his ornament is important as it was seen as a salient amenity for the attraction of tenants to his buildings. for all the “good taste” his ornament might project to the tenant of the 19th century, it situated his design within an anti-classicist categorization out of “good taste” in the 20th century. ironically this change was precipitated by the world’s columbian exposition where sullivan was the only american to win a european design medal and the only american to offer non-classically inspired design. the guaranty, for all its evocative general expression of tectonics is equally as evocative at the scale of its modular terracotta components. “here the balance of interest between the individuals and the group to which they belong is precarious, and the sheer number of compositional elements makes it difficult to attend to the individually.” it is difficult to determine whether the ornament serves to reinforce the building or the building reinforces the ornament. the experiential effect of so much pattern and repetitive design is homogeneity in tension with the expression of individual components. unlike the wainwright building, where ornament is more directly patterned on historical forms and where spandrels are self differentiated, the guaranty is almost brutal in the hierarchical treatment of and expression within its terracotta relief. such conforming treatment is at odds with the supposedly democratic naturalism sullivan claims for the design. especially near the base, ornamental patterns reflect the span and connection of underlying steel members. as the components rise, a rigid pattern is followed, story upon story until the cornice where the pattern explodes into an umbrageous tangle of leaves and vines, encapsulating the windows and reaching outward over the street below. the ornament tells the same story as the theory which created it: bottom, middle, top- light steel skeleton within. the modulating ornament of the guaranty also indicates the evolution of the medium for sullivan as an artist. his initial explorations were inspired directly by contemporary work and historical precedent. eventually his contact with adler and work involving the “engineers aesthetic” led to more structurally expressive forms, and eventually to an art only his own, florid and organic. “from 1885 through 1889 sullivan’s ornament lost much of its former angularity and became more sophisticated and luxuriant.” it is perhaps due to sullivan’s experiences at the ecole des beaux arts that his ornaments as well as his building are given so much expressive and didactic energy. “his evident haste in wanting to set down the architectural vision before it became blurred even in the slightest degree presumably derives from the method at the french school of working from, and staying as close as possible to, the esquisse.” this is an idea he apparently held for designing ornamental elements as well. his sketch for a column capital at the guaranty labeled “finis” indicates the level of development with which his draftsmen began work. while containing some specific information, the sketch indicates more a painterly composition than a design document. curiously, the process of design used by sullivan to create such innovation was precisely that which prevented him from evolving his conception of plan and section to something his “modern” successors would explore. “in embracing the french theories of plan and esquisse, sullivan remained firmly wedded to his time and place. . . by insisting upon the preeminence of plan, he could hardly have begun to imagine buildings with the spatial complexity of a wright or a le corbusier.”","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669787939114,"sku":"UR-15055-12","price":3500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120802-013n_2.jpg?v=1760419111"},{"product_id":"original-early-1920-s-framed-and-matted-gelatin-silver-photographic-print-depicting-the-exterior-facade-of-the-adler-and-sullivan-chicago-stock-exchange-building","title":"original early 1920's framed and matted gelatin silver photographic print depicting the exterior facade of the adler and sullivan chicago stock exchange building","description":"dated c. 1923 original and completely intact oversized gelatin silver print featuring the exterior facade of the non-extant old chicago stock exchange building designed by the architectural firm of adler and sullivan. the highly detailed photographic print is displayed in its original black painted wood frame and off-white mat board with calligraphic lettering identifying the address, building name and date. the framed depiction of this historically important prairie school skyscraper was salvaged from a downtown chicago diner where is was displayed for decades. the exact photographer is not known. the adler and sullivan chicago stock exchange building was built between 1893-94 and demolished, beginning in 1972. the downtown chicago financial district building had thirteen stories and a single basement carried on pile and\/or cassion foundations. the building had 480 offices and was adler and sullivan’s largest commission after the auditorium building.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669868056874,"sku":"UR-15276-12","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120924-008m_2.jpg?v=1760244510"},{"product_id":"original-19th-century-american-ornamental-copper-plated-cast-iron-chicago-stock-exchange-interior-elevator-frieze-panel-fragment-designed-by-louis-sullivan","title":"original 19th century american ornamental copper plated cast iron chicago stock exchange interior elevator frieze panel fragment designed by louis sullivan","description":"exceptionally well designed and historically important museum quality 19th century copper-plated ornamental cast iron interior chicago stock exchange elevator frieze or header panel fragment designed by chicago architect louis h. sullivan. the finely cast building fragment was executed by the winslow brothers of chicago. the original copper-plated finish is largely intact with a nicely aged surface patina. the frieze panel features an impressive interplay between intricate organic foliage and strongly geometric shapes. the museum quality piece was decommissioned several years ago by the chicago art institute. the chicago stock exchange building was built between 1893-94 and demolished, beginning in 1972. the downtown chicago financial district building had 13 stories and a single basement carried on pile and\/or cassion foundations. the building had 480 offices and was adler and sullivan's largest commission after the auditorium.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670014693674,"sku":"UR-16048-12","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20121130-014m_2.jpg?v=1760247265"},{"product_id":"original-hard-to-find-c-1920-s-american-lithographed-tin-potbelly-stoveboard-or-platform-designed-by-notable-architect-louis-h-sullivan","title":"original hard to find c. 1920's american lithographed tin potbelly stoveboard or platform designed by notable architect louis h. sullivan","description":"this remarkable c. 1920's american lithographed galvanized tin stoveboard was documented as louis sullivan's final commission prior to his untimely death in 1924. stove boards were used as a preventive measure against house fires by acting as a protective barrier between dropping embers emitted from potbelly stoves and the wood flooring found below. three designs were selected for use with the american stove board company's existing product catalog. the stove board or platform is comprised of a wood core, in the form of interlocking boards with a highly detailed lithographed sheet tin cover crimped along the edges. the visually striking design consists of a distinctive interplay between geometric shapes and richly organic design motifs executed in black against a silver metallic background. the stove boards were fabricated exclusively by the american stove board company of chicago, il. the backside is signed by the manufacturer.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670022590762,"sku":"UR-16061-12","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20121226-003m_2.jpg?v=1760334941"},{"product_id":"fantastically-detailed-original-c-1920-s-louis-h-sullivan-designed-american-residential-lithographed-steel-stoveboard-or-platform-with-a-richly-organic-design","title":"fantastically detailed original c. 1920's louis h. sullivan-designed american residential lithographed steel stoveboard or platform with a richly organic design","description":"incredible c. 1920's american lithographed galvanized tin stoveboard documented as louis sullivan's final commission prior to his untimely death in 1924. stove boards were used as a preventive measure against house fires by acting as a protective barrier between dropping embers emitted from potbelly stoves and the wood flooring found below. three designs were selected for use with the american stove board company's existing product catalog. the stove board or platform is comprised of a wood core, in the form of interlocking boards with a finely detailed lithographed sheet tin cover crimped along the edges. the visually striking pattern consists of a distinctive interplay between geometric shapes and richly organic design motifs executed in black against a silver metallic background. the stove boards were fabricated exclusively by the american stove board company of chicago, il. the backside is signed by the manufacturer.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670031175978,"sku":"UR-16131-13","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20121226-004m_2.jpg?v=1760335119"},{"product_id":"nicely-aged-sullivanesque-style-late-19th-century-american-ornamental-cast-bronze-screwless-spindle-thistle-pattern-doorknob-backplate","title":"nicely aged sullivanesque style late 19th century american ornamental cast bronze screwless spindle \"thistle\" pattern doorknob backplate","description":"late 19th century american ornamental cast bronze \"thistle\" pattern exterior residential doorknob backplate. the intricate organic is design attributed to chicago architect louis sullivan. the oversized escutcheon features deeply lobed leafage surrounded by delicate scrolls. the backplate was fabricated by the chicago hardware company, chicago, il. exhibits an attractive surface patina aged nicely over time. contains a protruding collar or thimble and circular opening for a standard cylinder lock. measures approximately 16 1\/2 x 3 1\/2 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670040252714,"sku":"UR-16247-13","price":250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130114-007m_2.jpg?v=1760159212"},{"product_id":"original-late-1880-s-antique-american-art-nouveau-sullivanesque-style-thistle-pattern-ornamental-cast-bronze-doorknob-and-matching-escutcheon","title":"original late 1880's antique american art nouveau sullivanesque style \"thistle\" pattern ornamental cast bronze doorknob and matching escutcheon","description":"late 19th century american ornamental cast bronze \"thistle\" pattern passage door residential backplate and matching doorknob. the intricate organic design is attributed to chicago architect louis sullivan. the escutcheon features deeply lobed leafage surrounded by delicate scrolls. the intricate design motifs bear strong resemblance to several designs used throughout louis sullivan's auditorium building (see additional pictures of newel post and staircase baluster panel). the backplate and doorknob were fabricated by the chicago hardware company, chicago, il. exhibits an attractive surface patina. the doorknob contains a chicago-niles patent shank. original cast brass swinging keyhole cover intact. measures 17 x 3 1\/2 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670041792810,"sku":"UR-16271-13","price":275.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130116-025m_2.jpg?v=1760159264"},{"product_id":"very-rare-museum-quality-c-1920-s-original-louis-sullivan-designed-polychrome-lithographed-steel-stoveboard-with-structurally-sound-wood-core","title":"very rare museum quality c. 1920's original louis sullivan-designed polychrome lithographed steel stoveboard with structurally sound wood core","description":"exceptionally rare and finely executed c. 1920's american polychrome lithographed galvanized steel stoveboard documented as louis sullivan's final commission prior to his untimely death in 1924. stove boards were used as a preventive measure against house fires by acting as a protective barrier between dropping embers emitted from potbelly stoves and the wood flooring found below. previously, only three documented designs were thought to exist for use with the american stove board company's product catalog. this wonderful example clearly demonstrates the possibility of other, yet to be discovered designs fabricated either by american or perhaps another manufacturer. in addition, this is the only known example to have a multi-colored finish, which greatly enhances the design and overall visual impact. the stove board or platform is comprised of a wood core, in the form of interlocking boards with a finely detailed lithographed sheet tin cover crimped along the edges. the visually striking pattern consists of a distinctive interplay between geometric shapes and richly organic design motifs executed in multiple colors. the stove boards are thought to have been made exclusively by or for the american stove board company of chicago, il. no other known example of this \"sullivanesque\" design pattern and\/or color scheme has yet to surface. measures 23 x 23 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670080164138,"sku":"UR-16601-13","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130216-009m_2.jpg?v=1760248718"},{"product_id":"original-c-1956-john-szarkowski-gelatin-silver-print-photograph-depicting-the-guaranty-building-designed-by-the-architectural-firm-of-sullivan-and-adler","title":"original c. 1956 john szarkowski gelatin silver print photograph depicting the guaranty building designed by the architectural firm of sullivan and adler","description":"unframed c. 1956 original john szarkowski gelatin silver print believed to have been displayed at the \"louis sullivan and the architecture of free enterprise\" exhibition that ran from october 25th through december, 2nd of 1956. the photograph is simply titled \"the guaranty building, buffalo, ny.\" the black and white photographic image depicts the exterior of the late 19th century adler \u0026amp; sullivan-designed guaranty building taken from street level. the photograph is hand-signed, stamped and typed with annotations and\/or markings on print verso. john szarkowski was a well-known and highly regarded photographer, curator, historian, and critic. from 1962 to 1991 szarkowski was the director of photography at new york'smuseum of modern art. he was born and grew up in the small northern wisconsin city of ashland, and became interested in photography at age eleven. in world war ii szarkowski served in the u.s. army, after which he graduated in 1947 in art history from the university of wisconsin–madison. he then began his career as a museum photographer at the walker art center, minneapolis. at this time he was also a practicing art photographer; he had his first solo show at the walker art center in 1949, the first of a number of solo exhibitions. in 1954 szarkowski received the first of two guggenheim fellowships, resulting in the book the idea of louis sullivan (1956). in 1962, he was picked by edward steichen to be steichen's successor at the museum of modern art. acquired from the art institute of chicago.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670444511530,"sku":"UR-17883-13","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20111107-026c_2.jpg?v=1760252470"},{"product_id":"museum-quality-19th-century-copper-plated-cast-iron-chicago-stock-exchange-interior-staircase-louis-sullivan-designed-stringer-section","title":"museum-quality 19th century copper-plated cast iron chicago stock exchange interior staircase louis sullivan-designed stringer section","description":"historically important 1895 interior single-sided staircase stringer fragment salvaged from the chicago stock exchange building demolished in 1972. the intricately designed section was fabricated by the winslow brothers foundry, located in chicago, il. the well-documented stringer section is comprised of ornamental cast iron retaining the original and largely intact electro-copper plated finish. the museum quality piece was decommissioned several years ago by the chicago art institute. manageable size for display purposes. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive. limited number of section available.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670610972970,"sku":"UR-18362-13","price":1800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130903-008x_2.jpg?v=1760341663"},{"product_id":"c-1895-original-chicago-stock-exchange-building-interior-copper-plated-cast-iron-staircase-stringer-fragment","title":"c. 1895 original chicago stock exchange building interior copper-plated cast iron staircase stringer fragment","description":"historically important 19th century interior single-sided staircase cast iron stringer fragment salvaged from the chicago stock exchange building demolished in 1972. the intricately designed section was fabricated by the winslow brothers foundry, located in chicago, il. the well-documented stringer section is comprised of ornamental cast iron retaining the original and largely intact electro-copper plated finish. the panel contains a strongly geometric \"star\" pattern designed by louis sullivan. the museum quality piece was decommissioned several years ago by the chicago art institute. manageable size for display purposes. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive. limited number of section available.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670611071274,"sku":"UR-18363-13","price":2400.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130903-011m_2.jpg?v=1760429615"},{"product_id":"documented-late-19th-century-original-chicago-stock-exchange-building-copper-plated-ornamental-cast-iron-staircases-stringer-section","title":"documented late 19th century original chicago stock exchange building copper-plated ornamental cast iron staircases stringer section","description":"lightly cleaned 19th century interior single-sided staircase cast iron stringer fragment salvaged from the chicago stock exchange building demolished in 1972. the intricately designed section was fabricated by the winslow brothers foundry, located in chicago, il. the well-documented stringer section is comprised of ornamental cast iron retaining the original and largely intact electro-copper plated finish. the panel contains a strongly geometric \"star\" pattern designed by louis sullivan. the museum quality piece was decommissioned several years ago by the chicago art institute. manageable size for display purposes. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive. limited number of section available.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670611136810,"sku":"UR-18364-13","price":1800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130903-012z_2.jpg?v=1760429674"},{"product_id":"all-original-museum-quality-late-19th-century-louis-h-sullivan-designed-bronze-plated-schlesinger-mayer-building-elevator-door-medallion","title":"all original museum-quality late 19th century louis h. sullivan designed bronze-plated schlesinger \u0026 mayer building elevator door medallion","description":"absolutely stunning and well-executed museum quality late 19th century american ornamental bronze-plated cast iron flush mount elevator door medallion designed by notable architect louis h. sullivan with assistance by chief draftsman george grant elmslie. the oversized intricately designed \"hand height\" medallion was cast in two sections that were riveted tightly against the elevator doors. the impressive interplay and overall intensity expressed between delicate geometric and organic forms represents the culmination of sullivan's imaginative brilliance. the transformation of these designs into a manageable or displayable architectural artifact makes this one of sullivan's finest (others include the stock exchange t-plate, owatonna bank teller cage, etc.). the well-established and highly skilled winslow brothers foundry (chicago, il.) executed nearly all of sullivan's ironwork, including the medallion depicted above. amazingly, the two-section medallion is free from breaks or damage. the original bronze plating contains sporadic wear and tear consistent with age. the medallions were removed in the 1960's for fire safety (i.e., code) reasons. the drawings for the ornamentation were made by sullivan, with the final detailed studies from which the winslow brothers foundry produced the iron work were executed by george grant elmslie. the schlesinger \u0026amp; mayer building (later known as the carson, pirie, scott and company building) is an extant commercial building designed by architect louis sullivan for the retail firm schlesinger \u0026amp; mayer. in 1898, schlesinger and mayer decided to demolish the original building located on state and madison streets and replace it with a new structure designed by sullivan. the architectural plans drawn up by sullivan consisted of both a nine and twelve-story proposal. they eventually started with a nine-story portion of the building that was made on the madison street side next to the original portion of the adler and sullivan renovations executed years earlier. in 1902 schlesinger and mayer came back to sullivan wanting a twenty-story building on state and madison, eventually settling for the final twelve stories. the madison street portion that was added earlier did not structurally support twelve stories so it was left as is. sullivan came up with a three-stage plan to finish the new building and allow schlesinger and mayer to keep their business running during the christmas season. the building is remarkable for its steel-framed structure, which allowed a dramatic increase in window area created by bay-wide windows, which in turn allowed for the greatest amount of daylight into the building interiors. this provided larger displays of merchandise to outside pedestrian traffic creating the idea of the sidewalk showcase. in between the windows were lavish bands of terra cotta that replaced the earlier plan for white georgia quarries because it was light weight and inexpensive. another reason for the change in what type of marble they would use in construction was that stonecutters were having a strike in 1898 during the time of construction. the lavish bronze-plated cast-iron ornamental work above the rounded tower was also meant to be functional because it was to be as resilient as a sheet of copper. both the use of bronze and terra cotta was important to setting the building apart from others because it was essentially fire resistant. it created a sense of monumentality. sullivan thought the building would be an asset to the city for a long period of time. to ensure this great building would last and be resilient against the threat of fire, there was a 40 ft. water tower installed on the roof to supply the sprinkler system with enough water, after the city of chicago had the great fire. sullivan designed the corner entry to be seen from both state and madison, and that the ornamentation, situated above the entrance, would be literally attractive, which would give the store an elegant unique persona important to the competitiveness of the neighboring stores.the building is one of the classic structures of the chicago school. the ornate decorative panels on the lowest stories of the building are now generally credited to george grant elmslie who was sullivan's chief draftsman after frank lloyd wright left the firm. these ornamental additions originated from the influence of celtic metalwork. the way this technique was used by elmslie on the lower floors of the building were so elaborate that it used the natural lighting and shadows to seem almost as if it were magically floating above the ground. the top floor of the 1899 and 1904 sections of the building were recessed to create a narrow loggia topped by an intricately detailed cornice that projected beyond the facade of the building. this was removed around 1948 and the 12th floor redesigned to replicate the lower floors. subsequent additions were completed by daniel burnham in 1906 and holabird \u0026amp; root in 1961. the downtown chicago building has been used for retail purposes since 1899, and has been a chicago landmark since 1975. it is part of the loop retail historic district.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670646067498,"sku":"UR-18685-13","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20131023-014z_2.jpg?v=1760255292"},{"product_id":"late-1890-s-historically-important-original-copper-plated-ornamental-cast-iron-interior-louis-sullivan-designed-guaranty-building-staircase-baluster","title":"late 1890's historically important original copper-plated ornamental cast iron interior louis sullivan-designed guaranty building staircase baluster","description":"original late 19th century museum-quality copper-plated ornamental cast iron interior guaranty or prudential building staircase baluster executed by the winslow brothers foundry, chicago, il. the remarkably detailed nouveau style baluster panel, designed by louis h. sullivan, was fabricated around 1894. the rare and highly sought baluster is replete with richly organic design motifs typical of sullivan's work. the electroplated copper \"wash\" remains largely intact. surface wear consistent with age. free from cracks and\/or breaks. the guaranty building, which is now called the prudential building, was designed by the chicago-based architectural firm of sullivan and adler, and built in buffalo, new york. louis sullivan's design for the building was based on his belief that \"form follows function\". he and adler divided the building into four zones. the basement was the mechanical and utility area. the next zone was the ground-floor which was the public areas for street-facing shops, public entrances and lobbies. the third zone was the office floors with identical office cells clustered around the central elevator shafts. the fourth zone was the terminating zone, consisting of elevator equipment, utilities and a few offices. the supporting steel structure of the building was embellished with ornamental terra cotta blocks. different styles of block delineated the three visible zones of the building. sullivan was quoted as saying, \"it must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line.\" the guaranty was never meant to be the guaranty building. it was the brainchild of a buffalonian businessman hascal t. taylor to construct a speculative office building in the developing downtown district called “the taylor building.” the untimely demise of mr. taylor as the project was reaching its apogee resulted in the guaranty construction company, having been contracted to construct the structure, determining to take on the project alone. although “the entrepreneur hascal t. taylor intended this building to be a monument to himself,” the eventual monument would symbolize sullivan’s achievements much more than its creators. the guaranty building was not alone among major private building projects in buffalo at the time. two blocks away, the ellicott square building was being built to be the largest retail building in the world. this structure, extant today, exhibits an alternate exploration in the possibilities of new commercial urban architecture by charles atwood and daniel burnham. as buffalo’s downtown rose above lake erie, further feats of engineering were securing the future of the city and the built environment. although earlier attempts had harnessed the power of nearby niagara falls, it was just after the guaranty building was constructed in 1896 that the power was sent to buffalo, illuminating the city with hydro-electricity. while the exterior skin of the guaranty expresses a new form for the steel skyscraper, its plan indicates those hard realities of function necessary to construct such a building and to sell it. the building is essentially a u-shaped plan stacked upon a rectangular solid. the interstitial spaces between wings of the “u” create opportunities to introduce skylights to the lobby below, and to cover the ceilings with stained glass. the plan contained a single vertical circulation core with four elevators, a mail slot, and staircase. no fire-stair was provided or necessary. the internal portion of the “u” faces south so as to collect light for the interior recesses of the building- light being a necessary commodity to attract good tenants. sullivan spared nothing to accomplish this end for: “in order to increase the amount of light to the interior, the stairwell and the light slit facing the inner courtyard were lined with white glazed terra-cotta that was more costly than normal tiles.” the first and second floors are united both spatially and visually through additional staircases and the intention of retail occupation. mechanical systems were relegated to the basement, including the motors for the elevators, boilers, and electrical “dynamos.” entrances were provided on both church and pearl streets. a concierge desk offered services to tenants and guests including mail delivery. above the “base” of the building were a series of office floors of identical plan were placed. these floors featured private lavatories in reconfigurable office spaces. the halls were defined by wood and glass partition walls, intended to give the interior a bright and “club” like feeling. the elevators and staircases were enclosed not by walls, but ornamental iron cages permitting southern light to penetrate through the circulatory systems and into the hallways. the only exception to the rise of offices was the seventh floor with lavatories and a barbershop, and the top floor with a us weather service bureau office and spaces for building attendants. the most remarkable problem for those wishing to cast sullivan exclusively in the camp of proto-modernist designers is his steadfast and adroit insistence to ornament his buildings. ornament is one of the most defining characteristics of the guaranty as “the entire façade of this building is clothed in ornament, like hieroglyphs on the columns and walls of temples in ancient egypt.” sullivan’s ornament is unmistakably original, but it is not without precedents in the contemporary tradition of the english arts and crafts movement. “the numerous parallels between sullivan’s ornament and the architectural decoration of furness make it clear that sullivan’s ornament came directly from furness and, through him, from earlier ornament by english architects.” the context of his ornament is important as it was seen as a salient amenity for the attraction of tenants to his buildings. for all the “good taste” his ornament might project to the tenant of the 19th century, it situated his design within an anti-classicist categorization out of “good taste” in the 20th century. ironically this change was precipitated by the world's columbian exposition where sullivan was the only american to win a european design medal and the only american to offer non-classically inspired design. the guaranty, for all its evocative general expression of tectonics is equally as evocative at the scale of its modular terracotta components. “here the balance of interest between the individuals and the group to which they belong is precarious, and the sheer number of compositional elements makes it difficult to attend to the individually.\" it is difficult to determine whether the ornament serves to reinforce the building or the building reinforces the ornament. the experiential effect of so much pattern and repetitive design is homogeneity in tension with the expression of individual components. unlike the wainwright building, where ornament is more directly patterned on historical forms and where spandrels are self differentiated, the guaranty is almost brutal in the hierarchical treatment of and expression within its terracotta relief. such conforming treatment is at odds with the supposedly democratic naturalism sullivan claims for the design. especially near the base, ornamental patterns reflect the span and connection of underlying steel members. as the components rise, a rigid pattern is followed, story upon story until the cornice where the pattern explodes into an umbrageous tangle of leaves and vines, encapsulating the windows and reaching outward over the street below. the ornament tells the same story as the theory which created it: bottom, middle, top- light steel skeleton within. the modulating ornament of the guaranty also indicates the evolution of the medium for sullivan as an artist. his initial explorations were inspired directly by contemporary work and historical precedent. eventually his contact with adler and work involving the “engineers aesthetic” led to more structurally expressive forms, and eventually to an art only his own, florid and organic. “from 1885 through 1889 sullivan’s ornament lost much of its former angularity and became more sophisticated and luxuriant.” it is perhaps due to sullivan’s experiences at the ecole des beaux arts that his ornaments as well as his building are given so much expressive and didactic energy. “his evident haste in wanting to set down the architectural vision before it became blurred even in the slightest degree presumably derives from the method at the french school of working from, and staying as close as possible to, the esquisse.” this is an idea he apparently held for designing ornamental elements as well. his sketch for a column capital at the guaranty labeled “finis” indicates the level of development with which his draftsmen began work. while containing some specific information, the sketch indicates more a painterly composition than a design document. curiously, the process of design used by sullivan to create such innovation was precisely that which prevented him from evolving his conception of plan and section to something his “modern” successors would explore. “in embracing the french theories of plan and esquisse, sullivan remained firmly wedded to his time and place. . . by insisting upon the preeminence of plan, he could hardly have begun to imagine buildings with the spatial complexity of a wright or a le corbusier.”","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670692860202,"sku":"UR-19117-13","price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20131228-20131228-003a_2.jpg?v=1760257102"},{"product_id":"original-and-complete-set-of-louis-h-sullivan-designed-ornamental-cast-iron-chicago-stock-exchange-interior-office-door-mail-slot-with-chute","title":"original and complete set of louis h. sullivan-designed ornamental cast iron chicago stock exchange interior office door mail slot with chute","description":"original finely executed museum-quality ornamental cast iron interior office door \"letters\" mail slot and matching chute designed not notable chicago architect louis h. sullivan for the chicago stock exchange building. the complete set was fabricated by the yale \u0026amp; towne mfg. co., stamford, ct. traces of the original bower-barff or \"rust-proof\" finish remains intact. the decorative chicago stock exchange hardware was one of the very few designed by sullivan for this particular building. finding a complete set of this office door hardware is rather difficult - especially in this condition. the yale \u0026amp; towne logo is stamped on the backside of the hinged cover and chute. the hardware components have been lightly cleaned and mounted in a custom-built oak wood shadow box using recycled oak salvaged from the chicago athletic association building. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670710391082,"sku":"UR-19252-14","price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140115-20140115-010a_2.jpg?v=1760257640"},{"product_id":"rare-19th-century-american-louis-h-sullivan-designed-chicago-stock-exchange-interior-office-passage-door-backplate-or-escutcheon","title":"rare 19th century american louis h. sullivan-designed chicago stock exchange interior office passage door backplate or escutcheon","description":"hard to find original and intact c. 1890's american antique louis. h. sullivan-designed chicago stock exchange building escutcheon or backplate executed by the yale \u0026amp; towne mfg. co., stamford, ct. the ornamental cast iron backplate features a dazzling array of organic and geometric design motifs in the form of rings or medallions (the former surrounding the thimble and keyhole respectively). the rare escutcheon was apart of a larger \"suite\" of stock exchange hardware consisting of oversized push plates, monogrammed office door backplates, smaller utility closet door backplates, window pulls, mail slots and pull handles and knobs. this particular plate does not surface often. incredibly crisp and sharp detailing evident. the yale \u0026amp; towne logo is stamped on the backside. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670716223786,"sku":"UR-19286-14","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140115-20140115-012z_2.jpg?v=1760433411"},{"product_id":"late-19th-century-original-american-antique-interior-wainwright-commercial-office-building-backplate-with-matching-monogrammed-doorknob","title":"late 19th century original american antique interior wainwright commercial office building backplate with matching monogrammed doorknob","description":"lightly cleaned ornamental cast iron interior office door monogrammed doorknob and matching backplate or escutcheon removed from the extant wainwright building. the original patented bower-barff \"rust proof\" finish remains largely intact. the decorative doorknob and backplate were manufactured by the yale \u0026amp; towne mfg. co., stamford, ct. the doorknob with patented shank exhibits unique embossed lettering with a heavily beaded rim. the wainwright building is a 10-story red-brick office building located in downtown st. louis, missouri. built in 1890-91 and designed by dankmar adler and louis sullivan, it was among the first skyscrapers in the world. it was named for local financier ellis wainwright. it is described as \"a highly influential prototype of the modern office building\" by the national register of historic places. architect frank lloyd wright called the wainwright building \"the very first human expression of a tall steel office-building as architecture.\" aesthetically, the wainwright building exemplifies sullivan's theories about the tall building, which included a tripartite (three-part) composition (base-shaft-attic), and his desire to emphasize the height of the building. he wrote: \"[the skyscraper] must be tall, every inch of it tall. the force and power of altitude must be in it the glory and pride of exaltation must be in it. it must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line.\" after a period of neglect, the building now houses missouri state offices and is well maintained. some architectural elements from the building have been removed in renovations and taken to the sauget, illinois storage site of the st. louis building arts foundation. backplate measures 2 1\/2 x 11 inches. doorknob measures 2 1\/2 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670718583082,"sku":"UR-19305-14","price":1200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140115-20140115-015m_2.jpg?v=1760345242"},{"product_id":"hard-to-find-original-c-1894-5-antique-american-chicago-stock-exchange-building-interior-utility-door-backplate-and-matching-doorknob","title":"hard to find original c. 1894-5 antique american chicago stock exchange building interior utility door backplate and matching doorknob","description":"late 19th century hard to find original american antique louis. h. sullivan-designed chicago stock exchange building interior utility door hardware executed by the yale \u0026amp; towne mfg. co., stamford, ct. the ornamental cast iron diminutive backplate and matching doorknob feature a dazzling array of organic and geometric design motifs in the form of rings or medallions. the rare escutcheon was apart of a larger \"suite\" of stock exchange hardware consisting of oversized push plates, passage door backplates, monogrammed office door backplates, window pulls, mail slots and pull handles - all fabricated in cast iron. the backplate and matching doorknob retain the original bower-barff \"rust-proof\" finish. incredibly crisp and sharp detailing evident. the yale \u0026amp; towne logo is stamped on the backside of the escutcheon. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670782218538,"sku":"UR-19664-14","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140307-20140307-027z_2.jpg?v=1760170423"},{"product_id":"historically-important-and-highly-sought-after-original-electroplated-copper-cast-iron-chicago-stock-exchange-building-interior-staircase-straight-baluster-panel","title":"historically important and highly sought after original electroplated copper cast iron chicago stock exchange building interior staircase straight baluster panel","description":"very well-maintained late 19th century single museum-quality ornamental cast iron interior staircase baluster salvaged from the chicago stock exchange prior to demolition in 1972. the copper-plated panel features a strongly geometric, reticulated oval design with centrally located round medallion surrounded by intricate diamond lattice work. the completely intact, straight section panel contains a nicely aged, mostly uniform copper surface patina. the cast iron baluster panel was fabricated by the winslow bros foundry, chicago, il. between 1881 and 1895 louis henry sullivan and engineer dankmar adler designed a series of office towers, including the chicago stock exchange building (extant from 1894 to 1972), their largest building and perhaps most important commission. noteworthy for the firm's inspired solution to the newly arisen issue of an appropriate form for the \"tall building,\" it was replete with some of louis sullivan's finest organic ornamental detailing. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was constructed by the general contracting firm of falkenau \u0026amp; company. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13 (north and south side of the building). the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. between floors, each staircase consisted of two flights ascending in opposite directions, linked by a rectangular landing (a staircase was first removed from the building and installed in the metropolitan museums american wing). when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive. measures 30 x 11 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670830059818,"sku":"UR-19882-14","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20101004-006x_2.jpg?v=1760436327"},{"product_id":"largely-intact-original-late-19th-century-antique-american-interior-chicago-stock-exchange-building-copper-plated-ornamental-cast-iron-staircase-baluster-panel","title":"largely intact original late 19th century antique american interior chicago stock exchange building copper-plated ornamental cast iron staircase baluster panel","description":"original and largely intact late 19th century historically important single ornamental cast iron interior staircase baluster salvaged from the chicago stock exchange prior to demolition in 1972. the copper-plated panel features a strongly geometric, reticulated oval design with centrally located round medallion surrounded by intricate diamond lattice work. the angled section panel contains a nicely aged, mostly uniform copper surface patina. the cast iron baluster panel was fabricated by the winslow bros foundry, chicago, il. the left side of the panel contains slight damage (as seen in the photo above). between 1881 and 1895 louis henry sullivan and engineer dankmar adler designed a series of office towers, including the chicago stock exchange building (extant from 1894 to 1972), their largest building and perhaps most important commission. noteworthy for the firm's inspired solution to the newly arisen issue of an appropriate form for the \"tall building,\" it was replete with some of louis sullivan's finest organic ornamental detailing. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was constructed by the general contracting firm of falkenau \u0026amp; company. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13 (north and south side of the building). the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. between floors, each staircase consisted of two flights ascending in opposite directions, linked by a rectangular landing (a staircase was first removed from the building and installed in the metropolitan museums american wing). when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670830518570,"sku":"UR-19884-14","price":5500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140415-048z_2.jpg?v=1760436417"},{"product_id":"incredibly-rare-late-19th-century-oversized-ornamental-copper-plated-cast-iron-guaranty-building-interior-lobby-ceiling-medallion-with-richly-ornate-foliage","title":"incredibly rare late 19th century oversized ornamental copper-plated cast iron guaranty building interior lobby ceiling medallion with richly ornate foliage","description":"exceptionally rare and historically important all original late 19th century ornamental cast iron guaranty (later prudential) building flush mount ceiling light fixture medallion removed from the commercial building's interior lobby during a damaging remuddling in the 1950's. several light fixtures (including this medallion) and elevator components were taken out during the makeover. a couple from cleveland had the foresight to acquire several of these fixtures that otherwise would have ended up in the local landfill or sold for scrap. the oversized medallion is very ornate with intricately designed leafage located around the center. the medallion contains 12 \"arms\" in alternating sizes and ornamental configurations. the original copper-plated finish remains remarkably intact. the ceiling fixture originally featured a 12 incandescent light bulb \"cluster\" that was mounted at the very center of the medallion. the dome-shaped cluster contained small arms that were mounted to keyless sockets. an ornamental finial was mounted at the end of the dome. very few of these fixtures are readily available. another identical medallion resides at the new york city metropolitan museum of art. the giant-sized medallion was fabricated by the winslow brothers foundry of chicago, il. the guaranty building, which is now called the prudential building, was designed by the chicago-based architectural firm of sullivan and adler, and built in buffalo, new york. louis sullivan's design for the building was based on his belief that \"form follows function.\" sullivan and adler divided the building into four zones. the basement was the mechanical and utility area. the next zone was the ground-floor which was the public areas for street-facing shops, public entrances and lobbies. the third zone was the office floors with identical office cells clustered around the central elevator shafts. the fourth zone was the terminating zone, consisting of elevator equipment, utilities and a few offices. the supporting steel structure of the building was embellished with ornamental terra cotta blocks. different styles of block delineated the three visible zones of the building. sullivan was quoted as saying, \"it must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line.\" the guaranty was never meant to be the guaranty building. it was the brainchild of a buffalonian businessman hascal t. taylor to construct a speculative office building in the developing downtown district called “the taylor building.” the untimely demise of mr. taylor as the project was reaching its apogee resulted in the guaranty construction company, having been contracted to construct the structure, determining to take on the project alone. although “the entrepreneur hascal t. taylor intended this building to be a monument to himself,” the eventual monument would symbolize sullivan’s achievements much more than its creators. the guaranty building was not alone among major private building projects in buffalo at the time. two blocks away, the ellicott square building was being built to be the largest retail building in the world. this structure, extant today, exhibits an alternate exploration in the possibilities of new commercial urban architecture by charles atwood and daniel burnham. as buffalo’s downtown rose above lake erie, further feats of engineering were securing the future of the city and the built environment. although earlier attempts had harnessed the power of nearby niagara falls, it was just after the guaranty building was constructed in 1896 that the power was sent to buffalo, illuminating the city with hydro-electricity. while the exterior skin of the guaranty expresses a new form for the steel skyscraper, its plan indicates those hard realities of function necessary to construct such a building and to sell it. the building is essentially a u-shaped plan stacked upon a rectangular solid. the interstitial spaces between wings of the “u” create opportunities to introduce skylights to the lobby below, and to cover the ceilings with stained glass. the plan contained a single vertical circulation core with four elevators, a mail slot, and staircase. no fire-stair was provided or necessary. the internal portion of the “u” faces south so as to collect light for the interior recesses of the building- light being a necessary commodity to attract good tenants. sullivan spared nothing to accomplish this end for: “in order to increase the amount of light to the interior, the stairwell and the light slit facing the inner courtyard were lined with white glazed terra-cotta that was more costly than normal tiles.” the first and second floors are united both spatially and visually through additional staircases and the intention of retail occupation. mechanical systems were relegated to the basement, including the motors for the elevators, boilers, and electrical “dynamos.” entrances were provided on both church and pearl streets. a concierge desk offered services to tenants and guests including mail delivery. above the “base” of the building were a series of office floors of identical plan were placed. these floors featured private lavatories in reconfigurable office spaces. the halls were defined by wood and glass partition walls, intended to give the interior a bright and “club” like feeling. the elevators and staircases were enclosed not by walls, but ornamental iron cages permitting southern light to penetrate through the circulatory systems and into the hallways. the only exception to the rise of offices was the seventh floor with lavatories and a barbershop, and the top floor with a us weather service bureau office and spaces for building attendants. the most remarkable problem for those wishing to cast sullivan exclusively in the camp of proto-modernist designers is his steadfast and adroit insistence to ornament his buildings. ornament is one of the most defining characteristics of the guaranty as “the entire façade of this building is clothed in ornament, like hieroglyphs on the columns and walls of temples in ancient egypt.” sullivan’s ornament is unmistakably original, but it is not without precedents in the contemporary tradition of the english arts and crafts movement. “the numerous parallels between sullivan’s ornament and the architectural decoration of furness make it clear that sullivan’s ornament came directly from furness and, through him, from earlier ornament by english architects.” the context of his ornament is important as it was seen as a salient amenity for the attraction of tenants to his buildings. for all the “good taste” his ornament might project to the tenant of the 19th century, it situated his design within an anti-classicist categorization out of “good taste” in the 20th century. ironically this change was precipitated by the world's columbian exposition where sullivan was the only american to win a european design medal and the only american to offer non-classically inspired design. the guaranty, for all its evocative general expression of tectonics is equally as evocative at the scale of its modular terracotta components. “here the balance of interest between the individuals and the group to which they belong is precarious, and the sheer number of compositional elements makes it difficult to attend to the individually.\" it is difficult to determine whether the ornament serves to reinforce the building or the building reinforces the ornament. the experiential effect of so much pattern and repetitive design is homogeneity in tension with the expression of individual components. unlike the wainwright building, where ornament is more directly patterned on historical forms and where spandrels are self differentiated, the guaranty is almost brutal in the hierarchical treatment of and expression within its terracotta relief. such conforming treatment is at odds with the supposedly democratic naturalism sullivan claims for the design. especially near the base, ornamental patterns reflect the span and connection of underlying steel members. as the components rise, a rigid pattern is followed, story upon story until the cornice where the pattern explodes into an umbrageous tangle of leaves and vines, encapsulating the windows and reaching outward over the street below. the ornament tells the same story as the theory which created it: bottom, middle, top- light steel skeleton within. the modulating ornament of the guaranty also indicates the evolution of the medium for sullivan as an artist. his initial explorations were inspired directly by contemporary work and historical precedent. eventually his contact with adler and work involving the “engineers aesthetic” led to more structurally expressive forms, and eventually to an art only his own, florid and organic. “from 1885 through 1889 sullivan’s ornament lost much of its former angularity and became more sophisticated and luxuriant.” it is perhaps due to sullivan’s experiences at the ecole des beaux arts that his ornaments as well as his building are given so much expressive and didactic energy. “his evident haste in wanting to set down the architectural vision before it became blurred even in the slightest degree presumably derives from the method at the french school of working from, and staying as close as possible to, the esquisse.” this is an idea he apparently held for designing ornamental elements as well. his sketch for a column capital at the guaranty labeled “finis” indicates the level of development with which his draftsmen began work. while containing some specific information, the sketch indicates more a painterly composition than a design document. curiously, the process of design used by sullivan to create such innovation was precisely that which prevented him from evolving his conception of plan and section to something his “modern” successors would explore. “in embracing the french theories of plan and esquisse, sullivan remained firmly wedded to his time and place. . . by insisting upon the preeminence of plan, he could hardly have begun to imagine buildings with the spatial complexity of a wright or a le corbusier.”","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670832451882,"sku":"UR-19907-14","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140415-035x_2.jpg?v=1760260670"},{"product_id":"original-19th-century-museum-quality-schiller-theater-later-known-as-the-garrick-building-sectional-terra-cotta-slip-glaze-geometric-flower-border-panel","title":"original 19th century museum-quality schiller theater (later known as the garrick) building sectional terra cotta slip glaze \"geometric flower\" border panel","description":"museum-quality 19th century all original and unrestored deep relief exterior slip glaze terra cotta border segmented or sectional panel salvaged from the schiller building's (later known as the the garrick theater) central tower during demolition of the building in 1960. the massive exterior panel is comprised of four equally-sized sections with the loose morar and brick removed from the rear cavities (also known as \"webbing\", which substantially strengthened the load-bearing capacity of the hollow terra-cotta block without greatly increasing its weight). the \"geometric flower\" pattern panel was thought to have been designed by draftsman (at the time) frank lloyd wright - who later occupied the 16th floor in 1893. the original cream or buff-colored glazed finish has darkened considerably due to prolonged exposure to soot and other air pollutants over the decades. the terra cotta fragment was fabricated by the northwestern terra cotta company, chicago, il. the non-extant late 19th century terra cotta-clad schiller theatre building was designed by architects louis sullivan and dankmar adler of the firm adler \u0026amp; sullivan for the german opera company. at the time of its construction, it was one among the tallest buildings in downtown chicago. The building’s focal point was an elaborately designed 1,300-seat theater noted for its highly organic-themed plaster ornament and remarkable acoustics. opened in 1892, the schiller theater was originally funded by german investors and was projected to be used for german-language operas and cultural events. one of the more tangible references to its german heritage was a series of terra cotta busts of prominent german figures integrated within the second story arcade. the theater changed its name and duties over the following decades. it was briefly known as the dearborn theater from 1898 to 1903, until finally settling on the name garrick theater. after german investors backed out of the project in the late 1890’s, it ceased its german performances, and exhibited touring stage shows. in the 1930’s the theater was acquired by balaban \u0026amp; katz and subsequently used as a television studio and movie theater. after a long decline that began during the depression, the garrick was razed in 1960 and replaced with a parking structure. the demolition instigated a large outcry and is considered to be one of the first wide scale preservation efforts in chicago. photographer and historical preservationist richard nickel spearheaded an effort to document and rescue hundreds of architectural artifacts from the building shortly before and during its demolition.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670837104938,"sku":"UR-19946-14","price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20100526-20100526-023z_2.jpg?v=1760260916"},{"product_id":"historically-important-late-19th-or-early-20th-century-original-exterior-white-glazed-terra-cotta-schlesinger-mayer-department-store-building-stringcourse-panel","title":"historically important late 19th or early 20th century original exterior white glazed terra cotta schlesinger \u0026 mayer department store building stringcourse panel","description":"original late 19th or early 20th century museum-quality exterior white glazed terra cotta stringcourse panel or block removed from the schlesinger \u0026amp; mayer department store during extensive renovations of the building's facade - which included the dramatic return of a newly-created 12th floor colonnade and cornice. the terra cotta block was designed by louis h. sullivan and executed by the northwestern terra cotta company under the direction of master or chief sculptor. the rectangular-shaped block contains curvaceous lines surrounded by bursts of intricate leafage. the terra cotta block contains surface wear, loss of glaze, discoloration - all consistent with age or prolonged exposure to the outdoor elements. the rear cavities or \"webbing\" have been removed. the schlesinger \u0026amp; mayer building (later known as the carson, pirie, scott and company building) is an extant commercial building designed by architect louis sullivan for the retail firm schlesinger \u0026amp; mayer. in 1898, schlesinger and mayer decided to demolish the original building located on state and madison streets and replace it with a new structure designed by sullivan. the architectural plans drawn up by sullivan consisted of both a nine and twelve-story proposal. they eventually started with a nine-story portion of the building that was made on the madison street side next to the original portion of the adler and sullivan renovations executed years earlier. in 1902 schlesinger and mayer came back to sullivan wanting a twenty-story building on state and madison, eventually settling for the final twelve stories. the madison street portion that was added earlier did not structurally support twelve stories so it was left as is. sullivan came up with a three-stage plan to finish the new building and allow schlesinger and mayer to keep their business running during the christmas season. the building is remarkable for its steel-framed structure, which allowed a dramatic increase in window area created by bay-wide windows, which in turn allowed for the greatest amount of daylight into the building interiors. this provided larger displays of merchandise to outside pedestrian traffic creating the idea of the sidewalk showcase. in between the windows were lavish bands of terra cotta that replaced the earlier plan for white georgia quarries because it was light weight and inexpensive. another reason for the change in what type of marble they would use in construction was that stonecutters were having a strike in 1898 during the time of construction. the lavish bronze-plated cast-iron ornamental work above the rounded tower was also meant to be functional because it was to be as resilient as a sheet of copper. both the use of bronze and terra cotta was important to setting the building apart from others because it was essentially fire resistant. it created a sense of monumentality. sullivan thought the building would be an asset to the city for a long period of time. to ensure this great building would last and be resilient against the threat of fire, there was a 40 ft. water tower installed on the roof to supply the sprinkler system with enough water, after the city of chicago had the great fire. sullivan designed the corner entry to be seen from both state and madison, and that the ornamentation, situated above the entrance, would be literally attractive, which would give the store an elegant unique persona important to the competitiveness of the neighboring stores.the building is one of the classic structures of the chicago school. the ornate decorative panels on the lowest stories of the building are now generally credited to george grant elmslie who was sullivan's chief draftsman after frank lloyd wright left the firm. these ornamental additions originated from the influence of celtic metalwork. the way this technique was used by elmslie on the lower floors of the building were so elaborate that it used the natural lighting and shadows to seem almost as if it were magically floating above the ground. the top floor of the 1899 and 1904 sections of the building were recessed to create a narrow loggia topped by an intricately detailed cornice that projected beyond the facade of the building. this was removed around 1948 and the 12th floor redesigned to replicate the lower floors. subsequent additions were completed by daniel burnham in 1906 and holabird \u0026amp; root in 1961. the downtown chicago building has been used for retail purposes since 1899, and has been a chicago landmark since 1975. it is part of the loop retail historic district.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670850769194,"sku":"UR-20061-14","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140513-016m_2.jpg?v=1760261296"},{"product_id":"original-late-19th-century-historically-important-custom-cut-m-a-meyer-loft-building-exterior-ornamental-wrought-iron-fire-escape-panel-with-striking-moorish-design","title":"original late 19th century historically important custom-cut m.a. meyer loft building exterior ornamental wrought iron fire escape panel with striking moorish design","description":"original historically-important late 19th century single-sided exterior fire escape diminutive open grate horizontal platform panel salvaged from the the non-extant m.a. meyer loft building designed by the chicago architectural firm of louis h. sullivan and dankmar adler. the solid wrought treaded iron walkway platform panel has been re-sized for display purposes. the custom-cut panel has been thoroughly cleaned and brushed down to bare metal to really capture the detailing otherwise obscured or lost with the several coats of paint that were applied to the panel. the unusual and visually striking moorish pattern may very well have been designed by then-draftsman, frank lloyd wright. the seven-story masonry commercial loft for the estate of m.a meyer was demolished in 1968. the chicago warehouse was originally occupied by kuh, nathan \u0026amp; fischer (wholesale clothiers). the exact iron fabricator for this wonderfully designed fire escape panel is not known, although the chicago-based f.p. smith wire \u0026amp; ironworks company is a possible candidate. one of the first fire escapes of any type was invented in 18th-century england. in 1784, daniel maseres, of england, invented a machine called a fire escape, which, being fastened to the window, would enable him or anyone for that matter, to descend to the street without injury. as building codes became more common in countries around the turn of the 20th century, fire safety became an important concern for new construction. building owners were increasingly required to provide adequate escape routes, and at the time, fire escapes seemed the best option available. not only could they be included in new construction at a low cost, but they could be very easily added to existing construction. as building codes evolved and more safety concerns addressed over subsequent editions, all construction above a certain number of stories was required to have a second means of egress, and external fire escapes were allowed as a retrofit option for existing buildings prior to the post-world war ii period.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670855323946,"sku":"UR-20105-14","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140512-024x_3.jpg?v=1760261575"},{"product_id":"rare-mid-1950-s-original-richard-nickel-silver-gelatin-photograph-or-print-of-the-levi-rosenfeld-commercial-building-facade-shortly-before-demolition","title":"rare mid-1950's original richard nickel silver gelatin photograph or print of the levi rosenfeld commercial building facade shortly before demolition","description":"very rare and original framed and matted gelatin silver photograph taken by richard nickel sometime in the mid-1950's. with i.i.t. the photograph depicts (in grate detail) the badly neglected levi rosenfeld building facade shortly before demolition in 1958. the 19th century commercial building was designed by the firm of dankmar adler and louis h. sullivan in 1882. during the time the photograph was taken, photographer richard nickel was pursuing graduate work under the guidance of instructor aaron siskind at the institute of design, which was apart of the illinois institute of technology. nickel and fellow students including, but not limited to, david norris, chuck swedlund and len gittleman were working feverishly to document any and all adler and sullivan buildings before demolition - which at the time, was happening at a feverish pace beginning in the 1950's. many more buildings would fall to the wrecking ball throughout the 1960's and early 1970's at the height of urban renewal or \"slum clearance.\" the black and white rosenfeld photograph contains an i.i.t. stamp and richard nickel signature on the print verso. the original negative is likely held at the richard nickel committee archive. this may very well be the only existing print created from the negative by nickel himself.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670872101162,"sku":"UR-20257-14","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20090129-nic_2.jpg?v=1760173312"},{"product_id":"original-undated-richard-nickel-silver-gelatin-photograph-or-print-depicting-the-facade-of-adler-and-sullivan-s-chicago-stock-exchange-building","title":"original undated richard nickel silver gelatin photograph or print depicting the facade of adler and sullivan's chicago stock exchange building","description":"important c. 1960's original 8 x 10 inch richard nickel silver gelatin print featuring the non-extant chicago stock exchange building facade designed bt dankmar adler and louis h. sullivan in 1894. the print was likely taken around the time nickel was pursuing graduate work under the guidance of instructor aaron siskind at the institute of design, which was apart of the illinois institute of technology. nickel and fellow students including, but not limited to, david norris, chuck swedlund and len gittleman were working feverishly to document any and all adler and sullivan buildings before demolition - which at the time, was happening at a feverish pace beginning in the 1950's. many more buildings would fall to the wrecking ball throughout the 1960's and early 1970's at the height of urban renewal or \"slum clearance.\" the black and white chicago stock exchange photograph contains a hand-signed signature and address (1508 grove avenue, park ridge, il.) on the print verso. the original negative is likely held at the richard nickel committee archive. this may very well be the only existing print created from the negative by nickel himself. tragically, richard nickel lost his life in this building in 1972 (during demolition) while salvaging ornament.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670872166698,"sku":"UR-20258-14","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20090129-nickel_c_2.jpg?v=1760173336"},{"product_id":"completely-intact-museum-quality-1894-interior-wrought-iron-chicago-stock-exchange-elevator-transom-grille-with-original-bower-barff-finish","title":"completely intact museum quality 1894 interior wrought iron chicago stock exchange elevator transom grille with original bower-barff finish","description":"late 19th century all original historically important interior elevator enclosure transom panel or grille salvaged between 1971-2 from the non-extant chicago stock exchange building designed by the architectural firm of adler \u0026amp; sullivan. the well-maintained wrought iron transom grille was fabricated by the winslow brothers foundry, chicago, il. the original bower-barff finish remains in exceptional condition. the original elevator enclosure configuration (found on floors 3-13) contained two transom grilles flanked by wide highly ornate copper-plated cast iron pilasters. a set of decorative cast iron ornate horizontal panels sat directly below the uppermost grille. the center section of this amazing assembly consisted of three stick and ball grilles, divided by thin cast iron pilasters and highly sought after t-plate. the round forms (i.e., interconnected balls) were thought to be louis sullivan's representation of seeds; an homage to the fact that the chicago stock exchange was the nation's largest agricultural stock exchange at the time. between 1881 and 1895 louis henry sullivan and engineer dankmar adler designed a series of office towers, including the chicago stock exchange building (extant from 1894 to 1972), their largest building and perhaps most important commission. noteworthy for the firm's inspired solution to the newly arisen issue of an appropriate form for the \"tall building,\" it was replete with some of louis sullivan's finest organic ornamental detailing. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was constructed by the general contracting firm of falkenau \u0026amp; company. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13 (north and south side of the building). the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. between floors, each staircase consisted of two flights ascending in opposite directions, linked by a rectangular landing (a staircase was first removed from the building and installed in the metropolitan museums american wing). when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive. measures 74 x 15 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670881571114,"sku":"UR-20369-14","price":35000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/grille_2_c_2.jpg?v=1760262779"},{"product_id":"rare-early-20th-century-single-sided-midland-terra-cotta-plate-77-lithographed-cardstock-sullivanesque-style-stock-terra-cotta-informational-diagram","title":"rare early 20th century single-sided midland terra cotta \"plate 77\" lithographed cardstock \"sullivanesque\" style stock terra cotta informational diagram","description":"single rare and highly sought after original early 20th century single-sided \"plate 77\" black and white lithographed cardstock diagram depicting a heavily ornamented \"sulllivanesque\" white glazed \"stock\" terra cotta cartouche with highly detailed specifications. the oversized informational diagram is part of a large collection of detailed plates depicting cataloged terra cotta ornament along with suggested installations of the company's ornament on any number of facades. the cartouche on this plate is by far one of the very best sectional terra cotta pieces executed by the midland terra cotta company. the detailing draws heavily from the hands of notable chicago architect, louis h. sullivan and his former chief draftsman george grant elmslie. nearly every installation that incorporated this massive cartouche into their facade were finished in a uniform white glaze. the exact printing company is not known, but the midland terra cotta company may have very well executed the plates and packaging themselves. this plate belongs to a complete series with original envelope and the stamped name of the client and\/or recipient.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670992752938,"sku":"UR-20875-14","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140922-020x_2.jpg?v=1760353563"},{"product_id":"highly-sought-after-and-historically-important-interior-19th-century-american-copper-plated-cast-iron-louis-h-sullivan-designed-guaranty-building-staircase-baluster","title":"highly sought after and historically important interior 19th century american copper-plated cast iron louis h. sullivan-designed guaranty building staircase baluster","description":"original late 19th century museum-quality copper-plated ornamental cast iron interior guaranty or prudential building staircase baluster executed by the winslow brothers foundry, chicago, il. the remarkably detailed nouveau style baluster panel, designed by louis h. sullivan, was fabricated around 1894. the rare and highly sought baluster is replete with richly organic design motifs typical of sullivan's work. the electroplated copper \"wash\" remains largely intact. surface wear consistent with age. free from cracks and\/or breaks. the guaranty building, which is now called the prudential building, was designed by the chicago-based architectural firm of sullivan and adler, and built in buffalo, new york. louis sullivan's design for the building was based on his belief that \"form follows function\". he and adler divided the building into four zones. the basement was the mechanical and utility area. the next zone was the ground-floor which was the public areas for street-facing shops, public entrances and lobbies. the third zone was the office floors with identical office cells clustered around the central elevator shafts. the fourth zone was the terminating zone, consisting of elevator equipment, utilities and a few offices. the supporting steel structure of the building was embellished with ornamental terra cotta blocks. different styles of block delineated the three visible zones of the building. sullivan was quoted as saying, \"it must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line.\" the guaranty was never meant to be the guaranty building. it was the brainchild of a buffalonian businessman hascal t. taylor to construct a speculative office building in the developing downtown district called “the taylor building.” the untimely demise of mr. taylor as the project was reaching its apogee resulted in the guaranty construction company, having been contracted to construct the structure, determining to take on the project alone. although “the entrepreneur hascal t. taylor intended this building to be a monument to himself,” the eventual monument would symbolize sullivan’s achievements much more than its creators. the guaranty building was not alone among major private building projects in buffalo at the time. two blocks away, the ellicott square building was being built to be the largest retail building in the world. this structure, extant today, exhibits an alternate exploration in the possibilities of new commercial urban architecture by charles atwood and daniel burnham. as buffalo’s downtown rose above lake erie, further feats of engineering were securing the future of the city and the built environment. although earlier attempts had harnessed the power of nearby niagara falls, it was just after the guaranty building was constructed in 1896 that the power was sent to buffalo, illuminating the city with hydro-electricity. while the exterior skin of the guaranty expresses a new form for the steel skyscraper, its plan indicates those hard realities of function necessary to construct such a building and to sell it. the building is essentially a u-shaped plan stacked upon a rectangular solid. the interstitial spaces between wings of the “u” create opportunities to introduce skylights to the lobby below, and to cover the ceilings with stained glass. the plan contained a single vertical circulation core with four elevators, a mail slot, and staircase. no fire-stair was provided or necessary. the internal portion of the “u” faces south so as to collect light for the interior recesses of the building- light being a necessary commodity to attract good tenants. sullivan spared nothing to accomplish this end for: “in order to increase the amount of light to the interior, the stairwell and the light slit facing the inner courtyard were lined with white glazed terra-cotta that was more costly than normal tiles.” the first and second floors are united both spatially and visually through additional staircases and the intention of retail occupation. mechanical systems were relegated to the basement, including the motors for the elevators, boilers, and electrical “dynamos.” entrances were provided on both church and pearl streets. a concierge desk offered services to tenants and guests including mail delivery. above the “base” of the building were a series of office floors of identical plan were placed. these floors featured private lavatories in reconfigurable office spaces. the halls were defined by wood and glass partition walls, intended to give the interior a bright and “club” like feeling. the elevators and staircases were enclosed not by walls, but ornamental iron cages permitting southern light to penetrate through the circulatory systems and into the hallways. the only exception to the rise of offices was the seventh floor with lavatories and a barbershop, and the top floor with a us weather service bureau office and spaces for building attendants. the most remarkable problem for those wishing to cast sullivan exclusively in the camp of proto-modernist designers is his steadfast and adroit insistence to ornament his buildings. ornament is one of the most defining characteristics of the guaranty as “the entire façade of this building is clothed in ornament, like hieroglyphs on the columns and walls of temples in ancient egypt.” sullivan’s ornament is unmistakably original, but it is not without precedents in the contemporary tradition of the english arts and crafts movement. “the numerous parallels between sullivan’s ornament and the architectural decoration of furness make it clear that sullivan’s ornament came directly from furness and, through him, from earlier ornament by english architects.” the context of his ornament is important as it was seen as a salient amenity for the attraction of tenants to his buildings. for all the “good taste” his ornament might project to the tenant of the 19th century, it situated his design within an anti-classicist categorization out of “good taste” in the 20th century. ironically this change was precipitated by the world's columbian exposition where sullivan was the only american to win a european design medal and the only american to offer non-classically inspired design. the guaranty, for all its evocative general expression of tectonics is equally as evocative at the scale of its modular terracotta components. “here the balance of interest between the individuals and the group to which they belong is precarious, and the sheer number of compositional elements makes it difficult to attend to the individually.\" it is difficult to determine whether the ornament serves to reinforce the building or the building reinforces the ornament. the experiential effect of so much pattern and repetitive design is homogeneity in tension with the expression of individual components. unlike the wainwright building, where ornament is more directly patterned on historical forms and where spandrels are self differentiated, the guaranty is almost brutal in the hierarchical treatment of and expression within its terracotta relief. such conforming treatment is at odds with the supposedly democratic naturalism sullivan claims for the design. especially near the base, ornamental patterns reflect the span and connection of underlying steel members. as the components rise, a rigid pattern is followed, story upon story until the cornice where the pattern explodes into an umbrageous tangle of leaves and vines, encapsulating the windows and reaching outward over the street below. the ornament tells the same story as the theory which created it: bottom, middle, top- light steel skeleton within. the modulating ornament of the guaranty also indicates the evolution of the medium for sullivan as an artist. his initial explorations were inspired directly by contemporary work and historical precedent. eventually his contact with adler and work involving the “engineers aesthetic” led to more structurally expressive forms, and eventually to an art only his own, florid and organic. “from 1885 through 1889 sullivan’s ornament lost much of its former angularity and became more sophisticated and luxuriant.” it is perhaps due to sullivan’s experiences at the ecole des beaux arts that his ornaments as well as his building are given so much expressive and didactic energy. “his evident haste in wanting to set down the architectural vision before it became blurred even in the slightest degree presumably derives from the method at the french school of working from, and staying as close as possible to, the esquisse.” this is an idea he apparently held for designing ornamental elements as well. his sketch for a column capital at the guaranty labeled “finis” indicates the level of development with which his draftsmen began work. while containing some specific information, the sketch indicates more a painterly composition than a design document. curiously, the process of design used by sullivan to create such innovation was precisely that which prevented him from evolving his conception of plan and section to something his “modern” successors would explore. “in embracing the french theories of plan and esquisse, sullivan remained firmly wedded to his time and place. . . by insisting upon the preeminence of plan, he could hardly have begun to imagine buildings with the spatial complexity of a wright or a le corbusier.”","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671263908138,"sku":"UR-22713-15","price":8500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20150805-img_0001_2.jpg?v=1760362866"},{"product_id":"very-clean-and-remarkably-intact-19th-century-museum-quality-copper-plated-ornamental-cast-iron-louis-h-sullivan-designed-chicago-stock-exchange-staircase-stringer-section","title":"very clean and remarkably intact 19th century museum quality copper-plated ornamental cast iron louis h. sullivan-designed chicago stock exchange staircase stringer section","description":"all original and intact interior single-sided staircase stringer section salvaged from the chicago stock exchange building demolished in 1972. the intricately designed panel was fabricated by the winslow brothers foundry, located in chicago, il. the well-documented stringer section is comprised of ornamental cast iron with original and largely uniform electro-copper plated finish intact. the museum quality piece was decommissioned several years ago by the chicago art institute. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671426830634,"sku":"UR-23356-15","price":2500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20151026-img_0057sert_2.jpg?v=1760189376"},{"product_id":"rare-museum-quality-c-1920-s-original-louis-sullivan-designed-polychromatic-lithographed-steel-single-sided-stove-board-with-a-structurally-sound-wood-board-core","title":"rare museum quality c. 1920's original louis sullivan-designed polychromatic lithographed steel single-sided stove board with a structurally sound wood board core","description":"exceptionally rare and finely executed c. 1920's american polychrome lithographed galvanized steel stoveboard documented as louis sullivan's final commission prior to his untimely death in 1924. stove boards were used as a preventive measure against house fires by acting as a protective barrier between dropping embers emitted from potbelly stoves and the wood flooring found below. previously, only three documented designs were thought to exist for use with the american stove board company's product catalog. this wonderful example clearly demonstrates the possibility of other, yet to be discovered designs fabricated either by american or perhaps another manufacturer. in addition, this is the only known example to have a multi-colored finish, which greatly enhances the design and overall visual impact. the stove board or platform is comprised of a wood core, in the form of interlocking boards with a finely detailed lithographed sheet tin cover crimped along the edges. the visually striking pattern consists of a distinctive interplay between geometric shapes and richly organic design motifs executed in multiple colors. the stove boards are thought to have been made exclusively by or for the american stove board company of chicago, il. no other known example of this \"sullivanesque\" design pattern and\/or color scheme has yet to surface. measures 23 x 23 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671434072362,"sku":"UR-23379-15","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20151111-img_0060x_2.jpg?v=1760278351"},{"product_id":"original-historically-important-late-19th-century-ornamental-cast-iron-exterior-louis-sullivan-designed-gage-building-stringcourse-or-frieze-panel","title":"original historically important late 19th century ornamental cast iron exterior louis sullivan-designed gage building stringcourse or frieze panel","description":"important museum quality late 19th century original unrestored ornamental cast iron exterior gage building facade stringcourse designed by notable architect louis h. sullivan. the intricately designed complete and intact panel was executed by the winslow brothers foundry, chicago, ills. multiple long and narrow sections, fastened together with riveted joint iron straps were mounted directly above the massive spandrel panels that were removed and mostly scrapped (with the exception of a few now belonging to museums). the stringcourse or frieze panels survived alterations when they were covered over instead of being extracted and scrapped. however, due to poor maintenance and\/or neglect, the panels were ultimately removed years later, with most being discarded. two manageable fragments containing the repeating design motifs are available for sale, while the complete section has been added to the bldg. 51 museum collection. the small fragment has been cleaned of rust and paint and sealed with a clear coat lacquer. the larger panel will undergo restoration before being exhibited. the historically important gage group commercial buildings consist of three individual buildings located at 18, 24 and 30 s. michigan avenue, between madison street and monroe street, in downtown chicago. the buildings were built from 1890–1899 by the architectural firm holabird \u0026amp; roche for three millinery firms - gage, keith and ascher. the building at 18 s. michigan avenue has an ornamental façade designed by louis sullivan. it was listed on the national register of historic places on november 14, 1985, and was designated a chicago landmark on september 11, 1996. in addition, it is a historic district contributing property for the chicago landmark historic michigan boulevard district. the distinct façades of these buildings demonstrate two different approaches to the chicago school, a design movement that led to the creation of modern commercial architecture. the buildings by holabird \u0026amp; roche are straightforward, while the facade designed by sullivan exemplifies his more expressive and organic approach. the tallest building is known as \"18 south michigan avenue\" and was previously called the gage brothers and company building. before the chicago street addresses were changed in 1909, the building had the address of 130 s. michigan avenue. the ornamental flourishes at the top of sullivan's façade were pushed upwards when four stories were added in 1902 by different architects. this is one of only five buildings in chicago designed by louis sullivan that are still standing. the two smaller buildings to the south are also part of the gage group buildings..","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671446425898,"sku":"UR-23415-15","price":10000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20151117-img_0023c_2.jpg?v=1760366559"},{"product_id":"original-and-intact-c-1894-card-from-helliwell-treat-co-agents-to-attorney-adolph-loeb-seeking-inspection-of-the-soon-to-be-completed-chicago-stock-exchange-building","title":"original and intact c. 1894 card from helliwell, treat \u0026 co. agents to attorney adolph loeb seeking inspection of the soon to be completed chicago stock exchange building.","description":"rare original antique 1894 postcard from chicago stock exchange brokers to a prominent lawyer adolph loeb, seeking inspection of the yet to be completed building. the card is dated march 8th, 1894 and reads, \"dear sir:- \/ we have an office in the ground floor of the building on the corner of washington and la salle streets, and an ELEVATOR RUNNING. we would be pleased to have you call and inspect the offices. \/ yours truly, \/ helliwell, treat \u0026amp; co., agents.\" the envelope is stamped march 10th and features an ornate bordered decorative stamp, \"postal card one cent \/ united state of america \/ this side is for address only\". in cursive founain penned handwriting, the card is addressed to \"adolph loeb, esq. \/ 152 la salle st. \/ city\". the chicago stock exchange was founded in a formal meeting in march 1882. in april of that same year, a lease was taken out at 115 dearborn street for the location of the exchange. in may, the stock exchange officially became public and opened its offices. the exchange began to flourish significantly in the late 1880's, with the rate of transactions of stocks and bonds increasing and earning them big profits. in 1894 the stock exchange moved its trading floor to the old chicago stock exchange building, designed by the firm of adler \u0026amp; sullivan, at the corner of washington and la salle. this building was demolished in 1972, but the original trading floor and main entrance can now be found reconstructed at the art institute of chicago. throughout the 1890's agents from the firm of helliwell, treat \u0026amp; co. were hired to manage the building. ferdinand wythe peck, jr., born in chicago in 1871, entered the real estate business with helliwell, treat \u0026amp; company in 1893. upon the death of mr. helliwell the following year the business continued as treat \u0026amp; peck; on withdrawal of mr. treat in 1895, peck continued as sole agent and manager of the chicago stock exchange building. he resigned in 1899 when the property was sold and soon became connected with the u.s. commission to the paris exposition in 1900.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671464382762,"sku":"UR-23488-15","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20151128-img_0009_2.jpg?v=1760190104"},{"product_id":"two-matching-original-and-fully-functional-1894-chicago-stock-exchange-building-interior-trading-room-skylight-edison-screw-base-single-hairpin-filament-light-bulbs","title":"two matching original and fully functional 1894 chicago stock exchange building interior trading room skylight edison screw base single hairpin filament light bulbs","description":"set of nearly identical all original and intact late 19th century sullivan and adler-designed chicago stock exchange interior trading room edison screw base light bulbs or \"lamps\" fabricated by the edison general electric company, harrison, nj. the \"tipped\" mold blown lamps were removed from keyless sockets mounted above the building's trading room art glass skylights shortly before demolition in 1972. the majority of the trading room ornament, including the incandescent light bulbs was salvaged by richard nickel, john vinci, tim samuelson and others for future reconstruction at the chicago art institute. the artificial light provided by the light bulbs was not adequate enough to effectively illuminate the skylights so the electric lamps were turned off and largely forgotten until being rediscovered over 70 years later. the same exact light bulbs were used in each of the ornamental monogrammed plaster segments located directly below the ceiling. the two matching light bulbs were given to me by tim samuelson for use in illuminating the bldg. 51's original and intact plaster segment, housed in an oak wood frame with keyless ceramic sockets mounted in the two holes flanking the fanciful monogram. a total of 5,500 lamps used to illuminate the interior spaces of the chicago stock exchange building, completed in 1894. the lamps were supplied by the central electric company, which at the time was the exclusive western agent of western electric supply company, st. louis, mo. the edison screw base lamps were fabricated by the edison general electric, harrison, nj. the edison light bulb was improved upon, both in material and design, with modified changes being introduced nearly every year between the late 1880's and early 1890's. in 1893 a light bulb known as the \"new type edison lamp\" was introduced and was produced until 1900. prior to 1893 any and all edison lamps were outfitted with filaments made from carbonized bamboo fibers, a notoriously difficult material caused by the large variations in performance. in 1893 the edison factories adopted the squirted cellulose filament, which was a man-made carbon fiber that tremendously improved both strength and uniformity. the platinum lead wires were connected to the newly developed hairpin filament with a carbon paste first introduced in 1886.  the base of the light bulb was first introduced in 1888, with the number of threads increased and refined further in 1893. the insulator was originally plaster of paris, but by 1890 the lamps were treated with a more durable porcelain insulator. the soda lime glass bulb or \"envelope\" was blown into a mold versus free air, a technique first introduced in 1892. the lamp power of light bulbs used in the stock exchange trading room were  approximately 75 watts.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671478079786,"sku":"UR-23530-15","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20151201-img_0046zz_1_2.jpg?v=1760454492"},{"product_id":"original-c-1893-94-diminutive-louis-sullivan-designed-chicago-stock-exchange-interior-intricately-designed-elevator-lobby-pilaster-capital-fragment","title":"original c. 1893-94 diminutive louis sullivan-designed chicago stock exchange interior intricately designed elevator lobby pilaster capital fragment","description":"late 19th century museum quality original reconfigured and\/or displayable interior chicago stock exchange building elevator pilaster capital designed by notable prairie school architect louis h. sullivan. the ornamental cast iron fragment was fabricated by the winslow brothers foundry, which executed the majority of sullivan's ironwork throughout the years. the capital contains intense leafage at the top followed by a repeating pattern of side-by-side quatrefoils. very little of the original copper-plated finish remains intact. the full-length pilasters where mounted between each of the elevator doors or grilles. the museum quality piece was decommissioned several years ago by the chicago art institute. manageable size for display purposes. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671495905578,"sku":"UR-23631-15","price":1500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20131125-013n_1_2.jpg?v=1760367731"},{"product_id":"original-c-1890-s-museum-quality-interior-chicago-stock-exchange-building-copper-plated-ornamental-cast-iron-sullivan-designed-stringer-panel","title":"original c. 1890's museum quality interior chicago stock exchange building copper-plated ornamental cast iron sullivan-designed stringer panel","description":"one of two nearly identical original and intact interior single-sided copper-plated louis sullivan-designed staircase stringer sections salvaged from the chicago stock exchange building demolished in 1972. the intricately designed panel was fabricated by the winslow brothers foundry, located in chicago, il. the well-documented stringer section is comprised of ornamental cast iron with original and largely uniform electro-copper plated finish intact. the museum quality piece was decommissioned several years ago by the chicago art institute. three small sections, along with multiple fragments are available for purchase. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671496003882,"sku":"UR-23632-15","price":895.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20151217-20151217-img_0009_2.jpg?v=1760454844"},{"product_id":"original-late-19th-century-ornamental-cast-bronze-union-trust-building-style-oversized-entrance-door-thumblatch-handle-with-cylinder-lock-opening","title":"original late 19th century ornamental cast bronze union trust building style oversized entrance door thumblatch handle with cylinder lock opening","description":"finely crafted original 19th century ornamental cast bronze union trust building entrance door thumblatch pull handle designed by louis h. sullivan for the the yale \u0026amp; towne mfg. co., stamford, ct. the oversized store door pull was designed in part, by notable chicago school architect louis sullivan to outfit the extant union trust building, located in st. louis, mo. shortly thereafter, the hardware became a \"stock\" pattern known as the \"senlis\" pattern. the store door handle has a mostly uniform surface patina. the cylindrical hole above the thumblatch is used with a standard cylinder lock. measures approximately 21 1\/4 x 3 5\/8 inches. the union trust building was constructed in 1892-3. this structure, built in a \"u\" shaped plan with two wings surrounding a central light court, was designed by louis sullivan's firm immediately after their famous wainwright building. structurally, it is considered to be more pure than its better known contemporary (i.e., wainwright building). modifications of the first two floors in 1924 eliminated some of the buildings important architectural elements such as its arched entryways and circular windows. the upper floors of the building return to its original characteristics, with uninterrupted brick shafts from the third to the twelfth floors. above the rounded arch windows of the twelfth floor, a two story cap contains terra cotta lion heads projecting from its spandrels. rich sullivanesque ornamentation adorns the building's cornice. the interior office door backplates were manufactured by the yale \u0026amp; towne mfg. co., stamford, ct. the design or pattern was later used as a \"stock pattern, known as \"senlis,\" under the yale \u0026amp; towne hardware catalog modern renaissance school classification. although yale and towne executed other sullivan-designed hardware for various building commissions, this pattern and the \"parma\" pattern (used in the bayard building in new york) were the only two patterns to be offered to the public in yale \u0026amp; towne catalogs (e.g., page 714 \u0026amp; 715 of the 1910 hardware catalog).","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671504392490,"sku":"UR-23710-16","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20160105-img_0005_2.jpg?v=1760191082"},{"product_id":"original-c-1890-s-historically-important-museum-quality-adler-sullivan-chicago-stock-exchange-trading-room-ceiling-pendant-light-fixture-designed-by-louis-h-sullivan","title":"original c. 1890's historically important museum quality adler \u0026 sullivan chicago stock exchange trading room ceiling pendant light fixture designed by louis h. sullivan","description":"completely intact single late nineteenth century ornamental cast brass three-light electrolier pendant designed by louis h. sullivan for the c. 1894 chicago stock exchange building. the ceiling light fixture was removed from the trading room balcony ceiling around 1908 when the stock exchange moved out of the building. the architectural firm of frost and granger were quickly brought on board to renovate the trading room space in preparation for its new tenant, the foreman bank. sometime during the 1908 transition, an unidentified person with great foresight saved the fixture from being scrapped or tossed out. the \"cluster\" light was likely manufactured in part by the winslow brothers foundry in chicago, il. the fixture with matching sconces were heavily refinished by the previous owner. the fixture may have had art glass shades, but further research is needed. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used on the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. its structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground level with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved. the art institute created a complete reconstruction of this significant room in a new wing of the museum in 1977. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671507636522,"sku":"UR-23751-16","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20160112-img_0001_2.jpg?v=1760455196"},{"product_id":"original-and-completely-intact-c-1890-s-louis-h-sullivan-designed-chicago-stock-exchange-building-monogrammed-ornamental-cast-iron-backplate-and-doorknob","title":"original and completely intact c. 1890's louis h. sullivan-designed chicago stock exchange building monogrammed ornamental cast iron backplate and doorknob","description":"remarkable all original and highly sought after late 19th century antique american ornamental cast iron chicago stock exchange building interior office door monogrammed escutcheon and matching doorknob designed by chicago architect louis h. sullivan. the doorknob set was fabricated by the yale \u0026amp; towne mfg. co., stamford, ct. the original \"rust-proof\" bluish-black bower-barff finish remains largely intact. the backplate and doorknob exhibit exceptional detail throughout. the larger monogrammed backplates were outfitted on the office doors located in the corridors of each floor. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used on the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. its structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground level with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved. the art institute created a complete reconstruction of this significant room in a new wing of the museum in 1977. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive. priced for the set.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671584018730,"sku":"UR-23875-16","price":1800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20160205-img_0004_2.jpg?v=1760191808"},{"product_id":"original-c-1895-ornamental-cast-iron-chicago-stock-exchange-building-monogrammed-interior-office-door-backplate-or-escutcheon-with-bower-barff-finish","title":"original c. 1895 ornamental cast iron chicago stock exchange building monogrammed interior office door backplate or escutcheon with bower-barff finish","description":"late 19th century historically important chicago stock exchange building oversized monogrammed doorknob backplate fabricated by the yale \u0026amp; towne mfg. co., stamford, ct. the intricately detailed backplate was designed by notable chicago architect louis h. sullivan for the chicago stock exchange building. the backplate retains the original bower-barff finish with only minor wear evident. the \"cseb\" monogram is located directly beneath the protruding thimble. great overall condition. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used on the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. its structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground level with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved. the art institute created a complete reconstruction of this significant room in a new wing of the museum in 1977. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671584117034,"sku":"UR-23876-16","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20160205-img_0022z_2.jpg?v=1760191834"},{"product_id":"c-1849-95-antique-american-ornamental-cast-iron-chicago-stock-exchange-building-interior-office-door-handle-designed-by-louis-h-sullivan","title":"c. 1849-95 antique american ornamental cast iron chicago stock exchange building interior office door handle designed by louis h. sullivan","description":"one of two nearly identical and highly sought after late 19th century antique american ornamental cast iron chicago stock exchange building interior office door escutcheon or backplate doorknobs designed by chicago architect louis h. sullivan. the heavily detailed doorknob was fabricated by the yale \u0026amp; towne mfg. co., stamford, ct. the original \"rust-proof\" bluish-black bower-barff finish remains partially intact. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used on the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. its structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground level with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved. the art institute created a complete reconstruction of this significant room in a new wing of the museum in 1977. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671584346410,"sku":"UR-23878-16","price":595.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20160205-img_0036x_2.jpg?v=1760280561"},{"product_id":"large-lot-of-hard-to-find-all-original-c-1894-ornamental-cast-iron-sullivan-designed-chicago-stock-exchange-window-sash-pulls-with-bower-barff-finish","title":"large lot of hard to find all original c. 1894 ornamental cast iron sullivan-designed chicago stock exchange window sash pulls with bower-barff finish","description":"group of matching all original late 19th century oversized ornamental cast iron interior chicago stock exchange building window sash pulls fabricated by the yale \u0026amp; towne mfg. co., stamford, ct. the louis h. sullivan-designed sash pulls contain a simple yet elegant twist design along the handles accentuated with highly ornamented curved backplates featuring distinctive sullivan design motifs (used specifically for the this commission). six screw holes were incorporated into the oversized pulls for mounting flush against the massive plate glass double-hung window sash frames. the original bower-barff \"rust-proof\" finish remains largely intact, with some minor paint and surface rust evident. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was designed by the architectural firm of adler and sullivan with falkenau \u0026amp; company as general contractors. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13. the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive. priced for the lot. each sash pull measures 7 1\/2 x 1 1\/2 x 2 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671585788202,"sku":"UR-23898-16","price":6200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20160210-img_0032z_2.jpg?v=1760280645"},{"product_id":"rare-original-historically-important-late-nineteenth-century-decorative-plaster-fragment-fabricated-for-the-non-extant-adler-sullivan-designed-garrick-theater-auditorium","title":"rare original historically important late nineteenth century decorative plaster fragment fabricated for the non-extant adler \u0026 sullivan-designed garrick theater auditorium","description":"single original and intact completely unrestored 19th century interior schiller (later known as the garrick theater) building plaster friezework block fabricated for adler \u0026amp; sullivan. the fragment features a distinctive thistle leaf pattern in high relief. its surface is worn in places, revealing the several layers of paint applied to the plaster. the fragment was likely fabricated by the decorator's supply company. the non-extant late 19th century terra cotta-clad schiller theatre building was designed by architects louis sullivan and dankmar adler of the firm adler \u0026amp; sullivan for the german opera company. at the time of its construction, it was among the tallest buildings in downtown chicago. The building’s focal point was an elaborately designed 1,300-seat theater noted for its highly organic-themed plaster ornament and remarkable acoustics. opened in 1892, the schiller theater was originally funded by german investors and was projected to be used for german-language operas and cultural events. one of the more tangible references to its german heritage was a series of terra cotta busts of prominent german figures integrated within the second story arcade. the theater changed its name and duties over the following decades. it was briefly known as the dearborn theater from 1898 to 1903, until finally settling on the name garrick theater. after german investors backed out of the project in the late 1890’s, it ceased its german performances, and exhibited touring stage shows. in the 1930’s the theater was acquired by balaban \u0026amp; katz and subsequently used as a television studio and movie theater. after a long decline that began during the depression, the garrick was razed in 1960 and replaced with a parking structure. the demolition instigated a large outcry and is considered to be one of the first wide scale preservation efforts in chicago. photographer and historical preservationist richard nickel spearheaded an effort to document and rescue hundreds of architectural artifacts from the building shortly before and during its demolition.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671588507946,"sku":"UR-23925-16","price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20160205-img_0054_2.jpg?v=1760368681"},{"product_id":"all-original-and-largely-intact-museum-quality-1884-sullivan-designed-interior-louis-frank-residence-light-fixture-cast-plaster-ceiling-medallion","title":"all original and largely intact museum-quality 1884 sullivan-designed interior louis frank residence light fixture cast plaster ceiling medallion","description":"exceptional 19th century historically-important interior louis frank residential ceiling medallion executed by sculptor james legge. the sullivan-designed light fixture ceiling medallion was salvaged by richard nickel from the 1884 south side chicago frank house prior to its demolition in 1968. the majority of the rooms within the house contained this medallion (along with other adler and sullivan commissions). when the house was electrified, the centrally located opening was enlarged, with the exception of one rosette. the house was located at 3155 south michighan avenue.  the mansion was crowned with galvanized steel decorations and its facade featured a luxurious two-and-a-half-story projecting bay. prior to its demolition in 1968, the building housed iit’s vandercook school of music, as documented by richard nickel. the house was commissioned by adler and sullivan.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671691006250,"sku":"UR-24698-16","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20161113-img_9875z_2.jpg?v=1760194885"},{"product_id":"historically-important-original-1891-garrick-theater-green-and-yellow-colored-mosaic-tile-floor-interior-auditorium-staircase-landing-fragment","title":"historically important original 1891 garrick theater green and yellow-colored mosaic tile floor interior auditorium staircase landing fragment","description":"original two-tone mosaic tile floor segment (which in turn will be added to the bldg. 51 museum) from one of two schiller building (garrick theater) staircase landings, discovered by nickel et al. in may of 1960 - shortly before the building was set to be demolished. the semi-circular staircase landings, which weighed over three tons, were extracted by stone masons hired by nickel and trucked off to navy pier, where all of the building's salvaged ornament was being stored. the polychromatic mosaic panels were designed by louis h. sullivan and likely executed by william henry burke, a mosaic contractor who did work in adler and sullivan's auditorium building. in a 1916 reminiscence, sullivan said that nearly ten million \"little pieces\" were used in the auditorium bld. despite lacking technical knowledge of the craft, sullivan was said to be utterly obsessed over the design and execution of mosaic patterns incorporated in his buildings, which was used to emphasize ornamental themes and enhance the surfaces of a given space (e.g., the mosaic floors created for the auditorium's hotel lobby floors). originally named the schiller theater, the building was designed by louis sullivan and dankmar adler in 1891 at 64 west randolph street. it was intended to serve german americans, and was funded by the german opera company. at the time of construction, the schiller was one of the tallest buildings in chicago and is still widely considered one of the greatest collaborations between the two architects. the I-shaped building consisted of a 17-story tower flanked by a 9-story wing with oriel windows on either side. the exterior of the building was sheathed in buff-colored ornamental terra cotta shaped into a variety of patterns, and intertwining with lush, leafy forms. the sculptor richard bock supplied busts of famous german poets, artists and philosophers for the exterior as well. the interior of the 1,286-seat auditorium contained a series of striking vaults, that were faced in plaster panels. these featured a repeated star-pod pattern in which central, star-like shapes are surrounded by borders of intertwining vine and leaf forms. other plaster panels had interlocking or flat circles, all originally in a color scheme of salmon, green, gold, yellow, and red.the schiller saw many iterations and inhabitants: the german investors backed out of the project near the turn of the century and from 1898-1903 the building became the dearborn theater, showing vaudeville or touring stage shows. five years later its name was finally changed to the garrick theater under new ownership. between 1910 and 1950, the garrick building was leased, subleased, sold and put into receivership six times, but remained, nonetheless, a popular stop on the vaudeville circuit. simultaneously, and in symbiotic fashion, the early twentieth century saw the stretch of randolph street between state and clark streets become a national center for popular sheet-music publishers; filling the garrick and neighboring office buildings, they sold their new material to traveling vaudevillians. in 1950, the theater was closed and converted into a television studio. seven years later, it was sold to balaban and katz, who reopened the building as a movie theater. eventually balaban and katz no longer considered the architectural gem commercially viable, and made a deal to wreck the building and redevelop it, tragically, as a parking structure. the garrick was razed in early 1961, but the demolition was a clinching point of the preservation movement in chicago, instigating a major outcry from the public and becoming an important salvage for richard nickel and his associates. corroborated by historian tim samuelson, the only people allowed on the wrecking site were the authorized team of richard nickel, john vinci, david norris, and charlie gregerson. thus, the pieces acquired by urban remains unilaterally lead back to their efforts. these very fragments were saved and likely handled by nickel himself. the entire team had been hired under the sponsorship of the world book encyclopedia and the municipal reference library of chicago to salvage materials specifically for distribution to interested museums and public institutions. the scene that is painted is a surreal one: fragments of the building were all laid-out at navy pier for curators and qualified buyers to select what they wanted for their respective institutions. without a great deal of time or interest, many ended up in private hands while some were thrown away or dumped (likely even in lake michigan). according to a publication on nickel's preservation efforts, documenting the garrick theater was exceptionally time consuming and laborious. he even apparently worked around being denied access to the gallery of the theater by climbing into a fourth floor door via the roof of the neighboring greyhound terminal. in the end nickel and the rest of his team salvaged hundreds of artifacts and ornaments, and recorded extensive notes, diagrams and photographs of the structure. nickel's photographs specifically helped to record and elevate the building for posterity, rendering in black and white the sullivan-designed plaster work that had been garishly painted, thus reorienting attention to the form. nickel passionately attempted a campaign to save the garrick, plying philanthropists to join his effort and soliciting letters from various public figures. a month before the demolition was to occur, telegrams and letters of protest poured into the mayor's office, including from the likes of frank lloyd wright's widow, le corbusier, arthur drexler (the director of architecture and design at the new york moma), lewis mumford, and more. a lengthy court battle, picketing, and nickel's grassroots effort did not prevent the garrick from being turned to rubble. alternately, it did bring great attention to the vulnerable status of extant sullivan buildings, and mobilized the preservation movement.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671710175530,"sku":"UR-24861-16","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20161218-img_1712-e1482811776198_2.jpg?v=1760285067"},{"product_id":"rare-all-original-c-1906-framed-gelatin-silver-photographic-print-of-louis-sullivan-designed-interior-ornamental-terra-cotta-from-the-national-farmers-owatonna-bank","title":"rare all original c. 1906 framed gelatin-silver photographic print of louis sullivan-designed interior ornamental terra cotta from the national farmers owatonna bank","description":"very rare original museum-quality framed c. 1906 gelatin-silver photographic print featuring interior ornamental glazed terra cotta from the national farmers bank, owatonna, mn. the professionally framed and matted print was photographed by fuermann and sons. \"louis sullivan\" is stamped on the verso. the 1906 terra cotta detail dates to 1906. the image measures 8 x 10 inches. the frame is comprised of solid walnut wood. the national farmers' bank of owatonna was designed by louis sullivan with decorative elements by george grant elmslie. it was completed in 1908, and was the first of sullivan's \"jewel box\" banks. the building is clad in red brick with green terra cotta bands, and features two large arches on its street-facing facades. single-story wings, originally housing bank offices, extend along each side. internal elements include two stained-glass windows designed by louis j. millet, a mural by oskar gross, and four immense cast iron electroliers designed by george grant elmslie and cast by winslow brothers company (owned by william winslow, for whom frank lloyd wright designed an iconic house). the officers of the national farmers' bank sought sullivan out, in part because they wanted a fresh idea of a bank building that would suit their specific needs, and they felt that conventional bank architecture of the time would not meet those. the building sullivan designed included a farmers' exchange room, where its clients might do business with each other, a women's consultation room, a conference room for the bank board, and the president's office. all of these rooms were richly decorated, with custom furniture. the bank was remodeled in 1940, and many of the interior architectural elements were destroyed. subsequent work in 1958 and from 1976 to 1981 restored it to its original grandeur. on january 7, 1976 it was recognized as a national historic landmark for its architectural significance.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671716368682,"sku":"UR-24906-17","price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20141201-20141201-009z_2.jpg?v=1760285284"},{"product_id":"historically-important-late-19th-century-american-unrestored-exterior-louis-h-sullivan-designed-chicago-stock-exchange-building-facade-terra-cotta-fragment","title":"historically important late 19th century american unrestored exterior louis h. sullivan designed chicago stock exchange building facade terra cotta fragment","description":"museum quality 19th century historically-important exterior buff-colored terra cotta fragment salvaged from the non-extant chicago stock exchange building demolished in 1972. the ornamental frieze panel fragment has darkened considerably over time from prolonged exposure to air pollutants (e.g., coal ash, etc.). the rear cavities or \"webbing\" have been removed to lessen the weight and make the louis h. sullivan-designed fragment more displayable. the terra cotta frieze panel fragment was fabricated by the northwestern terra cotta company, chicago, il. between 1881 and 1895 louis henry sullivan and engineer dankmar adler designed a series of office towers, including the chicago stock exchange building (extant from 1894 to 1972), their largest building and perhaps most important commission. noteworthy for the firm's inspired solution to the newly arisen issue of an appropriate form for the \"tall building,\" it was replete with some of louis sullivan's finest organic ornamental detailing. built on the site of the first brick building in chicago (1837), the 13 story steel frame chicago stock exchange building was constructed by the general contracting firm of falkenau \u0026amp; company. the building was completed in 1894 at a total cost of $1,131,555.16. the stock exchange contained 13 stories with the single basement containing both pile and caisson foundations (the latter were used don the west party wall). the building contained 480 offices. the stock exchange was the second largest commission awarded to sullivan and adler (the largest being the auditorium hotel and theater). the building's exterior was outfitted with ornamental buff-colored terra cotta designed by sullivan and fabricated by the northwestern terra cotta company. the structural system consisted of fireproofed steel framing. the first floor was treated on the exterior as basement, with the second and third floors as an arcade, bay windows extended from the fourth through the twelfth floor and the thirteenth contained a colonnaded ribbon of windows topped by a projecting cornice with a richly worked surface. the interior contained shops on the ground floor with offices on the upper floors of the main block and wings. the elevators were located at the center of the building. the trading room occupied one-half of the second and third floors. the two sets of stairways were found on floors 4-13 (north and south side of the building). the highly stylized staircase was comprised of copper-plated ornamental iron, oak railings and white marble treads. between floors, each staircase consisted of two flights ascending in opposite directions, linked by a rectangular landing (a staircase was first removed from the building and installed in the metropolitan museums american wing). when the stock exchange moved in 1908, the trading room was converted into office space and later bank. during the course of demolition in 1972, photographer and activist richard nickel was working to salvage ornament the building when the unstable structure collapsed and he was tragically killed. as a tribute to nickel from and sullivan, sections of the trading room stencils, molded pilaster capitals, and art glass were preserved and in 1977 the art institute created a complete reconstruction of this significant room in a new wing of the museum. at the same time, the monumental entry arch of the stock exchange was erected on the museum grounds near the corner of monroe street and columbus drive.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671839052074,"sku":"UR-26076-17","price":1800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20170130-img_2103n_2.jpg?v=1760460914"}],"url":"https:\/\/urbanremainschicago.com\/collections\/louis-sullivan.oembed?page=9","provider":"Urban Remains Chicago","version":"1.0","type":"link"}