{"title":"Zero Price","description":"","products":[{"product_id":"historically-importnat-gargantuan-electrically-animated-exteiror-chicago-esquire-theater-building-facade-vertical-neon-sign","title":"historically important gargantuan electrically animated exteiror chicago esquire theater building facade vertical neon sign","description":"a historically important and largely intact vintage replica of the original c. 1938 electrically animated massive esquire theater exterior vertical marquee neon sign. originally manufactured by the white way sign co., chicago. comprised largely of enameled steel with several internal transformers and incandescent light sockets. gelick foran associates' restored the sign in the early 1980's, adding gridded structural members with matching paint scheme. the theater's vertical marquee sign measures 46 feet in height by 4 feet in width. the art moderne style esquire theatre first opened in 1938. the theater was built for harry and elmer balaban (balaban \u0026amp; katz theater circuit) by architect william l. pereira of the architectural firm of pereira and pereira. the super streamlined interior originally featured a single auditorium capable of seating approximately 1400 patrons. the theater underwent a major renovation during the 1980's. the fate of the mostly unoccupied esquire theater remains unknown. 2011 update: the sign will remain in place.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50668950716714,"sku":"UR-7687-10","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20100821-002-6_1_2.jpg?v=1759974740"},{"product_id":"series-of-three-original-late-19th-century-american-hand-painted-pine-wood-interior-decorating-trade-signs","title":"series of three original late 19th century american hand-painted pine wood interior decorating trade signs","description":"three original late 19th century hand-painted pine wood american advertising signs made for the odin j. oyen decorating firm. the signs may have been mounted on the exterior facade or perhaps within the windows of the firm's 4th street location (see above) located in downtown la crosse. although the building does remain extant, it underwent a horrific facade-ectomy during the 1960's. the signs remain in great condition, considering age (the signs had been in storage since the 1920's, only to be rediscovered in the late 1990's when the last remaining family member passed on. oyen decorating firm traces its roots to company funder odin j. oyen, who arrived in the city of la crosse, wisconsin at the suggestion of ori sorensen (of sorensen and davis contractors) in february of 1888. the opportunity in la crosse for a painter and interior decorator was seemingly  unlimited during around this time period in the late 19th century. the upper midwest building boom of the 1880's and 1890's was well underway - fueled in part by the immense profits generated from the lumber industry. wealthy lumber barons across wisconsin and minnesota were rapidly building large mansions that often required extravagant interior decoration. at the same time, newly-built churches (and many existing ones) were undergoing interior remodeling, including scenic and symboic wall murals, stenciling and other design appplications. additionally, courthouses and other civic buildings were being constructed to serve the new communities formed from immigrants and travelers moving west for new employment opportunities. recognizing the need for a wide clientele, odin j. oyen quickly became involved in bidding on several contracts for these large public buildings, residences, churches and even movie theaters throughout the upper midwest. as his design firm rapidly grew to national prominence, oyen found it necessary to devote more of his time to the business aspects of his decorating firm, which included the formation of a talented staff of artisans to execute the commissions he was securing. oyen drew on the talents of skilled european artisans migrating to america for executing several of the commissions he was awarded. around 1895, he hired his first full time artist-designer joseph erickson, who was born and trained in norway. oyen had met erickson in chicago - possibly at the world's columbian exposition, while working on one of the fair's buildings. the continued growth of the oyen firm demanded a larger and more prestigious location to conduct business. on december 1, 1895, the firm moved to 114 south fourth street, where later the firm added a third floor to the existing building to accommodate his need for additional studio space. the first floor of the extant building is now a restaurant, but the second and third floors remain largely unchanged from oyen's time. in 1902, looking for opportunities to continually broaden his business operation, oyen purchased a sign and bill-posting company, calling it the oyen-ad sign system. this newly developed ad-sign system purportedly controlled the outdoor advertising space within 500 miles of la crosse, wisc., and with it, gave oyen an additional opportunity to place his name before the public. a coca-cola contract for outdoor advertising (e.g., large advertisements were painted on the sides of buildings) provided the sign company with most of the upper midwest territory for advertisement sign boards promoting this brand. in 1903, axel edward soderberg was hired as the firm's primary artist, who would go on to execute the majority of the firm's interior installations (e.g., painted murals, etc.) throughout the early 20 century. oyen enticed soderberg away from andrews decorating company of clinton, iowa, who was his chief rival in this area. another important contract was secured around 1912, when oyen was responsible for decorating the friedman brothers and finklestein and ruben theaters (both firms had offices located in the minneapolis and st. paul). the oyen firm was for designed the interiors of these theatres beginning around 1912 through 1925. another pivotal moment occurred during the fall of 1912, when odin j.oyen firm's constructed a new building (located at 507 main street) that housed a showroom, offices and an art studio on the top floor. interestingly, odin j. oyen was heavily involved in the building's overall design, perhaps influenced by his exposure to various commercial structures popular in new york during this time period. the extant building is essentially, a composite of three different buildings odin had observed in numerous architectural record magazines. oyen's friend, the local architect percy dwight bentley, gave the design its physical form. the new oyen building, illustrated in the november 1913 western architect, is stone faced on the first story with brick above. the projecting cornice consists of a unique assemblage of green glazed terra cotta tiles and painted wood brackets. the site at 507 main street was originally purchased from wm. doerflinger and j. c. toeller for $9,000. the building's exterior facade and interior floor plans remain largely intact to this day. the oyen firm continued to prosper well into the 1920's until the death of the company's founder, who died of lung cancer on july 31, 1926. the business continued on under the name \"odin j. oyen studios\" for less than a decade under the direction of his son, leighton oyen and brother louis oyen. the depression years coupled with the untimely death of louis oyen in \u003cbr\u003e1931, contributed to the decline and eventual closing of the oyen firm.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669095616810,"sku":"UR-8741-10","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20100906-040m_2.jpg?v=1759978312"},{"product_id":"extraordinary-early-20th-century-richly-organic-red-slip-glaze-chicago-school-terra-cotta-urn","title":"extraordinary early 20th century richly organic red slip glaze chicago school terra cotta urn","description":"very unique and highly stylized c. 1900-15 richly organic terra cotta urn retaining the original and largely uniform red slip glaze. the remarkable chicago school \"sullivanesque\" urn was designed by notable american architect george grant elmslie. unidentified commission. the intricately designed foliage and geometric designs are typical of elmslie's work. likely fabricated by the american terra cotta company. george grant elmslie was a prairie school architect whose work is mostly found in the midwestern united states. he worked with louis sullivan and later with william gray purcell. the architectural practice most widely known as purcell \u0026amp; elmslie consisted of three partnerships. the first, purcell \u0026amp; feick, was created at minneapolis, minnesota, in 1907 between purcell and his cornell school of architecture classmate, george feick, jr. george elmslie and purcell had been friends since 1903, when purcell worked for a short while in the office of louis sullivan, and elmslie was an informal influence in the work of purcell \u0026amp; feick. in 1909, elmslie joined the office in minneapolis, minnesota, and the name of the firm changed to purcell, feick, \u0026amp; elmslie in 1910. feick left the partnership in 1912, and the name of the practice became purcell \u0026amp; elmslie until being dissolved in 1921. over the course of the partnership, purcell \u0026amp; elmslie became one of the most commissioned firms among the prairie school architects, second only to frank lloyd wright. following the dissolution of his partnership with purcell, elmslie worked occasionally with various other architects, including lawrence a. fournier, william s. hutton, hermann v. von holst and william eugene drummond, and produced a number of banks, train stations, commercial, and institutional buildings during the 1920's and 1930's. measures 32 inches in diameter. call for price.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669101809962,"sku":"UR-8816-10","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20101214-elms_2.jpg?v=1759978582"},{"product_id":"historically-significant-c-1920-s-uptown-theater-interior-ornamental-cast-bronze-illuminated-lounge-sign","title":"historically significant c. 1920's uptown theater interior ornamental cast bronze illuminated lounge sign","description":"exceptionally rare c. 1920's largely intact ornamental cast bronze illuminated \"mens lounge\" flange sign, salvaged from the extant uptown theater. the remarkably ornate wall mount electrified sign retains the original opalescent white glass panels with a delicate patinated copper foil surface containing cutout lettering. the double-sided sign was likely fabricated for the chicago stage lighting co., chicago, il. the uptown theatre, also known as the balaban and katz uptown theatre, is a massive, ornate spanish baroque style movie palace in the uptown neighborhood of chicago, illinois. the theatre opened its doors august 18, 1925, billed as \"an acre of seats in a magic city.\" literature encouraged patrons to \"come for the most awe-inspiring sight of your life.\" the grand opening of the uptown theatre was accompanied by a \"central uptown parade\" of over 200 floats and a grand ball at harmon's arcadia in uptown. over 12,000 people stood in line to be ticketholders in the very first audience. several women collapsed because of exhaustion. designed by rapp and rapp and constructed in 1925, it the last of the \"big three\" movie palaces built by the balaban \u0026amp; katz theatre chain. the uptown theater is considered the largest theater in chicago, with a 4,381 seat auditorium. the interior volume is said to be larger than any other movie palace in the united states, including radio city music hall in new york. the mammoth theater has an ornate five story entrance lobby with an eight story facade. the uptown theatre has been closed to regular events since the winter of 1981 when, due to the owner having turned off the heat, a frozen water pipe burst and caused extensive damage to the interior. in subsequent years, deferred maintenance and vandalism have led to further debilitation of the structure and ornament, both inside and out. since 1981, the theater has been used as a location for scenes in movies such as the academy award-nominated ron howard movie, backdraft, the julia roberts and nick nolte movie, i love trouble, and the john hughes-chris columbus sequel home alone 2: lost in new york. in the 1990's, the theatre lobby was host to the \"hearts party\" (a gay \"circuit\" party), which raised money for an aids charity. measures 22 x 10 x 5 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669122617642,"sku":"UR-9076-11","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20110118-015m_2.jpg?v=1759979472"},{"product_id":"hard-to-find-c-1930-s-single-sided-vintage-industrial-careful-man-factory-plant-sign","title":"hard to find c. 1930's single-sided vintage industrial \"careful man\" factory plant sign","description":"original c. 1930's vintage industrial single-sided factory sign salvaged from an old furniture factory located in rockford, il. the sign reads: \"the best safety device is a careful worker\" in big and bold white lettering against a uniform green background. the sign is comprised of die cut steel with grommets intact. likely manufactured by the stonehouse metal sign co., denver, co. measures 28 x 20 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669141623082,"sku":"UR-9274-11","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20110208-013m_2.jpg?v=1759980152"},{"product_id":"very-rare-c-1897-heller-house-fret-sawn-pine-wood-exterior-eave-trim-panel","title":"very rare c. 1897 heller house fret-sawn pine wood exterior eave trim panel","description":"original museum quality late 19th century intricately designed fret-sawn pine wood exterior eave panel removed in 1984 from the isidore h. heller residence located in hyde park (chicago, il). the unique geometric floral abstraction represents a turning point in wright's shift to geometric, prairie school architecture (defined by horizontal lines, flat or hipped roofs with broad overhanging eaves, windows grouped in horizontal bands, and an integration with the landscape, which is meant to evoke native prairie surroundings). traces of the original paint finish remains intact. the 1897 isidore h. heller house was designed by architect frank lloyd wright. the design demonstrates wright's shift away from emulating the style of his mentor, louis sullivan. richard bock, a wright collaborator and sculptor, provided some of the ornamentation, including a plaster frieze on the third floor. little is known about isidore h. heller and his family, but what is known has been compiled through personal interviews as well as census and county records. heller purchased land in the hyde park area of chicago from jonas hamburger in 1895 and commissioned frank lloyd wright to design the house in 1896. a building permit was issued on july 13, 1897. william adams was named as the builder. in 1906, the lot was enlarged when heller purchased an additional 25 feet to the north of his original plot. the hellers lived in the house for about 16 years, until the death of ida heller in 1909. when frank lloyd wright designed the heller house in 1896, it marked his move away from styles that were popular into an era of geometric and highly modern designs. wright's design exhibits the influence of wright's mentor, louis sullivan, and demonstrates wright's move towards prairie school homes which would epitomize much of his early work. sullivan's influence can also be seen in the floral pattern of the richard bock plaster frieze on the home's third floor. during the 1970's, \"restoration\" work in the form of sandblasting, destroyed much of the detail on the frieze. the rectangular house was built with indiana limestone, and yellow roman brick, which emphasizes the geometric and horizontal nature of the home's exterior. the house was constructed on a narrow lot, so the main entryway is located on the side of the building, similar to wright's warren mcarthur house of 1892. the south side entrance was adorned with classical detailing and the cantilevered entry lintel, which sits on two ornately detailed stone columns, was decorated with quatrefoils which were set on a stone panel. the front room is not split by a corridor or side hall, making it more spacious. the heller house was frank lloyd wright's first work in the hyde park neighborhood of chicago, an area that was influenced by the gothic revival work of henry ives cobb. wright's robie house is six blocks from the heller house, and the blossom house and mcarthur house are nearby, in kenwood. the design of the heller house was unlike any other home in chicago at the time it was built and was called wright's most \"outrageous\" design. the panel measures 38 1\/2 x 9 1\/4 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669162168618,"sku":"UR-9512-11","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20110308-20110308-img_5399n_1_2.jpg?v=1759980971"},{"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":"rare-double-sided-vintage-lithographed-steel-kentucky-fried-chicken-colonel-sanders-outdoor-weathervane-with-original-directionals","title":"rare double-sided vintage lithographed steel kentucky fried chicken \"colonel sanders\" outdoor weathervane with original directionals","description":"exceptionally rare vintage double-sided polychrome lithographed steel \"colonel sanders\" exterior weathervane with original directionals. unlike the majority of these signs, this weathervane exhibits very little surface rust. the colors remain vibrant. the solid steel cane is original and intact. fabricated by the trachte metal buildings co., sun prairie, wi. originally mounted on a kentucky fried chicken restaurant roof cupola. sanders first served his fried chicken in 1930 in the midst of the great depression at a gas station he owned in north corbin, kentucky. the dining area was named sanders court \u0026amp; café and was so successful that in 1935 kentucky governor ruby laffoon granted sanders the title of honorary kentucky colonel in recognition of his contribution to the state's cuisine. the following year sanders expanded his restaurant to 142 seats, and added a motel he bought across the street. when sanders prepared his chicken in his original restaurant in north corbin, he prepared the chicken in an iron skillet, which took about 30 minutes to do, too long for a restaurant operation. in 1939, sanders altered the cooking process for his fried chicken to use a pressure fryer, resulting in a greatly reduced cooking time comparable to that of deep frying. in 1940 sanders devised what came to be known as his original recipe. the sanders court \u0026amp; café generally served travelers, often those headed to florida, so when the route planned in the 1950's for what would become interstate 75 bypassed corbin, he sold his properties and traveled the u.s. to sell his chicken to restaurant owners. the first to take him up on the offer was pete harman in south salt lake, utah; together, they opened the first \"kentucky fried chicken\" outlet in 1952. by the early 1960's, kentucky fried chicken was sold in over 600 franchised outlets in both the united states and canada. one of the longest-lived franchisees of the older col. sanders' chicken concept, as opposed to the kfc chain, was the kenny kings chain. the company owned many northern ohio diner-style restaurants, the last of which closed in 2004. the weathervane measures 61 1\/2 x 23 x 2 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669245956394,"sku":"UR-10175-11","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20110519-20110519-034m_2.jpg?v=1759983166"},{"product_id":"two-matching-original-c-1895-ornamental-cast-iron-union-trust-building-interior-office-doorknob-backplates","title":"two matching original c. 1895 ornamental cast iron union trust building interior office doorknob backplates","description":"matching set of original ornamental cast iron doorknob backplates salvaged from the union trust building designed and built by louis sullivan and dankmar adler. 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.  modifications of the first two floors in 1924 eliminated some of the buildings important architectural elements such as its arched entryways and circular windows.  above that level, the building returns 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 has terra cotta lion heads projecting from its spandrels. rich sullivanesque ornamentation adorn the cornice. the interior office door backplates were manufactured by the yale \u0026amp; towne hardware co. the design or pattern is known as \"senlis\" under the y \u0026amp; t hardware catalog modern renaissance school classification. the senlis pattern and another known as the \"parma\" design were created or drawn by the hand of louis h. sullivan for the c. 1893 union trust building in st. louis and the c. 1898 bayard building (located in new york city) respectively. although yale and towne executed other sullivan-designed hardware for various building commissions, these two patterns went on to become a \"common stock\" design offered to the public in yale \u0026amp; towne catalogs (i.e., page 714 \u0026amp; 715 of the 1910 hardware catalog). the office door escutcheons retain the original bower-barff \"rustproof\" baked black enameled finish. priced for the pair.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669397999914,"sku":"UR-11574-11","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20110928-015m_2.jpg?v=1760145749"},{"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-hard-to-find-c-1870-s-ornamental-cast-bronze-oversized-figural-lion-head-antique-doorknob","title":"original hard to find c. 1870's ornamental cast bronze oversized figural lion head antique doorknob","description":"original highly sought after 19th century antique american victorian era ornamental cast bronze figural lion doorknob manufactured by the russell \u0026amp; erwin mfg. co., new britain, ct. the oversized bronze residential entrance doorknob was designed and patented by ludwig kruezinger for the metallic compression casting company of boston, ma. the exceptionally detailed doorknob measures three inches in diameter. manufacturer markings lightly incised on the reverse. intricately designed and masterfully executed in deep relief. expected surface wear evident. nicely aged surface patina. metallic compression manufactured \"house trimmings\", such as knobs, hinges, escutcheons, bell pulls, along with dies for printing wall paper, and for bookbinders, and a variety of articles. the inventions of charles and michael smith, introduced with complete success into practical operation by the metallic compression casting company at their foundry in bomerville, near boston, revolutionized metallurgic art, so far as casting is concerned. by employing the patented process developed by smith and mason, metal was taken from the mould, not with a rough surface, as in all the heretofore known modes of casting, but as smooth and perfectly finished as a coin or medal struck by a die.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669436698922,"sku":"UR-11908-11","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20111102-002m_3.jpg?v=1760323089"},{"product_id":"original-and-largely-intact-historically-important-exterior-historic-esquire-theater-horizontal-neon-marquee-letter-sign","title":"original and largely intact historically important exterior historic esquire theater horizontal neon marquee letter sign","description":"original museum quality vintage exterior pressed and folded enameled steel horizontal neon marquee letter sign recently salvaged from the historically important esquire theater. the massive single-sided electrically animated neon letters were fabricated to replace the existing marquee during the late 1980's when the theater underwent a massive overhaul, stripping the interior of any and all of its original historic character. the letters were made by the white way sign co., chicago. the art moderne style esquire theatre first opened in 1938. the theater was built for harry and elmer balaban (balaban \u0026amp; katz theater circuit) by architect william l. pereira of the architectural firm of pereira and pereira. the super streamlined interior originally featured a single auditorium capable of seating approximately 1400 patrons. the theater will be converted into a retail center, but the exterior facade and large vertical marquee will remain intact. together, the sign measures 26 feet in length. each letter measures four feet in height. originally contained green neon tubing. call for price.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669448626474,"sku":"UR-12036-11","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20111109-004v_2.jpg?v=1760147038"},{"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":"very-rare-amercian-late-19th-century-fully-adjustable-dale-portable-oxidized-copper-tubular-arm-table-or-desk-lamp","title":"very rare amercian late 19th century fully adjustable \"dale portable\" oxidized copper tubular arm table or desk lamp","description":"rare and highly sought after original 19th century early american electric \"dale portable\" table or desk lamp with an emeralite green case glass pyramidal-shaped shade or reflector. the exceptional antique table lamp was fabricated by the dale mfg. co., new york city, ny. the lamp is supported by a solid cast iron weighted base concealed with a spun yellow brass cover plate bearing the dale emblem in the form of lightly incised lettering within a diamond shape. the upright support is comprised of tubular brass, with the lower section featuring a twisted rope motif. the fanciful bent tubular arm moves up and down and backwards and forwards. two adjustable dials with knurled edges tighten the arm at the desired position. the union paddle socket has been rewired with period appropriate braided cloth cord. remarkably, the original oxidized copper plate finish remains amazingly intact.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669486604586,"sku":"UR-12425-11","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20111227-002n_2.jpg?v=1760324461"},{"product_id":"impressive-c-1870-s-american-eastlake-style-interior-residential-sliding-pocket-or-parlor-door-with-elaborate-trimwork","title":"impressive c. 1870's american eastlake style interior residential sliding pocket or parlor door with elaborate trimwork","description":"original 19th century american eastlake style interior residential refinished pine wood sliding pocket or parlor door salvaged from a chicago gold coast mansion demolished in the 1960's. the long and narrow yellow pine door contains a multitude of recessed panel accentuated with incised lines chamfered edges, etc. the original brass fittings were removed long ago. the door remains structurally sound and secure. likely fabricated by palmer, fuller \u0026amp; co., chicago, il. measures 30 1\/2 x 112 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669507215658,"sku":"UR-12561-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120110-011m_2.jpg?v=1760236368"},{"product_id":"all-original-c-1900-05-american-industrial-oxidized-copper-bent-tubular-brass-table-or-desk-lamp-with-green-cased-glass-shade","title":"all original c. 1900-05 american industrial oxidized copper bent tubular brass table or desk lamp with green cased glass shade","description":"hard to find and highly sought after early american 20th century vintage industrial bent tubular brass arm table or desk lamp fabricated by faries lighting co., decatur, il. the vintage factory portable table lamp features a fanciful weighted spun yellow brass fluted base supporting a telescoping curved pipe from which the incandescent light source and\/or bracket slides and swivels in any and all directions. the patented hubbell key socket retains the original patented shade fitter. the highly desirable oxidized copper finish remains intact. original emeralite green cased glass deep bowl conical shade with white reflective interior. rewired with period appropriate braided black cloth lamp cord. dates to around 1900-15. knurled edge dial original and intact.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669546733866,"sku":"UR-12932-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120217-007n_2.jpg?v=1760325865"},{"product_id":"original-c-1930-s-chicago-civic-opera-house-auditorium-interior-illuminated-art-deco-style-exit-sign-with-reverse-painted-glass-inset","title":"original c. 1930's chicago civic opera house auditorium interior illuminated art deco style exit sign with reverse-painted glass inset","description":"very hard to find original interior civic opera house auditorium wall-mount illuminated exit light with a centrally located reverse-painted glass inset. the american art deco style exit light box is flanked by chamfered edge volutes accentuated with gold metallic paint. the top and bottom border consists of a deeply embossed repeating acanthus leaf design motif. the hinged door with graduated frame or surround retains the original knob pull for accessing the interior compartment containing keyless incandescent light sockets. comprised largely of steel and plaster with enameled glass inset perfectly intact (i.e., free from cracks, breaks, etc). possibly fabricated by the highly customized theater fixture may have been fabricated by the decorators supply co., or chicago stage and lighting co., chicago, il. the historically important downtown chicago civic opera house or building is a 45-story office tower with two 22-story wings. the massive art deco structure contains the civic opera house with a seating capacity of 3,563, making it the second-largest opera auditorium in north america. the project was conceived by innovator and investor samuel insull, who was responsible for hiring the design team for building a new opera house to serve as the home for the chicago civic opera. the building has been seen as being shaped like a huge chair and is sometimes referred to as \"insull's throne.\" insull selected the notable new york city-based architectural firm of graham, anderson, probst \u0026amp; white, who designed and built several other buildings (primarily in the neoclassical style) in the downtown area. the architects commissioned henry hering to produce architectural sculpture for the building. the inaugural season was marked by the première of camille, a modern opera by 28-year old chicago-composer hamilton forrest on july 15, 1929. it was commissioned by the civic opera's prime star and manager, mary garden. while the opera received mixed reviews and parts of it were broadcast in the boston area, the civic opera is the only house in which it has ever been performed. the opera house underwent a major renovation in 1993 when it was purchased by the lyric opera of chicago, which had previously rented the space. the chairs were repainted and reupholstered, the carpeting replaced, and the gilt paint completely re-stenciled. the massive project was completed in 1996. the opera house was the inspiration for the one featured in orson welles's film, citizen kane. in order for his aspiring opera singer wife to perform, charles foster kane builds an opera house for her, but the quality of her singing reveals her ineptitude. in reality, samuel insull built this opera house for his wife, who was not hired by new york's metropolitan opera. during the 1950's and 1960's the building was identified by a large \"kemper insurance\" sign, although it was not that company's headquarters.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669604340010,"sku":"UR-13401-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120328-017m_2.jpg?v=1760150746"},{"product_id":"rare-c-1920-s-vintage-industrial-fully-adjustable-robust-pressed-and-formed-riveted-joint-steel-sit-rite-bookshelf-chair","title":"rare c. 1920's vintage industrial fully adjustable robust pressed and formed riveted joint steel \"sit-rite\" bookshelf chair","description":"rare and hard to find adjustable \"sit-rite\" chair or stool comprised of a heavy gauge angled steel base member containing vertically spaced holes used in conjunction with adjustable upright standards having a vertical series of holes adapted to be aligned with the pre-drilled holes in the four-legged base. the u-shaped clamps are adapted to be inserted through the aligned holes of the base, with one arm being threaded and provided with a clamping nut, and the other, being angled to clamp the parts together with a camming action when the threaded ends are clamped by the nut. the angled steel outswept legs are supported by inward folded steel shoes. the spacious saddle seat and slightly contoured backrest are comprised of solid maple wood. the highly unique welded joint folded furniture sheet steel bookshelf is original to the stool. the metal components were carefully cleaned, brushed and treated with a clear coat protective lacquer. the stool was designed, patented and fabricated by the edward l. koenig \u0026amp; co., chicago, il. manufacturer markings are stamped on the underside of the seat.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669642023210,"sku":"UR-13748-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120501-034m_2.jpg?v=1760239628"},{"product_id":"original-c-1930-s-interior-ceiling-mount-double-sided-st-george-hotel-illuminated-sign-containing-molded-glass-letters","title":"original c. 1930's interior ceiling mount double-sided st. george hotel illuminated sign containing molded glass letters","description":"rare c. 1930's original and intact ceiling mount interior hotel st. george lobby illuminated informational and\/or directional sign designed and patented by victor weidner for the viking products corp., new york city, ny. the double-sided sign consists of a black enameled oblong box equipped with standard light bulbs. each side carries interchangeable molded glass letters. the surrounding crown or headed is comprised of brass. the embossed letters are surrounded by thin metal panels containing an old red (possibly original) paint finish. hotel st. george, once the largest hotel in new york city, was located in brooklyn heights. today, it is a landmarked building in the first historically landmarked neighborhood in new york. its various constituent buildings, mostly surviving, were built between 1885 and 1929, although it no longer operates as a hotel. the building was located just one stop from manhattan, atop the clark street subway station, on the irt broadway – seventh avenue line. the subway entrance still operates inside the hotel itself, right before the main door leading to the no longer operating ballroom and check-in. in the pre-world-war-ii era, the st. george was a popular venue for society gatherings, weddings and celebrations, and a stomping ground for such celebrities as f. scott fitzgerald, johnny weismuller, the olympic swimmer and star of tarzan movies, and others who ventured over the east river to dine at the hotel's restaurants, to dance and socialize in its ballroom, and to take in the unrivalled view of manhattan from its upper floors and roof terrace. the hotel boasted an enormous ballroom and a 120-foot natural salt water swimming pool. in its heyday, the hotel had 2,632 guest rooms, one thousand full-time employees, could accommodate nearly three thousand people for a dance, and could provide food for seven thousand guests at any one time. as a hotel, and as a venue for meetings and celebrations, the st. george thrived in the 1920s and 1930s and into and beyond world war ii. during and after the war, and during the korean war, the hotel provided lodging for troops and their families en route to or returning from military assignments. the need for this type of lodging declined after the war and declined further with the loss of army and navy stations in brooklyn during the late 1940s and 1950s. concomitant with this was a decline in the popularity of the hotel, particularly as a site for weddings and social functions in the 1950s and 1960s as venues in manhattan and the suburbs become more popular. between 1963 and 1968, the hotel was sold several times, often with difficulty and under threat of foreclosure, sometimes involving complex lawsuits and bankruptcy proceedings. its occupancy rates continued to dwindle and, by 1975, only about one-third of its 2,000 rooms were occupied, some sections or whole floors were unused and in poor repair, and the hotel employed only 40 full-time staff. the last remaining portion of the hotel operating as such was burnt down in a fire in august, 1995 although its signage remains for historical purposes. the st. george is not a single building but a collection of structures built during phases. the st. george occupied a full city block bounded by clark street, pineapple street, hicks street and henry street. the main building, st. george tower is the most visible portion of the complex at over 30 stories tall. this section of the structure is now a residential cooperative building.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669647397162,"sku":"UR-13796-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120425-033m_2.jpg?v=1760239862"},{"product_id":"very-unique-and-unusual-oversized-c-1907-michael-reese-hospital-exterior-terra-cotta-figural-lion-head-fragment-with-speckled-glaze-finish","title":"very unique and unusual oversized c. 1907 michael reese hospital exterior terra cotta figural lion head fragment with speckled glaze finish","description":"unusual early 20th century michael reese \"old main\" hospital building exterior figural lion head partial fragment with original speckled black slip glaze finish darkened over time. the oversized lion head was the only one of its kind (much smaller heads were found on each end of the window sills). the building's ornament was designed by hugh garden, who was greatly influenced by the work of his chicago style contemporaries, wright and sullivan. the south side chicago michael reese hopsital was erected on the ground of the former hospital constructed in 1880. the hospital was dedicated with appropriate ceremonies on june 16th, 1907. built at a cost of nearly a million dollars, the hospital was considered the most modern and best equipped in the city during time of construction. the building itself was six stories in height, constructed of solid masonry, steel and tile, with the most approved \"system of heating, lighting and ventilation.\" the interior originally accommodated 240 beds, included sixty private rooms. there were three operating rooms , along with special provisions for isolating patients in the surgical, medical gynecological and maternity departments. the hospital was designed by the architectural firm of schmidt and garden and martin. although known primarily for their commercial and industrial designs, the firm also designed several residential buildings, more than 300 hospitals and a few public structures. richard ernest schmidt studied architecture at the massachusetts institute of technology and worked for a number of architects (adolph cudell and charles sumner frost) before starting his own practice in 1887. eight years later, he asked hugh gorden garden to join him as chief of design. a native of toronto, canada, garden had moved to chicago in the late-1880's, apprenticing with several architectural firms, including flanders \u0026amp; zimmerman, henry ives cobb, and shepley, rutan \u0026amp; coolidge. he then became a freelance renderer, which brought him jobs with howard van doren shaw, louis sullivan, and frank lloyd wright. in 1906, the schmidt-garden partnership was formalized under the name of richard e. schmidt, garden \u0026amp; martin. the third partner was edgar d. martin, who later joined the firm of pond \u0026amp; pond. schmidt brought business acumen and social connections to the partnership, while garden brought the imagination, inventiveness, and sensitivity of a creative designer and versatile draftsman. martin was an extremely skilled structural engineer who was able to solve technical problems associated with large industrial buildings and modern materials, such as the montgomery ward \u0026amp; co. catalog house, one of the first buildings to be constructed of reinforced concrete. garden helped evolve the firm's progressive approach to design, much in the way that his contemporaries, sullivan and wright, had done. the style and details of garden's architectural designs were so unique and distinctive that they often are referred to with the term \"gardenesque.\"","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669663093034,"sku":"UR-13943-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120526-007m_2.jpg?v=1760415987"},{"product_id":"original-c-1895-1900-antique-american-industrial-early-electric-cast-brass-swivel-bracket-wall-mount-lamp-with-curvaceous-tubular-socket-arm","title":"original c. 1895-1900 antique american industrial early electric cast brass swivel bracket wall-mount lamp with curvaceous tubular socket arm","description":"original late 19th century american industrial wall-mount early electric \"bracket\" type task lamp designed and patented by robert faries of decatur, il. the swivel bracket is comprised of two distinct, overlapping cast brass sections held in place with threaded end steeple type finial screws. the fanciful gooseneck style tubular arm is curved and adapted to the aperture of the support bracket. the swing end of the rod contains the original bryant edison socket with on\/off paddle switch. the period appropriate braided cloth cord connects with the lamp socket through the longitudinal aperture within the rod. the parabola-shaped rolled rim hubbell reflector was likely added at a later point in time. the angled reflector retains the original green paint exterior finish, with an aluminum reflective finish along the underside. the bracket lamp was fabricated by the faries mfg. co., decatur, il. he bracket style lamp was a popular seller for dentists, jewelers and\/or watchmakers, doctors, etc. remarkable intact example of the “no. 15″ model, offered in several electrical part catalogs of the early 20th century.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669687636266,"sku":"UR-14219-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120621-20120621-012m_2.jpg?v=1760416689"},{"product_id":"hard-to-find-and-highly-collectible-c-1880-s-grapes-pattern-banded-rim-ornamental-cast-bronze-entrance-size-doorknob","title":"hard to find and highly collectible c. 1880's \"grapes\" pattern banded rim ornamental cast bronze entrance size doorknob","description":"original early 1880's antique american ornamental cast bronze \"grapes\" pattern banded rim doorknob designed and fabricated by the mallory wheeler company, new haven, ct. the entrance size doorknob contains an abundance of highly detailed leafage along the border. the bas-relief center medallion features a carefully arranged assemblage of grapes, leaves and vines. surface wear is evident along the edges. nicely aged surface patina. highly collectible doorknob.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669728104746,"sku":"UR-14518-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120723-031m_2.jpg?v=1760329872"},{"product_id":"remarkably-rare-early-20th-century-reliance-building-basement-level-encased-glass-astatic-switchboard-type-thomson-watthour-meter","title":"remarkably rare early 20th century reliance building basement level encased glass astatic switchboard type thomson watthour meter","description":"all original and hard to find early 20th century oversized astatic switchboard type thomson electromechanical watthour meter designed and fabricated by the general electric company, schenectady, ny. the “cs” type direct current, three-wire electricity meter was first introduced in 1907. the thomson watthour meter (the so-called ” recording wattmeter”) is the earliest example of an american direct-current motor meter, and most other direct-current watthour meters differ from it only in details of design and construction. this meter contains a double set of current coils and the moving element is composed of two armatures astatically arranged on a single shaft so that any uniform magnetic field tending to weaken the torque produced by one armature will strengthen the torque of the other by a like amount. the magnets are also astatically arranged and enclosed in a laminated shield of soft steel punchings to protect them from external magnetic fields and the strong fields caused by short circuits through the meter. the line current passes through the fixed field windings, and the armature, which is wound with fine wire, is connected through a series resistance across the line. on the shaft of the motor is a disk of copper or aluminum which rotates between the poles of several permanent magnets. the upper end of the armature shaft has a worm which engages with the first gear wheel of the register. the intricate instruments are fully enclosed in a reinforced cast brass frame containing clear glass panels. the top-mounted kilowatt hour readout is comprised of four diminutive dials meters mounted against a white porcelain enameled copper backplate. the meter remains in exceptional original condition with intact mounting studs and threaded terminal plugs found on the backside. weighs nearly 95 pounds. measures 11 1\/2 x 9 x 20 inches. salvaged from the subterranean depths of the reliance building. in 1890, real estate speculator william hale commissioned architects daniel burnham and john wellborn root to draw up plans for a new building located at the corner of state and washington streets (hale became acquainted with burnham \u0026amp; root from his other real estate projects, such as the rookery building). the architectural firm of burnham \u0026amp; root were renowned locally for designing several commercial buildings found throughout downtown chicago. root developed the floating raft system, which enabled designers to build large, steel-frame buildings on a reinforced concrete foundation, a necessity in chicago's moist soil. root and hale agreed that the new building needed to have large glass windows on the first floor with large, open spaces. hale intended to have several stories dedicated to smaller tenants, with offices for doctors and dentists on the uppermost floors. he also specifically emphasized the need for natural lighting on each and every floor. the plan for the reliance building was consistent with the growing concept of the chicago school of architecture, which emphasized the importance of designing to address the function of a building. carson pirie scott \u0026amp; co. was the first tenant of the reliance building, opening a dry goods store on the first floor once it was completed in 1891. after root's untimely death, daniel burnham recruited boston architect charles b. atwood to complete the building with e. c. shankland as lead engineer. atwood was able to implement his own design for the rest of the structure, using white glazed architectural terra-cotta cladding (on the two street facades) fabricated by the northwestern terra cotta company of chicago. burnham's building contractor of choice was george a. fuller, who had built the majority of chicago's tall office building throughout the latter half of the 19th century. the slender sixteen story steel frame skeleton was erected with unusual rapidity (completed over fifteen days in 1894). the reliance building, so named for its functionality, opened in march 1895. it was one of the first skyscrapers to offer electricity and phone service in all of its offices. in its first few decades, it provided office space for merchants and health professionals. the interior contained four passenger elevators located close to the entrance. the german gothic style elevator cages and surrounding grillework, comprised of ornamental iron with bower-barff finish, were fabricated by the winslow brothers of chicago. dark-stained mahogany woodwork was used throughout the building. the stairway, including newel posts, balustrade panels, stringers and risers are made of cast iron, with designs corresponding to and\/or harmonizing with the existing ornamentation (all subjected to the bower-barff process). the building struggled during the great depression, and slowly became dilapidated. subsequent commercial alterations and signage greatly disfigured the lower floors. the original projecting cornice was removed around 1948. after caron pirie scott \u0026amp; co. left the building for the merchandise mart, the first floor was occupied by karroll's, a menswear store. however, the building struggled to maintain tenants on the upper floors. the building continued to fall into disrepair, as the small size of its retail spaces were not appealing to business interests in the late 20th century. the city of chicago made a commitment to revitalize the structure, but city hall could not agree on a plan. the debate became particularly polarized after the 1989 demolition of the nearby mccarthy building, which angered preservationists but satisfied business interests by providing space for a modern office building. finally, in 1994, the mcclier corporation collaborated with the baldwin development company to restore the reliance building; these two groups had recently worked together to rehabilitate the rookery building. the reliance building's rehabilitation was completed in 1999. the former retail space was ultimately converted into a boutique hotel.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669730922794,"sku":"UR-14527-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120723-028m_2.jpg?v=1760242077"},{"product_id":"group-of-three-original-nicely-aged-late-19th-century-reliance-building-master-floor-key-rings-with-lightly-incised-office-door-numbers","title":"group of three original nicely aged late 19th century reliance building \"master\" floor key rings with lightly incised office door numbers","description":"set of three unique chief engineer master key rings representing the 8th, 11th, and 12th floors. the nicely aged brass rings contain a series of closely spaced punched holes containing the key corresponding to the office door located on the floor. the inner portion of the rings contain the words \"reliance building\" in lightly incised lettering. some of the keys, most replaced over the years when locks where changed, were left on the rings. the original keys would have been fabricated by or for the yale \u0026amp; towne mfg. co., new britain, ct. in 1890, real estate speculator william hale commissioned architects daniel burnham and john wellborn root to draw up plans for a new building located at the corner of state and washington streets (hale became acquainted with burnham \u0026amp; root from his other real estate projects, such as the rookery building). the architectural firm of burnham \u0026amp; root were renowned locally for designing several commercial buildings found throughout downtown chicago. root developed the floating raft system, which enabled designers to build large, steel-frame buildings on a reinforced concrete foundation, a necessity in chicago's moist soil. root and hale agreed that the new building needed to have large glass windows on the first floor with large, open spaces. hale intended to have several stories dedicated to smaller tenants, with offices for doctors and dentists on the uppermost floors. he also specifically emphasized the need for natural lighting on each and every floor. the plan for the reliance building was consistent with the growing concept of the chicago school of architecture, which emphasized the importance of designing to address the function of a building. carson pirie scott \u0026amp; co. was the first tenant of the reliance building, opening a dry goods store on the first floor once it was completed in 1891. after root's untimely death, daniel burnham recruited boston architect charles b. atwood to complete the building with e. c. shankland as lead engineer. atwood was able to implement his own design for the rest of the structure, using white glazed architectural terra-cotta cladding (on the two street facades) fabricated by the northwestern terra cotta company of chicago. burnham's building contractor of choice was george a. fuller, who had built the majority of chicago's tall office building throughout the latter half of the 19th century. the slender sixteen story steel frame skeleton was erected with unusual rapidity (completed over fifteen days in 1894). the reliance building, so named for its functionality, opened in march 1895. it was one of the first skyscrapers to offer electricity and phone service in all of its offices. in its first few decades, it provided office space for merchants and health professionals. the interior contained four passenger elevators located close to the entrance. the german gothic style elevator cages and surrounding grillework, comprised of ornamental iron with bower-barff finish, were fabricated by the winslow brothers of chicago. dark-stained mahogany woodwork was used throughout the building. the stairway, including newel posts, balustrade panels, stringers and risers are made of cast iron, with designs corresponding to and\/or harmonizing with the existing ornamentation (all subjected to the bower-barff process). the building struggled during the great depression, and slowly became dilapidated. subsequent commercial alterations and signage greatly disfigured the lower floors. the original projecting cornice was removed around 1948. after caron pirie scott \u0026amp; co. left the building for the merchandise mart, the first floor was occupied by karroll's, a menswear store. however, the building struggled to maintain tenants on the upper floors. the building continued to fall into disrepair, as the small size of its retail spaces were not appealing to business interests in the late 20th century. the city of chicago made a commitment to revitalize the structure, but city hall could not agree on a plan. the debate became particularly polarized after the 1989 demolition of the nearby mccarthy building, which angered preservationists but satisfied business interests by providing space for a modern office building. finally, in 1994, the mcclier corporation collaborated with the baldwin development company to restore the reliance building; these two groups had recently worked together to rehabilitate the rookery building. the reliance building's rehabilitation was completed in 1999. the former retail space was ultimately converted into a boutique hotel.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669739245866,"sku":"UR-14566-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120723-046m_2.jpg?v=1760330128"},{"product_id":"historically-important-late-19th-century-original-interior-reliance-building-ornamental-iron-elevator-grille-panel-with-header-and-kick-plate","title":"historically important late 19th century original interior reliance building ornamental iron elevator grille panel with header and kick plate","description":"finely crafted c. 1895 german gothic style interior wrought iron elevator grillework or panel salvaged from the extant historic reliance building located in downtown chicago, il. the elegantly designed scrollwork (consisting of fishtail end and c-scrolls) is riveted tightly against a traditional grid configuration. the ornamental ironwork was fabricated by the notable winslow brothers foundry, chicago, il. the original bower-barff appears largely intact (under a coat of black paint). likely removed from a lower floor (e.g., 3-6), and was used as a \"bridge\" between the doors and\/or additional side panels. the original ornamental cast iron header and kick plate are included with the grille. in 1890, real estate speculator william hale commissioned architects daniel burnham and john wellborn root to draw up plans for a new building located at the corner of state and washington streets (hale became acquainted with burnham \u0026amp; root from his other real estate projects, such as the rookery building). the architectural firm of burnham \u0026amp; root were renowned locally for designing several commercial buildings found throughout downtown chicago. root developed the floating raft system, which enabled designers to build large, steel-frame buildings on a reinforced concrete foundation, a necessity in chicago's moist soil. root and hale agreed that the new building needed to have large glass windows on the first floor with large, open spaces. hale intended to have several stories dedicated to smaller tenants, with offices for doctors and dentists on the uppermost floors. he also specifically emphasized the need for natural lighting on each and every floor. the plan for the reliance building was consistent with the growing concept of the chicago school of architecture, which emphasized the importance of designing to address the function of a building. carson pirie scott \u0026amp; co. was the first tenant of the reliance building, opening a dry goods store on the first floor once it was completed in 1891. after root's untimely death, daniel burnham recruited boston architect charles b. atwood to complete the building with e. c. shankland as lead engineer. atwood was able to implement his own design for the rest of the structure, using white glazed architectural terra-cotta cladding (on the two street facades) fabricated by the northwestern terra cotta company of chicago. burnham's building contractor of choice was george a. fuller, who had built the majority of chicago's tall office building throughout the latter half of the 19th century. the slender sixteen story steel frame skeleton was erected with unusual rapidity (completed over fifteen days in 1894). the reliance building, so named for its functionality, opened in march 1895. it was one of the first skyscrapers to offer electricity and phone service in all of its offices. in its first few decades, it provided office space for merchants and health professionals. the interior contained four passenger elevators located close to the entrance. the german gothic style elevator cages and surrounding grillework, comprised of ornamental iron with bower-barff finish, were fabricated by the winslow brothers of chicago. dark-stained mahogany woodwork was used throughout the building. the stairway, including newel posts, balustrade panels, stringers and risers are made of cast iron, with designs corresponding to and\/or harmonizing with the existing ornamentation (all subjected to the bower-barff process). the building struggled during the great depression, and slowly became dilapidated. subsequent commercial alterations and signage greatly disfigured the lower floors. the original projecting cornice was removed around 1948. after caron pirie scott \u0026amp; co. left the building for the merchandise mart, the first floor was occupied by karroll's, a menswear store. however, the building struggled to maintain tenants on the upper floors. the building continued to fall into disrepair, as the small size of its retail spaces were not appealing to business interests in the late 20th century. the city of chicago made a commitment to revitalize the structure, but city hall could not agree on a plan. the debate became particularly polarized after the 1989 demolition of the nearby mccarthy building, which angered preservationists but satisfied business interests by providing space for a modern office building. finally, in 1994, the mcclier corporation collaborated with the baldwin development company to restore the reliance building; these two groups had recently worked together to rehabilitate the rookery building. the reliance building's rehabilitation was completed in 1999. the former retail space was ultimately converted into a boutique hotel. measures 78 x 12 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669752058154,"sku":"UR-14716-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120809-043m_2.jpg?v=1760418105"},{"product_id":"historically-important-late-1920-s-original-gold-enameled-cast-iron-sheridan-theater-interior-lobby-baluster-panel-with-floriated-medallion","title":"historically important late 1920's original gold enameled cast iron sheridan theater interior lobby baluster panel with floriated medallion","description":"remarkable c. 1927 ornamental cast iron classical style interior lobby staircase baluster panel salvaged from the historic sheridan theater (non-extant) located in chicago, il. the double-sided iron panel features a centrally located medallion containing symmetrically arranged scrollwork surrounding a floral rosette flanked by bellflowers. the posts or rods above and below the medallion alternate between unornamented square-shape and a rope twist motif. additional scrollwork and smaller floral rosettes contribute nicely to the assemblage. the exact foundry and\/or fabricator is not known. limited quantity available. the sheridan theatre was constructed in 1927 by chicago-based architect j.e.o. pridmore, who later designed the depression era aquatic-themed nortown theater, along with the notable state theater located in minneapolis, mn. the sheridan contained nearly 2600 seats in its balconied auditorium, which featured, like san francisco’s castro, a mock-tented ceiling, ringed by a roman-style ornamental plaster frieze depicting a procession of gods. the auditorium also was equipped with an additional small stage and orchestra pit and organ. unlike pridmore’s other theaters, which were mostly atmospheric in style, the sheridan was a unique neo-classical\/italian baroque combination, complete with corinthian columns, roman statuary, and a proscenium arch topped by golden lions supporting a crowned shield. after the sheridan was closed in 1951, it was acquired by a synagogue which used the former theater for their house of worship for the next fifteen years. in the early 1970's, the sheridan was reopened again for movies in spanish-language, and was renamed the teatro el palacio. it lasted into the early 1990s, when the theater again closed and was ultimately demolished.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669766115626,"sku":"UR-14875-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120829-015m_2.jpg?v=1760243166"},{"product_id":"historically-important-c-1929-arizona-biltmore-hotel-interior-wrightesque-style-pressed-opalescent-white-glass-wall-sconce-panel","title":"historically important c. 1929 arizona biltmore hotel interior \"wrightesque\" style pressed opalescent white glass wall sconce panel","description":"exceptionally unique and visually striking all original c. 1929-30 american biltmore hotel interior pressed white opalescent glass light panel comprised of four distinct units set tightly within a soldered joint copper frame. the remarkably thick \"wrightesque\" wall-mount glass assembly features an iconic design derived from the logarithm of a b flat minor chord. warren mcarthur, jr., and brother charles mcarthur along with john mcentee bowman, the entrepreneur behind the biltmore hotel chain, opened the arizona biltmore on february 23, 1929. the arizona biltmore's architect of record is albert chase mcarthur, yet its authorship is often mistakenly attributed to frank lloyd wright, owing to wright's on-site consulting for four months in 1928 relating to the masonry unit \"textile block\" construction. some visitors say the hotel has the look and feel of a wright building, especially in the main lobby, likely owing to a strong imprint of the unit block design that wright had utilized on four residential buildings in the los angeles area some 6 years earlier. mcarthur is indisputably the architect as original linen drawings of the hotel in the arizona state university library archives attest, as does the 1929 feature article in architectural record magazine. the prairie school architect was educated at the armour institute of technology (later the illinois institute of technology) and harvard university. mcarthur worked as a draftsman with architect frank lloyd wright (along with william drummond, francis barry byrne, walter burley griffin, marion mahony, isabel roberts and george willis between 1907 and 1909. mcarthur continued his education in austria and italy, opening an architectural firm in chicago with partner arthur s. coffin in 1912. he moved his practice to phoenix in 1925. the biltmore is his most important design. in the course of the great depression, all three of the mcarthur brothers moved to hollywood, california in 1932. authorship of the hotel's design is not a new dispute. wright has variously condemned mcarthur's use of the block system (wright wanted square blocks as opposed to mcarthur's mathematically proportioned rectangle block that was used) and publicly claimed credit for the building's design. in 1930, the mcarthurs lost control of the property to one of their primary investors, william wrigley jr., who later became full owner. in 1970, the wrigley family sold the hotel to the talley family. when taliesin restored the biltmore after a destructive fire in 1973, they recast the bricks from the original molds, but put them in sideways and upside down. mrs. talley, thinking that this could be a flw project, banned albert chase mcarthur from the property and removed the original thousands of pieces of warren mcarthur furniture which had been a major visual part and asset of the hotel.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669862813994,"sku":"UR-15266-12","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20120926-008m_2.jpg?v=1760332231"},{"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":"largely-intact-exemplary-19th-century-american-aesthetic-movement-david-c-cook-mansion-thackara-electrified-interior-ornamental-bronze-ceiling-fixture","title":"largely intact exemplary 19th century american aesthetic movement dan miller of elgin mansion thackara electrified interior ornamental bronze ceiling fixture","description":"marvelous c. 1880's american aesthetic movement interior residential oversized ornamental cast bronze gas chandelier attributed to thackara sons \u0026amp; co., philadelphia, pa. the grand 19th century ceiling fixture, which was later electrified around 1905-10, contains four main arms each equipped with two perkins paddle switch sockets and original shade fitters with set screws. tragically, the original blue opalescent hobnail and ruffled edge shades were completely destroyed by vandals prior to our arrival. the nicely aged surface patina was left untouched. the intricate filigree and exotic organic design motifs are exceptional both in design and execution. the tubular brass stem or posts, along with tapered and turned canopies were found with the fixture \"in situ.\" the eight-light dining room ceiling fixture was salvaged from the extant david c. cook mansion, located in elgin, il. david c. cook, founder of a prominent religious publishing operation, built the high victorian queen anne chateauesque style mansion on the corner of gifford and division streets in 1885. in 1945 the grand residence was converted (i.e., modernized and expanded) into the mary margaret nursing home and later renamed the bowes retirement center. fortunately, interior elegant furnishings located on both the first and second floors were left intact from the time of mr. cook's occupancy. the fate of the house remains uncertain. the thackara mfg. co. of philadelphia was established in 1842 by benjamin thackara sr., who for an extended period of time, worked with cornelius \u0026amp; baker, which during the mid-19th century was the largest gas fixture concern in the united states. when this firm went out of business. a number of years later, mr. thackara joined the house of miskey \u0026amp; merrill, which firm was succeeded by thackara, buck \u0026amp; co., who, on the retirement of mr. buck, became thackara, sons \u0026amp; co. and later the thackara mfg. company.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669930447146,"sku":"UR-15718-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20121102-006m_2.jpg?v=1760334078"},{"product_id":"extraordinary-19th-century-american-victorian-era-david-c-cook-mansion-stained-glass-transom-window-featuring-a-centrally-located-kiln-fired-pastoral-scene-with-fisherman","title":"extraordinary 19th century american victorian era david c. cook mansion stained glass transom window featuring a centrally located kiln fired pastoral scene with fisherman","description":"outstanding original 19th century american victorian era oversized interior residential stained glass transom window attributed to the mcculley \u0026amp; miles company, chicago, il. the completely intact custom-built art glass window contains a centrally located circular medallion containing a hand-painted and kiln fired pastoral scene with fisherman in a brilliant color scheme. the medallion is flanked by an impressive assemblage of leafage with ruby red jewel berries. the outer border consists of red flash glass accentuated with a multitude of closely spaced clear faceted jewels. the original varnished cherry wood window sash frame is structurally sound and stable. the art glass window was salvaged from the extant david c. cook mansion, located in elgin, il. david c. cook, founder of a prominent religious publishing operation, built the high victorian queen anne chateauesque style mansion on the corner of gifford and division streets in 1885. in 1945 the grand residence was converted (i.e., modernized and expanded) into the mary margaret nursing home and later renamed the bowes retirement center. fortunately, interior elegant furnishings located on both the first and second floors were left intact from the time of mr. cook's occupancy. the fate of the house remains uncertain. measure 68 x 21 3\/4 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669971046698,"sku":"UR-15971-12","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20121015-058m_2.jpg?v=1760422255"},{"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":"original-c-1890-s-james-charnley-exterior-painted-fret-sawn-pine-wood-single-sided-fragment-salvaged-from-the-restored-front-facade-projecting-wood-balcony","title":"original c. 1890's james charnley exterior painted fret-sawn pine wood single-sided fragment salvaged from the restored front facade projecting wood balcony","description":"early 1890's american exterior james charnley house fret-sawn single-sided panel or board removed from the front facade projecting balcony. nearly all of the fret-sawn woodwork was badly deteriorated which ultimately lead to its subsequent replacement in 1986. the intricate gothic style deeply incised tracery is the end result of a collaborative effort involving louis sullivan and frank lloyd wright.  the extant james charnley townhouse, located in chicago, was commissioned by the architectural firm of adler \u0026amp; sullivan, with design executed lead by louis sullivan and frank lloyd wright (who at the time, was sullivan's junior draftsman). the house was completed in 1892 for charnley, a chicago lumberman who lived in the house with his family for about a decade.  the building was later owned by members of the waller family, who invested in real estate. the house was purchased by the architectural firm of skidmore, owings and merrill in 1986 and subsequently restored. the partially intact decorative panel contains an older brown paint finish with surface crazing.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670062567722,"sku":"UR-16399-13","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20121231-012x_2.jpg?v=1760248197"},{"product_id":"original-and-intact-authentic-19th-century-american-painted-pine-wood-fret-sawn-exterior-facade-element-salvaged-from-the-james-charnley-residence","title":"original and intact authentic 19th century american painted pine wood fret-sawn exterior facade element salvaged from the james charnley residence","description":"very rare wood frieze panel removed from the charnley house exterior, during extensive restoration of the building completed in 1986. fabricator unknown. striking incised pattern comprised of abstract geometric formation and gothic style elements. the panel was originally located beneath the inset balcony on the 2nd level of the facade. panel measures 27 x 6 1\/2 x 1. the house was built in 1891 by adler \u0026amp; sullivan, with frank lloyd wright. designated a chicago landmark august 20, 1972. the gothic tracery, geometry, and detailing of louis sullivan with the earliest hint of frank lloyd wright's prairie-style planning and design makes this historic residence a true masterpiece. a compact urban townhouse that takes maximum advantage of its small city lot, it was built for james charnley, a chicago lumber dealer. wright later proclaimed it as \"the first modern house.\" the building was later owned by members of the waller family, who invested in real estate. the house was purchased by the architectural firm of skidmore, owings and merrill in 1986 and subsequently restored. the intact decorative panel contains an older brown paint finish with surface crazing.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670067679530,"sku":"UR-16456-13","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130204-029m_1_2.jpg?v=1760335979"},{"product_id":"late-19th-century-american-james-charnley-residence-exterior-brown-painted-pine-wood-exterior-balcony-frieze-panel-with-intricate-gothic-style-fret-sawn-design-motifs","title":"late 19th century american james charnley residence exterior brown painted pine wood exterior balcony frieze panel with intricate gothic style fret sawn design motifs","description":"very rare wood frieze panel removed from the charnley house exterior, during extensive restoration of the building completed in 1986. fabricator unknown. striking incised pattern comprised of abstract geometric formation and gothic style elements. the panel was originally located beneath the inset balcony on the 2nd level of the facade. panel measures 27 x 6 1\/2 x 1. the house was built in 1891 by adler \u0026amp; sullivan, with frank lloyd wright. designated a chicago landmark august 20, 1972. the gothic tracery, geometry, and detailing of louis sullivan with the earliest hint of frank lloyd wright's prairie-style planning and design makes this historic residence a true masterpiece. a compact urban townhouse that takes maximum advantage of its small city lot, it was built for james charnley, a chicago lumber dealer. wright later proclaimed it as \"the first modern house.\" the building was later owned by members of the waller family, who invested in real estate. the house was purchased by the architectural firm of skidmore, owings and merrill in 1986 and subsequently restored. the intact decorative panel contains an older brown paint finish with surface crazing.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670075117866,"sku":"UR-16515-13","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130204-027m_3.jpg?v=1760248485"},{"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":"massive-c-1921-chicago-prairie-school-wrightesque-style-carved-limestone-bunte-candy-factory-exterior-facade-panel-fragment","title":"massive c. 1921 chicago prairie school \"wrightesque\" style carved limestone bunte candy factory exterior facade panel fragment","description":"original early 1920's oversized \"wrightesque\" style carved indiana (bedford) limestone fragment recovered from the non-extant bunte candy factory demolition site. the exterior facade panel fragment was originally part of an elaborate endcap containing a finely carved spread-winged eagle. the stonework was likely executed by the bedford steam stone works company. the fragment was designed by hugh garden. the bunte candy factory building was considered one of the largest prairie school commercial and\/or factory buildings ever constructed. the massive brick and limestone complex was designed by the architectural firm of schmidt, garden \u0026amp; martin. the factory was later converted into a high school in 1969, eight years after the bunte candy co. moved out. the entire complex was razed in 2008 to make way for an athletic field and parking area for the new westinghouse college prep built across the street. the two newel posts are comprised of tubular bronze with original polished nickel-plated finish largely intact. the posts each contain graduating ball finials and angular folded and pressed panels affixed tightly against each post. the flanges contain pre-drilled holes for anchoring into the floor. in 1876, ferdinand bunte, gustav a. bunte, and charles a. spoehr started a candy manufactory on state street in chicago. after a few years, ferdinand's son theodore w. bunte took charge of the business. by the 1910’s, when bunte bros. did annual sales of about $2.4 million, the company employed about 1,200 people. as late as the 1950’s, it had over 1,000 workers in its chicago plants. in 1954, bunte brothers candy co. was purchased by chase candy co. of st. joseph, missouri, and a new firm, bunte-chase, was created. in 1961, the firm closed the chicago plant, dropped the bunte name, and returned to st. joseph.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670108246314,"sku":"UR-16930-13","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130320-20130320-003z_2.jpg?v=1760424924"},{"product_id":"highly-sought-after-early-1920-s-american-antique-industrial-sani-8-seat-swing-out-stool-factory-no-314-sectional-lunchroom-table","title":"highly sought after early 1920's american antique industrial \"sani\" 8-seat swing-out stool factory \"no 314\" sectional lunchroom table","description":"two of two original highly sought after early 20th century antique american industrial \"sani\" factory lunch hall stationary table designed and fabricated for the sani products company, sani building, chicago, il. sani products was formed to merchandize the products of the marietta mfg. co., if indianapolis, ind., and the chicago hardware foundry company, of north chicago, ill. the \"no 314\" sectional eight-seat swing out type table was salvaged from the indiana bell telephone company, indianapolis, ind. the heavily reinforced industrial table contains three distinct cast iron bases or legs interconnected by a two robust ladder-like girders or stretchers. the simple yet elegantly designed iron swivel brackets are affixed to the original, nicely worn and weathered solid maple wood circular seats. the compact tabletop is comprised of old growth pine wood bolted firmly along the underside of the opposed bases, marked either \"e\" for end or \"c\" for center. each and every cast iron component has been carefully cleaned, brushed and treated with a clear coat lacquer. the original marble like solid vitrolite glass \"sani\" tabletops are rarely found with the tables. measures 96 1\/2 x 29 1\/2 x 30 inches. urban remains carries the largest selection of authentic \"sani\" swing-out factory tables in the country. please contact about additional tables containing multiple, interchangeable configurations. the tables were constructed in sections of 8, 12, 16 and 24 feet, with each section containing 4 seats. the fine grain cast iron bases were typically finished in a heavy white coat enameled finish.  96.5 X 29.5 X 30.5\"","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670585643306,"sku":"UR-18102-13","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130124-022m_1_3.jpg?v=1760252998"},{"product_id":"one-of-two-identical-early-1920-s-antique-american-industrial-sani-4-seat-swing-out-stationary-lunch-hall-factory-table","title":"one of two identical early 1920's antique american industrial \"sani\" 4-seat swing-out stationary lunch hall factory table","description":"completely refurbished original (one of two) highly sought after early 20th century antique american industrial \"sani\" factory lunch hall stationary table designed and fabricated for the sani products company, sani building, chicago, il. sani products was formed to merchandize the products of the marietta mfg. co., if indianapolis, ind., and the chicago hardware foundry company, of north chicago, ill. the \"no 314\" sectional 4-seat swing out type table was salvaged from an old alabama foundry lunch hall. the heavily reinforced industrial table contains two opposed cast iron bases or legs interconnected by a single robust ladder-like girder or stretcher. the simple yet elegantly designed iron swivel brackets are affixed to the original refinished solid maple wood circular seats. the compact tabletop is comprised of old growth pine wood bolted firmly along the underside of the opposed bases, marked either \"e\" for end or \"c\" for center. each and every cast iron component has been carefully cleaned, brushed and treated with a clear coat lacquer. the original marble like solid vitrolite glass \"sani\" tabletops are rarely found with the tables.urban remains carries the largest selection of authentic \"sani\" swing-out factory tables in the country. please contact about additional tables containing multiple, interchangeable configurations. the tables were constructed in sections of 8, 12, 16 and 24 feet, with each section containing 4 seats. the fine grain cast iron bases were typically finished in a heavy white coat enameled finish.  table measures approximately 51 1\/2 x 29 x 31 1\/2 inches, seat height is 19 inches and with both seats extended the tables width measures 64 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670603600170,"sku":"UR-18268-13","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130816-img_8009z_2.jpg?v=1760341322"},{"product_id":"two-of-two-original-early-1920-s-american-industrial-refinished-cast-iron-swing-out-seat-factory-lunch-table-with-maple-wood-seats","title":"two of two original early 1920's american industrial refinished cast iron swing-out seat factory lunch table with maple wood seats","description":"completely refurbished original (two of two) highly sought after early 20th century antique american industrial \"sani\" factory lunch hall stationary table designed and fabricated for the sani products company, sani building, chicago, il. sani products was formed to merchandize the products of the marietta mfg. co., if indianapolis, ind., and the chicago hardware foundry company, of north chicago, ill. the \"no 314\" sectional 4-seat swing out type table was salvaged from an old alabama foundry lunch hall. the heavily reinforced industrial table contains two opposed cast iron bases or legs interconnected by a single robust ladder-like girder or stretcher. the simple yet elegantly designed iron swivel brackets are affixed to the original refinished solid maple wood circular seats. the compact tabletop is comprised of old growth pine wood bolted firmly along the underside of the opposed bases, marked either \"e\" for end or \"c\" for center. each and every cast iron component has been carefully cleaned, brushed and treated with a clear coat lacquer. the original marble like solid vitrolite glass \"sani\" tabletops are rarely found with the tables.urban remains carries the largest selection of authentic \"sani\" swing-out factory tables in the country. please contact about additional tables containing multiple, interchangeable configurations. the tables were constructed in sections of 8, 12, 16 and 24 feet, with each section containing 4 seats. the fine grain cast iron bases were typically finished in a heavy white coat enameled finish.   table measures approximately 51 1\/2 x 29 x 31 1\/2 inches, seat height is 19 inches and with both seats extended the tables width measures 64 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670603731242,"sku":"UR-18270-13","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130816-img_8012a_2.jpg?v=1760429322"},{"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":"complete-set-of-original-c-1893-4-american-antique-interior-chicago-stock-exchange-building-office-door-monogrammed-hardware","title":"complete set of original c. 1893-4 american antique interior chicago stock exchange building office door monogrammed hardware","description":"original and highly desirable late 19th century american antique louis. h. sullivan-designed chicago stock exchange building interior office door monogrammed hardware set executed by the yale \u0026amp; towne mfg. co., stamford, ct. the ornamental cast iron backplates and matching doorknobs feature a dazzling array of organic and geometric design motifs in the form of rings or medallions in low relief. the rare oversized monogrammed escutcheons were apart of a larger \"suite\" of stock exchange hardware consisting of oversized push plates, passage door backplates, smaller utility closet door backplates, window pulls, mail slots and pull handles. the cast iron backplatea and matching doorknobs retain the original bower-barff \"rust-proof\" backed enameled 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.\u003cbr\u003e-","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670745354538,"sku":"UR-19460-14","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20100405-20100405x_2.jpg?v=1760434010"},{"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":"louis-h-sullivan-designed-late-19th-century-copper-plated-cast-iron-staircase-baluster-panel-salvaged-from-the-non-extant-chicago-stock-exchange-building","title":"louis h. sullivan-designed late 19th century copper-plated cast iron staircase baluster panel salvaged from the non-extant chicago stock exchange building","description":"original 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 completely intact, 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. 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. 30 inches x 11 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670830321962,"sku":"UR-19883-14","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140415-049x_2.jpg?v=1760436378"},{"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":"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":"historically-important-c-1962-interior-chicago-grant-hospital-aged-copper-box-time-capsule-with-original-contents-perfectly-intact-prior-to-the-box-being-unsealed","title":"historically important c. 1962 interior chicago grant hospital aged copper box \"time capsule\" with original contents perfectly intact prior to the box being unsealed","description":"original and completely intact (i.e., untouched) diminutive soldered joint copper box or \"time capsule\" discovered behind the date plaque of the original grant park hospital (later known as lincoln park hospital), chicago, il. the compact darkened copper box was carefully opened to reveal the contents which included, but not limited to, research papers, newspapers, coins, pamphlets pertaining to the hospital and a \"doomsday\" typewritten letter with an opening line stating, \"in this day of possible nuclear destruction and biological suicide we doctors of 1962 are only assuming that there will be a succeeding generation to read this.\" the copper box was or capsule was sealed in a concrete cavity directly behind the date plaque mounted on the exterior side of the hospital building. copper metal is almost always used to prevent the interior contents from damage caused by exposure to temperatures changes and water infiltration to the outer box. the contents have since been donated with the exception of the cover letter, which is stored away in the bldg. 51 museum.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670881800490,"sku":"UR-20371-14","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/dfgerht_2.jpg?v=1760350848"},{"product_id":"stunning-all-original-and-historically-important-ornamental-gilded-omolu-cast-bronze-interior-uptown-theater-single-electric-pendant-light-with-richly-colored-cased-glass-shade","title":"stunning all original and historically important ornamental gilded omolu cast bronze interior uptown theater single electric pendant light with richly colored cased glass shade","description":"remarkably intact and historically important documented flush mount interior uptown theater (extant) ceiling light or pendant fixture designed, fabricated and customized by victor s. pearlman \u0026amp; company, chicago, il. the elegantly designed single electric light fixture contains a heavily ornamented cast bronze circular-shaped glass shade fitter with filigree surrounding the tapered and tiered art glass shade. the original gilded ormolu (i.e., metallic gold-plated finish) remains largely intact with a nicely aged surface patina. the rococo style theater pendant light features intricate basket weaves, foliated scrollwork and flowers throughout. the tiffany cased glass shade contains a dark pink exterior and white or \"milk glass\" interior. when the fixture is illuminated, it gives off a warm and richly colored orange glow. the faceted \"crystal\" or glass ball-shaped bottom finial is secured by a diminutive bronze rosette. the pendant light, along with two matching sconces that once adorned the auditorium, were removed well over 30 years ago and remained together in a theater memorabilia collection that was recently sold off. the uptown theatre (also known as the balaban and katz uptown theatre) is a massive, ornate movie palace located in the uptown neighborhood of chicago. the uptown was designed by the architectural firm of rapp and rapp, and constructed in 1925. the theater was the last of the \"big three\" movie palaces built by the balaban \u0026amp; katz theatre chain run by a. j. balaban, his brother barney balaban and their partner sam katz. the uptown theater is considered the largest theater in chicago, with its 4,381 seats and its interior auditorium said to be larger than any other movie palace in the united states, including radio city music hall in new york. the theater and lobby occupy over 46,000 square of land at the corner of lawrence avenue and broadway in chicago's uptown entertainment district. the gargantuan theater contains an ornate five story entrance lobby with an eight story exterior facade. the uptown theatre opened its doors on august 18, 1925, and was billed as \"an acre of seats in a magic city.\" the grand opening of the uptown theatre was accompanied by a \"central uptown parade\" of over 200 floats and a grand ball at harmon's arcadia in uptown. over 12,000 people stood in line to be ticketholders as the very first audience to occupy the auditorium. the theater opened with a staff of over 130 people, including a full-time 34-piece orchestra, a nurse, firemen and numerous other positions to handle its operations. a rather elaborate stage show production would accompany each movie with a theme pertaining to the movie that would follow. other chains that occupied the theater would offer basic vaudeville acts to keep movie patrons entertained before the beginning of the movie. through the years movies at the uptown theatre continued, long after the stage shows ended as a means to reduce costs. however, beginning in 1949, stage shows were revived, but only for a short period of time. movies continued to run during the 1950's and 1960's. retail in the uptown area in the early 1970's declined and so too did the audiences dwindle throughout the remainder of the decade. attempts were made to revive the theater by converting it into a concert venue where a number of national acts performed. during the winter of 1981, the theater finally closed its doors to regular audiences and\/or events. since that time burst water pipes, continued neglect and vandalism has greatly compromised the integrity of both exterior and interior design elements. in 2006, the exterior was stabilized and terra cotta sections were cataloged and stored for future restoration efforts. a may 21, 2007 article in crain's chicago business described the uptown theatre as \"suddenly a hot property,\" as three national entertainment companies were in competition to purchase, restore and reopen the uptown theatre. it is estimated it will take roughly $40 million dollars to fully rehabilitate the theater for use as a functional venue.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670923219242,"sku":"UR-20520-14","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140720-20140720-002d_2.jpg?v=1760439309"},{"product_id":"two-matching-original-historically-important-early-1890-s-interior-ornamental-cast-iron-union-trust-building-commercial-door-louis-h-sullivan-designed-backplates-or-escutcheons","title":"two matching original historically important early 1890's interior ornamental cast iron union trust building commercial door louis h. sullivan-designed backplates or escutcheons","description":"matching pair of original historically important ornamental cast iron interior doorknob backplates or escutcheons salvaged from the extant union trust building, designed by architects louis h. sullivan and dankmar adler. 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). the office door escutcheons are in great overall condition.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670925349162,"sku":"UR-20543-14","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140630-008x_2.jpg?v=1760351632"},{"product_id":"massive-alex-soderburg-hand-painted-oil-on-canvas-justice-mural-for-courthouse-building","title":"massive alex soderburg hand-painted oil on canvas \"justice\" mural for courthouse building","description":"description will be added shortly.","brand":"vendor-unknown","offers":[{"title":"Default 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