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Issue #29: September '09 - Cont'd

Ward Elicker Casting: New Horizons Provide a Clearer Vision

By Michael Cervin

Working on the Chinatown bronze dragons

Photograph courtesy of Ward Elicker

Ward Elicker Casting, based in Philadelphia, uses lost wax and lost foam investment processes to create incredible works of bronze. But large format casting is becoming a lost art. With 22 employees and a space covering 17,000 square feet, Ward Elicker, formed in the spring of 2004, is becoming the de facto stop for artists, architects and lovers of fine bronze metal work on the East Coast.

Specializing in reduction, mold-making, patina, fabrication, restoration, sand casting, direct burnout and installation, there’s virtually nothing they can’t handle.

“There’s a strong connection to ensure that whatever the artist's vision is, it’s translated through the process,” notes Dona Warner, director of the foundry. “We do casting primarily from the East Coast,” says Tom Elicker, in part due to their convenient location just outside of Philadelphia off I-95. But Ward Elicker has clients in more than 30 states and overseas including installations in Puerto Rico, France and Australia. As Elicker sees it, one of the reasons they are so successful is that, “we have a talented staff from the Pennsylvania Academy of Fine Arts, the University of the Arts, plus we engage in fair costing, and we provide service through our large sand department.”

For Elicker, he understood by his early teens what direction he wanted to go. He traveled alot when he was a boy, and seeing public art first-hand had a major influence on him. Casting those works soon became his ambition. Elicker has a great interest in creating awareness of public art in the US. “It elevates society,” he notes.

Artists at work in the studio

Photograph by Kristi Robbins

One of Ward Elicker Casting's most famous pieces of public work along the East Coast are are the two bronze Chinese dragons welcoming visitors to the Chinatown district of Philadelphia.

“We were selected from a group of five sculptors," says Elicker. "That project took two years, but it was exciting and lots of fun." Other notable works include the casting for artist Michele Oka Doner’s, A Walk on the Beach, a 22,000 square foot terrazzo concourse floor with bronze inlay at the Miami International Airport.

Although they also offer aluminum casting, Elicker has an ongoing romace with bronze. “It offers a wider range of flexibility in terms of finishes more than any other material," he says. "Bronze is easier to work with, to manipulate, to combine with different fabrications, and it has the ability for a whole range of patinas.”

To prove that point Ward Elicker recently installed bronze panels for a bedroom application. “We cast 140 3’x 6’ panels that were welded together, chased down seamlessly, and patinated with silver nitrate,” Elicker says. The panels were placed in an oval shaped bedroom as an architectural installation.

Elicker himself has been casting for 22 years and purchases quality bronze from suppliers like CMX Metals in Los Angeles. In spite of CMX’s lack of proximity, Elicker is confident of the quality of the bronze they provide.

A challenge Ward Elicker faces is felt by foundries across the country--the exodus of good workers. But Ward Elicker has managed to retain a core group of artists who desire to work in the States.

Bronze sculpture by Ward Elicker

Photograph by Kristi Robbins

“A lot of work has gone overseas, primarily Asian markets,” says Warner. "It’s all about costs; In the foundry business, we’re laden with a lot of overhead expenses, including energy costs. The level of quality and the manner in which artists interface with the casting process and clients is a key part of the artist's work." The nuances of the casting and chasing, and all the various processes, Warner believes, cannot be replicated in just any foundry. “You simply cannot provide integrity of work in a long distance relationship,” she adds.

To keep evolving, Ward Elicker pursues new venues.
“We’re currently looking at different applications and markets, like architectural elements, but keeping a strong artistic hand in it,” she says. “There’s a definite intersection between the artist and the architect.”

One of those applications has been to pull molds off rainforest trees in Costa Rica, which provides natural textures. The images are scanned and then can be enlarged to cover a 500 foot wall for an interior element, such as a dining room, office or commercial interior. It’s a new direction, one which will ensure that Ward Elicker will continue to provide detailed, handsome work.

“There’s a hand-made element you can’t get from a cookie cutter stamp," says Warner. "We believe in giving a level of humanity to our projects.”

Resources:

A demonstration video of the many bronze casting techniques utilized at the Ward Elicker Fine Art and Architectural Casting foundry in Philadelphia, narrated by Ward Elicker, founder.

Ward Elicker Casting, 3450 J Street Philadelphia, PA, (215) 427-1965

Jerry "Swede" Faris: Translating Nature and Copper

By Rebecca Troutman

Kathy and Jerry Swede

Photograph courtesy of Toad's Tool

If there existed an endangered species lists for artistic communities in the Ozark Mountains, Jerry "Swede" Faris would likely find his name on it.

In the town of Galena, Missouri, where Swede mentored as a younger man among droves of copper smiths, he is now the only one left actively practicing his craft. Swede has inherited his life's work from his mentors. Under the tutelage of Lee Robertson, Ed Seals and the late Gerald Goodman, he found a deep appreciation for old world craftsmanship with metal that gracefully withstands the test of time.

Swede believes that his sconces and lantern lighting will be his legacy, "and it will be here 500 years from now–hopefully a timeless design." For ten years he has owned Toad's Tool Copper Shop, an operation manned by Swede and his wife, Kathy. He specializes in "functional art," primarily lodge style lighting that takes its inspiration from nature. Every one of his pieces is handmade from copper, sheet metal, tubing and wire, creating a sophisticated aesthetic for the discerning rustic. He uses brass accents and occasionally steel supports for larger pieces, such as a reproduction of a pair of longhorns or custom chimney cupolas. His distinct style has garnered him accolades in state craft shows as well as the title of Craftsman of the Year by the Architect Institute of America in 2001. He currently has his more whimsical work--featuring trees and dragons–on display at Gallery at the Lake near Branson, Missouri.

As a young man working as a traveling glazer, Swede installed glass up and down the east coast. As a result, he spent much of his time studying the native flora and fauna from Maine to Mississippi. "I taught myself to look at things around me--the way a root comes off a tree or a rock's shadow in the ground," he explains. "I translate that into copper."

Copper dragon

Photograph courtesy of Toad's Tool

Swede's passion is for lodge style lighting, which he makes to withstand the test of time. He creates sconces and lanterns for indoors and out, and admires the natural patinas of pure copper that evolve through the life of his pieces. He prefers to leave the natural copper exposed, enjoying the metal with its "ever-changing coloration."

"Most people take lighting for granted," he says of the exacting craftsmanship that produces a well-made light fixture. Swede can spend a span of several days aligning a light fixture's base construction, pounding out minute flaws. "My philosophy is that if you have something beautiful around you, it enhances your life."

Swede has also produced sculptures and wall-hanging pieces, depicting natural and mythical scenes. He often depicts animals within their natural surroundings, such as moose and fish. His mythical dragon sculptures have kind and friendly faces. Swede always likes to challenge himself, and recently began planning a cupola homage to the Eiffel Tower.

"I was a craftsperson," Swede reflects on his artistry. "But now I've taken that craft to new heights–into a work of art."

Resources:

Toad's Tool Copper Shop, Galena, MO, (417) 357-8719

Copper in the Arts: HISTORY

The Art and Legacy of Washington Copper Works

By Melanie Votaw

Wykeham Hanging Light

Photo courtesy of Washington Copper Works

Serge (Larry) Miller is the quintessential Renaissance man. A Yale graduate who taught French and geometry, he was a bread maker, a calligrapher, and a house builder before discovering the craft of copper lighting fixtures. “He really was just looking for something he enjoyed,” says Serge’s son, Chip Miller, who now runs Washington Copper Works in Washington, Connecticut, the business that Serge founded more than 25 years ago. Today, Serge is “mostly” retired but is often consulted when custom work is requested. “There are still things that he can do that other people can’t do,” Chip says.

Chip is also a history teacher, but he began to learn his father’s trade at the age of 12 and worked full-time for the business during summers by the age of 14. Washington Copper Works is still run in Serge’s house and currently has two craftspeople making the lights – Janet Buonaiuto and Gary Miller (no relation to the family.)

Of course, starting a copper light business wasn’t easy in the beginning, so Serge began taking his work to juried craft fairs. “I have really fond memories of this,” says Chip. “You would have to send five works – not photographs, but actual works – and a group of people would judge. A pretty small percentage of people who applied to the juried fairs got in.” If a particular design sold well at a fair, Serge called Chip’s brother at the workshop to ask him to quickly produce more of that style.

From that, the business began to grow, and they now have several designers and builders as regular customers. Each piece is handmade and custom shaped from flat copper sheets. The company’s lights are displayed in every state of the U.S. and several other countries, including Disneyland in France. One customer in Oklahoma hangs 40-60 of the company’s lights from trees.

The business has stayed small because that’s what Serge preferred. “There aren’t that many people who are doing a job that is most of the time pleasant and relaxing,” Chip says. “So, that’s worth a lot, and I understand why he didn’t really care about growing.”

As a result, no two lights are the same, even if they’re essentially the same design, and every light is signed and dated by the crafts-person who made it. “The two people who are working there are really artists,” says Chip. “They want to make one at a time.” Cutting some pieces of the copper takes a long time by hand, and if they aren’t cut correctly, they won’t solder together properly. A metal press could do it in 30 seconds, but this family business has no desire to become a factory.

Janet inside the studio

Photo courtesy of Washington Copper Works

“We work with a certain gauge copper [24-gauge]. Some of our bending breaks are antique,” Chip says. “Pretty much everything we use, except for the electric lights that we use to see with, are the way you could have made the lights a few hundred years ago. We roll parts around old wine bottles. It’s very, very old and very trial and error. Aside from copper refrigeration tubing, which we use for some spiral parts, and some solid copper wire that we use for the hinges of our lights, everything else is just flat 4x8-foot sheets of copper that get cut and folded and punched and notched, etc. and made into those parts all pretty much in the basement and the upstairs of that house.”

You might think that such work would be too noisy to perform in a home, but Chip insists that it isn’t as loud as you’d expect. Most of the hammering is delicate and done with a small jeweler’s hammer. Some designs require no hammering at all except for the hinges.

“We have this thing that we roll over them to make them perfectly flat," says Chip. "Then, we put them in needle-nose pliers, bend them into kind of a double bend, then put them in a vice grip, and hammer half of it over.”

The atmosphere in the workshop while Chip was growing up was politically charged with artists like his father who played classical music and spoke daily about philosophy and literature. “For me as a child, this was just wonderful,” he says. One of the lessons he learned from his father is that theory isn’t enough. You need to be able to do things with what you know, like Thomas Jefferson’s contention that everyone should learn to do something with their hands. “It’s not just making old-fashioned lights. It’s kind of colonial America. And that’s disappearing,” Chip says. “So, more than just making the lights, I feel incredibly lucky.”

Resources:

The Washington Copper Works, 49 South St., Washington, CT, (860) 868-7527

Copper in the Arts: NEWS

20th Century Decorative Arts Auction at Bonham's and Butterfields Features Notable Bronze and Copper Works - September 29, 2009

An Arts & Crafts copper and mica oil lamp school of Dirk Van Erp, early 20th century

Photo courtesy of Bonham's & Butterfields

On September 29, Bonhams & Butterfields in Los Angeles will hold a 20th Century Decorative Arts Auction, featuring a diverse group of high quality bronze and copper works spanning a century of design by well-known figures of the period. The sale will feature strong examples of Arts & Crafts, Art Nouveau, Art Deco, Mid-Century Modern and works by Contemporary Studio artists with a focus on California and Western designers.   

Rare objects to be represented will include early 20th century items such as an oak and copper tall case clock with original red decal by Gustav Stickley (est. $5,000 - 7,000); an Austrian cold painted bronze and marble Harem table lamp, circa 1900 (est. $4,000 - 6,000) and a collection of exotic Viennese bronze sculptures (estimates vary).

Leading the California offerings are items by Dirk Van Erp, Nicolai Remisoff, Arthur Court, Tony Duquette and John Nyquist. Among the highlights is a hammered copper and mica lamp, circa 1911 by Dirk van Erp (est. $12,000-18,000); a brass, plastic and mirror sculpture titled Primal Sun, circa 1974 by Tony Duquette (est. $5,000 - 7,000); six pieces from the Personal Collection of John Nyquist used by the designer in his Long Beach, California home including a prototype walnut ladder back rocking chair with Jack Lenor Larsen fabric, 1998 (est. $5,000 - 8,000) and a 14-panel fireplace screen designed for the home of couturier Adrian in Bel Air, California by Russian artist Nicolai Remisoff. Known for his work with the city of Chicago, Illinois and San Francisco Opera, Remisoff also acted as art director for over 30 films and four television series, including Ocean's Eleven (1960).   

In celebration of the life and careers of California craftsman Sam Maloof, ceramicist Otto Heino and architectural photographer Julius Shulman, the firm is pleased to offer a selection of works by the noted trio. Among the items on offer is a ceramic Fern platter by Otto Heino ($1,500-2,000); three lots of architectural photographs by Julius Shulman (estimates vary) and a 1970-71 circular walnut dining table and eight chairs by Sam Maloof (est. $18,000 - 25,000). A signed copy of The Furniture of Sam Maloof and a fragment of original upholstery accompany the lot.

"The September auction explores the historical development of the design movement in California while celebrating the life and career of three of the regions' noted artists who have passed this year," says specialist Angela Past of the 20th Century Decorative Arts Department. "Bonhams & Butterfields is pleased to capture the pioneering spirit of the state and work from groundbreaking individuals who have settled in California since the early 20th century."   

Other notable works include a painted metal, brass, glass and marble floor lamp for Arredoluce by Angelo Lelii (est. $15,000 - 20,000); a signed mahogany Hand and Foot chair Pedro Friedeberg (est. $8,000 - 12,000); African Fantasy, a circa 1950 oil on canvas by Adrian (est. $3,000 - 5,000) and bent plywood and cast aluminum Fly Ply dining table, 1994 by Ron Arad (est. $10,000 - 15,000). The piece on offer is representative of Arad's signature cutting edge style, which is currently on exhibit at The Museum of Modern Art in New York during the designer's first major US retrospective.   

The sale will also feature a group of studio glass and ceramic pieces of art by renowned makers Peter Voulkos, Beatrice Wood, Steuben, Dale Chihuly, Glen Lukens and William Morris. Notable highlights include a glazed stoneware vessel, circa 1956 by Peter Voulkos (est. $18,000 - 25,000), The Thousand and One Nights, a 1974 limited edition Steuben glass and sterling silver sculpture (est. $15,000 - 20,000) and a signed copper luster glazed earthenware two-handled chalice by Beatrice Wood (est. $3,000 - 4,000).

Resources:

Bonhams & Butterfields, 7601 W. Sunset Blvd., Los Angeles, CA, (323) 850-7500

Contact the Editor:

Robyn Jasko