User:Pbourd
Pierre Van Parys Bourdelle (April 21, 1901, Paris, France—July 7, 1966, Geneva, Switzerland) The Artist was an American sculptor, muralist, decorator, photographer, writer, and professor of Fine Arts, who pursued his career worldwide, but principally based in the United States, of which he became a naturalized citizen in 1934, New York City. Drawing from his family’s artistic heritage and influenced by the artistic effervescence of early 19th-century Paris, Bourdelle went on to develop his own modernist style, combining themes of contemporary life with a celebration of wild nature. ART DECO: As one of the main artisans of ‘Art Decoratif’ moving in & out of fashion from “1950s style,”, he has been heretofore somewhat neglected because so many of his major works suffered the fate of their support media, and indifference of wrecking balls of redevelopment, the dismantlement of a exhibition pavilions, and devastation by nature (the grounding of the ocean liner destined for scrap (SS America- American Star), and the almost total destruction of the Presidential Palace during the 2010 earthquake in Haiti (See 1949 listings). “International exhibitions were a perfect place to present his modernist decorations, as well as an efficient means of making them known. Thus, for the exhibition, A Century of Progress, in Chicago in 1933, he decorated the administrative pavilion with a grand mural [& as he did for 40,000ft² of building façades in the renovated State Fairgrounds for the 1936 Texas Centennial in Dallas, and the ’39 Worlds Fair (Flushing NY)....] Beyond the massive deco projects Pierre Bourdelle also found time to [design furniture, paint lacquer & guilt on carved Linoleum, metal mosaic, Plexiglas®, sketch watercolor/scratchboard, pen & ink, and] sculpt terra-cotta and clay for cast bronze busts, (both commissioned & for friends), and he held personal exhibitions such as at the Washington County Museum of Fine Arts in Hagerstown, Maryland [1947].” (from translation of David Karel: Dictionnaire des artistes de langue française en Amérique du Nord, Presses Universitaires de Laval, 1992, with [corrections by Peter Bourdelle]) “While taking on themes of contemporary life such as electricity, communications, construction, railways, steel works, the dairy industry, speed and aerodynamics, Bourdelle’s work is no less a celebration of the jungle, the world underwater, wild animals and plants, herds of elephants and voodoo.”(D. Grafly, American Artist, May 1952) 1. Biography Pierre Bourdelle was the son of the renowned sculptor Emile Antoine Bourdelle (http://en.wikipedia.org/wiki/Antoine_Bourdelle) and (Bourdelle’s former student) Stéphanie Van Parys, a budding sculptress & painter of still life. Pierre was raised in the heady atmosphere of avant-garde artists and sculptors in early 20th century Paris (& Montauban), gravitating around the ateliers of Antoine Bourdelle and, of Auguste Rodin (http://en.wikipedia.org/wiki/Musée_Bourdelle). Those other artists included a number of American students, such as Sarah Wise, whose son Jack Wright became one of Pierre’s best friends: When WWI broke out, Bourdelle was still too young to enlist in the military. He admired Jack Wright for his volunteer service as a driver for the American Field Service (AFS history), and was devastated when Wright was killed in an airplane accident in early 1918 after transferring into aviation. Pierre soon lied about his age to join a French infantry unit, earning several medals, before he also became an aviator. Immediately after WWI, as a civilian test pilot, he survived a flaming bi-plane crash-landing with ruptured eardrums that ultimately damaged his hearing, leaving a significant deafness which lasted the remainder his life: Pierre’s earpiece & breast-pocket Sonotone hearing aid, a visible reminder to those who needed to speak with him, and sometimes the means to “tune out” when Pierre chose not to be listening. Following that War, Pierre continued his artistic career, while working at Editions d’Alignan, which had published his father’s work. During the 1920s, he exhibited in a number of Salons in Paris and abroad, finally venturing to the United States where art markets were stronger due to post-war economic conditions, and perhaps farther from the large shadow of his father’s fame. ~1927 There he was briefly married a former New Yorker we know only as Katherine Bourdelle, (from letters in the archives of Musée Bourdelle) and that was later annulled with help from his father Antoine Bourdelle, who would die soon after, at Le Vésinet, near Paris, on October 1, 1929 and finally interred in the plain family crypt in Cimetière du Montparnasse, Paris, France. After the death of his father in 1929, Pierre Bourdelle found work in New York City thanks to many architect friends, including Wallace Harrison, and Visscher & Burley architects: “...and thereafter devoted himself to decoration work. Bourdelle was a partisan of a better integration of artwork into the overall building, and he designed decorative work to the scale of its architectural space...” (Karel) In 1932 Pierre next married Barbara Barnes*, who honeymooned with him at the Sherry-Netherlands hotel in Cincinatti, OH as he installed numerous murals in the Cincinatti Union Terminal for United Railroads. Pierre’s personal & publicity photos of that time illustrated the wonderful space they filled in their NYC apartment, and the intellectual social circles they shared. *(Barbara Hale in later years said “Pierre was the kindest man I ever knew”) He became a naturalized American citizen on October 1, 1934, but in the eyes of France he could carry dual-citizenship. 5/13/39 by He and Barbara were divorced in Reno NV, and soon Pierre volunteered for his old French unit, but arrived to late to avoid the fall of France in June 1940. Back to NYC, Pierre returned his WWI military medals to the (occupied France) Vichy Government, resulting in him being condemned to death in absentia! Too old to enlist in US military service in late 1941, Bourdelle volunteered for the American Field Service -- ¬as his friend Jack Wright had in WW1—and sailed (on the SS El Nil) to North Africa where he drove an ambulance, sketching (pen & ink on onion-skin paper) scenes of service in Saharan desert warfare in Tobruk and Tunisia, and then in mountainous Italy, notably at Cassino. In post-war 1945, he published his impressions in a limited Album series of 69 lithographs entitled “War” sold ‘at cost’ in hopes that it might somehow prevent humanity from repeating more Wars. In 1946 after resuming his postwar art career, Pierre proposed to, and soon married Canadian-born Ruth Magor, living first in New York City where their two children, Stephanie and Peter would be born in 1947-48. In 1949-1950, the family moved to Port au Prince, Haiti to live for more than a year, while Bourdelle was commissioned for many works by Haitian government for their Bicentennial Exposition. Pierre’s numerous B/W & Color slides show how he studied their culture and patterns of nature to create so many relevant works, including the Ibo-Lélé (Residence of R. Baussan, and now a Hotel, near Kenskoff) When back in NYC, as the children grew, they opted to move from the city to Long Island suburbs, first to Dolphin Green (Port Washington NY) and finally to Cove Neck Road area of Oyster Bay, NY originally to be closer to Ruth’s eldest Sister Frances Cox & family: The Cox “Sandy Hill Road”estate also held an enormous 12-car garage that they rented to Pierre as his studio for several years until the Bourdelles had their own “Techbuilt home” (mid-century modern, designed by Carl Koch, Lexington, MA system) built, with a studio & darkroom in the basement, nestled in 2 acres of woods alongside of “Sagamore Hill”. Pierre nostalgically named this home Ibo-Lélé after their favorite Haitian homestead. His final years in Oyster Bay Cove, Pierre Bourdelle was a professor of Art at C.W. Post College (seven years, one as Chairman of the Fine Arts Department, succeeded by Alfred Van Loen). In the summer of 1966, Pierre Bourdelle brought his family along to Europe to assist in a final commission for his friend Mme. Marion Cartier-Claudel, he died 7/5/66 of heart failure in Geneva, Switzerland, in the presence of his family. Pierre had understood the risk of the trip on his ailing heart, and his family understood they had to swallow their grief and proceed on quickly to Paris to finally see his fabled birthplace, visit the Musée Bourdelle, and finally meet his stepmother Cléo (Cléopatra Sevastos Bourdelle) and half-sister Rhodia Dufet-Bourdelle. Though his cremains were later interred un-marked in the grounds of Ibo-Lélé (The Cove house), his children commemorated Pierre Bourdelle on a headstone along with his beloved Ruth, when she died in 9/26/90. 2. Exhibitions of Pierre Bourdelle EXHIBITIONS Date Location Exhibition 1916 Paris Isadora Duncan’s Fund Grand Prize 1918 Paris Salon des Independants 1919 Paris Salon de la Nationale Purchase by Government 1920 Paris Salon D’Automme 1921 Mainz Army’s Exhibit in Rhineland Non-competitive 1922 Paris Salon des Independants Jury member 1923 Amsterdam Javanese Museum Leistikov’s Collection purchase 1924 Paris Salon D’Automme Purchase by Government 1925 Paris Salon des Independants Jury member 1926 Beuxelles Private sales 1927 Buenos Aires Alvear Inaugural Private sales 1928 Paris International Fair Gold Medal 1929 Vésinet, Fr. Death of Émile-Antoine Bourdelle (10/30/1861- 10/1/1929) 1930 New York Jacques Seliguian Sabila Walla Collection purchase 1931 New York Henri Street Settlement Private sales 1932 Pittsburgh Carnagie Institute S.C. Willeb’s Collection purchase 1933 New York Jacques Seliguian S.C. Willeb’s Collection purchase 1933 Chicago Architect’s Club Show Chicago Fair Sales 1936 New York River House Show Laurence Bottomley 1937 New York Metropolitan Mus. Decoratie Arts J.D. Teague Show, Soarineu Show 1944 Algiers Army Club Show Prize 1946 Haggerstown Washington City Museum Fine Arts Council 1948 Mexico City Prado Showing Corporate 1950 Port au Prince Government Show Carnival Sogue 1951 New York Architectural League One of eight selected nationwide 1963 Stony Brook Sculpture Approaches various New York Architectural League & C.W.Post College group shows, participation 1966 Stony Brook C.W.Post College Pierre Bourdelle Memorial retrospective 1970 Hoboken, NJ Stevens Institute of Technology, Three Generations of Bourdelle 1995 Hoboken American Eagle placed on S.C. Williams Libary at Stevens Institute of Technology (see 1962 orig. for Federal Loan, Washington D.C. by Locraft Assn. for Savings Bank Association, Facade ~12 across, 222 ft3 Cast Aluminum)
3. Architectural Works of Pierre Bourdelle & Historical events
'1930:'Tyler Building, New York, NY for Exchange Buffet, by Visscher & Burley, Dining Room 1,200 ft2 Paintings of Illustrations from works of Edgar Allen Poe
Hippodrome, New York, NY for Exchange Buffet, by Visscher & Burley, Dining Room 1,800 ft2 Paintings of New York Pageantry
Chanin Building, New York, NY for Exchange Buffet, by Visscher & Burley, Dining Room 1,475 ft2 Paintings of Calendar of Nature
1931: Grand Central Train Terminal, New York, NY for Union News Corp, by Fellheimer & Wagner, Oyster Bar 750 ft2 Paintings of Undersea Life
Michigan Building, Chicago, IL for N.Y. Central Lines, by Fellheimer & Wagner, Ticket Office 900 ft2 Paintings of Railroad Scenes Union Terminal, Cincinatti, OH for United Railroads, by Fellheimer & Wagner ~10,000 ft2 of Waiting Rooms; Paintings on Railroad themes Lounges; Paintings on local Industries Dining Rooms; Flora & Fauna Passage; Manufacturing Movie Theatre; Allegories
1932: 4th Telephone Building, Brooklyn, NY for Bell Telephone, by Walker, Voorhees, & Gamelin, Lounges, 600 ft2 Paintings on Stravinsky’s “Firebird” Unitarian Church IV, Brooklyn, NY for the Unitarian Church 2,500 ft2 of
Chancel; Painting of the Evolution of Life Chapel: Stained Glass Window of Mankind’s Elevation
1933: Chicago World’s Fair, Scientific Exhibit, by Paul Cret, Hall Paintings 1,800 ft2 Paintings of Scientific Items Chicago World’s Fair, United Dairies, by Donald Nelson
Terrace, 1,200 ft2 Lacquer murals of Modern Dairying Lotus Club, 100 W. 57th St., New York, NY for Meyers, Minott Hall, 600 ft2 Plastic Screens - Greek Frieze
1934: City Arms, Chinese Resaurant, Jersey City, NJ, for Chan Li Po, Dining Room, 645 ft2 Lacquers of Chinese Scenes Saint Anthony’s Club, New York, NY for Meyers, Minott, Bar, 250 ft2 Lacquers of Temptations Scarsdale Club, Scarsdale NY for Thedlow, Bamboo Room, 200 ft2 Jungle scenes in Lacquer Woodstock Hotel, New York, NY for Meyers, Minott, Bar, 200 ft2 Plastic Screens of Maps 1935: Passatiempo Club, Monterey CA, Harper’s, for Thedlow, Club Room 16 ft3 Lacquer of “Tiempo” Residence, Cat Cay, B.W.I., Harper’s, for Thedlow
Stairway: 180 ft2 Plastic: Sea Nymphs Bar: 200 ft2 Lacquer of Elephant Herd
Station, Montego Bay, B.W.I., Casa Bianca, Outdoor Seahell Mosaic of Native Lore, 70 ft3 San Souci Hotel, Port au Prince, Haiti, for Leger, Lobby, 240 ft2 Paintings of Voodoo themes 1936: Dallas State Fairgrounds, Texas Centennial, for George Dahl; 27,000 ft2 of Bas-reliefs of colored cement al’fresco, direct carving of wet cement:
Manufacturing Building Riggers & Builders Motors Building, on Prometheus & Electricity Industries Building Speed & Aerodynamics Theatre Telephone, Racing, & Telegraph Humble Oil Oil Gusher in action Fountains Pegasus & Sirens Corral Paintings of Cattle Breeds of Texas
Fort Worth Auditorium, Texas Centennial, for George Dahl; 5,000 ft2 outside: Tile Frieze of Texas History 1937: Hotel Adolphus, Dallas TX, for George Dahl; Palm Room, 1,000 ft2 Painting of a Palm Grove scene Hotel Baker, Dallas TX, for George Dahl; Mural Room,1,000 ft2 Silver Leaf, Bas-relief of Songs of Solomon Hotel Rice, Houston, TX, for McMullins & Franzheim Lobby, 200 ft2 Lacquer of Houston history Memorial Marker, San Jacinto TX, Texas Centennial Memorials, for Don Nelson & Texas, Surrender of Santa Anna, 9 ft3 outdoor Granite marker Sherman Monolith, Galveston TX, Equestrian Sherman, 432 ft3 outdoor Granite marker Memorial Marker, Laredo TX, Texas Centennial Memorials, for Don Nelson & Texas Centennial Commission, Escandon Conquistador, 18 ft3 outdoor Granite marker 1938: New York World’s Fair ‘39, Flushing Meadows, NY, mostly Bas-reliefs of colored cement al’fresco, direct carving of wet cement:
Plaza of Nations Voorhees 22,000 ft2 colored cement Bas-reliefs of Earths’ Products Dupont W.D.Teague 1,800 ft2 Plastic build-ups of Chemical Research Gas Industries Skidmore/Owens 2,700 ft2 Metal, Plastics, & Painting of Fairgrounds Map Fashion Chanel 800 ft2 Painting of Symbols
Memorial Marker, LaGrange TX, Texas CCommission, for Don Nelson & Texas, King’s Men Heroism, 450 ft3 outdoor cement fresco relief 1939: Baylor Library, Dallas TX, for Medical association, and George Dahl; Medical Research; 450 ft3 outdoor Limestone sculptures Lucas Gusher, Beaumont TX, for Associated Oil Industry, and Don Nelson, The First Oil Well; 7,000 ft3 outdoor Granite Obelisk Residence, Indianapolis, IN, Indianapolis Speedway for Schwitzer Board Room: 72 ft2 Deep relief Lacquer on “Speed themes”, Play Room: 64 ft2 Painting of Aerial Fantasia 5 E. 70th Street, New York City, NY, Marshall Field: Residence, by Myers 4 E. 69th Street, New York City, NY, Marshall Field Lobbies, by Myers; Lobbies, 1,200 ft2 Lacquers of 12 Whimsical scenes of NYC S.S. AMERICA, Newport News, VA, United States Lines, by Gibbs & Cox, Urquehart & Markwald, Main Dining & Lounge, 2,370 ft2, in 26 Lacquer panels of Pageantry of States, NYC Skyline in Lounge. 1940: Business Offices, New York City, NY, George Sharp, & Jack Heaney, Robin Line, Reception Desk, 72 ft2 Lacquer Map of Robin Line traffic routes 1941-45: “WAR” Drawings, WWII personal experiences as ambulance Driver for American Field Service , Original Pen & Ink on onion skin & linen, Originally with W.L.Burton Residence, NYC, now private coll., Lithographs, limited to 250 copies, By Albert Carman printer, Studio Press (London, NYC?) Metropolitan Museum Presses Rives paper. http://ourstory.info/library/4-ww2/Bourdelle/pbTC.html
1946: Delta Line, New Orleans, LA, through Jack Heaney 216 ft2 Lacquers on Promenade, & Reception of:
S.S “Del Norte” Louisianna Flora & Fauna S.S “Del Sud” New Orleans past, Maps S.S “Del Mar” South American landscapes
1947: President Line, San Francisco CA, through Jack Heaney 142 ft2 Lacquers on Terraces, & Reception decks of:
S.S “President Cleveland” Sea Shells & Maps S.S “President Wilson” Sea Shells & Maps
Budd Company, Pullman Philadelphia, PA through Harbeson Co. 600 ft2 Lacquers of flora & fauna & marine life of locale for the following RR Lines:
Georgia-Alabama RR Dining Cars Atlantic Seaboard Coaches Florida Lines Lounges
1948: Budd Company, Pullman, Philadelphia, PA through Harbeson Co. 900 ft2 Lacquers of Pioneers, history, aerial views, maps & birds of the Chesapeake shores for the following RR Lines:
C & O Railroads Observation Cars (Harbeson) C.B. & O. Observation Cars (Harbeson) California Zephyrs Observation Cars (by Luis Obregon)
Hotel del Prado, Mexico City, “Barcelonettes” Corporation?, through R. Meyers, Nicte-Ha Room, 1,750ft2 All-over Mural, Lacquers of the Ledgend of Sac-Nicte Cullen Memorial Hospital, Houston, TX for Cullen Foundation, through W. MacMullin Co., Lounges 720ft2 of Plastic Carvings of Steers, Horses & & Lacquers on Cowboy song themes. 1949: Haitian Bicentennial Exposition, Port au Prince, Haiti, for Haitian Government through Schiedigen. 2,000ft2:
Tourist Building 4 Bas-reliefs of Symbols & Magic in colored cement
Postal Palace 2 Bas-reliefs of Voodoo Godesses in colored cement
Synchronized Fountain High Reliefs
Tower of Independence Bas-reliefs of creation of the Haitian Flag
Palace of Haiti:
Entrance: Lacquers of flora & fauna & map
Main Room Lacquers of new & old Haiti
Palace Mall Lacquers of History of Haiti
Agricultural Museum Lacquer & cement of Products of Haiti
Museum of Art & Eth. Lacquer & cement of Major & Minor Arts of Haiti
1950: Ibo-Lele (residence), Pétionville, Haiti, for R. Baussan, Fountain-Pool of 1,500 ft3 Cement aggregate 1951: Budd Company, “Senators” mainliners, Philadelphia, PA through Harbeson Co. , Pennsylvania RR, Lounges 180 ft2 Lacquers of New England historical figures 1952: Great Lakes fleet, ore carriers, Republic Steel, 30 Ships, Chicago IL, & Cleveland OH, Aetna Marine Design. 1,800 ft2: Lacquers of: The Great Lakes; View of Diluth; Suspension Bridge; Ore carrier in Lock; Pouring-casting- & rolling of Stainless Steel; Lacquer & metal map of the Great Lakes, Metal mosaic View of the Great Lakes, Plaster relief of flora & fauna of Great Lakes 1953: Santa Fe RR Streamliners by Budd Company, Philadelphia, PA , Dome cars, Diners, & Lounges 1,500 ft2 in Lacquer of Navaho Indian Motifs
Hotel Rice, Houston, TX, for Jesse Jones through W. Ballard (see 1937), Lobby, 300 ft2 Lacquer of Sam Houstons’ saga “LOOK” office building, New York City, NY, Stauffer Chemicals Corp, through F.G. Carr, Board Room Lacquer Abstract “Fountain of Youth” Hotel di Lido, Miami FL, Miami Beach Hotels Corp. through Morris Lapidus, 16 ft high, 50 ft3 Metal mosaic statue, last known to be in the hands of University of Miami ~1990
1954: Canadian Pacific RR Dome Cars, Montreal, Quebec, Canadian Government, through J.Harbeson Co., 146 Dome Cars, 1,500 ft2 in Lacquers of Histoical, Pageant of Canada, flora & fauna. Residence, Newton N.J., for X-Ray Survey Corp. through J.D. Rollins, Dining Room, 400 ft2 Lacquer mural of Deepsea Fishing St. Avold War Meorial, St. Avlod, France. for American Battle Monuments Commission, by Harbeson & Joutz, Crypt room: 1,288 ft2 plastic map of WWII, & 1,288 ft3 scale model of Action (Later done in Mosaic)
Mosaic of Jones’s Skyscraper, Houston TX, for Jesse Jones, by R. Batty, Trophy Room: 3 ft2 metal mosaic of Jones’s Skyscraper
1955: Canadian Pacific RR Dome Cars, Montreal, Quebec, Canadian Government, through J.Harbeson Co.
Dome Cars, 1,480 ft2 in Lacquers of Canadian Resources & Industry. Great Northern RR, Dome Cars, Chicago, IL, through Perkins, Will, J.Harbeson 146 Dome Cars, 3,200 ft2 in Lacquers of Northwest Indian motifs
Graybar Building, New York City, NY, for Vanadium Corp. by Myers, Corridor 78 ft2 in Lacquers of Peruvian Mining AMOCO Building, New York City, NY, for American Oil Corp., by F.A. Carr, Board Room, 256 ft2 Operational map, in metal strips. TEXACO Building, New York City, NY, for Texas Oil Corp., by F.A. Carr, Touring Center 800 ft3 Map of the United States, in metal strips. St. Avold War Meorial, St. Avold, France. for American Battle Monuments Commission, by Murphy & Locraft, Crypt room: 2,800 ft3 Map of WWII Action in Ceramic (see also 1954)
EAGLE U.S. Embassy, Copenhagen, Denmark, Presented as a gift to the Embassy(?) per NY Times Obituary, “Eagle” 5 ft Lucite, in Gold & Silver leaf
1956: Hotel Rice, Houston, TX, for Jesse Jones through W. Ballard (see 1937, 1953), Rice Room, Coffee Shop, 320 ft2 “Wild Cattle” in Raised metal AMOCO Building, New York City, NY, for American Oil Corp., by J. Gordon Carr (1955), Board Room, 120 ft2 additions to Operational map, in metal strips. SS Carras, Greek Import Lines, Baltimore MD, Aetna Marine, Lounge, 48 ft2 metal mosaic of flags, & identification SS Humphrey, Great Lakes Lines, Cleveland, OH, Aetna Marine, Lounge, 96 ft2 Lucite of Great Lakes, in relief
1957: Kohler Memorial Auditorium, Kohler WI, for Kohler Corp., by Perkins & Will, 12 Masks, from around the world, 240 ft3 of sculpted metal reliefs Standard Oil Building, New York City, NY, for SUNOCO, by G. Carr, Lobby 20 ft3 of sculpted metal build-up of Compass Rose of the Winds St. Avold War Memorial, St. Avlod, France. for American Battle Monuments Commission, by Murphy & Locraft, Crypt room: 400 ft3 insert map in Ceramic (see also 1954,’55) 1958: Park Avenue Building, New York City, NY, for TEXACO, by R.Gordon Carr, Park Avenue Room, 300 ft3 of hammered metal on magnetic board, Outlines of the States Park Avenue Building, New York City, NY, for TEXACO, by Liegh Allen, Tourism room, & Showroom, 120 ft3 of mosaics on “Fiestas” 1959: University of Wisconsin, Madison WI, for Kohler Corp., by H.V. Kohler, Bronze Memorial Plaque, in Lobby, 12 ft2 "GLOBE" School of Foreign Service, Georgetown University, Washington, D.C., by Murphy & Locraft, “One World” , U.N. Shield, 48 ft2, in Auditorium, and “The Globe” 10 ft diameter, 550 ft3 Plexiglas relief lacquer & Leaf, in Steel Frame, motorized for 24 hr rotation & lit from within by fluorescent tubes. Now @ VA Priv.res.
Phillips Museum, Washington, D.C., for Phillips Foundation by F.R. King, Facade 60 ft2, in porphyry stone of “Braque’s Bird” Nuclear Ship Savannah, Camden NJ, for N.Y. Shipbuilding Co., Maritime Commission, through Jack Heaney “Nuclear Fission”, Dining Room mural in 430 ft2 of Plastic Stucco (From plaster originals)
1960: Broadmoor Building, Hobbs, NM, Broad & Nelson
“Desert Patterns” Facade, in 2,000 ft2, 500 ft3 of Texcrete Crystal agglomerate
“New Mexican Resources” in metal relief 12 ft2 on Otis Elevator Doors
“Little Theatre” C.W. Post College, Brookville NY,
Harlequin & twelve dancers, in metal & glass, epoxied 128 ft2 Facade, in Cement reliefs of Art symbols, Music, etc.
“Dolphin Weathervane” C.W. Post College, Brookville NY, Biology Building, Hammered Metal 15 ft3 1961: S.S. Lykes Lines (16 Ships), Baltimore, MD, E. Hardee, Bethlehem Shipyards, Lounges, Dining Rooms, 2,000 ft2 Metal Reliefs of Around the World / History of Shipbuilding St. Dominic Priory, Washington, D.C., by Locraft Assn. for Dominican Council, “The Life of St. Dominic” Chapel Altar, 320 ft2 , Lacquer on Linoleum & Plywood Relief S.S. Lykes Lines (12 Ships), New Orleans LA, E. Hardee, Avondale Shipyards, Lounges, Dining Rooms & Cabins, 1,200 ft2 of Murals & Plastic Reliefs of Louisiana flora & fauna. American Field Service headquarters 313 E 43rd St, New York City, NY, donated at cost, "The Spirit of International Understanding" Façade: representing the AFS Service bringing light to the youth of the world. 26 ft tall Hammered Aluminum, AFS Dir Gen. Stephen Galatti paid~$2,000 in materials. Later salvaged then lost, when building collapsed "Irreplaceable Artifacts" 14 2nd Ave., NYC 1962: “Admiral Conolly’s Memorial” C.W. Post College, Brookville NY, by Shaknis, Armillary Sphere (Astrolabe) 270 ft3 Bronze casting on Marble Base (toppled frequently by wind) “U.S.Eagle” orig. for Federal Loan, Washington D.C. by Locraft Assn. for Savings Bank Association, Facade ~12 across, 222 ft3 Cast Aluminum, Haute-Relief with 12 Stars for the original states, now relocated onto South wall of the Samuel C. Williams Library at Stevens Institute of Technology, Hoboken, N.J. gift of Jack Taylor & Family Racket Club Building, New York City, NY, for 1st National City Bank, by Fellheimer & Wagner, Lobby, Canvas of Park Avenue, Old & New, 575 ft2 1963: “Shield” South Africa Bank Ltd, Wall Street Building, New York City, NY, by DeBlonay, Lobby 12 ft3 in Ebony & Metal S.S. Lykes Lines (16 Ships), Sparrows Point, E. Hardee,
Lounges, Dining Rooms, 1,148 ft2 lacquers, mosaics, & ground glass of South Am. butterflies & sea legends Lobby, Canvas of Park Avenue, Old & New, 575 ft2
1964: St. Dominic Priory, Washington, D.C., by Allard & Joutz. for Dominican Council, “St. John, St Peter” Lobby of Priory, 112 ft2 , Lacquer on Linoleum & Plywood Relief Residence of Ted & Nancy Price, Round Hill, Jamaica,
“Jumping Fishes Fountain” in Living Room Patio, Hammered Copper 12 ft2
“Motorcycle Policeman & Squirrel family- Weathervane”, Oyster Bay Cove, NY by Private donations
Seargent Forrest Memorial weathervane, Hammered Copper 15 ft2 atop Cove Neck Village Police Booth , Stolen in 1980's & never recovered
4. References D. Grafly, American Artist (May, 1952) David Karel, Dictionnaire des artistes de langue française en Amérique du Nord: peintres. Musée Bourdelle Pierre Bourdelle Papers, Arents Special Collections Research Center_Syracuse University Library _Syracuse, NY 13244 Family: Peter A. Bourdelle & Stephanie R. Bourdelle Alan Albright (who inspired & drafted this Wikipedia document, and so much more) American Art Deco*, by Alastair Duncan, Publ: Harry N Abrams Inc ISBN 0810918501 / 9780810918504 / 0-8109-1850-1, Ill Pg 161; from Architectural Forum June 1933, p. 467 *Pierre Bourdelle repeatedly cited incorrectly as “Jean Bourdelle”