The Eagles

 

Some years ago I ran across an extraordinary pair of hand wrought and cast iron armatures resembling birds. I must have come back and looked at them 4 times, before I approached the dealer. He told me he believed they had been eagles, gracing a building in Paris. He went so far as to tell me they had been on the Palais Royale, but had no proof of that provenance. They were obviously very old; the iron was deeply pitted from exposure to the weather and environment. The heads were long gone, as were most of the wought iron feathers.  One patch of feathers, one piece of feathers long detached, and the hand wrought iron legs and talons gave a small indication of what they might been in their prime.  

But the most striking of all that remained were their massive iron armatures.  An armature is the underpinning over which a sculpture is created.  The armature provides strength and support-a framework upon which to build the final piece.  These old armatures-visually arresting.  Emotionally arresting.  I kept coming back. Buck encouraged me to speak for them.      

 

I visited them many times over the course of 3 days.  Buying them could not be undertaken lightly.  It would require a considerable investment.  No doubt they were like nothing I had ever seen.  In the end, I gave in and bought them, as they were like nothing I had ever felt.  It is entirely possible that I would not have responded as strongly to the sculptures in their prime as strongly as I did to the aged and deteriorated version.  They had a very powerful presence, though I could see through them.  With almost every shred of ornament stripped or worn away, they were still incredibly beautiful.  There was ample evidence of the hand of the artist.  They were of imposing scale.  I never tired of looking at them.   

I did at one point have a client with a serious interest.  Buck made a pair of painted plywood pedestals, so we could display them in the air.  She decided against them.  I had not a worry in the world about this.  I had fallen for them hard.  I liked having them around, every day.  They might be the most beautiful garden ornament it has ever been my pleasure to own.  This is my personal opinion.  People respond to art in very different, and very individual ways.  I could never buy art for a client, nor would I ask someone to buy art for me.  I cannot really explain why this ghostly pair of birds wrapped their talons around my heart-but they did. 

Why this story now?  A designer from New York, who looked at them at the same show where I bought them years ago, called last week to inquire if I still owned them.  He had a client with a garden whom he thought would appreciate them.  I was surprised that he had taken note of where they had gone.  He responded much like I would have.  There are those garden ornaments that make an indelible impression.  He had not forgotten them.   

His client decided to purchase them from me.  Several days ago Steve and his crew loaded them into our box truck for a trip to Branch.  Buck will crate them for shipping to a garden in St. Louis.  I was surprised at how very reluctant I was to let them go.  More than once I thought about bringing them home, but my garden is not right for a pair of sculptures such as these.   Yet I could have lived with them all of my life, and been challenged, intrigued, engaged, and awed every time I looked at them.  This is what art does for people.   

 

I have had other perfect moments with art.  Some of those pieces I own, and look at every day.  I could say these remains of a pair of eagles are everything I ever wanted in a garden sculpture.  But in fact they are a creation of the hand of an unknown artist from better than 200 years ago that I will have a hard time living without.

I am a dealer in  garden antiques.  This means I am committed to offering my clients the best there is, given my best judgment and experience.  But I will admit there are those days when I wish I were just a private collector.  Lacking that, I would wish that I had a certain client, and a certain project that would have asked for this pair.  Lacking that, it has been my pleasure to own them for a while.  This is enough, albeit barely enough.   I feel quite sure they are going to an extraordinary garden.  Godspeed, beloved birds.

Near To The Last Of The Lead

I sold this lead fountain cistern 3 days ago.  Stunning-isn’t it?  I so clearly remember a constellation of feelings regarding its purchase, some years ago.  I was afraid to commit so hefty a chunk of my budget to one ornament.  I was equally afraid not to commit to it; I am in the business of making first class garden ornament available to my clients.  Some first class ornament involves only a great eye, and not so much money.  But lead garden ornament, both new and antique, is very expensive.  You may think that committing to a very expensive garden ornament takes nerve.  Truth be told, I would not describe myself as nervy.  I try to focus on what I cannot live without. Lead in the garden-this I would want.       

Lead in the garden has long history.  English lead ornament has a  long long history-this I respect.  Lead is poured into molds, and cooled. An artist takes the castings from a raw set of molds, and hammers and sculpts the lead into the finished ornament.  A large lead egg cup may take 60 hours of hand work to finish. The finished ornament is very heavy; lead is the densest of all the elements.  It is equally as soft. This makes it difficult to transport, and easy to damage.  Yet lead is the ideal material for a garden ornament; it is all but impervious to weather and maintenance-free.  

The English company known as Bulbeck produces very fine lead garden ornament.  Pots, sculptures, fountains and cisterns.  Hugo flew over, and paid a visit to us some years ago-he was so pleased that an American garden store was featuring his work. I have four of his lead egg cups available now.  They are based on pots from the National Trust garden Anglesey Abbey, and feature four medallions-pears, oak, roses and grapes.  I doubt I will be able to buy more, once these four egg cups are sold.  The cost of lead has increased so dramatically in the past few years, as has the cost of transport.     

 Eighteenth century lead ornament has inspired many of the pieces produced at the Bulkbeck foundry-and no wonder.  The production of lead garden ornament and architectural pieces was a flourishing business during that period.  Only a few companies deal in lead now; I hope their business stays strong.  It has been my pleasure to design and plant around lead ornament; to follow are a few pictures.   

 plain Bulbeck egg cup

lead tapers with grape garlands

lead fountain ornament

lead round from Kenneth Lynch

English lead box with lion medallions

English lead square with rose medallions

English lead square with contemporary zinc planters

Canadian lead egg cup

tapered English lead planter

This 17th century English lead cistern is near to the last of my lead.  I am looking here at the very best reason I have to find more lead ornament-there is nothing else quite like it.

The Finish

I wrote about Buck’s steel fruits and vegetables the end of September.  They have since been filed smooth, and had a finish applied that will keep them from rusting.  He spent the day today building plywood crates so they can be shipped to Orillia, Canada, for a library/market square that is under construction. They will be ready to go in short order. 

I think they look great.  I am curious to see how how they will be integrated into the landscape. I think there is plenty here to work with.

The Lattice Box

Lattice refers to overlapping strips of wood or metal joined on the diagonal.  That placement produces diamond shaped air, or empty spaces; the steel or wood forms a continuous series of X’s.  How hard it is to describe in words a shape any gardener would instantly recognize in the garden.  Lattice patterned fence panels, screens, and trellises have graced many a garden.  That diagonal construction is strong.  The large open spaces make it an ideal home for vines that benefit from having places from which to grow in and out.  A lattice screen lets air get to the air conditioner while shielding its bulky steel from view.  A lattice fence provides a kind of privacy that is casually airy.  Why box yourself in, if you don’t need to?  Of course I had a mind to design a lattice box.  My first try featured a button medallion set in a solid diamond.  Should you look carefully at this diamonds, they are perfectly scaled for the size of the panel, and perfectly constructed-all of that is Buck’s doing.  The liner is made of extira board-that water repellant rot proof composite material from which signs are made.              

I know, that first box has something of the look of a Brownie camera-a steel framework around that Brownie camera brown board.  The next boxes featured painted extira board.  We always use Porter paint for any ornament outdoors-their 100% acrylic paint is tough as nails.  The plain rectangular shape at the top did a good job of featuring the lattice pattern, without it becoming visually overwhelming.

This client changes the color of his liners every few years.  The ability to easily and entirely change the look of a container is appealing.  I have one client who had us paint the reverse surface of her liners cranberry red-for the holidays.  The liners are actually 4 separate pieces that drop in behind the lattice.  A finished frame at the top covers the raw edges of the board, and makes for a completely finished appearance.     

Years later, I have moved the plain rectangular planter to the bottom.  I cannot explain why I like this so much better, but I do. These tall boxes look grounded, not top heavy.  They have an elegant air, to my eye.  We make square lattice boxes, but some gardens ask for a little height.  This picture records the first four all steel lattice boxes Buck has made for the Branch Studio.  He just finished them 2 weeks ago.  There is a way in which these four boxes have been 7 years in the making.  I can only say thoughful design takes time; the design and construction of this container has evolved over time.    

Buck welds what are called squashed ball feet to the bottoms of these boxes.  The squashed balls give the visual impression that the box is very solid and very heavy. Those ball feet gone flat are one of my most favorite features of this box.  They are what they appear to be-in the business of beautifully and strongly supporting the life of citrus trees, topiaries, or flowers.     

Once the box gets its final finish, I am pleased to be thinking about how they will outlast me.  They will last my lifetime, and others beyond me.  The fabrication of this box gives me the same pleasure that I get from planting a tree.       

Buck did fabricate a number of steel lattice boxes with copper liners.  All I can think about looking at this picture is a copper lattice box with a steel liner.  How would that look?  The very best part of gardening is how a garden evolves.  The best part of the creative process is that the process is never finished.   

Buck made this steel pergola for the Branch Studio years ago.  I am sure it looks much the same today as it did then.  Sturdy and enduring objects for the landscape enchant me.  I like any garden ornament draped in some kind of story, or history.  My respect for the history of gardens and their ornaments fuels my design.  I am always wondering where I might go from there.   

Buck went there,  all on his own.  He had a mind to construct a series of lattice spheres.  They are amazing and beautiful structures.  How he imagined and fabricated a lattice structure in the round-way beyond my ability.       

Since the fifteenth century, fruit trees have been grown in a two-dimensional lattice known as a Belgian fence.  I sold and planted this group of five latticed pear trees two years ago.  One cannot see the lattice structure at this moment-every tree is studded with pears.  My gardening life-equally studded with pears.