Sculptures

The Apple Cider Press

An over life-size male figure operating a cider press. Both hands of the figure are pulling on the press's screw handle. His proper right foot is raised and pushing against the press for added leverage. A child kneels at the figure's feet, holding a slender object close to its mouth. Branches and apples lie at the base of the press. A pitcher and originally a bronze bucket (the latter now missing) sit in front of the press.

The model for the child in this piece was his own daughter, Alma Clarke.

The sculpture was exhibited at the California Midwinter International Exposition in 1894.

Sculpture: bronze; Base: granite.

Dimensions: Sculpture: approx. 90 x 52 x 60 3/4 in.; Base: approx. 25 1/2 x 69 1/4 x 78 in.

Inscription: (Proper right of sculpture's base:) Thos Shields-Clarke Paris 92 (Proper left of sculpture's base:) Jaboeuf & Bezout (sic), Fondeurs a Paris (Bronze plaque on the front of base:) Presented by the Executive Committee/of the/California Midwinter/International Exposition/1894 signed Founder's mark appears.

Owner: Administered by City and County of San Francisco, San Francisco Arts Commission, 25 Van Ness Avenue, Suite 240, San Francisco, California 94102

Located Golden Gate Park, Tea Garden Drive, facing M. H. de Young Museum, San Francisco, California.

An Article from The Illustrated American — August 27, 1892

“THE CIDER PRESS."

PARISIAN art circles were surprised a few days ago to receive an invitation from Mr. Shields-Clarke, to view a sculptural work in his studio, No. 22 Rue Dareau. The reason for the surprise was that the young Pittsburgh artist had hitherto been known only as a painter in oils with a studio in the Rue

Cle'ment-Marot, one studio in the Faubourg St. Honoré, and another studio on the off side of the Seine, where he was reputed to go when he really wanted to Work hard. But when he suddenly developed as a sculptor, with another studio in a different street than that in which either of the others was located. The change was rather acute, and thus it was that his friends rubbed their eyes a bit.

But they went in the afternoon of the appointed day, and there, sure enough, was Mr. Shields-Clarke. There was his work—a large composition, the figures of which were double life-size. He had chosen an American subject, and it is destined to form a drinking fountain in the Chicago Exhibition. The work is called "The Cider Press," and is a very bold and strong piece of modeling, two figures in the nude—one of them a man whose well-developed muscles are straining under the pressure he is bringing to bear in turning the crank. Just at his feet is a boy, contrasting with the virile figure of the man—a soft and gentle-looking lad, who is making the best of his opportunities in life by drinking the newly-made cider through a straw.

The group will be at once cast in bronze, and then dispatched to the United States.

Thomas Shields-Clarke was born in Pittsburgh, Pa. He began his art education with the Art Students' League, of New York, and in his eyes, no praise is too high for that institution. In due season he went to Paris, and there he joined the julienne School and studied under Jules Lefebvre, Gérome, and Doucet. He took no particular line, but he painted something of everything. His first Salon picture was a Dutch subject, his second a portrait. Last year he exhibited a painting of roses, and this year he sent up what by many good judges was considered one of the most effective pictures exhibited. It was called “Le Marche de Nuit," a scene laid in Tangier, an Arab woman in the market at night, a lamp in front of her shedding a warm reddish veiled light over herself and her wares and the boy next to her. The picture was much spoken about and flatteringly noticed by the critics. It was sent to the Berlin Exhibition, and there obtained an honorable mention.

He painted a picture for the Salon of 1887, and that canvas, which was called “Le Fou du Fou," now hangs on the walls of the permanent Fine Art Gallery of Pennsylvania. It is of the humorous kind, a court jester teasing a parrot. Another of his pictures, this time sentimental, has just been bought for the Boston Art Club. It is named “ Maternity," showing a young Italian woman and her child. This also

was in the Salon. It is particularly fine in coloring, and indeed as a colorist, it is that Mr. Shields-Clarke's principal strength lies. He is now occupied in an interesting scheme for a stained glass window, all in tones of yellow, showing morning, noon, and night. The first represents the Guardian

Angel of Childhood, with a symbolical sunflower in the hand; the second, the Angel of Noonday, with spreading wings casting their shade over the child, and the third, the Angel of Night, holding the child in her arms, and a poppy. Around, the words symbolical of the twelve months.

Photographs of The Apple Cider Press Today

Picture Postcards

Photographs From the

California Midwinter International Exposition in 1894

To Alma Mater

From the Daily Princetonian, February 10, 1900:

The model for a monument entitled "To Alma Mater," designed by Thomas Shields Clarke '82, and intended for Princeton's campus, was on exhibition January 26th and 27th, at Mr. Clarke's studio, 343 West 77th Street, NYC, at which time a number of Princeton alumni viewed the model, by special invitation.

The statue was to consist of two bronze figures of heroic size with marble. The group, if it may be so-called, would portray the symbolic figure of Alma Mater, a mature and beautiful goddess clothed in classic draperies, seated within a shrine. In her right hand she holds a winged skull, suggestive of Thought and Ambition, across her left arm lies a branch of bay. Below the pedestal stands a nude figure representing Alumnus, her son. He bears a classic shield and is in the act of placing upon the altar before the goddess a sword, a scepter and a laurel wreath, symbols of military, political and literary glory.

It was proposed to be placed between the two Halls, after making a terrace of the square plot of ground which the Hall buildings bound, and turning this terrace into a garden. Behind the statue, which would have faced a marble balustrade and a trellis, which would, in a measure, connect the two Halls. Then architectural surroundings would be of Ionic form. From the terrace garden, broad steps will lead southward to the campus below.

The motto, which will be placed on the statue, is by Prof. Andrew F. West. It reads: Almae-Matri An atissimae Fausta-Felicia Filu Comprecamur Amantissimi.

The architectural setting of the monument was designed by the firm of Howard, Cauldwell & Morgan. Mr. Cauldwell is a Princeton graduate of the Class of 1884.

The Seasons

Taken from "Old New York in Picture Postcards:1900-1945"

Completed in 1899, the modest-sized three-story structure was the design of architect James Brown Lord, who was selected by the justices who would occupy the building themselves. Much has been made of the building's sculptures and statuary...Religious, secular, and legal figures are represented, each presumably connected to some integral part of the law. Four Caryatids -"The Seasons"- topping the Corinthian portico on Madison Avenue are the work of Thomas Shields Clarke. More can be read about this in the wonderful book, "Old New York in Picture Postcards: 1900-1945", by Jack H. Smith. Published by Vestal Press, Inc. 1999. ISBN: 1-879511-43-6 (new ISBN (used from 1 January 2007): 978-1-879511-43-9)

More on the building can be found at, "Streetscapes/Appellate Division, 25th Street, and Madison Avenue; A Milky White Courthouse With Rooftop Sculptures," by Christopher Gray Published: October 24, 1999

This figure of 'Spring' by Thomas Shields Clarke is in somewhat better condition because she is protected by the roof ledge above. Note the artistic visual pun, in that she (and the other 'Seasons') holds up the pediments, statues, and roof above with a pillow on her head.

The Dewey Arch - Commodore MacDonough

Commodore MacDonough statue is in the attic of the arch, on the left side.

"The Dewey Arch"

The Dewey Triumphal Arch was originally located at 5th Avenue and Madison Square in New York City. Constructed in 1899 it was an arch modeled from the Arch of Titus in Rome and featured sculptural items by 27 sculptors. It was erected to celebrate Admiral George Dewey's naval victories in the Spanish-American War. It was made of plaster and wood, (the same material used in the Exposition buildings), and was designed by G. R. Lamb in collaboration with members of the National Sculpture Society. Plans for erecting a permanent monument to honor Dewey were never realized because Dewey's popularity waned after the war. This was a beautiful but short-lived piece of New York City.

Mr. Clarke's contribution was the statue of Commodore McDonough.

Cupid's Sundial

Bronze with verdigris patina -- 34 in. (86.4 cm.) high

Inscribed on it is " New York 1904" & "Let Time Fly On Lovers Wings". I was told that only six were made.

Mr. Clarke entered a sculpture in the "Exhibition Stockbridge Casino", in Stockbridge, Massachusetts in 1910, titled "Cupid's Sun-dial". Also, in a letter to Mr. Clarke dated 1920 from a chairman of an exhibition committee, ( in NYC presumably) there is mention of him receiving two of Clarke's bronze pieces, one being a "Cupid Sundial". The price to be sold for (in his own hand on the letter) is $2,500.

Estimate $5,000 - $7,000. In late 2010, one sold at auction for $16,250.

Crystal Gazer / The Future

This sculpture is from a private collection.

"A youthful nude, seated on a rock gazing at a crystal ball which she holds in her hands, is in another vein, “The Future” is the name of this graceful figure of which the torso is beautifully modelled." -- American Art News, Vol. XVII. No. 9 December 7, 1918, New York.

The sculpture's height is 17". Signed Thomas Shields Clarke and Roman Bronze Works, N.Y.

~Unknown~

This photograph is from a book titled, "The American Annual of Photography and Photographic Times. Almanac for 1896," Edited by Walter E. Woodbury; in an article titled, "Orthochromatic Plates With and Without a Screen," by W.A. Cooper. It was sandwiched between photographs by W.A. Cooper of TSC's studio in New York City. However, it was not titled, nor was it credited, in the list of illustrations of the book. The sculpture was certainly done in TSC's style, but it will need to be confirmed.