Grand Forks herald. [volume] (Grand Forks, N.D.) 1916-1955, 1922-08-30

into quarters where there was space
for pouring rooms, baking, storage,
and finishing rooms, and the like.
since Then they have attended to this
manufacture exclusively.
Frank Niepold began sleeping him
self In the art of the Italian renais-
sance period. He took in exhibitions,
studied books and catalogues, and
acquired rare pictures. Eventually he
visited Italy and there not only saw
the great museum inc private COL
lections, but acquired for himself nu-
merous genuine pieces. And as his
knowlsdge broadened, he increased
the number of designs in manufac-
ture in his plant. until now they num-
Der several hundred. the objects in
Guiding fruit bowls. wall sconces, and
brackets. lamps. mirror frames, book
ends. decorative panels and altar
pieces. candle sticks. jewel boxes,
plaques. and medieval busts. The
first book-end designed continues to
be a steady favorite.
Eve as the Niepolds increased
their range Of pieces, they improved
the composition in which the objects
are cast. This question Of material
was a problem from the outset. The
old italian artists used wood, which
was carved and then covered with
plaster before being finished. But
even with the marvels which modern
wood-turning machinery is able to 40
complish. wood itself. was out oft;the
question for this WORT. 1t is impos-
slble nowadays to obtain in CONNER
clal quantities wood so long seasoned
that 1t will not warp or snrink. But
any warping or shrinking under the
plasteE coat would be fatal to the
durability of the ornament.
Plaster Not Suitable.
Plaster, too, could be ruled out,
partly because of it's fragility ana
partly because many persons bear a
superstitious prejudice against having
1t in, their houses.
Accordingly the Niepolds took a
hint from the product called carton
pierre and began working toward a
casting composition that should serve
purposes. Others were working
along the same line: and as a result
there has been evolved a new com
mercial substance. the 'use OF, which
has rapidly spread in industry. In
lac unfinished state 1t resembles
stone, and in this state 1t Is Sused for
making m~antelpieees in houses. Half
the fine electric lighting fixtures pro-
duced today are made OF this sub
stance. substituting for the brass of
which practically all fixtures were
made a few years ago. When the
liquid composition has set, it, is so
hard and tough that objects made Of
1t can be dropped to the floor with an
even chance hat they will not break.
The. Borghese reproductions
their appeal probably less t their
shapes or to their designs than to
their rich coloring and finish. The
colors are subdued and blended per-
fectly by the eye OF an. artist. The
secret OF the art of making. faithful
reproduction lies IN the finishing att
er h colors are laid on. It takes a
dozen pr more processes Of painting,
rubbing, shellacking and polishing be-
fore the pieces attain that subtle
CLEAN or patina which characteriaes
the genuine antique. These: processes
are the result OF long experiments
ton In the Niepold shop.
Some OF the panels produced frame
copies OF such familiar. old Italian
masters as the Mona Lisa. Apparent
" these portraits are paintedS directs
~ upon The composition ofSthe cast.
Actually they r prints, which are
first glued to the composition ana
then worked oyer by brushing and
rubbing suntH they too seem to show
the effects Of Ions time and wear. The
final touch 10 leave them showing
the strokes OF the painters brush.
Although the, business lie nova H.
|cratiye 81 and The plant employs
score or more OF workfn men, the proc
EpriAtors do not do az they might ana
sit around In an office d~irectine. tlJs
work. Every dAy the father: and
three sons don their long paifter,s
aprons ana take their places sat the