Bronze Figurine of a Trumpeter - History
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Trash or Treasure: Sculpture Is spelter, not bronze, but still desirable
Ann Marie Rasmussen was having a hard time deciphering the signature on the base of her sculpture and was hoping that Brian Thomczek would be able to lend a hand, she explained to the appraiser at a recent Trash or Treasure session held at the Michigan Design Center in Troy.
Her original email offered information about how the piece came to be in the family’s collection. “Is my item trash or treasure?” she wondered. “We inherited this bronze (?) sculpture,” she wrote. “My assumption is that it originally sat on a newel post and was a light. Over the last century perhaps the light was replaced with a drum (?). She's a beautiful art nouveau sculpture but is she worth anything in her present condition? I couldn't find a maker's mark but the name L Alliob? Allion? appears on the base. Online research on my own hasn't garnered much information."
Ann Rasmussen with her metal statue. (Photo: Todd McInturf, The Detroit News)
Rasmussen filled the appraiser in on a few more details at the event. “It came from my husband’s family,” she explained. “His father collected bronze statues. I thought the tambourine was a light. It was done in Paris and reminds me of Alphonse Mucha, and seems very much in the art nouveau style.”
Thomczek was able to find a little more information, including the artist’s name, which he deciphered as Lucien Alliot. An online search revealed a few other works for sale by the artist, including one on 1st dibs.com, which had a little background information on the artist. “Alliot is best known for his beautiful sculptures of women, as well as for creating various seals for famous people and various important entities. Born in Paris in 1877, Lucien Alliot was the son of sculptor Napoleon Alliot. A pupil of Barrias and Coutan, he exhibited at the Paris Salon from 1905 until 1939 and was a member of the Jury from 1934 until his death in 1967,” it read.
Alliot’s beautiful bronze pieces can be found in museums around the world, said Thomczek. Unfortunately, Rasmussen’s piece – which measures 28 inches high by 9 ½ inches wide -- is made not of bronze, but spelter, which is a less-expensive combination of metals, he added. “It sounds hollow, so I do believe it’s definitely spelter,” he explained. “Spelter was made to look like bronze. Most people wouldn’t know the difference.”
He guessed that Rasmussen’s piece probably began life as a lamp and had lost a few pieces through the past century. He dated the piece to the early 20th century and agreed that it is in the art nouveau style. “It’s quite elaborate for a lamp,” he explained, adding that he would value it at $800 to $1,200 at auction. “It would be worth more if you had all the piece,” he said.
Unfortunately, the style doesn’t mesh with the Rasmussens’ other furnishings, Ann Marie added. “I think she’s beautiful but our home is more mid-century modern. We have it stored away… we’re looking to downsize.”
Thomczek said selling it wouldn’t be a problem should they decide to let it go to a new home. “Someone would definitely be interested in buying this,” he said.
The head of the bull was designed with a system of tubes and stops so that the prisoner's screams were converted into sounds like the bellowing of an infuriated bull. Phalaris is said to have commanded that the bull be designed in such a way that its smoke rose in spicy clouds of incense. [ citation needed ] According to legend, when the bull was reopened after a body was charred, the victim's scorched bones then "shone like jewels and were made into bracelets." 
Stories allege after finishing construction on the execution device, Perilaus said to Phalaris: "His screams will come to you through the pipes as the tenderest, most pathetic, most melodious of bellowings." Perilaus believed he would receive a reward for his invention. Instead, Phalaris, who was disgusted by these words, ordered its horn sound system to be tested by Perilaus himself, tricking him into getting in the bull. When Perilaus entered, he was immediately locked in and the fire was set, so that Phalaris could hear the sound of his screams. Before Perilaus could die, Phalaris opened the door and took him away. After freeing him from the bull, Phalaris is then said to have taken Perilaus to the top of a hill and thrown him off, killing him. Phalaris himself is claimed to have been killed in the brazen bull when he was overthrown by Telemachus, the ancestor of Theron. [ citation needed ]
Pindar, who lived less than a century afterwards, expressly associates this instrument of torture with the name of the tyrant Phalaris. 
The Romans have been claimed to have used this torture device to kill some Christians, notably Saint Eustace, who, according to Christian tradition, was roasted in a brazen bull with his wife and children by Emperor Hadrian. The same happened to Saint Antipas, Bishop of Pergamon during the persecutions of Emperor Domitian and the first martyr in Asia Minor, who was roasted to death in a brazen bull in AD 92.  The device is claimed to have still been in use two centuries later, when another Christian, Pelagia of Tarsus, is said to have been burned in one in AD 287 by the Emperor Diocletian. [ citation needed ]
The Catholic Church discounts the story of Saint Eustace's martyrdom as "completely false". 
19th & 20th Century Bronze Sculptures
Mankind has created artistic images of the world around him ever since the beginning of recorded history. Starting with the first smelting of metals, sculptures have been part of man's attempt to add beauty to his existence. Bronze sculptures have been found in the ruins of the ancient cities of Mesopotamia, in the burial tombs of Chinese emperors, and at the great Roman towns of Pompeii and Herculaneum. This art form was lost for centuries but during the Renaissance period bronze sculptures again came to the forefront of art. Another four centuries would pass before the birth of the Industrial Revolution in the mid 19th century. This Industrial Revolution would provide the tools necessary to make bronze sculptures available in editions that would vault them to the top of the art world once again. Foundries sprang up in the city of Paris in the middle of the 19th century whose sole purpose was to cast editions of bronze sculptures for the hundreds of artists who specialized in bronze. Artists flocked to Paris from all points of the globe to study and have their sculptures cast in bronze. This artistic magnetism resulted in the creation of bronze sculptures whose beauty and grandeur have never been seen in modern times. Never before or since has a single form of art held so many captivated in its trance as bronze did in Paris of the mid 1800's.
Definitive Guide to Hartland Figurines
The Hartland name is synonymous with sports figurines, and for good reason. Founded in 1941 and originally based out of Wisconsin, Hartland was the first company to manufacture licensed sports figures. The first series, designated as the 900 Series, was originally produced in 1958 using mold-injected acetate plastic resin. The figures were then hand painted using an acetate-based paint.
The results were true-to-life likenesses that set the bar for all manufactured sports figures. The miniature statues were originally issued with a circular cardboard tag that attached to the figures with a string. The survival and presence of this tag is imperative to the value of the figures today.
The eight-and-a-half inch tall figures were sold at stadiums and in specialty stores around the country. This series included some of the top players in the game including Eddie Mathews, Hank Aaron, Warren Spahn, Mickey Mantle and Babe Ruth.
In 1960, ten additional Major League Baseball players were added to the company's lineup. They also added figures of a generic minor league baseball player and and a bat boy. The 900 Series was manufactured until 1963 and included such players as Willie Mays, Roger Maris, Luis Aparicio, and Ernie Banks, to name a few. Sold at a suggested retail price of $1.98, the figures were originally marketed as toys and not as keepsakes or collectibles.
Expanding the Hartland Figurines Product Line
In 1959, the company manufactured two NFL figures that included the extremely popular, Johnny Unitas as well as star running back Jon Arnett. Arnett was an All-American out of USC that played for both the Los Angeles Rams and Chicago Bears. A total of 5,000 figures of each were produced.
They sold well enough that the company decided to produce a generic running back and a lineman figure for each of the 14 NFL teams in existence at that time. A total of 5,000 of each figure was manufactured between 1959 and 1963. Each figure stands on a green base that displays the NFL logo and team named embossed in gold on the front.
The figures were sold in a plain white cardboard box with blue and red ink. The front panel of the box could be torn away to reveal a cellophane panel so you could see the figure without having to remove it from the packaging. The existence of the original packaging also adds considerable value to these figures today. Also manufactured during this period was a specially ordered piece that was made to commemorate the LSU Tigers NCAA Championship of 1959.
Hartland Statues Variations and Oddities
The"Bat Boy" figure, as it is known today, was originally called "Little Leaguer." However, a complaint regarding trademark infringement by the Little League Baseball Association of America forced the company to destroy what is estimated to be 40,000 of the original figures. This left 10,000 in the market, twice that of any other single figure. So despite suffering from this destruction, these five-inch figures are still much easier to find than others from the era.
As is the case with vintage trading cards from the same era, the original Hartland statues have several different variations.
- The four-inch "Minor Leaguer" figure can be found in five different versions: full-color as intended, gold that were sold as trophy tops, black bases and white bases, sold as cake toppers and some that were never painted at all and are all white.
- Nellie Fox and Eddie Mathews can be found with and without red trim painted around the logo on the front of their jerseys as well as around the number on the back.
- Luis Aparicio, Rocky Colavito and Don Drysdale have either a white or purple toe plate.
- Ted Williams' jersey has versions with "RED" and "RED S" on the front in the team name 'Red Sox" and is only found with a white toe plate.
- Hammerin' Hank Aaron was manufactured with both a high-step and a flat-footed stance to keep the figure from falling over.
- Willie Mays has two different trim and piping colors and can be found in either yellow or orange versions.
- Mickey Mantle had a gold version painted that was used to make an experimental children's lamp. The lamps are considered to be extremely rare.
Additionally, 11 of the figurines (Aaron, Banks, Berra, Fox, Mantle, Mathews, Mays, Minor Leaguer with white base, Musial, Ruth and Spahn) were made with magnets attached to the bottom of each foot which were then accompanied by a small black metal plate that would serve as the base for which the magnets would adhere. The presence of a small hole was intended to allow a nail or screw to be used to then fasten the plate to another surface.
There appear to have been three different bats manufactured to provide some additional individuality to figures. While not variations, as they were consistent to each player, it helps to know which player came with which bat.
- Long Fat Bat: Babe Ruth
- Short Bat: Ernie Banks, Dick Groat, Roger Maris and Stan Musial
- Regular Bat: Hank Aaron, Rocky Colavito, Harmon Killebrew, Mickey Mantle, Duke Snider and Ted Williams
The existence of packaging variations have also been found through the years. The first is a cardboard box that showed a baseball action scene. It had the player's name and facsimile autograph or photograph on the all six sides. It appears that some boxes were used to ship other players and may appear with no name, photograph, autograph or decal where the printed autograph and name should be.
The second type of box was a plain white box with dark blue and red lettering and a drawing of a baseball player on the front. The front panel had perforations and could be detached to "display" the player inside behind a cellophane shield. As a result, this packaging is appropriately referred to as a display box.
As mentioned previously, the figures came with a circular red tag. The tags had white lettering with the player's facsimile autograph and nickname. The tags were only included with figures packaged in the first type of box detailed above. The tags have a string that would have been used to hang around the neck of the statue. The strings themselves, came in either a bright red or tan color. Figures of Roger Maris are suspected to have never been packaged in a display box as tags of the player that broke Babe Ruth's single season home run record have never been found.
Changes in Ownership
In 1963, the start of many changes in ownership began to take place including those with horrific endings. That year, production came to an abrupt end when the company was purchased by Revlon Cosmetics. Scheduled for release that year were figures of Casey Stengal and Jim Gentile. However, the change in ownership forever doomed those figures to be "the ones that never were."
Manufacturing of Hartland figures ceased for several years until hundreds of the original molds were purchased by the Stevens Manufacturing Company of Missouri in 1976. In an ironic twist, it had been assumed that the molds of the sports figures had been destroyed. Fortunately for collectors, they were eventually discovered to be part of the original inventory purchased. However, by that point in time, it was too late. The Hartland Plastics company officially ceased operations forever in 1978.
In 1987, after attending a local sports card show, attorney William Alley of Dallas, secured the rights to produce a commemorative set of the original 18 figures in celebration of the 25th Anniversary of the original release. Collectors rejoiced at the return of the Hartland brand and the figures quickly sold out. Production was authorized for 10,000 of each figure but it is believed that the actual number that made it through production is closer to 9,700.
In 1990, Hartland released seven new figurines with the following production numbers:
- Roberto Clemente (10,000)
- Lou Gehrig (500)
- Dizzy Dean (500)
- Whitey Ford (10,000)
- Bob Feller (25)
- Ty Cobb (45)
The new figures were packaged in what is referred to today as the green box. They were made of a thick cardboard stock and included a stunning painting of the player. The seventh figure is called "The Confrontation" and features an umpire and manager arguing over a call. Only 20 of these are thought to have been produced. The company also reissued the classic "Bat Boy" and "Minor Leaguer" each with a release of 2,500 figures. The reissued Bat Boy was used as an incentive to be given away with the purchase of a complete 25th Anniversary Commemorative set.
After the odd disappearance of William Alley, the company ceased operations. His heir and wife, sold the company the following year, to a gentleman by the name of Bill Dunlap. A longtime aficionado of the Hartland figurines line, Dunlap rechristened the company Hartland USA in 1992. The company would produce some great ideas and make a couple of classic figures until another bizarre twist in the history of the company leads to devastating results.
Hartland USA developed plans for a Nolan Ryan figure and pre-sale estimates looked very promising. The company was sold back to one-time owner Stevens Manufacturing in Missouri where production of the new Ryan figure commenced. Two new figures are also planned, legendary Hall of Famers Cy Young and Honus Wagner. While production figures aren't available for those two, it is known that the Ryan figure was released with two different uniforms, home white and road gray uniform. The road version Ryan was sold exclusively through Target stores in a traditional display box in a handful states. Production is believed to have been 5,500 gray road uniforms and 4,500 home uniforms.
Hartland USA discovered in the molds that were acquired as part of the company's assets, the mold of a previously unreleased figure called "Safe at Second." As one might imagine, it features a second baseman, a sliding runner and an umpire all converged at the keystone. A total of 15,000 of these figures were produced and came in what is known by collectors simply as "the grey box." The base of the figure is well designed and includes the base path which is framed by both the edges of the infield and outfield grass.
During this period of ownership, the company acquired an NFL license and the rights to reissue a Johnny Unitas commemorative piece. On July 8th, 1993, the company was well into production of a figure for Boston Red Sox fan favorite, Carl Yastrzemski. Unfortunately, the timing couldn't have been worse as it coincided with what many remember as the Great Missouri Flood. The Steven Manufacturing factory that was located on the banks of the river was completely destroyed. As a result it is estimated that only 400 of the figures managed to make it into distribution.
Three months later, Hartland sent a letter to its customer database explaining the consequences of the flood and the hope of a return to production in November. The optimistic company went so far as to say that new players were being developed for 1994. Unfortunately, Hartland closed its doors shortly after the letter was sent out.
Rebirth of a Classic
The company remained dark for several years, eventually re-emerging in 2001 as Hartland Collectibles. At that time the company re-released the original 18 figures, the third time they had been produced. These third-generation figures were once again very popular with a new collecting base, most of whom hadn't even been born at the time of their original debut. Between 2003 and 2006, the company manufactured several additional figures. The majority of these were used for promotional giveaways at stadiums and events.
The company is currently operating as Hartland of Ohio LLC and has returned to it roots as it pertains to the production of collectible figurines. Specializing in a wide variety of sports related subject manner, the company is currently producing figures of Negro League ball players, limited commemorative pieces, legendary Hall of Fame players and more. 2008 seems to mark the official year of the company's re-emergence in the market and is led by a management team that is committed to carrying on the tradition of the Hartland name.
There may be no better example of this commitment than the decision the company made in 2009 to produce a Casey Stengel figure. As mentioned earlier in this article, Stengel was one of two figures slated to be produced when production was shut down by Revlon Cosmetics after their acquisition of the company. A metal prototype of the figure was preserved by a former employee and has been in possession of the family ever since. The figure was reverse engineered to create a mold and produced in a limited quantity of 200 figures.
Today, the Hartland of Ohio LLC continues making figures, replacement pieces, and even tags. A special Collector's Club provides the opportunity for collectors to receive exclusive figures, discounts, and more. You can visit them online at www.hartlandllc.com.
The Hartland company's long and storied history is rife with intrigue, tragedy and more than a little bit of mystery. As a result, the accounts in this article have been assembled from various sources including first-hand accounts. Additional information on the company and its Hartland Statues and Figurines are welcome by contacting the author.
USMC History Timeline Cold-Cast Bronze Sculpture Collection
Cold-cast bronze Marine sculptures authentically detailed in era specific uniforms hand-painted in multi-patina finish with marble-finished base.
Individual sculptures measure 7-1/4" to 9-1/2" H full display measures 21" W
Cold-cast bronze Marine sculptures authentically detailed in era specific uniforms hand-painted in multi-patina finish with marble-finished base.
Individual sculptures measure 7-1/4" to 9-1/2" H full display measures 21" W
Salute generations of United States Marines who have defended our great nation. Now, you can proudly honor the legacy of the USMC like never before with the Semper Fi - History Of The Marine Corps Sculpture Collection, exclusively from The Bradford Exchange. These military sculptures create a magnificent timeline of the USMC beginning with Issue One, Halls of Montezuma. Soon, your collection will continue with Issue Two, Shores of Tripoli, followed by Issue Three, Air, Land, and Sea and 3 additional intricately hand-cast sculptures to complete your collection. ‡
Masterfully rendered in cold-cast bronze, each USMC sculpture portrays a Marine in a uniform true to their time period. The legendary uniforms range from the Continental Marines of 1775 to the Marines of World War I, World War II, the Vietnam War and modern day. Every sculpture magnificently reflects the traditions and technology during their time in American history, creating a grandly sized timeline that measures over a foot and a half wide when placed side by side. They are each expertly hand-painted with the multi-patina finish of a traditional bronze masterpiece and presented on a marble-finished base emblazoned with beloved words from "The Marines' Hymn". Issue Six, The United States Marines, features a special raised-relief, golden-plated symbol inspired by the Eagle, Globe and Anchor emblem. Add this impressive sculpture collection to your USMC decor or give as a patriotic gift before time runs out, so don't delay! Order now!
Brass has higher malleability than zinc or copper. It has a a low melting point (900 centigrade) and flows when melted making it easy to cast in molds. Combinations of iron, aluminum, silicon and manganese make brass wear and tear and corrosion resistant. Susceptible to stress cracking when exposed to ammonia.
Bronze is hard and brittle. It melts at a slightly higher temperature at 950 centigrade, but this depends on the amount of tin present in the alloy. Bronze resists corrosion (especially seawater corrosion) and metal fatigue more than steel and is also a better conductor of heat and electricity than most steels.
The composition of both alloys depends on the particular use. For instance, Cartridge brass contained 30% zinc and was used to make cartridges for firearms. Naval brasses had up to 39.7% Zinc and were used in various applications on ships. Bismuth bronze is a bronze alloy with a composition of 52 parts copper, 30 parts nickel, 12 parts zinc, 5 parts lead, and 1 part bismuth. It is able to hold a good polish and so is sometimes used in light reflectors and mirrors.
The malleability and acoustic properties of brass have made it the metal of choice for brass musical instruments such as the trombone, tuba, trumpet, cornet, euphonium, tenor horn, and the French horn. Even though the saxophone is classified as a woodwind instrument and the harmonica is a free reed aerophone, both are also often made from brass.
Bronze is the most popular metal for top-quality bells, particularly bell metal, which is about 23% tin. Nearly all professional cymbals are made from a bronze alloy. The alloy used in drum kit cymbal bronze is unique in the desired balance of durability and timbre. Phosphor bronze is also used in guitar and piano strings.
Brass is often used for decoration, statues and coins for its bright gold-like appearance and its relative resistance to tarnishing.
Many common bronze alloys have the unusual and very desirable property of expanding slightly just before they set, thus filling in the finest details of a mould so widely used for cast bronze sculpture.
Brass is used for applications where low friction is required such as locks, gears, bearings, doorknobs, ammunition, and valves. It is used for plumbing and electrical applications.
Bronze is ideally used today for springs, bearings, bushings, automobile transmission pilot bearings, and similar fittings, and is particularly common in the bearings of small electric motors. Phosphor bronze is particularly suited to precision-grade bearings and springs. Bronze was especially suitable for use in boat and ship fittings prior to the wide employment of stainless steel owing to its combination of toughness and resistance to salt water corrosion. Bronze is still commonly used in ship propellers and submerged bearings
The Trumpet Stone
Wow, I have not written on this blog in a long while. This is mainly because nobody ever commented on my posts. So please comment on my posts and if you like the content in this blog, link it to your web pages/ blogs, it helps get more readers here.
So today's post is about Angel Moroni statues. The Angel Moroni was an angel who appeared to Joseph Smith Jr., founder of The Church of Jesus Christ of Latter-day Saints (commonly referred to as the Mormon or LDS church). To quickly summarize, the angel gave Joseph Smith the record that The Book of Mormon is translated from For a complete account click here. Verses 30 on in particular deal with the Angel Moroni. These statues are on most Latter-day Saint temples as a symbol that revelation still exists, the gospel of Jesus Christ has been restored, and of the angel mentioned in Rev 14:6. Eight temples don't Angel Moroni statues because they lack a spire (Laie Hawaii, Cardston Alberta Canada, Mesa Arizona) or because they were built before the statues were traditional (St. George Utah, Logan Utah, Manti Utah, Hamilton New Zealand, Oakland California). Originally the Idaho Falls Idaho, Bern Switzerland, London England, Ogden Utah, Provo Utah, Sao Paulo Brazil, Tokyo Japan, and Freiburg Germany Temples lacked statues, but have since had them added. The Boston Massachusetts Temple and Manhattan New York Temple both had spires added shortly after their dedications (due to a court case for Boston).
The image at the top of this post shows 5 Moroni statues and a proto-Moroni weather vane. This shows some of the diversity in Moroni statue design. The first picture shows how the angel weather vane on the Nauvoo Temple would have originally looked. This was the only flying angel statue on a temple and wasn't specified as Moroni. Notice that he is holding a book and not gold plated. This may imply that he was a general angel and not Moroni specifically, or that he was someone such as Joseph Smith (as one institute teacher of mine theorized). Regardless of the intended identity, this weather vane represented the angel in Revelation 14:6
The next temple with an angel was the Salt Lake Temple. Originally it was planned to have 2 angel weather vanes (Nauvoo style) with one on the east center tower and one on the west center tower (scroll down in the link for the drawing). By the time the temple was completed 40 years later in 1893, styles had changed and statues were more common on the tops of buildings (think U.S. capitol building). So Cyrus E. Dallin was commissioned to make a standing angel statue, now identified as Moroni. This is the second picture on the image above (from the left).
63 years after the dedication of the Salt Lake Temple, the Los Angeles Temple was the next temple with an Angel Moroni statue. This statue (3rd from left in above picture) is quite unique
because Moroni is Native American and dressed in Mayan clothing. Also, this is one of the few Moroni statues holding gold plates and not just a trumpet. The Washington D.C. Temple also has an Angel Moroni statue holding plates and replicas of this statue are found on the Jordan River Utah (pictured 4th from left), Seattle Washington and Mexico City Mexico Temples. These are the only temples with Angel Moroni statues holding plates.
As all temples began to include Angel Moroni statues several styles have been used. When the small temples first began to be built, the Monticello Temple was given a white Angel Moroni statue holding a trumpet and a scroll. Unfortunately the white statue disappeared in the clouds so it was replaced with a gold leafed one shortly thereafter and now all Moroni statues are gold leafed. Five temples have Moroni with a scroll (5th from left in picture). These are the Anchorage Alaska, Bismarck North Dakota, Columbus Ohio, Kona Hawaii, and Caracas Venezuela Temples.
It should also be noted that Angel Moroni statues are not exclusive to Temples. The Washington D. C. ward chapel had a replica of the Salt Lake Temple Moroni sculpted by Torlief Knaphus (this replica is now in the Church Museum of History and art and castings of it were added to the Idaho Falls Idaho Temple and Atlanta Georgia Temple (since replaced)). The Hill Cumorah Monument (far right in picture) also has a Moroni Statue without a trumpet, but with gold plates (and a beard!).
I also want to note that there is a lot of lore about Angel Moroni statues having to face east. This simply isn't true. While most do, because many (not all) temples face east, at least the following do not face east: Seattle Washington (west), Dallas Texas (South), Nauvoo Illinois (West), Spokane Washington (West, although originally East), Taipei Taiwan (West), and Manhattan New York (Southwest).
Thank you for reading this post. I hope you've learned something. Please post a comment to encourage me to keep this blog up to date. Also if you know any interesting Angel Moroni Statue trivia, please comment.
Due to comments I am adding the following:
Well there have been 5 sculptors (6 if you count LaVar Wallgren as distinct from Quilter). Read Ensign Jan 2010 article
The sculptors and corresponding Angel Moroni statues are:
Cyrus Dallin - Salt Lake, Copper, 12'5"
Torlief Knaphus - SL replica for D.C. Chapel, hollow Aluminum (now in the Church Museum of History and Art). Fiberglass castings of this statue by LaVar Wallgren were placed on the Atlanta Georgia (later replaced) and Idaho Falls Temples. Knaphus Also did the Hill Cumorah Moroni (10'4" bronze) He also helped Avard Fairbanks do the Laie Hawaii Temple Font and he sculpted the oxen for the Cardston Alberta, Mesa Arizona and Idaho Falls Temple Fonts.
Millard F. Malin - L.A., 15'5" Aluminum
Avard Fairbanks - Washington D.C. (18ft bronze) and 15'2" bronze castings of the same sculpture for Jordan River, Seattle Washington, and Mexico City Temples.
Karl Quilter - 1978 commission for a 10ft and 7ft Moroni. The originals were then cast in fiberglass by LaVar Wallgren and used on many temples. Quilter got a 1998 commission to make a 6'10" Moroni for small temples. Although the article doesn't mention it, he would have had to have made the Moroni w/ scroll used on 5 temples and then the Moroni w/ open hand used on all future temples. Fiberglass castings of these are used on many temples. Over 100 Karl Quilter/LaVar Wallgren Moroni statues are on temples. Quilter also made L.A. font oxen. Wallgren makes Moroni statues in his Kearns, UT studio.
LaVar Wallgren has generally worked with Karl Quilter and may be considered a sixth sculptor of Angel Moroni statues. He did a casting of the Washington D.C. Chapel Angel Moroni statue that was used on the Atlanta Georgia Temple for a while and may have done other statues without Quilter, although I am not certain if Quilter was or was not involved with Wallgren on all of Wallgren's Mornoni statues.
Addition to the original post (added 18 March 2011)
Here are articles on Angel Moroni statues if you want to read more here and here:
Ancient bronze figurine of bull unearthed in southern Greece
Heavy rainfall in southern Greece has led to the discovery of a bronze bull figurine believed to have been a votive offering made to the god Zeus in Ancient Olympia as early as 3,000 years ago.
Amazing Bronze Figurine
Greece’s Culture Ministry said Friday that the small, intact figurine was found after an archaeologist spotted one horn poking out of the ground following recent rainfall in the area.
The excellently preserved figurine was shipped to a lab.
Preliminary examination indicates it dates from the Geometric period of ancient Greek art, roughly 1050 B.C. to 700 B.C.
It is understood to have been a votive offering to Zeus made as part of a sacrifice, as the sediment cleaned from the statuette bore distinct burn marks, the Culture Ministry said.
Ancient bronze figurine of bull unearthed in southern Greece 4
As with dozens of similar figurines depicting animals or human figures, the copper bull appears to have been dedicated by a worshipper to the god during a sacrifice, as shown by strong evidence of burning in the sediments and deposits that surround it.
Many are displayed at the archaeological museum in Olympia.
The Ilia Ephorate has also posted a video showing the work done to clean and restore the bull after its discovery.