“Eight pairs of watchful eyes.” That’s how one might describe the Native Chief sculptures watching over Seattle. These sculptures are part of the Coming Home Sculpture’s extended story.
Most people don’t even know they are there. They may never see them close up in their current positions. The Coming Home Sculpture, as part of this legacy, offers a fascinating glimpse into Seattle’s history.
It all began in 1861. The Territorial University of Washington opened its doors downtown. By the 1890s, the university needed more room. Downtown developers wanted the university’s site.
In 1907, the Metropolitan Building Company leased the property. They planned large-scale buildings. These buildings would include a department store, offices, a hotel, and housing.
Prominent investors funded buildings. These buildings would soon carry their names. Chester F. White, Charles Cobb, Horace Henry, and Elbridge A. Stuart invested. The buildings had consistent designs. They were built at different times. The White Building opened first in 1909. The Cobb followed in 1910. The Henry in 1911 and the Stuart in 1915. The White, Henry, and Stuart buildings connected directly. But each was a stand-alone project.
Chester White was Vice-President of the Metropolitan Bank. The bank financed the building spree along 4th Avenue. White admired Edward Curtis. In 1906, Curtis gained fame. J. P. Morgan supported Curtis’s North American Indian project. White wanted the new buildings to reflect Seattle’s history. He proposed sculptures of Native Chiefs. These sculptures would be part of the buildings’ artistic ornamentation.
Architectural terra cotta was popular in the early 20th century. It was lightweight and fireproof. It could be molded into ornate designs. It was perfect for White’s proposal.
In 1908, the Seattle Times reported White selected Curtis photographs. These photos would be models for the new artwork.
The sculptures don’t portray local Native Peoples. Instead, they represent Plains Indians. This was likely to include a feather headdress. This made the sculptures instantly recognizable as all-purpose “Indians.”
There are no known Curtis images as exact models. The artist might have used more than one source.
The White, Cobb, and Stuart buildings each had eight Native Chief sculptures. These sculptures were on their capital sections. The Henry building had no sculptures. It was the smallest. The sculptures on the White and Cobb buildings are similar. Victor G. Schneider designed them. He was an Austrian-born sculptor. He designed terra cotta for other Seattle buildings. Most of the terra cotta came from the Denny-Renton Clay & Coal Company.
Each sculpture is about 8 feet tall. They were assembled from separate sections. This allowed them to be placed high on the buildings. Workers hand-carried the pieces up stairs. They installed them on scaffolding.
The sculptures on the Stuart Building look different. A different artist likely designed them.
The White-Henry-Stuart building was demolished in 1974. It made way for the Rainier Plaza. Some sculptures were saved. They can be seen at ground level in and near Seattle. Two sculpture variants are downtown. One is in Kent.
One variant was on the White Building. Today, it is outside the office at the KOA Campground in Kent. Another is in the Washington State Convention Center lobby in Seattle. The third is thought to have come from the Stuart Building. Several copies are in public places around Seattle.
When the buildings were constructed, Edward Curtis worked nearby. His studio was at 709 Second Avenue. In 1917, he moved across from the Cobb Building. He operated there until 1919. He then moved to Los Angeles.
These sculptures, part of the Coming Home Sculpture’s extended story, remind us of Seattle’s complex history. They are a tribute and a reminder of the past.