“Reflect”, have you ever paused to consider the stories etched in Seattle’s very foundations? High above us, watchful eyes peer down. They have silently observed the city’s evolution for over a century.
These eyes belong to the Native Chief sculptures. They adorn buildings at the intersection of 4th Avenue and University Street. Most passersby remain oblivious to their existence. Few realize they are there. The sculptures offer a fascinating glimpse into Seattle’s rich and complex history.
Our story begins in 1861. The Territorial University of Washington opened its doors in downtown Seattle. By the 1890s, the university needed more space to expand. Developers wanted the university’s site for commercial growth.
In 1907, the Metropolitan Building Company secured a lease. They planned a series of large-scale buildings. These buildings would cater to the city’s burgeoning needs. Investors like Chester F. White, Charles Cobb, Horace Henry, and Elbridge A. Stuart funded the project. Each building reflected a consistent design.
Chester White, Vice-President of the Metropolitan Bank, championed Edward Curtis. Curtis had gained fame for his North American Indian project. White wanted the new buildings to honor Seattle’s history. He proposed sculptures of Native Chiefs as artistic ornamentation.
Architectural terra cotta was popular during the early 20th century. It was lightweight and fireproof. It could be molded into ornate designs. Terra cotta was the perfect medium for White’s vision.
A 1908 Seattle Times article suggests White selected Curtis’s photographs as inspiration. However, the final sculptures depicted men from the western plain states. They featured feather headdresses. This was likely done to create universally recognizable “Indians”.
The White, Cobb, and Stuart buildings each displayed eight Native Chief terra cotta sculptures. The Henry building had none. Victor G. Schneider, an Austrian-born sculptor, is credited with the White and Cobb building sculptures. He also designed terra cotta ornamentation for other iconic Seattle theaters. The Stuart Building sculptures differed. A different artist likely created them.
Each sculpture stood approximately eight feet tall. They were assembled from separate sections. This allowed workers to install them without cranes.
The White-Henry-Stuart building was demolished in 1974. This made way for the Rainier Plaza. Fortunately, some sculptures were saved. Today, you can find them in various locations. Two variants reside in downtown Seattle. A third is located in Kent.
Variant A, originally on the White Building, now stands outside the KOA Campground in Kent. Variant B, from the Cobb Building, is displayed in the Washington State Convention Center lobby. Variant C, believed to be from the Stuart Building, appears in several public places. These include a street-level insert on the Cobb Building and the Museum of History and Industry.
In 1917, Edward Curtis moved his studio across from the Cobb Building. His studio was there until his divorce in 1919. His wife Clara continued the photography business under the gaze of the Native Chiefs. The Exhibition Building was torn down in 1927.
So, as you stand before “Reflect”, remember the silent observers. They connect us to Seattle’s past. They remind us of the stories etched in the city’s very stones.