Yellin

Samuel Yellin
Testo e foto da Edge of the anvil di Jack Andrews

Samuel Yellin was born in Mogilev-Podolski, Russia, in 1885. After completing his apprenticeship to an ornamental ironworker there, he moved to Philadelphia, Pennsylvania to join his mother and two sisters.

He enrolled in the School of Industrial Art of the Pennsylvania Museum in Philadelphia (now the Philadelphia College of Art) and because of his experience and knowledge, was made the instructor of the classes in metal, which be taught for several years.

In 1922 he started his own forge, and gradually built up this business until there were 300 people employed.

He was largely responsible for the revival of decorative ironwork in the twenties and thirties until his death in 1940.

Samuel Yellin made these pieces in order to check out the ideas, thoughts and drawings that flowed from his creative hand.
As his son Harvey said, "He used to draw ideas far into the night and always kept a pencil and pad on a table beside his bed so that he could put them down and not forget them." He describes how he felt about drawing and making these samples in an article be wrote for the Encyclopedia Britannica, the 1955 edition, vol. 12, called "Iron in Art."

Execution of Work
First draw a sketch to a small scale, so as to obtain the general composition, proportion, silhouette and harmony with the design of surrounding materials or conditions.
This sketch should then be developed into full size to obtain details of ornament, various sections and sizes of material and a general idea of the method of making.
At this time, careful consideration must be given to the practical use of the piece of work so that it may serve its purpose in the best manner possible. Workers in iron should always attempt to make everything direct from a drawing, rather than from models.
When working from a model, the object becomes more or less a reproduction, whereas the drawings allow a greater opportunity to express the craftsman's individuality.
Studies or experiments in the actual material are now made, for here many things are revealed which could not possibly be shown on paper.
The character of a twisted member or the flexibility of the material might be used for example to show how difficult it would be to conceive many things in the drawings.
For this reason the true craftsman should often make a fragment or portion of the ornament in the actual material first, and make the drawings later.

This chapter contains photographs of the ironwork of Samuel Yellin. They are small test pieces that he forged at the Yellin Metalworks in West Philadelphia. They are in a small museum there. Harvey Yellin, his son, still operates the shop.

Because of their importance these pieces, as well as Mr. Yellin's photographs, drawings, and library, are being assembled and will be housed in an appropriate museum in Philadelphia.

The full-size pieces that be forged are located throughout the country.
These are the magnificent creations of a master smith and bear witness to his genius.
The photographs of Yellin's work are included here to suggest possibilities and to challenge you.
I hope that after you study them, you will be inspired to use some of the techniques or processes which Yellin used.
As Yellin once said "Where one possesses the ability, he can produce work in iron with a spontaneity that cannot be obtained in any other way."
Notice that some of the pieces are assemblies of simple components; these show how larger grills or gates could be made. Study these things carefully and learn from them.