Double Pegasus, one of four, from the Coney Island High Pressure Pumping Station, 2301 Neptune Avenue, Brooklyn
Irwin S. Chanin, Piccirilli Brothers
On View: Steinberg Family Sculpture Garden, 1st Floor
These sleek modernist versions of Pegasus, the flying horse of classical mythology, once flanked the entrances to the New York City Fire Service Pumping Station that still stands on Neptune Avenue between West Twenty-third and Twenty-fourth Streets. The station boosted water pressure for fire fighting in outlying areas of Brooklyn. These four pairs of winged horses arise from stylized curving forms that suggest waves or clouds. Their compact double profiles reflect the Art Deco style of the industrial building whose entrances they once adorned. The streamlined design style was widely used in the 1920s and 1930s.
48 x 24 x 48 in. (121.9 x 61.0 x 121.9 cm) (show scale)
Lent by The City of New York
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Irwin S. Chanin (American, 1891-1988). Double Pegasus, one of four, from the Coney Island High Pressure Pumping Station, 2301 Neptune Avenue, Brooklyn, 1936-1937. Limestone, granite, 48 x 24 x 48 in. (121.9 x 61.0 x 121.9 cm). Brooklyn Museum, Lent by The City of New York, L2003.7.4. © artist or artist's estate
overall, representative, CUR.L2003.7.1_L2003.7.2_L2003.7.3_L2003.7.4.jpg
. Brooklyn Museum photograph, 2011
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
One of four double pegasus sculptures galloping through waves. Made of limestone, on a granite plinth. Originally adorning the Art Deco facade of the Fire Service Pumping Station, Neptune Avenue, Coney Island. By the early 1970s, the building was shut down, as advances in pumper design and local water supply made the station unnecessary. In 1981 the sculptures were removed and relocated at the Brooklyn Museum.
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