Our History

Shannon Stone Co. specializes in creating your vision in Indiana Limestone.  For decades we have designed and carved simple to elaborate limestone works of art.  Each piece we create is one of a kind, uniquely yours to become a part of your history.  

A note from Timothy...

In 1976, I had the good fortune, through a special bi-centennial program for preserving an endangered trade, to be able to study the carving of Indiana Limestone under Mr. Jack Kendall.  Jack, then 74, was renowned throughout the country for his mastery of stone, including work on the National Cathedral.  He insisted that the range of our work be not merely artistic but structural, that we understand Indiana Limestone and be able to cut as well as carve it.  After apprenticeship, Jack continued to Mentor me in all aspects of the trade; including supply, fabrication, transportation and setting.  He insisted “the one thing a stone man must have is integrity”. 

My own involvement in the field showed me the necessity of earning my Masonry License, which I obtained through voucher by Steve Irmscher, of Irmscher Construction, one of Fort Wayne’s largest firms.  The project was to dismantle, prepare, print, store and re-set two Classic Gothic Porches from the historic Sponhauer House.  There were 174 irreplaceable stones, ranging from 5 pounds to 1,500 pounds, set on one/eighth joints. 

I further understand what is frequently the tripartite structure of large commissions; the Donor, Client and Recipient.  And I understand the necessity for the co-operation of ancillary professionals; the architect, sculptor, engineer, contractor.  No work of significance is ever the product of one person. And the success of the project depends on each giving their best from their own professional understanding.  Ultimately each work has a purpose and a meaning to which we all are committed. I will briefly discuss two projects that typify my relationship to a client.  My technical competence should already be demonstrated.

The client, the Sister Cities Committee, funded by the donor, Essex Group of United Technologies, sought to give two stone sundials to the Cities of Fort Wayne, Indiana and Takaoka, Japan.  In order that the dials be ‘really’ special I studied the subject and designed a helical equatorial dial, capable of correcting for “day of the year”, as the sun and the clock disagree by as much as 17 minutes {this was subsequently patented}.  It is modern and simple in shape, but designed for a public space where it will be climbed on,  and where liability from projecting components would be a problem.  Each dial was produced for a specific Latitude and Longitude of placement.  Each 9,000 pound dial began as a 23,000 pound block. The cutting {carving} had to be of instrument precision so that the final product would tell, within one minute Standard Time, both the time in the City of its placement and in the City on the other side of the world.   

In the other project, the Client and Donor, the Class of June 1943 presented to the Recipient, The United States Military Academy at West Point, a completely new entry to the Post, “The Thayer Gate”.  The “Coat of Arms of the Corps of Cadets” was to be carved in Indiana Limestone as the focal point of the tower structure.  Assumed budgetary constraints led the Class to decline the use of a model for the carving.  Knowing, however, that the use of a drawing alone would be apt to require more time and produce a less reliable work, we determined based upon reliability and cost to utilize a model.  The original work was to be done in 5 pieces for ease of handling.  But such an arrangement often leads to increased possibility of damaged edges.  Working with their engineer and architect I designed a stainless steel frame, integral to the stone, and a frame for lifting it without touching the stone which was then welded to steel columns engineered for the load.  The result was the setting of a complex work by only a crane and a welder.  Field masons then completed the wall infill. 

Because of this, and other considerations for my client, throughout what became a three year project, the class honored me by making me their only “honorary” classmate.  I was further honored on this job when Jack Kendall gave me the use of his bench mark to place on the stone {stone carvers signature}.  That mark had been passed down to him from his teacher Reeve Hanner.  Since Jack’s death that is the only mark I use.

As my brochure indicates, I choose to limit my practice to Indiana Limestone.  While fabrication techniques are similar within the stone carving trade, this limitation allows me to offer my clients greater depth in type and use of this particular material. 

Works over the past 30 years have included many notable carvings in significant public and private settings, in the United States and overseas.  But the same attention has been paid to all works, regardless of size or prominence, for to each client the work done for them is “the” most important...  As it should be.

Contact Tim Doyle