Tag: The Frank Lloyd Wright Foundation Archive

Summer photograph in Taliesin's Garden Court looking plan west.

Wall at Taliesin’s Garden Court

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Taliesin’s Garden Court photo taken in August, 2002 by Doug Hadley, then the Landscape Coordinator.

In this post I’m going to write about when a stone wall was built at Taliesin’s Garden Court, changing it from an entryway into a private courtyard.

The Garden Court used to be the courtyard where people stopped when they arrived. I showed a couple of old photographs of that courtyard in my post, “When Did Taliesin Get Its Front Door?” The courtyard was the forecourt from the time that Taliesin was built in 1911, until after its second fire in 1925.

After that, Wright made it into the Garden Court.

Ok – got it. But why do you have to use capital letters in front of the words Garden and Court, like a snooty know-it-all?

I think it’s because Garden Court is its proper name. I didn’t name it that. Plus, when you’re at Taliesin (or talking about it), you say those words and everyone knows what space you’re talking about.

Like, when I went to Taliesin West (Wright’s home in Arizona) people said “Kiva“, “Cabaret” and “Pavilion“, while talking about those spaces. I didn’t really know what they were talking about, but tried to not look as confused as I felt. I knew they’d tell me on tour, so hopefully I’d learn. Although, I still have to check with myself on The Cabaret vs. The Pavilion.

Besides: it’s not “snooty know-it-all”. . . it’s “socially awkward…” I don’t think I’m snooty, anyway.

Besides,

Wright labelled the court in the drawing published in the book, In the Nature of Materials. And also in one other Taliesin drawing, below:

Taliesin drawing, circa 1943. #2501.060, cropped.
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).

If you click the link, you’ll see the whole drawing is larger. I made the label “Garden Court” a little bigger, and lighter.
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).

Back to the Garden Court

Like I said, Wright created it after Taliesin’s two fires. It might be because Wright didn’t like people driving right up to the living quarters.

This was even though he might have had reason for optimism about his career in 1925.

This is despite the 1925 fire that had destroyed so many of his art objects. And, oh yeah: his damned home. Again.

But there were probably some positive signs floating around. After all, he had done some interesting work in California, and was well known because of his Imperial Hotel. That building was one of the few that stood in Tokyo after Japan’s devastating Great Kanto earthquake two years before.

And, finally, on the personal side, Miriam Noel (his second, unstable, wife) had left him (the year before), and he was newly in love with Olgivanna (with whom he spent the rest of his life). 

Regardless, he no longer wanted people driving right to the forecourt when they came to Taliesin. So, he added a few things to redirect people on their way up.

As a result, he blocked the old drive in two ways:

From the south:

He built a stone court that ended with a parapet. You see the wall at the end of the terrace in this 1932-33 photo from the Wisconsin Historical Society:

Aerial of Taliesin, in the summer.
Published originally in 1933 in the original prospectus for the Taliesin Fellowship.
Wisconsin Historical Society, image ID: 38757

The arrow in the photo points to where the carriages used to drive when there was a road that continued way.

From the west:

This west here is the part of the building on the left in the photo; under “Image ID: 38757”.

It might have been easier to drive up that way because you didn’t even have to drive up a hill, to get right outside of his studio. So, men and women could be working in the studio, then look up and see people they didn’t know right outside of of the windows. Or those people might walk into the room.

In order for them to drive from the west to the studio

They would have driven through a couple of gates, then under the old hayloft and past the former horse stables.

I suppose it wouldn’t have been bad if Wright were waiting for a client. Plus, there was a door under the hayloft to keep random people (and cows) out. But if the draftsmen forgot to close the door, and people came in, it could really interrupt you.

Like, for a couple of years, when I worked more in the tour department at Taliesin Preservation. On the first floor of the visitor center, there’s a door that goes out to a loading dock. That’s because one summer, at least two groups of people walked in, thinking the door was the building’s entrance.1 We had to tape a little sign on the door telling them “This is not an entrance”. Seemed to work well.

You can imagine other draftsmen or -women,  working on a nice drawing in Wright’s studio, when a stranger comes walking in to the room, wanting to know if this was the “Crazy House” (like I mentioned in my post, “This Stuff Is Fun For Me“).

btw, at that time, they didn’t ask if Taliesin was the House on the Rock. Because that didn’t exist yet.

So, the wall might have been an effort to make a journey to the studio more onerous. The wall isolated the former Forecourt, and allowed an expansion of the gardens.

He took one of his drawings to figure out his plan

Here’s a Taliesin II drawing where he made changes in pencil. An arrow is pointing at the wall below –

Taliesin drawing, c. 1917 with changes made 1925-1943.
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).

The drawing above links to the version online. If you click on it, you’ll see that the actual drawing is a lot bigger.
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)

One of the changes Wright wanted was to make the old CARRIAGE HOUSE into bedrooms. So, he took a pencil and drew in bay windows at the Carriage House.

One of those rooms with bay windows is where George Kastner lived when he started working for Wright. You saw two photographs inside Kastner’s room in my last post, “Oh My Frank, I Was Wrong!“

Kastner also took a photo outside of his room. At that time, November or December, 1928, he was living at Taliesin. The photograph shows the Garden Court wall being built:

Exterior photograph taken at Taliesin in the fall of 1928.
Photograph by architect, George Kastner. Taken on November 28, 1928.
Courtesy of Brian A. Spencer, Architect

Taken in the Middle Court, looking (plan) northeast. The new bay windows are on the left, with the Taliesin III living quarters in the distance on the right. The chimney for the studio fireplace is the second chimney on the right.
The chimney on the left eventually became the fireplace for the living room used by Wes Peters, and his wife, Svetlana Hinzenberg Peters.

A photograph I took in this area is below. The stone wall is slightly taller than it was in Kastner’s photo. Stonemasons later heightened the wall by a stone course or two, probably in the year after Kastner took his photograph.

Looking plan east in Taliesin's Middle Court toward the Garden Court. 4-29-2004.

I took this photograph in April 2004.

First published, May 20, 2022
The photograph at the top of this post was taken by former Landscape Management Coordinator, Doug Hadley. 

Note:

  1. My theory on why people would walk in the door was is that the grounds people had cut down the yew bushes, so people saw the door more easily when driving by the building. But putting up the sign on the door stopped people from walking in unexpectedly.
Photograph of Taliesin's Entry Foyer taken by Keiran Murphy in May 2004.

When did Taliesin get its front door?

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My May 2004 photograph looking at Taliesin’s entry and entry foyer.

I find humor regarding Wright’s placement of his own home’s front door, so my post today is going to be about that.

I say “humor” because of how Wright is praised on his placement of the front doors of his homes. That he placed the entrances in ways that create a journey of surprise to visitors as they seek them out.

Therefore, his houses do not usually have the front doors smack dab in front of you.

Photograph taken from the street looking at Wright's Windlow House in summer

Ok, well there was that one time.

And he was young! The house (the Winslow) was his first independent commission in 1893. He was 25 or 26. Haven’t we all done things as we’re learning the ins and outs of our own lives?

Edward C. Waller apartment building by Frank Lloyd Wright, summer.

Well, THAT’S an apartment building. You gotta make the entry really large to help people to go in —

Chancey L. Williams House by Frank Lloyd Wright

STOP THAT!!

Those are all photographs of Wright buildings, but I’m trying to make a point.

. . . . Against my fictional self.

But, seriously: I find the history of Taliesin’s “front door” funny because, when he first designed his home in 1911, when you arrived at Taliesin’s first courtyard, a door was one of the first things you saw, but it wasn’t the front door.

Let me back up and show you:

So, in 1911, you would drive past Taliesin’s waterfall, and along the carriage path up the hill, and stop under the roof of the Porte-Cochere, in the photo below.1

Photograph of Taliesin's porte-cochere seen in late fall/early spring

This photograph was taken by Wright’s draftsman, Taylor Woolley, in the late fall or early spring, 1911-12.

And once you stopped under the roof, you could get out of your vehicle and walk into the “forecourt”. And here, you saw this door, behind the vertical wood strips there at the low wall near the middle of the photo:

Wisconsin Historical Society, Lynn Anderson Collection
Postcard property of Patrick Mahoney. Published in Frank Lloyd Wright’s Taliesin: Illustrated by Vintage Postcards, by Randolph C. Henning, p. 17. It’s a great book of images to get you started on your Frankophile feast.

And yes, behind the vertical pieces of wood are bug screens. Even though Wright supposedly hated them. I think it took only one summer in Wisconsin, with the Taliesin pond, for Wright to understand that the mosquitoes in Wisconsin can be pretty nasty.

Knowing me, if I were invited to Taliesin in 1912 I probably would have walked right up to that door, figuring that was the main house entry. But that’s not where Wright designated the front door. No; apparently Wright’s planned trip for visitors to the main, formal, Taliesin entry was that they would walk straight from the Porte-Cochere, through the forecourt, and up three steps and under the roof on the left that you see in the photo above.

The photo below I think shows you the straight shot he wanted you to take.

The continued walk to the door:

You go up those steps and under that roof. And on your left was another door. Which was not the front door.

Wisconsin Historical Society, Fuermann Collection, ID# 83113

Here’s why I think this is funny: in many of his designs, I get the impression that there is just one door that he intentionally leads you to. But at his home, he’s got these other doors and I think I’d get frustrated after awhile.

Although under the roof, you could see the river

I think he hoped to draw you to the view in the distance to see the Wisconsin River.

Photograph in summer taken by Taylor Woolley at Taliesin.

And, then you’d see the front door. It would be on your right.

The best view of the door is actually in a drawing:

I’ve never seen a photo of that door on the outside during Taliesin I or II.

Elevation of Frank Lloyd Wright's Taliesin I.
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).2

You can only see the door at that time from the inside, at Taliesin’s living room. You can see one view on the other side of the inglenook which I wrote about in my last post, 1940s Change in Taliesin’s Living Room.

But the other thing that is really interesting was that when you walked through Taliesin’s “front door” at that time, you walked right into the Living/Dining room of Taliesin.

And before that, you walked passed the kitchen.

This caught my eye starting about three months ago:

That’s because I was writing an article on Wright’s kitchens at Taliesin. This will appear in the Spring 2022 edition of the magazine, SaveWright . SaveWright is the magazine put out by The Frank Lloyd Wright Building Conservancy.

Here’s one thing Wright wrote about kitchens in 1907:

… Access to the stairs from the kitchen is sufficiently private at all times, and the front door may be easily reached from the kitchen without passing through the living room.

“The Fireproof House for $5,000”,  in Frank Lloyd Wright Collected Writings: 1894-1930, volume 1. Edited by Bruce Brooks Pfeiffer, introduction by Kenneth Frampton (Rizzoli International Publications, Inc., New York City, 1992), 81-2.

So, he’s not paying attention to this, in his own home. At that time at Taliesin, the only way to get to the front door would be by walking past the kitchen. And, if you were inside the kitchen, the only way to get to that front door would be by going through the living room/dining area.

You’ll see this if you look at the Taliesin drawing in my post, “Did Taliesin Have Outhouses?“

And he’s working out these ideas at Taliesin: like I wrote, “The Fireproof House for $5,000” was published in 1907.

In addition,

He does the same thing in Taliesin II 

That is, 1914-1925

Although I think by that time, he tried to hide that first door when you stopped at the Porte-Cochere.

Here are a couple of Taliesin II photos:

Looking east at Taliesin II forecourt. Photograph by Clarence Fuermann.
Wisconsin Historical Society.
Collection Name: Henry Fuermann and Sons Taliesin I and II photographs, 1911-1913, 1915
Looking north in Taliesin II forecourt. Photograph by Clarence Fuermann.
Wisconsin Historical Society.
Collection Name: Henry Fuermann and Sons Taliesin I and II photographs, 1911-1913, 1915

Taliesin’s front door is past the ceramic vase you see in the shadows. The kitchen is through the open windows that you can see above the low, stucco, wall.

Then the 1925 fire happens

So, Wright keeps the door in the same place, but changes how you get there. And, for almost 15 years, he had you drive east of the living quarters to get arrive at the front door. An aerial photograph showing the road is below:

Aerial of Taliesin taken Feb. 7, 1934
From the William “Beye” Fyfe collection at The Frank Lloyd Wright Foundation Archives

From the book, The Fellowship: The Unknown Story of Frank Lloyd Wright & the Taliesin Fellowship, by Roger Friedland and Harold Zellman (Harper Collins Publishers, New York, 2006). This image was published in the page opposite page 1.

That road in the aerial brought you to the steps on the way to the front door that you see below in this 1929 photograph.

Photograph of Taliesin's entry steps taken in 1929 by Vladimir Karfik
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).

These steps took (and take) you to Taliesin’s entry. When this photograph was taken, you would walk up the three sets of steps and the door into Taliesin was to the right of the chimney.

Here’s what former apprentice Edgar Tafel wrote about his first experience walking into the house:

At Taliesin, we went through a Dutch door, its top half swinging open. Below, flagstone, and all around us natural stone. The ceiling was low, sandy plaster just above our heads. Wright led the way into his living room. What an impression that room made! It was my first total Frank Lloyd Wright atmosphere. How I was struck by those forms, shapes, materials! It was heartbreaking – I had never imagined such beauty and harmony.

This comes from page 20 in Apprentice to Genius: Years With Frank Lloyd Wright, the book I recommended last year.

In 1943, Wright changed the entrance to where it is now:

Another former apprentice, Curtis Besinger, wrote about his in the book, Working With Mr. Wright: What It was Like.

I mentioned this book when I wrote about books by apprentices. 

He described in in the chapter, “Spring and Summer, 1943”:

It seemed that some students from Harvard had complained to Mr. Wright when visiting Taliesin that they had had difficulty finding the entrance. He was going to correct this.

… These new doors were visually on the center of the garden court, and made a stronger connection between the interior of the entry area and the court.

Curtis Besinger. Working with Mr. Wright: What it was Like (Cambridge University Press, Cambridge, England, 1995), 147.

Re: “students from Harvard”:

When I gave tours, if I had time after bringing people to the front door, I’d tell them about the Harvard students. I often added that “Wright said Harvard took good plums and turned them into prunes.”3

Here’s a photograph taken in 1945 (I included it in my post, “In Return for the Use of the Tractor“):

Exterior photograph looking northeast at Taliesin. Taken by Ezra Stoller
Photograph in the book, Masters of Modern Architecture, by John Peter (Bonanza Books, New York, 1958), 47.

The formal entry was to the right of the two tall birch trees in the center of the photo. Although people usually went inside through the door to the left of the two tall birch trees.

Although the students from Harvard possibly influenced Wright to take away some of the FIVE DOORS that he had on that side of the house. Seriously: take a look at drawing 2501.048. It shows Taliesin’s living quarters, 1937-43.

First published March 26, 2022.

Notes:

  1. Another word I’ve learned while working at Taliesin. Porte-Cochere: a “carriage porch” and “a covered carriage or automobile entryway leading to a courtyard.”
    The Dictionary of Architecture and Construction, 4th ed. (2006, Cyril J. Harris, ed., McGraw Hill, New York, 1975).
  2. If you click on the drawing, you’ll see it’s characterized as “Taliesin II”. That’s wrong. Architectural details in the drawing show that this was actually 1911-14, Taliesin I. It just hasn’t been corrected. If you know anyone close to the Avery library who wants to contract with me as a consultant to correct these dates on Taliesin drawings, I’m all up for it; please give them my contact information. Thx.
  3. As always, I learned the “gist” of that quote, but I can’t find the actual quote itself.

Wright wrote something about the same in his book about mentor Louis Sullivan, Genius and the Mobocracy. Wright while writing about university education, says that the “creeping paralysis” in ” higher learning” takes “Perfectly good fresh young lives—like perfectly good plums… destined to be perfectly good prunes.”

That’s in the Frank Lloyd Wright: Collected Writings 1939-49, volume 4, 343-344.
I like the way I first heard it, rather than how Wright wrote it. Maybe he said it someplace else.

Hillside floor plan published in Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright

Truth hiding in plain sight

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This is a drawing of a building that Frank Lloyd Wright designed for his aunts and their Hillside Home School. They ran the school, which was south of Spring Green, Wisconsin, for almost 30 years. Wright designed this structure for them in 1901. This drawing was published in 1910.

Previously, I wrote about the project I did with architectural historian, Anne Biebel (principal, Cornerstone Preservation), about Wright’s Hillside structure on the Taliesin estate. This post is going to be about something I discovered during that project, which was a comprehensive chronology on Hillside.

About the project:

The Aunts ran the school from 1887-1915. We tried to look at the total history of the Hillside building, but also the history of the school. Since my job was to gather as much information as possible, I looked at old newspaper articles and had a lot of fun finding old facts, photographs, and drawings.

I tried to be objective about the site

So, when I started, I approached Hillside much as I approach Taliesin when studying it. That meant that I went over everything with a fine toothed comb. However, Hillside was never the same dealio (at least not as he’d originally built for his aunts: 1901-03.). That’s coz, Hello!—they were paying clients. Yes, they were his Aunts and they did love their nephew; but: still. He couldn’t mess around with their building. Not while they still had control of it!

And, because Wright was building this for someone else,

I could trust the Hillside drawings that Wright did for the original construction (unlike those he did for his home, Taliesin).

Still, only 12 drawings exist in Hillside’s earliest years. 1 Three more drawings were done later: two were done in 1910 from a portfolio, known as the “Wasmuth”. That’s because the publisher in Berlin was Ernst Wasmuth. The floor plan from the Wasmuth is at the top of this post. I got it from an online version of the University of Utah Rare Books Collection.

Or if you’re feeling fancy, say the full title in German, since it was published in Germany. The original title is Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright (“Executed Buildings and Designs by…”). 

The last drawing of Hillside was done in 1941 for a retrospective of his work: In the Nature of Materials : The Buildings of Frank Lloyd Wright 1887-1941.

Looking over things:

In the Hillside Chronology project, I studied the drawings like I usually do: I try to look at historical evidence without preconceptions. Otherwise, it’s easy to only see things you want to see, and miss things staring you in the face. So, I looked at the early drawings of Hillside, inch by inch. And…

I finally noticed something

in one of the rooms.

This room, a long room ending in a point, is now known as the Dana Gallery. Look at the drawing at the top of this page. At the top of the drawing is a “T”. The left side of the “T” is the room known as the Dana Gallery today. This room was originally the Science room for the Hillside Home School. The right side of the “T” is another room that’s almost a mirror image of the Dana Gallery. That room, on the right side of the “T”, is now known as the Roberts Room and was  originally the Art room.

The names of the rooms (Dana Gallery, Roberts Room) come from two people who gave money to Wright’s aunts when they were completing the building. Wright told the story about the names in the 1943 edition of his autobiography:

One of my clients, Mrs. Susan Lawrence Dana, gave them the little Art and Science building next to the School building and equipment, complete. She loaned the Aunts twenty-seven thousand dollars more to help complete the main school building. Another client, Charles E. Roberts, 2 gave nine thousand dollars to help in a subsequent pinch….

Frank Lloyd Wright. Frank Lloyd Wright Collected Writings, volume 4: 1939-49. Edited by Bruce Brooks Pfeiffer, introduction by Kenneth Frampton (Rizzoli International Publications, Inc., New York City, 1994), 125.

How the Dana Gallery/Roberts Rooms are alike:

Among other things (I’m sure) each room is accessible through 5 steps down from the floor above; has skylights; has a “prow” window (like a triangle coming out of the building) on the end; and a chimney.

Their fireplaces are different, though.

The fireplace in the Roberts Room has a horizontal piece of stone across the firebox. But the fireplace in the Dana Gallery has a design that looks really modern. Even though it, too, is in stone, there are triangles on the design, and either side of it has angles.

Here’s a photo of the Dana Gallery with the fireplace from The Frank Lloyd Wright Foundation Archives:

Black and white photograph looking southeast in the Hillside Dana Gallery

Unknown photographer. Dated 1936-40. Property of The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York), #3301.0008.

The creation of the fireplace was detailed in a December 11, 1936 article in “At Taliesin”, written by Gene Masselink:

. . . . Last summer Mr. Wright commissioned Benny to complete a fireplace in three weeks.

So Benny lugged stone after stone into the Dana gallery.  He worked at it at all hours–you could hear him pounding away long after it was dark outside….  The design had been carefully worked out.  The lintel was six feet from the floor and the stones were all especially cut to form a pattern on the back of the fireplace.  It required skill and some engineering to properly construct the flue.  Finally with the help of five others Benny laid the greatest sandstone lintel block.  And that night at the celebration in honor of the job, the first fire was built.

Hans, solid German carpenter, declares it would never draw and even as the Fellowship held its breath and as the flames roared up, lighting the room with their best six foot height and the smoke went up the flue out into the moonlit night, Hans still shook his head.

We drank a toast: no one that night prouder or happier than Benny.

EUGENE MASSELINK

Randolph C. Henning, ed. and with commentary. At Taliesin: Newspaper Columns by Frank Lloyd Wright and the Taliesin Fellowship, 1934-1937 (Southern Illinois University Press, Carbondale and Edwardsville, Illinois, 1991), 225, 226.

Due to Gene’s writing:

I figured there had been a fireplace when Wright first designed for his aunts, then Benny redesigned the fireplace mantel to its current appearance. I mean, sure, the Dana Gallery had been the Science room—so maybe flammable things aren’t your first go-to in a design—but, on the other hand (a) the only flammable things I ever saw in my Chemistry classes were the controlled flames of Bunsen burners, and (b) Hillside’s gym also had a running track with a fireplace on the west side.

So, I just figured that those Hillside students weren’t “pantywaists” like I was by the time I was in grade school. 3 I mean, sure! Have open flames around those kids using chemicals, and exercising on the running track!

To get back to the point:

During the project with Anne, I looked more carefully at the Hillside drawings. And I saw, in drawing #0216.004 that, while the Roberts room originally had a chimney, the Dana Gallery did not:

Floor plan. #0216.004

The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York), #0216.004.

The chimney on the left had no fireplace, while the chimney on the right did. Looking more closely, the chimney at the Science room had two SINKS in front of it. With a WALL between them. I didn’t know what that was all about.

So, then I thought:

look at the Wasmuth drawing

Because I knew he labelled things in it. Yes, they were in German, and I don’t have a German-to-English dictionary, but there’s Google translate.

So I looked at it. The chimney in the Dana Gallery (the chimney on the left) has this in all caps: DUNKEL RAUM

That means:

Dark room

Of course!

Hillside was a school out in the country. Teach those kids photography! That’s why there’s a scrapbook of photographs taken of Hillside in 1906, now at the Wisconsin Historical Society.  

In fact, the floor of the Dana Gallery has a shadow of the dark room’s wall, below:4

But unfortunately I’ve never seen a photograph showing the walls of the dark room. The photograph below shows you about what’s been seen of the room when the Aunts ran the school. You can see how it was a science classroom:

Black and white photograph of the Science Room at the Hillside Home SchoolFirst published February 9, 2022.
The drawing at the top of this post was published in Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright (“Executed Buildings and Designs by Frank Lloyd Wright”) in Berlin in 1910. I’ve put it here in part because I do not know who has the rights to it.

1. I’ve wondered if there were more. 

2. This link only brings you to the page on Wikipedia about the Charles E. Roberts Stable (although it tells you a bit about the man himself). There’s no Wikipedia page about the Charles E. Roberts House, though. If you were feeling generous and had the interest or patience, you should write about it.

3. That’s what one of the nuns called us in the 8th grade because we weren’t fighting in the Falkland Islands war. That’s not a statement about Catholic schools; just a statement about a weird moment as a kid. As I’ve gotten older that statement makes less and less sense. In part because we were all American citizens.

4. As of 2020, tours don’t go into the Dana Gallery anymore.

#1403.011 The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)

Post-It Notes on Taliesin Drawings

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Reading Time: 5 minutes

This is a roundabout story that comes to a simple conclusion: I found a Taliesin drawing.

Over 12 years ago I worked on a Comprehensive Chronology of the Hillside Structure on Frank Lloyd Wright’s Taliesin estate with Anne Biebel, the principal of Cornerstone Preservation (she was the person who suggested I read the local newspapers, 1910s-early 1930s, which introduced me to their weirdness).

This project led me down to Wright’s archives to do research. While now at the Avery Architectural & Fine Arts Library in New York, until the fall of 2012, Wright’s archives  were at his winter home, Taliesin West, in Arizona.

Looking at drawings:

In particular I looked at his drawings that weren’t assigned to any of his commissions.

Or, actually I looked at photographs of the drawings, not the actual, physical drawings (natch).

I thought it might help the chronology if I found drawings for furniture at Hillside.

Reading what I just wrote sounds silly. In 2009 Bruce Brooks Pfeiffer (former apprentice) was the director of the Frank Lloyd Wright Archives. He, in large part, created it and ran it starting in the early 1960s. He would probably know a drawing showing a detail from Hillside, wouldn’t he?

But I also know that, while “Bruce” knew so many things in the archives, I know one site very well: Taliesin and the Taliesin estate. So I thought it possible that there were drawings of chairs or tables that Bruce hadn’t recognized as belonging to Hillside.

So, what happened?

In the end, I was correct, if only in part. Yes, I came across a drawing that showed furniture in a building on the Taliesin estate. No, the furniture wasn’t for Hillside. The drawing showed furniture for Taliesin.

Why Bruce hadn’t caught the drawing:

I can understand why Bruce hadn’t known this drawing came from Taliesin. Bruce didn’t know the furniture in the drawing when he the archives and the arranged its drawings. That changed because of “The Album” that surfaced on the online auction site, Ebay, in 2005.

Ebay and The Album:

The Album was a beautiful, handmade photo album with 33 photographs. Most show Taliesin in 1911-1912. Its appearance on Ebay caused a flurry of excitement in the Wrightworld. The seller sent scans of many of the images to interested parties (including me). That whole week had the intensity of being on the social media site Facebook during the Superbowl.

It was all anyone could talk about

People called and emailed all week long: had I seen the images, did I want scans of the images, could I donate money to help buy the images (I didn’t have the money, then or now). That Friday, after an exciting night spent watching the auction online (and hitting the “refresh” button on my web browser over and over again), the Wisconsin Historical Society won it with their highest (and only) bid: $22,100.

This money was raised through donations

The money I couldn’t afford to donate went into the pot that allowed the Wisconsin Historical Society to win the album.

The story on the album can be seen at the Wisconsin Historical Society here. If you’ve got a subscription to The New York Times, you can read the story in the February 13, 2005 issue. Or you can read about it in an archived page of The Milwaukee Journal Sentinel here.1

All of the photographs from The Album are available at the WHS here.

What this has to do with this post:

Two of the photos in The Album show bunk beds in a room at Taliesin. They totally tweaked my brain and are here and here.2 I can almost guarantee that when I first saw these photos I took out our copies of Taliesin drawings to see what I’d previously missed. What I missed is what’s in the drawing at the top of this page.3

That drawing above shows several rooms, with two fireplaces. The fireplace on the left has a rectangular room to its left. The outline of the 2 bunk beds is drawn in pencil on the far left side of the rectangular room.

So, this brings us back to my trip to the Archives:

Four + years after The Album, I was studying photos of unidentified Wright drawings, looking for possible Hillside furniture. Flipping through the photos I came across the drawing that I have reproduced below (in two parts). This drawing shows those bunk beds. Its ID number is 7803.001. While many of Wright’s drawings can be found online (through JSTOR), this one isn’t on there. That’s because it wasn’t known which building it was connected to when these things were put online. I received permission to reproduce my scan here. It, and the drawing at the top of this page (as it says so in the embedded text), is the property of The Frank Lloyd Wright Foundation Archives (Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).

The scan below:

has the footprint of the bunk beds.

Drawing 7803.001 Frank Lloyd Wright Foundation Archives (Musum of Modern Art|The Avery Architectural & FIne Arts Library, Columbia University, New York)

You can see the part of drawing 7803.001 above is the floor plan showing the two bunk beds with the chest between them. I don’t think the chest (that horizontal rectangle) was for clothes: the drawers you see in the photographs at the Wisconsin Historical Society weren’t deep enough.

This scan has their elevation:

Drawing 7803.001 Frank Lloyd Wright Foundation Archives (Musum of Modern Art|The Avery Architectural & FIne Arts Library, Columbia University, New York)

At the top of the photo above, you see “Bed Room off Studio” in Wright’s handwriting.

Since I had seen the bunk beds in the photographs, I knew exactly what Wright meant about “Bed Room off Studio”. The “Bed Room” was for the draftsman that would be living and working with him at Taliesin. The “Studio” (Wright’s studio) was the room at the fireplace on the right.

Unfortunately I didn’t get to tell Bruce when I found this drawing. It was likely that he wasn’t in the office that day. Wish I’d thought of it while we smoked cigarettes outside, though (I smoked then). After all, he told me Herb Fritz likely asked for Wright’s tractor because of gasoline rationing.

Drawings & post-it notes:

When I found the drawing, I didn’t know what to do. I scanned the photo of it, but since I was always on a time schedule for the Taliesin West trips, I could only stick a post-it note on it. Probably noting that it was from Taliesin I, and including my name.

I did make an effort to contact staff at the Avery Architectural & Fine Arts Library (which has had the archive since 2012-13) when it occurred to me that they probably didn’t save the Post-It note. Hopefully what I wrote here serves the story as well.

First published on June 29, 2021.
The drawing at the top of this page is the property of the Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural and Fine Arts Library, Columbia University, New York) and can be found online here.

Notes:

1 The photographer wasn’t known when the Journal Sentinel did the story, but his identity is known now: Taylor Woolley. The Utah Historical Society has the negatives for most of the images; I’ve shown them a couple of times on these pages.

2 although, really, since these are known I’m surprised that no one has started making Wright-designed bunk beds yet.

3 Bruce Brooks Pfeiffer misidentified this drawing as Taliesin II instead of Taliesin I; the drawing was published in 1913 in Western Architect magazine. That was identified by scholar & architect, Anthony Alofsin, in his essay, “Taliesin I: A Catalogue of Drawings and Photographs,” Taliesin 1911-1914, Wright Studies, v. 1, ed. Narciso Menocal (Southern Illinois University Press, Carbondale and Edwardsville, Illinois, 1992), 114.