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Still more mystery, though. In the auction photo we see a chair with the 'training wheel' wings (like the Atlanta chair) but unlike the Atlanta chair, it has arms.
Perhaps the Atlanta chair originally had arms that broke off (likening it to Venus de Milo), or there was yet another arm-less variant (?).
Craig writes: "Here is the page from the 1996 auction catalog with the Winn furniture. Note how the chairs with arms have the supports and the ones
without do not. This leads me to believe the armless chairs were to be used in tandem between the armed ones and thus be Ã¢â‚¬Å“self-supporting.Ã¢â‚¬Â� Just my
Now I wonder if that little ferrule (?) I saw under the seat of a Winn chair is part of a connection system . . .
So many mysteries. Were all those extras -- the arms, the wing legs, the connection system -- Wright's work (or the work of an apprentice), or did
some busy soul take on the corrections and additions after the fact ? It would be so helpful to have in situ photos, the older the better, to establish
the dates and the facts.
It has a zoom-in function that allows you to inspect the wood up close -- roll your mouse over the photo and it enlarges.
https://auctions.bidsquare.com/view-auc ... lot/515639
The chair is solid wood not plywood. I have no idea what the specie of wood might be - mine appeared to have been re-stained at some point, perhaps this is the "cherry" wood reference?
The cushions are secured by snaps on both the chair and cushions. I have no idea of what he 'ferrule' looking thing does. Mine did not have one nor any holes indicating it once did.
Roderick - you are right about the seating stance. Perhaps this is why I seldom actually sat on the chair.
I mention the ottomans because a number of them show, in photos, various added feet or bolsters of some kind at the bottom. Ones at T West have red
knobs on stems, like something from an insect. Peter reports no issues with his, at Lamberson; I suspect floor conditions, and user skill, have some part
in the equation ?
But, we have the man himself commenting on his own chairs, and black-and-blue marks on his body, to confirm some of this. And in "The Natural
House" he follows that with
"But we are accomplishing it now. Someday it will be well done. But it will not have metal spider-legs nor look the way most of the steel furniture these
days  looks to me." And, "Finding a good comfortable chair in which to place one's trunk is never quite easy and so most sitting to date still lacks
dignity and repose. But it is possible now to design a chair in which any sitter is compelled to look comfortable whether he is so or not. And there is
no reason why he, or she, should not be comfortable in mind as well as body folded up or down."
The photo of Mr Wright sitting on a Ralph Rapson webbed arm rocker, seen on the cover of "Merchant Prince and Master Builder," shows a man trying to
look comfortable when he is not, I think. "Repose" is not likely in a lounge chair, when one is sitting up and holding conversation ?
Do we think that maybe the chair in Schindler's Elliot House is one of the auctioned Winn chairs? See how it compares to the one in the Atlanta collection.
(I know our collective preference would be to keep the original chairs in the house for which they were designed, but in the event that they are dispersed, I guess it's nice that one would arrive in a sympathetic, semi-related setting like this.)
There's enough transparency to the red stain on the chair in the auction photo to show, I think, that the dark streak on the left-hand leg panel of the Elliot chair isn't present there. Perhaps more than one chair was auctioned ?
Yes, I think more than one was auctioned. Looking at Craig's auction brochure it says that 6 armless versions were sold. Of those, we know of the one that was Craig's, the one in the Elliot house, and the one in Atlanta. 3 down, 3 to go. (pretty good "arm[less] chair" detective work for amateurs like us).
The chair is also nice.