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https://fineart.ha.com/itm/decorative-a ... ion-120115
The scale of this theft from the Taliesin archives---what else can it be ?---keeps growing. It would be interesting to know when that happened, and over what period of time. One could look for each of these projects in the
Monographs, to see if any of this material was present to be recorded for those publications, in the 'eighties. I have not yet undertaken that search.
It amazes me to learn, from Bill Schwarz, that there was no reproduction equipment---no diazo machine, no other large-format copiers---at Taliesin, well into the 'fifties. We read again and again, in the literature, that originals
were sent to clients with requests to copy and return---but that no in-house printers were available that late in the career is frankly astounding.
There are many many sheets which are signed by the architect, and at least thirteen original colored-pencil-and-ink presentation renderings; more than a few lots contain full sets of construction documents.
The captions to the lots are not 100% reliable as to date, or content, or medium, in certain cases. The word "renderings" is used quite freely, for instance.
I have so far identified two or three projects here which are presented without illustrations in the Monographs and in the Taschen volumes. Much further research could be done. Several of the unbuilt projects will be entirely new for readers here . . .
I'll leave it to someone else to add up the amounts reaped by the sale of these treasures---if there is any interest in that aspect of the thing.
--the marketing for this auction wasn't great as I'd have bid on some items had I known more about the auction
--The prices were not what they would have been a decade ago when a set of original drawings would have reached 6 figures easily.
--At least the auction didn't divide the sets up and sell each sheet individually.
--And it's nice of the auction house to keep the images up so folks like us can study them.
Doesn't the house look fine. I wonder about the unusual figured veneers to some interior surfaces, including the original kitchen cabinets. What specie is that, John ?
When a contractor or sub comes across unusual---often unique---flitches of veneer, a decision is made, sometimes by the owner, to employ them in a special project like this one.
I assume that is what happened when this house was being built---a happy accident of timing ? The result, of course, cannot be duplicated at a later date.
The plan is a unique one, too; I note the repeated use of a certain shape to the masonry elements.
The house looks drop dead gorgeous - especially compared to the before pictures.
Judging by the before pictures one would think FLLW was a crap architect.
In some sense it's not the same house as the "before".
I'd love to know a lot of technical stuff here.
My main question concerns what does it take to maintain a house like this?
What needs to take place so that it does not revert to the "before" condition?
The treatment of the clerestory windows is unique. I wonder how all that upper level wood cuts down on the natural light.
This element in Wright's work intrigues me.
Such an abrupt contrast between lower windows and doors and
upper clerestory wood "oculi" (?)
Where does this come from in Wright?
Is it in part an anti glare device somewhat like Kahn?
My answer, extempore, is the ground of the "organic".
Wright's built conception here is heresy.
Nobody else would have done that - nobody.
and it's gorgeous.
http://wrightchat.savewright.org/viewto ... d1295c4bbd
In a 1950 letter from Muriel Sweeton to FLlW, she notes the presentation drawings will be sent back to Taliesin as soon as Alfred (J.A. Sweeton) gets them printed. Mr. Sweeton was a naval architect and had relatively easy access to the diazo ammonia based printing equipment of the day. I suspect many clients didnÃ¢â‚¬â„¢t.It amazes me to learn, from Bill Schwarz, that there was no reproduction equipment---no diazo machine, no other large-format copiers---at Taliesin, well into the 'fifties. We read again and again, in the literature, that originals were sent to clients with requests to copy and return---but that no in-house printers were available that late in the career is frankly astounding.
My question is how did all of these original drawings, not to mention the print sets, get in one collection for sale at one venue?