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Article: Glass panels being returned to Hollyhock
Posted: Thu Dec 19, 2019 10:32 am
Posted: Thu Dec 19, 2019 1:16 pm
Good news. Why Lloyd removed them in the first place is a puzzlement.
Posted: Thu Dec 19, 2019 2:15 pm
once again, Christies is aiding and abetting the dismantling of historic properties.
Posted: Thu Dec 19, 2019 2:29 pm
Roderick Grant wrote:Good news. Why Lloyd removed them in the first place is a puzzlement.
I think it was part of the overall "modernization" mission of the '46 reno for the Olive Hill Foundation. Lots of glass and woodwork was pulled out during that effort, and this isn't the only glass to end up in the hands of collectors (*cough* Tom Monaghan *cough*). He filled in all the open spaces of the laylight with translucent panels, so I guess he thought by reducing the art glass panes he could add more of the translucent ones.
Posted: Thu Dec 19, 2019 3:14 pm
Just speculating. You sometimes hear (e.g. in Murray Grigor's documentary) that the skylight over the fireplace was supposed to be a rainspout feeding into the pool. Not true; Wright Sr. designed a rooftop canopy to prevent this. Barnsdall left it out, creating an accidental rainspout in the winter and a solar oven in the summer. Lloyd finally built it in 1946.
Thus, maybe, the originals were water-damaged. We can test this when we see them.
Posted: Thu Dec 19, 2019 10:55 pm
Posted: Fri Dec 20, 2019 12:19 pm
Reidy, the story I have heard, in part from Edmund Teske who lived in the place, is that the skylight over the fireplace in Oleanders, Residence B, was destroyed some years before the house was demolished, allowing buckets of rain to enter, and somehow this was transformed into the myth about Hollyhock. (Although that does not obviate the possibility, or probability, that the Hollyhock skylight leaked.) The silliest part about the "retractable" skylight story is that one could sit on the couch and see stars reflected in the pool. Do the geometry and try to figure that out. A rainspout feeding into the pool is news to me; it doesn't appear in the Grigor film, as far as I can recall ... without sitting through it again. (My VCR no longer works.)
Ginny worked with Murray Grigor when he was there to film that part of the documentary, but she didn't read the script. She would have corrected Grigor on that point if she had. From then on, she insisted on seeing the script of any documentary on the house. That brief comment was, however, the only slip in what is still the best documentary on FLW's career.