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The reason why I ask is I would like to get an area rug in this color to put in the section in front of haynes's fireplace. I woulg like gold but it will get dirty too fast.
By the way, the wood you see is Italian Cypress and not the regular cypress you see in Haynes and most other FLW houses. Not sure what the difference is. Nice clean wood....but I didn't care much for it. No red hue.
On the other hand, when I saw the Pappas house, in the same general time frame, it was in it's integrally tinted concrete block (don't know if it still is). Whether this color was ever refered to as "salmon" I don't know, but I would call it rust or the burnt orange of a fall leaf.
I don't have a color photo of Pappas, but for what it's worth Storrer calls it salmon-tinted block. Time of day can have a huge effect on the appearance of color, of course. (Why don't people clean or even powder-blast masonry surfaces, rather than painting them ?)
RJG has spoken of "salmon pink", and Rod Grant of "pink". There may be hundreds of thousands of hues which we might agree would qualify to be described by those names, but still there would remain the impossible task of deciding which from amongst those really is the most desired hue.
In 1997 Martin Senour released its The Frank Lloyd Wright Collection â€“ The Classic Colors of Contemporary Culture, claiming that this was a reissuing of the color palette of 27 colors which Frank Lloyd Wright developed for Martin Senour in 1955. There is an archival photo of FLlW in the 1997 color chart brochure showing him holding the 1955 color chart. I don't have one of those to compare with the 1997 collection, which, incidentally, has many more than 27 colors in it.
But, what about other colors? Is anyone to believe that FLlW didn't like any of them? I suggest not being afraid to use a color one likes even if it happens to be among the 15,999,973 hues FLlW didn't select.
I'm confident that the Steelcase furniture used at Johnson Wax is a reliable reference as to what FLlW thought was a good red color for paint on metal. One would be safe enough taking any good published color photograph which shows that furniture and making a reasonable match, possibly with some available color chip from a paint manufacturer. If that fails, one could blend some close enough colors or tints to obtain a satisfactory representation of the color being sought. Then, a good paint store could run a computer match and provide paint in the desired color. I wonder if maybe Cassini has touch-up paint available for its replica Johnson Wax desks, if they are still in production. (?)
As for the current question of RJH wishing to replicate the Johnson Wax furniture upholstery color for the upholstery however, that's much more difficult. I remember the original upholstery being on the pink side. There is one color in the 1997 Martin Senour Collection which appears to be close to the Hoffman bedrooms color RJH's photo shows, It is called "Hollyhock Bloom" FLW-37. Personally, I don't like it much. I wonder if FLlW had it in his 1955 Palette. It is definitely not the Steelcase furniture metal color, but it does seem somewhat close to the upholstery color. Mind you, that statement is made based on my memory of a three-legged Johnson Wax chair which John Ottenheimer used to use for his drafting stool at Taliesin West over 40 years ago (and often enough tipped over in). How's that for a reliable means of identifying a color!
There was a very good red wall color in the Taliesin Studio, and the 1997 Martin Senour color chart includes several photos of that. But, there is no color in the 1997 Collection which comes close to matching it. Nor is there there anything at all resembling FLlW's most-used color of all, "the color of straw", amongst the colors in the Collection. It's curious. I seriously wonder how reliable even this reference is. I would like to hear from anyone who can compare, side-by-side, the colors in the 1955 Palette with the 1997 Collection.
No matter what, these are moving targets. Fabrics fade. Paint fades. Color chips fade. Eyes fail. Light sources change. Also, it's not a reasonable expectation to think that a color represented by wall paint could ever be duplicated exactly in fiber and then woven into a rug which would match the appearance of the hue in the painted finish.