For what it's worth (there is some editorializing here) I'll add part of David Hanks' text on the H-H affair, and the drawings he reproduces in his book.
Are these the drawings you mention, Jim ? They have obviously been "edited" in Wright's typical manner. . .
"Wright designed three separate lines for Heritage-Henredon, which he called "The Four Square" (fig. 205), "The Honeycomb" (fig. 206), and "The
Burberry" (fig. 207). Only the first line, "The Four Square," was actually put into production. As designed, its predominantly rectilinear forms
contrast with the triangular shapes of "The Honeycomb" and the circular shapes of "The Burberry." Wright's name for the line that was produced
was not used; the company called it "The Taliesin Line." As actually produced, its use of rectilinear, triangular, and circular forms combined
elements of all these lines. The drawings reveal Wright's intention, which could not be realized in actuality. In the drawings, the furnishings are
shown against an architecturally neutral background, whereas in reality, the architectural background usually intruded, breaking up the harmony
and repose that were Wright's goal. In each of the Heritage-Henredon drawings, a few lines indicate the background or architectural setting, and
the furniture is grouped to form a pleasing composition. In the drawing of "The Four Square" bedroom (fig. 205), the objects on the dressing table
are carefully arranged asymmetrically in the Oriental manner, reminiscent of the rendering for the Coonley desk (fig. 104). One of Wright's favorite
objects, the copper flower holder -- which had been designed in the 1890s -- is drawn here on the shelf to the right of the dressing table
mirror. Since Wright still owned one of these vases as well as his drawing of it, either could have been the inspiration. The extension of the bed at
the foot to form a cantilevered bench in both "The Four Square" and "The Honeycomb" drawings, both of which are in bedroom settings, is an
architectural device corresponding to the cantilevered roofs of his houses. This idea was used earlier for the beds he designed for the Francis W.
Little House (1913), where benches were integral to the twin beds. The drawing for "The Burberry" line, which is a dining room setting, also
includes the copper flower holder on the buffet and a version of the copper urn on the floor. Both "Honeycomb" and "Burberry" are shown in
nonarchitectural settings.
"The Heritage-Henredon Company chose the quietest and most conservative of the three lines to put into production. This may have been
because of convenience of manufacture or because they felt it would have greater sales appeal. In 1955 and 1956 Henredon manufactured about $1
million worth of the furniture. Approximately seventy-five of the different designs were made, forty by Henredon and thirty-five by Heritage. They
did not discontinue the line because it was unprofitable (it was marginal); however, as they felt that the buyers of furniture were not familiar with
Wright's designs, the repeat orders from the stores were insufficient to justify continuing the line (letter from Donnell VanNoppen to the author,
August 11, 1977). According to Bruce Pfeiffer, it was Wright who dissolved the contract with Heritage-Henredon."
Hanks claims that the ornamental molding used on "most of the Heritage furniture" had a earlier precedent in the furniture for the Husser and Bogk houses.
The separation of the production (according to Hanks) into two related manufacturers, Heritage and Henredon, adds to the complexity of this study.
SDR
Allen Friedman house
Domino's Collection
two images from Hanks' "Decorative Designs. . ."
photos from "The Prairie School Tradition"