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The Levin House, Parkwyn Village
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SDR



Joined: 17 Jun 2006
Posts: 15112
Location: San Francisco

PostPosted: Tue Feb 13, 2018 11:50 am    Post subject: Reply with quote

Craig provides this catalog page -- invaluable input on the subject:


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JChoate



Joined: 04 Feb 2016
Posts: 846
Location: Atlanta

PostPosted: Tue Feb 13, 2018 11:56 am    Post subject: Reply with quote

Cool !

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 (?).
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Roderick Grant



Joined: 29 Mar 2006
Posts: 7909

PostPosted: Tue Feb 13, 2018 12:01 pm    Post subject: Reply with quote

In order to sit in some of FLW's more challenging chairs without tipping over, one must assume the composure of Monsieur Bertin, as painted by Jean-Auguste-Dominique Ingers.
That stance in effect makes the chair 5- or 6-legged.
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JChoate



Joined: 04 Feb 2016
Posts: 846
Location: Atlanta

PostPosted: Tue Feb 13, 2018 12:04 pm    Post subject: Reply with quote

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SDR



Joined: 17 Jun 2006
Posts: 15112
Location: San Francisco

PostPosted: Tue Feb 13, 2018 12:10 pm    Post subject: Reply with quote

https://en.wikipedia.org/wiki/Portrait_of_Monsieur_Bertin James beat me to it. Does M. Bertin have some extra fingers, to accompany his stabilizing stance ?


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 “self-supporting.” Just my
theory."

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.

SDR
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JChoate



Joined: 04 Feb 2016
Posts: 846
Location: Atlanta

PostPosted: Tue Feb 13, 2018 12:19 pm    Post subject: Reply with quote

I was thinking that the 'ferrule' looking thing was a loop of the fabric buckling the seat cushion to the chair, but now you're highly plausible logic has got me distrusting my lying eyes. I need to go back over to the museum for another look (damn that $15 parking).
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JChoate



Joined: 04 Feb 2016
Posts: 846
Location: Atlanta

PostPosted: Tue Feb 13, 2018 12:27 pm    Post subject: Reply with quote

Here's another website showing better photos of the Craig chair.
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-auctions/catalog/id/1477/lot/515639
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Craig



Joined: 04 May 2005
Posts: 494
Location: California

PostPosted: Tue Feb 13, 2018 1:00 pm    Post subject: Reply with quote

That auction photo from Rago is identical to my former chair. It's interesting because that is the same upholstery mine had when I bought it in 1997. I had it re-upholstered in the more richly textured fabric you see in the Wright auction.

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.
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SDR



Joined: 17 Jun 2006
Posts: 15112
Location: San Francisco

PostPosted: Tue Feb 13, 2018 2:54 pm    Post subject: Reply with quote

Mr Wright has to hold the record for a major architect whose chairs (and ottomans ?) have demonstrated stability issues. We love the man -- but . . .

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 [1954] 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 ?

SDR
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