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This goes to show the value of period photos of historic places and structures, even when the building or place is not the primary subject.
Family snapshots scanned for me by the Sweeton’s children and grandchildren have been vital to our efforts of restoration.
Mark, the Artstor website we have been gleefully scouring has some photos that come up in searches for given projects, but they do not come up consistently, or in the numbers I suspect exist. Is there a means of access or request for photos from the Wright Archive for a specific client, project, or location?
https://www.sothebys.com/en/buy/auction ... dy-house-2
Your passion is awesome!
That’s my favorite FLW House.
Question: Have you thought about the content of your website and how to keep it going after you hang it up or the inevitable happens?
As a society, we have not solved how to archive electronic content. It would be a shame for some version of us 100 years from now to have to rediscover stuff that you’ve already researched and discovered!
Like the much-enjoyed and irreplaceable house tours we've recently been treated to, thanks to the tireless work of the four individuals who together comprise the Frank Lloyd Wright Building Conservancy, accounts of the various properties may vary in the quantity and quality of the information dispensed.
Mark's 2006 book covering the Hardy house is one such reference. Will it want to be undated following the arrival of these new photos ? How would that new material be distributed and incorporated into the published history ?
Hew, not hue: https://www.merriam-webster.com/dictionary/hew%20to
It's nice to see, at last, what the original gates looked like. And no gas meter !
"Hew" vs. "hue" has been corrected. Thank you.
I am glad you like my 2006 book. It started as something different, as a book named "Dear Frank Lloyd Wright House." In 2003 or so, Mrs. Yoghourtjian (steward from 1968-2012 with her husband Jim) had given me a box with every letter written to the house since they bought it. There were about 180. I got permission from many of the correspondents to use their letters. Even the way the letters were addressed (some to Mr. Hardy who had died 30 years before some of the letters addressed to him personally were written) was fascinating. I categorized the letters (requests the see the house, requests to see the house for scholarly research, vendors selling historic marker plaques) and proposed to the publisher that be the book. I thought this would be a unique Wright book. There was no interest on their part (the late Suzette Lucas, the wonderful longtime Editor of the Frank Lloyd Wright Quarterly) liked the idea and published a short version of it in an issue of the magazine.
I then took a different tack with the book...the first half being the nuts and bolts history of the house and an architectural analysis of it, the second half was the six families of stewards of the house experienced the architecture. I was fortunate to find a representative of every family that lived in the house, including two of Hardy's grandchildren. Their photos (though none from the Hardys) enriched that half of the book. A Wright scholar had once derided my Wright in Racine book as too anecdotal and I know one who does not think the Hardy book is serious enough (I freely admit that I am not an architect or someone with degrees in architectural history...I am a photojournalist who majored in International Relations and got commissions to write and photograph four books about Wright's work in southeastern Wisconsin). The anecdotal parts of my book excite me because they make the structures come alive...these are the people who experienced the architecture firsthand. The Hardy book was well receive critically but it did not sell well. It would be wonderful to update the book with new photographs, tales and my myriad photographs of Gene's rehabilitation of the house, etc., but there is no market to pay for producing a second edition. My "Wright in Racine" went into three printings...several hundred copies of the Hardy book were sold to Powell's in Portland because there was no general market for them. I was very fortunate to place my four books with two excellent publishers. Publishing books is harder and harder. I liked working with contracts from publishers because they marketed my books for me. That was an important part in getting them to readers.