ARCHITECTURAL STUDIES
ARIZONA BILTMORE
ARTS & CRAFTS
AUSGEFUHRTE BAUTEN
BIOGRAPHIES
BROADACRE CITY
CHAIRS
CHAPTERS ON & BY WRIGHT
CHICAGO
CHICAGO SCHOOL
CHILDREN'S
CHURCHS
CONVERSATIONS
COPPER URN
DANA-THOMAS HOUSE
DECORATIVE DESIGNS
DOMINO'S
DRAWINGS
ENNIS-BROWN
EVE OF ST. AGNES
EXHIBITIONS
FALLINGWATER
FLORIDA SOUTHERN COLLEGE
FLW FOUNDATION
FURNITURE
GA SERIES
GLASS
GUGGENHEIM
GUIDES
HERITAGE-HENREDON
HOME & STUDIO (OAK PARK)
HOMES & BLDS: GENERAL
HOMES & BLDS: SPECIFIC
HOTEL GENEVA
IANNELLI
IMPERIAL HOTEL
INTERIOR DESIGN
JAPAN
LANDSCAPE
LARKIN BUILDING
MADISON WISC
MAMAH BORTHWICK CHENEY
MARIN COUNTY
MIDWAY GARDENS
MILE HIGH
MODELS BY WRIGHT
NAKOMA
NEW THEATRE
OAK PARK HOMES
PETERS (WES)
PHOTOGRAPHERS
PICTORIAL ESSAYS
PRAIRIE SCHOOL
PRINTING PROCESS
PROJECTS
ROBIE HOUSE
ROLOSON ROWHOUSES
SCHUMACHER
SC JOHNSON
SEYMOUR, RALPH FLETCHER
SIXTY YEARS EXHIB 1951-56
STORRER
STUDIES
SULLIVAN, LOUIS
TALIESIN FELLOWSHIP
TALIESIN (SPRING GREEN)
TALIESIN WEST
UNITY TEMPLE
USONIA
USONIAN AUTOMATIC HOMES
WEED HOLDER
WENDINGEN
WRIGHT CHILDREN
WRIGHT,  FRANK LLOYD
WRIGHT &
WRIGHT FURNISHINGS
WRITINGS BY WRIGHT
 

NOW AVAILABLE CLICK TO ORDER

 
CORRESPONDENCE, DOCUMENTS & BLUE PRINTS
 
  ARTIFACTS    AUTOGRAPHS    BROCHURES    CARPET    CERAMICS    CIGAR BANDS    COINS    DECORATIVE DESIGNS 
 
DOCUMENTS & BLUEPRINTS    FABRIC    FURNITURE    GLASS    HOTEL KEYS    LABELS    LETTERS & LETTERHEADS    LIGHTERS  
 
 LIGHTING    MAPS    MATCHES    MENUS    MODELS    NOVELTIES    PANELS    PR    PRINTS    SCULPTURES    SILVERWARE  
  STATIONARY   
TICKETS    TRADING CARDS  
 
 
Wright/Martin/Little Loan Papers (1911-22)   1912   Midway Gardens Correspondence (1914-61)   1928    1943    Huntington Hartford Blue Prints (1948) 
 1950   1955  
Blumberg Correspondence (1955)   J. L. Smith Elevations Blueprint (1955)   1956   1958   1960   1961 Monona Terrace Blueprints   Bottom
 
YEAR DESCRIPTION ST#
Frank Lloyd Wright / D. D. Martin / Francis W. Little Loan Papers
 
1)  Frank Lloyd Wright, The Lost Years, 1910-1922.  Page 72-73 including footnotes, Anthony Alofsin, 1988.  Sub-chapter "Darwin Marin and Finances" goes into detail about these specific loans and his support of Frank Lloyd Wright.
2)  Frank Lloyd Wright: A Visual Encyclopedia.  Page 208, Iain Thomson, 1999.  Francis W. Little was a client and dedicated collector of Japanese prints.  Mr. Wright borrowed $10,000 from Little to buy the American rights to the Wasmuth Portfolios.  Little held a portfolio of Wright's Japanese prints as collateral
3)  For additional information on these loans see Frank Lloyd Wright: A Biography, Page 207-8.  Meryle Secrest. 1992.
 
1911
1) March 10, 1911.  This is a demand of payment by the Security National Bank of Minneapolis, of a Promissory note for $4,000 by Frank Lloyd Wright "Maker of said note".  Evidently D. D. Martin and Francis W. Little guaranteed the loan, because their names are listed on this notarized collection notice.  1911.00.0501
1911
2) March 18, 1911.  A check in the amount of $4,068.72 written by Francis W Little to "Myself", and given to D. D. Martin.  This check satisfied the "demand for payment" (#1) shown above.  This amount is the first entry on the 4/15/15 note shown below (#3).  On the back of this check is written "Pay to the Order of The Security National Bank...", which is shown above.  This check is signed and endorsed by Francis W Little's signature. 1911.01.0501
1915
3) April 15, 1915 Summary of debt (Page 1).  These two pages summarize the amount owed D. D. Martin.  Frank Lloyd Wright to D. D. Martin, Dr. is written at the top with the date 4/15/15.  Page 1 includes two loans.  The first is in the amount of $24,435.49 including payments and interest incurred from March 20, 1911 through July 1, 1915.  This includes two payments to Peabody, Houghtaling & Co. for a total of $6,000 and also a payment to Catherine Wright on Nov. 14, 1911 in the amount of $2,000.  The second is a note dated May 1, 1912 in the amount of $4,760.00 including interest incurred from May 1, 1913 through July 1, 1915. 1915.00.0501
1915
4) April 15, 1915 Summary of debt (Page 2).  Page 2 includes one more loan dated Nov. 15, 1910 in the amount of $2,500.00 (due six-months from date) including interest incurred from Nov 15, 1910 through July 1, 1915.  There is a payment of Japanese Prints which leaves a balance of $1,724.40.  There is a total balance owed on July 1, 1915 of $30,919.89 when you add up all three loans.  This would indicate Little's ongoing support for Frank Lloyd Wright.  There is a note on the back of page 2: "Papers  in 4,000 loan on notes secured by Jap. prints." 1915.01.0501
1918
5) Notes for Loan #2.  Interest owed on $4,000 from 5/1/13 to 2/21/18 in the amount of $1,395.29. 1918.01.0501
1918
6) Notes for Loan #3.  Interest owed on $2,500 from 8/16/11 to 2/21/18 in the amount of $644.62. 1918.00.0501
1922
7) Notes for Loan #1 to D. D. Martin.  Interest owed on $4,000 from 5/1/12 to 11/1/22 in the amount of $2,520 and interest owed on $1750 from 11/15/10 to 11/15/22 in the amount of $1260. 1922.00.0501
1912
1912

Negative: "The Larkin Factories.  The Home of Larkin Idea.  From Little Beginnings to Present Immensity."  8 x 10 duplicate negative of page 18-19, from “The home of The Larkin Idea”.  (S#111.01) Negative is a duplicate, a seam is visible. Negative shows the entire Larkin Co complex.  Same basic illustration as Larkin Co. Letterhead 1917 and Two Postcards (1908 & 1910).

0111.02.0404
Midway Gardens Correspondence (Fifteen Items, 21 sheets)
These documents are discussed in “Frank Lloyd Wright, A Biography by Finis Farr” 1961, Pp 151-7; “Prairie School Review” Fourth Quarter 1965, Pp 5-20.  
1914 1) Vintage carbon of request for remittance from Alfonso Iannelli’s “Secretary” to E. C. Waller, Jr. who commissioned Midway Gardens, dated August 5, 1914.
       “Mr. Iannelli requested me to write you regarding the remittance of $400.00 you had agreed to send him some days ago.”  8.5 x 11.
0124.04.0407
1914 2) Vintage carbon of second request for remittance from Alfonso Iannelli to E. C. Waller, Jr. dated August 17, 1914.
       “I have had no word from you in response to my letter of August 5th, asking that the long-promised remittance of $400.00 be sent me at once, as I was very much in need of the money.”  8.5 x 11.
0124.05.0407
1914 3) Unrelated, but included with the group of documents.  Vintage carbon of letter from Alfonso Iannelli to John Lloyd Wright regarding Workingmann's Hotel sculptures, dated October 31, 1914.  8.5 x 11. 0124.06.0407
1914 4) Vintage carbon from Alfonso Iannelli to Harry F. Robinson (assistant to Frank Lloyd Wright) requesting "first cash payment", dated November 5, 1914.
       “According to the agreement in the Midway Gardens Matter signed by Mr Iannelli, the first cash payment is due today, and we trust you will not overlook us.  The total amount dew us, (according to your letter of Oct. 14th) is $350, and we shall be more than glad to receive a payment on account.”  8.5 x 11.
0124.07.0407
1915 5) Original Taliesin envelope with embossed red square addressed to Alfonso Iannelli from FLW(?), postmarked Chicago - January 21, 1915.  Possibly included in this group of documents because it was the envelope in which payment was received, kept as a reminder that payment was received.  (Note - Watermark: “Crane’s 1914 Japanese Linen”)  8.75 x 4.4. 0128.03.0407
1915 6) Vintage typescript of an original handwritten letter from Frank Lloyd Wright to Alfonso Iannelli regarding a dispute over credit for the sculptures, dated May 17, 1915.  In the May 1915 issue of “The International Studio” page 79-83, the caption under the photographs of Sprites reads “Sprites, Designed by Frank Lloyd Wright, Executed by A. Jannelli”.  The caption under the photograph of a mural reads “Designed and Executed by John Lloyd Wright”.  In an earlier correspondence, Iannelli must have questioned the “mistake” in the caption.  Wright responds by saying “The mistake was regarding John’s ‘designing’ the mural when he only put it on the wall, and neither of us knows how it happened to be printed as it was.”.
       Wright defines “design”: “I think I will never have anyone working on my work where I do not give the idea and fashion the style of the work to my own feeling. I suppose this is designing it.”  He goes on with a conciliatory attitude, attempting to smooth things: “But still there is something more left than executing it for painter and sculpture. I do not know what would be fair.
       Perhaps you can suggest something.” In his defense, Wright says: “I shall never put myself in any position where I take to myself any credit for work not mine. So far the credits have all been going the other way and I intend to keep them going that way.”
       But then Wright questions Iannelli’s integrity: “You know the disposition of the human animal is to inch in these matters and intellectual integrity among artists, when it comes to acknowledging their share in another’s work, is generally a figment of the optimistic brain. I hope you are not one of the type. I believe I have never yet “picked” another’s brains to my own advantage.” Wright finally ends on a conciliatory note: “With anticipation of pleasant times to come...”.  8.5 x 11.
0128.04.0407
1915 7) Vintage carbon of the second page of the response from Alfonso Iannelli to Frank Lloyd Wright.  This letter is reprinted in part in “Frank Lloyd Wright, A Biography by Finis Farr” 1961, Pp 152-4.
       In 1915, Iannelli would have been 27, Wright 46.  Wright was much more established then Iannelli.  Iannelli begins be saying “First - my profound respect for you as a great architect, and one to whom I owe much of my point of view, which to me is invaluable and beyond words of expression, and which I hope I shall not lose sight of in my analysis of this situation.” He argues that while Wright conceptualized the figures “... you suggested the idea of the geometric forms to be used in these groups.  I designed these groups in pencil and showed them to you and you approved of them, and they were carried through hardly without a change.”
       His solution is “... Frank Lloyd Wright, Architect - A. Iannelli, Sculpture...”  “The one thing which is hard for me to understand, is that you above all others, should allow such a mistake or such a misunderstanding of the actual condition; and the part which hurts me the most is the terrible blow to my conception of you as a man, if this is true.”
0128.05.0407
1915

8) Five B&W photographs of Frank Lloyd Wright's original letter and envelope to Alfonso Iannelli with thumbnail sketches of Midway Garden figures, postmarked May 26, 1915. This is one of the most revealing exchanges between a great architect and a brilliant sculptor. The "Sprites" for Midway Gardens are among the earliest cubist-constuctivist sculptures in the U.S., predating or coinciding with the Amory Show, which traveled from New York to Chicago in 1913.
       Wright begins “...but my work went a little further than you now imagine or suggest. ...it was my suggestion and a thing I have tried to do many times before and long ago - a desire intensified by my visit to Metzner - a desire I worked at with Bock as he knows - a desire which is imperfectly attained in the present figures - an old motif of mine which I suggested to you and helped you by criticism to realize upon - to a certain extent. I am not satisfied yet with that ‘extent’.  In these cases, I understand the nature of creative impulses, these works were certainly ‘designed’ by me - they were more than executed by you.” In Wright’s thinking as an architect, the analogy might be that he designs the house or structure, then the draftsman and engineers create the blue prints, and the contractor builds the building. But the design and concept is the architects.
       Wright explains it this way, “I would have arrived at something just the same so far as ‘designs’ went had you remained in Los Angeles, but not so sympathetic in detail or so successful in expression. The ‘ideas’ I repeat are mine - their ‘expression’ yours. I think these are the facts. Beethoven wrote the piece we’ll say - Paderewski played it.
       Wright comes to the same conclusion that Iannelli first suggested, “I think that Wright, Architect- Iannelli, Sculptor - is the nearest to a solution.”
       Note: Iannelli’s response to Wright is printed on pages 154-6 “Frank Lloyd Wright, A Biography by Finis Farr” 1961.  According to Farr, page 157, Wright does not respond and Iannelli lets the matter drop.  “Needless to say Wright never again offered to collaborate with Alfonso Iannelli.”  8.5 x 8.5.
0128.06.0407
1915

9) Original typescript of the above letter (#8) dated May 26, 1915.  Two sheets 8.5 x 11. 0128.07.0407
1955  15) Photocopy of article on Dawn Manor, site of Midway Garden Sprites. (Circa 1955)  “Around Dawn Manor cluster many memories of Mrs. Raab’s good friend, Frank Lloyd Wright.  Among the flowers beside the drive stand five statues of laughing girls.  These charming figures were cast in cement by Mr. Wright, the first person ever to sculpture in cement.  They are of his daughter-in-law, and twelve of them were originally made for decorations in Midway Gardens of Chicago.  Later they were purchased by Mrs. Raab, who gave half of them to Mr. Wright for his Theater at Taliesin.”  8.5 x 11. 1092.16.0407
1960 10) Vintage carbon of letter from Alfonso Iannelli to John Lloyd Wright relating to the discussions Iannelli had with his father in the letters above numbers 6 (May 17, 1915), 7, 8 & 9 (May 26, 1915), dated November 15, 1960.
       “Did you see the article which appears in the Architectural Record, October 1960, on your father’s work and the references to my part on the Midway Gardens?  It seems that a similar one appeared in the Horizon Magazine September, 1960.  Barry called it to my attention and thought it would be well for us to advise these publications on the corrections to be made.  Coming from us - what do you think?”  After 45 years, Iannelli is still bothered by not receiving what he feels is credit for the work he did on the Midway Garden sprites.  8.5 x 8.5.
1458.21.0407
1960

11) Two page vintage carbon of letter from Alfonso Iannelli to James Marston Fitch, Associate Professor of Architecture, Columbia University, concerning the article he wrote in Horizon Magazine, September, 1960.  Once again regarding Midway Gardens and the credit of the sculptures), dated November 22, 1960.
       “This matter of who contributed what, was the subject of four or five letters between Mr. Wright and me immediately after the first publication of article on the Midway Gardens in “The International Studio” issue May 1915.  ‘Designed by F.L. Wright - Executed by A. Ianelli.’  ...Wright states ‘I think that Wright - Architect, Iannelli - Sculptor, is nearest to a solution. I should have put is so, were it left to me.”  Two sheets.  8.5 x 11.
1458.22.0407
1960 12) Iannelli Studios envelope that contained this set of original letters. (Circa 1960)  11.75 x 8.8. 1458.23.0407
1961  14) Vintage carbon of letter from Alfonso Iannelli to historian James Marston Fitch, dated April 25, 1961, one day after the exhibition started.  “Enclosed is catalogue of the exhibit on the Midway Gardens.”  His endeavor to bolster his position.  8.5 x 11. 1526.09.0407
1928
1928

Wedding announcement of Frank Lloyd Wright and Olgivanna Wright, at Rancho Santa Fe, California, 25 August 1928. “Iovanna.  Married, August 25, Rancho Santa Fe, California. Olga Ivanovna, Daughter of Ivan Lazovich and Militza Milan of Gettinje Montenegro, To Frank Lloyd Wright, Son of Anna Lloyd-Jones and William Cary Wright, Taliesin, Wisconsin, 1928.”
       Designed and calligraphed by Wright, then photographically printed on vellum or rice paper and laminated to buff-colored card stock.  A portrait of their daughter Iovanna Wright at upper left; one portion hand-colored in red (4.5 x 5.5").  Olga and Frank were married on August 25, 1928 at midnight in Rancho Santa Fe near La Jolla.  The ceremony was held one year to the day after Wright’s divorce from Miriam Noel Wright, and almost three years after his and Olgivanna’s daughter (shown in the hexagonal portrait) was born out of wedlock. They honeymooned in Phoenix, Arizona at the Arizona Biltmore Hotel.
       A book was purchased from the daughter of the Melvyn Maxwell Smith Residence (S.287 1946) designed by Wright in Bloomfield Hills, Michigan.  The invitation was in the book.
       Published in “Many Masks” Gill, 1987, page 301;  “Frank Lloyd Wright A Biography” Secrest 1992, page 321;  “Frank Lloyd Wright, The Interactive Portfolio” Stipe 2004, page 49 (Facsimile in sleeve); "Frank Lloyd Wright, Complete Works 1917-1942" Pfeiffer 2010, page 181.

0215.01.1106
1943
1943
Letter from Frank Lloyd Wright to Mary Fritz and Francis Caraway 1943. "Dear Mary and Francis: Your bread and cookies are just as good as ever and hope you all are too." (Signed) "F. LL. W." "Frank Lloyd Wright. January 2nd, 1943." Envelope is addressed to: "Mary Fritz, Francis Caraway, Hyde, Ridgeway, Wisconsin." Postmarked "Spring Green. Jan 4 1943." We surmise that Mary and Francis must have attended a Taliesin holiday function, Christmas or New Years, brought bread and cookies to the function, and Wright was sending them a thank you. Note: Hyde is about 9 miles from Taliesin. Herbert Fritz Sr. was one of the early draftsman who worked with Frank Lloyd Wright in 1913 in Spring Green, and was one of two that survived the fire at Taliesin in 1914, killing seven including Mamah Cheney and her two children. Herb married Mary Olava Larson, Wright’s stonemason’s daughter. Their son was Herb Fritz Jr. (1915-1998), also an apprentice with Wright in from 1937-1941. Their daughter, Frances Fritz, married another Taliesin Fellow, Jesse Claude (Cary) Caraway. Herbert Jr. Married Eloise, their daughter Barbara married another Taliesin fellow, Jim Dresser. Letterhead: 11 x 8.5. Envelope: 8.9 x 3.9. 0595.07.0517
Huntington Hartford Cottage Group Center Original Blueprints, Scheme II (Project 1948)
1948 Set of 10 original blueprints for the Huntington Hartford Cottage Group Center, Scheme II (Project). Huntington Hartford was born into one of the wealthiest families in the United States on April 18, 1911. His grandfather, founded the Great Atlantic and Pacific Tea Company (A&P) in 1859. At the age of 12, he inherited $90 million, the equivalent of nearly $1.25 billion in today's dollars. In 1942 Huntington Hartford purchased a 160 acres estate in the Hollywood Hills. In 1947 he commissioned Frank Lloyd Wright to design a resort for the property which developed into five projects. 1. Cottage Group Center, Scheme I (4721); 2. Huntington Hartford House (4724); 3. Sports Club and Play Resort (4731); 4. The Stables (4737); and in January, 1948, 5. Cottage Group Hotel Scheme II (4837). Assisting Wright with the project as the landscape architect was Lloyd Wright, his son who had offices in Hollywood. Wright presented plans for the projects in October 1947. The hotel-resort was for members only, and designed to accommodate 130 guests. Wright placed the cottage units on the western slopes of the canyon and named it the Cottage Group Center, because of the nature of the cottage groupings rather than a single hotel building. Three months later, in January 1948, Wright... Continue... See Wright Study: Hartford Resort (Project 1948)  
1948
Sheet 1) Huntington Hartford Resort Complex, Original Position (Project). Birds-eye view of the canyon toward the Southwest. Text bottom left: "Original Position." One of the two view points can be seen in the foreground on the left. A bridge can be seen on the top left. The Sports Club and Play Resort can be seen in the background on the right, on the Eastern ridge. The sports complex included swimming, tennis, saunas, dining, dancing, a cinema, balconies, terraces and an apartment for Hartford and his guests. Original 27" x 13" blueprint. See Wright Study: Hartford Resort (Project 1948) 0746.20.0215 -1
1948
Sheet 2) Huntington Hartford Birds-Eye View Scheme II (Project). Viewed from the Southwest. Text: "Alternate. Huntington Hartford. Frank Lloyd Wright Architect. Lloyd Wright Associate." Box bottom right appears to be dated "Jan 30, 48." The Sports Club and Play Resort can be seen in the upper left corner on the Western ridge. The sports complex included swimming, tennis, saunas, dining, dancing, a cinema, balconies, terraces and an apartment for Hartford and his guests. The entrance to the Cottage Group Center can be seen on the bottom right. The main portion of the complex included the registration and lobby, offices, lounge, dining pavilion, café, sun terraces, patios and gardens. Original 36" x 45.75" blueprint. See Wright Study: Hartford Resort (Project 1948) 0746.20.0215 -2
1948
Sheet 3) Huntington Hartford Entrance View Scheme II (Project). Viewed from the South. Text: "View From Entrance Drive. Cottage Group Center. For Huntington Hartford. Frank Lloyd Wright Architect. Lloyd Wright Associate." Frank Lloyd Wright originally presented the plans for the Cottage Group Center Scheme I, in October, 1947. Three months later, in January 1948, Wright totally revised the plans with Scheme II. The major difference was moving the whole complex from the West side of the canyon to the East side. Wright reasoned that morning sun cast on the western slopes would give the guests a more agreeable view of the opposite side of the canyon in the morning. As you enter the property, you pass through a set of Wright designed gates. Wright also moved the Sports Club from the East ridge to the West ridge which can be seen on the top left corner. This design retained the cottage concept as in the first, thus The Cottage Group Center. These cottages were terraced on the canyon hillside and included cantilevered terraces and gardens, bedrooms, sitting rooms and kitchenettes. The main portion of the complex included the registration and lobby, offices, lounge, dining pavilion, café, sun terraces, patios and gardens. Wright transformed the eastern side of the canyon... Continue...  See Wright Study: Hartford Resort (Project 1948) 0746.20.0215 -3
1948
Sheet 4) Huntington Hartford Plan at 565, Scheme II (Project). Automobile entrance. Text: "Plan at 565. Cottage Group Center. For Huntington Hartford. Frank Lloyd Wright Architect. Lloyd Wright Associate." Level 565 is the automobile entrance. As you enter the property, you cross a bridge over a pool that is on both sides of the road. As you pull forward, you drive under a large terrace that stretches over the road. The entrance leads to the lobby, clerk’s deck, vault and manager’s office. There are areas of plantings, that are open above. From the lobby, elevators and stairs lead to level 575. Driving forward leads to underground garage as well as addition outdoor parking. The plan is laid out utilizing an equilateral triangle grid pattern. Plantings at this level includes: Palms, magnolia and acacia. The line for Cross Section "A - A" cut through the road and managers office at this level. "C - C" cuts through the entrance and lower lobby. Original 36" x 36.5" blueprint. See Wright Study: Hartford Resort (Project 1948) 0746.20.0215 -4
1948
Sheet 5) Huntington Hartford Plan at 575, Scheme II (Project). Main lounge. Text: "Plan at 575. Cottage Group Center. For Huntington Hartford. Frank Lloyd Wright Architect. Lloyd Wright Associate." The main lounge is on this level, and Wright labels it Living Room which includes built-in seating and two fireplaces. It opens to an outdoor lounge that covers the drive below. There are built-in planting boxes. Stairs on the east side lead to the open landscape. To the North of the living room are washrooms, storage and the upper garage, with ramps that lead to the lower garage below. From the Living Room, a walkway leads to the south wing which includes three cottages. Cottage Type (1), there are two, includes a sitting room with built-in seating and fireplace, an outdoor terrace, one bedroom, kitchen, a built-in dining table, and a bath. The larger Cottage Type (3) includes a sitting room with a fireplace, an outdoor terrace, three bedrooms, each with their own bath, kitchen and a built-in dining table. The plan is laid out utilizing an equilateral triangle grid pattern. Plantings at this level include: Palms, plum, avocado, walnut, acacia, bay, pine, broadleaf, grapefruit, laurel and bamboo. Original 36" x 36.5" blueprint. See Wright Study: Hartford Resort (Project 1948) 0746.20.0215 -5
1948
Sheet 6) Huntington Hartford Plan at 585, Scheme II (Project). Dining Pavilion. Text: "Plan at 585. Cottage Group Center. For Huntington Hartford. Frank Lloyd Wright Architect. Lloyd Wright Associate." Above the living room (main lounge), is the "upper part of the Living Room" and has two fireplaces. Just to the north is the cocktail lounge and bar. Continuing north is a sun gallery and the kitchen. The ceiling is covered with triangular skylights. Next is the hexagonal-shaped dining pavilion. Taking a few steps up to a raised level is an area with a fireplace. The dining room looks out at a water cascade. To the South of the upper living room a passageway leads to terraced garden, then on to a larger Cottage Type (3) which includes a sitting room with a fireplace, an outdoor terrace, three bedrooms, each with their own bath, kitchen and a built-in dining table. The plan is laid out utilizing an equilateral triangle grid pattern. Original 36" x 36.5" blueprint. See Wright Study: Hartford Resort (Project 1948) 0746.20.0215 -6
1948
Sheet 7) Huntington Hartford Plan at 595, Scheme II (Project). Patio. Text: "Plan at 595. Cottage Group Center. For Huntington Hartford. Frank Lloyd Wright Architect. Lloyd Wright Associate." Above the living room is a patio labeled "upper part of the Living Room." To the North is the glass and copper top over the dining pavilion, as well as employee rooms and a small sitting room. At the Southern end of this plan is another large three bedroom Cottage Type (3). The layout of this three bedroom cottage differs from the two on the lower levels, but still includes a sitting room with a fireplace, an outdoor terrace, three bedrooms, each with their own bath, kitchen and a built-in dining table. It is reached by stairs from levels 585 and 605. The plan is laid out utilizing an equilateral triangle grid pattern. Original 36" x 36.5" blueprint. See Wright Study: Hartford Resort (Project 1948) 0746.20.0215 -7
1948
Sheet 8) Huntington Hartford Plan at 605, Scheme II (Project). Open Patio and bedrooms. Text: "Plan at 605. Cottage Group Center. For Huntington Hartford. Frank Lloyd Wright Architect. Lloyd Wright Associate." Above the living room is an open patio labeled "upper part of the Living Room," and includes planned plantings on the roof. To the North is a single bedroom and bath, and a long terrace garden over the employee bedrooms below. To the South are eight guest rooms with fireplaces, and bathrooms. At the Southern end of this plan is another large three bedroom Cottage Type (3). The layout of this three bedroom cottage differs from the two on the lower levels, but still includes a sitting room with a fireplace, an outdoor terrace, three bedrooms, each with their own bath, kitchen and a built-in dining table. The plan is laid out utilizing an equilateral triangle grid pattern. Original 36" x 36.5" blueprint. See Wright Study: Hartford Resort (Project 1948) 0746.20.0215 -8
1948
Sheet 9) Huntington Hartford Plan at 615, Scheme II (Project). Upper Level. Text: "Plan at 615. Cottage Group Center. For Huntington Hartford. Frank Lloyd Wright Architect. Lloyd Wright Associate." The upper level provides additional cottages on the North and South, with Guest Bedrooms in the center. The roof above the lower "Living Room" is planted as a large Terrace Garden with a large irregular hexagon open to the patio below. To the North are three large three-bedroom Cottages Type (2). The layout of these three bedroom cottages differ from those on the lower levels. They includes a sitting room with a fireplace, an outdoor terrace, three bedrooms, each with their own bath, kitchen and a built-in dining table. The larger bedroom includes a fireplace. The five Guest Bedrooms located just next to the Living Room roof, are reached by stairs from the lower level. Each of the bedrooms include a bath and fireplace. This level of bedrooms are stepped back, so that the roof of the lower bedrooms provide a "Terrace Garden over Lower Bedrooms." Two the South are two one-bedroom cottages. Each has a sitting room and fireplace, kitchen, bedroom and bath. One has a built in dining table. Both are surrounded by lush plantings and terraces. The plan is laid out utilizing an equilateral triangle grid pattern. Original 36" x 36.5" blueprint. See Wright Study: Hartford Resort (Project 1948) 0746.20.0215 -9
1948
Sheet 10) Huntington Hartford Cross Sections, Scheme II (Project). Text: "Sections. Cottage Group Center. For Huntington Hartford. Frank Lloyd Wright Architect. Lloyd Wright Associate." This plan shows five cross sections, "A - A" through "E - E." A - A is on the top left, C - C is on the top right, E - E is in the center, D - D is on the bottom left, and B - B is on the bottom right. On the plans, the cross sections run from North to South: B - B; C - C; A - A in the center; E - E; D - D on the South. Of interest is B - B, the cross section of the of the Dining Room. Wright has added a spire rising from the roof made of glass and copper. There is also evidence of a water feature that cascades from the North to the South. It begins on the North by the Dining Pavilion and runs to the South, ending in the Pool at the Entrance. Original 36" x 36.5" blueprint. See Wright Study: Hartford Resort (Project 1948) 0746.20.0215 -10
1950
1950
Transcript: "Beauty". Frank Lloyd Wright.  Original vintage typescript for an address read to the Taliesin Fellowship following a Sunday Breakfast, June 11, 1950 (taken from notes jotted down the preceding evening). Two Pages. Authenticity Kelmscott Gallery.  Purchased from the William Wesley Peters estate.  This was published in Frank Lloyd Wright: Collected Writings, Volume 5, page 23. 0800.01.0404
1955
1955 "The Frank Lloyd Wright Testimonial Dinner Invitation." To Mr. Lawrence Tibbett. February 10, 1955. In 1954 the Wisconsin Supreme Court ruled that Wright owed $10,000 in back taxes on Taliesin. For years he had argued that Taliesin was primarily a school and therefore tax exempt. He was so mad he threatened to destroy Taliesin and move from the state. Cary Caraway, a former apprentice suggested that Wright’s friends express their appreciation and take up a collection. Mary Lescohier and Helen Groves made it happen. 380 supporters gathered in the Great Hall of the U.W. Memorial Union for a tribute. Wright took the opportunity to display the new Monona Terrace model. At the end of the program, he received a check for $10.000. "Frank Lloyd Wright’s Monona Terrace", p 140. Lawrence Tibbett was the lead baritone with the New York Metropolitan Opera from 1923 to 1950. In 1942 Wright wrote a letter to Tibbett who was living at the Savoy Plaza in New York City Wright at the time. He asked the singer to "call upon his daughter" Iovanna who was living in New York at the time. Invitation and Savoy Plaza letterhead. Invitation was within a book that we acquired. 5.5 x 3.25. 1092.38.1010
1955 Blumberg Correspondence - 3 letters, Contract, 6 photos
  Correspondence for project never completed. Includes 3 letters dated May 2, Sept 20 and Oct 4, 1955. The third signed by Wright. Also includes a contract dated September 20 and six photos of the plans and drawings. The conclusion is that negotiations fell apart, as Mr. Wright says "I guess I am to blame". See Wright Study: Blumberg Residence, Clinton, Iowa (1955) (Project)  
1955  Blumberg Correspondence: Letter dated May 2nd, 1955.  In response to Mel Blumberg, inviting him to Spring Green.  Signed by Eugene Masselink.  On Taliesin Letterhead, includes envelope with Phoenix Postmark. "Mr. Mel Blumberg, Clinton Tobacco, Candy and Supply Company, 59 Main Avenue, Clinton, Iowa. Dear Mr. Blumberg: You are right (although the word "overtaxed" has a more than normally unpleasant ring) we are en route Wisconsin and Mr. Wright will be there after May 15th. You are welcome to come to see him if a mutually convenient time can be arranged. You could telephone us there at Spring Green 9248. Sincerely, Eugene Masselink (Signed), Secretary to Frank Lloyd Wright. May 2nd, 1955." 11 x 8.5. See Wright Study: Blumberg Residence, Clinton, Iowa (1955) (Project) 1092.21.0303
1955 Envelope: Taliesin West Phoenix, Arizona. Postmarked Phoenix, Ariz. May 4, 1955. "via air mail. Mr. Mel Blumberg, Clinton Tobacco, Candy and Supply Company, 59 Main Avenue, Clinton, Iowa." 9.5 x 4.125. See Wright Study: Blumberg Residence, Clinton, Iowa (1955) (Project) 1092.22.0303
1955
Blumberg Correspondence: Letter dated September 20th, 1955.  In response to Mel Blumberg, "...happy to hear your enthusiastic reaction to your sketches.  We shall expect to see you here on the afternoon of October 1st".  Signed by Eugene Masselink.  On Taliesin Letterhead, includes envelope with Madison Postmark. "Mr. Mel Blumberg, Clinton, Iowa. Dear Mr. Blumberg: We were happy to hear your enthusiastic reaction to your sketches - yours and Mrs. Blumberg’s. We shall expect to see you here on the afternoon of October 1st - unless anything unforseen arises in which case I shall contact you at once. Sincerely, Eugene Masselink (Signed), Secretary to Frank Lloyd Wright. September 20th, 1955." 11 x 8.5. See Wright Study: Blumberg Residence, Clinton, Iowa (1955) (Project) 1092.23.0303
1955
Blumberg Correspondence: Frank Lloyd Wright Contract dated September 20th, 1955.  5% of $25,000.00, proposed cost of house...  $1,250.00. "To Mr. Mel R. Blumberg: On account for Preliminary Sketches according to terms above: 5% of $25,000.00, proposed cost of house... $1,250.00. The Frank Lloyd Wright Foundation, Frank Lloyd Wright Architect, Taliesin: Spring Green: Wisconsin: September 20th, 1955." 11 x 8.5. See Wright Study: Blumberg Residence, Clinton, Iowa (1955) (Project) 1092.24.0303
1955 Envelope: Taliesin - Spring Green, Wisconsin. Postmarked Madison, Wis. Sep. 22, 1955. "Mr. Mel Blumberg, Clinton, Iowa." 9.5 x 4.125. See Wright Study: Blumberg Residence, Clinton, Iowa (1955) (Project) 1092.25.0303
1955
Blumberg Correspondence: Letter dated October 4th, 1955.  In response to Mel Blumberg,  Sometime between receipt of the letter dated September 20th and this letter from Mr. Wright, negotiations broke down.  "Dear Blumberg:  I guess I am to blame.  I remember telling you that the only thing we could do for you was the "one room" (so-called) Usonian Automatic which we can show you if you come to see it."  Signed by Frank Lloyd Wright.  On Taliesin Letterhead, includes envelope with Madison Postmark. "Mr. Mel Blumberg, Clinton, Iowa. Dear Mr. Blumberg: I guess I am to blame. I remember telling you that the only thing we could do for you was the "one room" (so-called) Usonian Automatic which we can show you if you come to see it. Sincerely, Frank Lloyd Wright (Signed), October 4th, 1955." 11 x 8.5. See Wright Study: Blumberg Residence, Clinton, Iowa (1955) (Project) 1092.26.0303
1955 Envelope: Taliesin - Spring Green, Wisconsin. Postmarked Madison, Wis. Oct. 5, 1955. "Mr. Mel Blumberg, Clinton, Iowa." 9.5 x 4.125. See Wright Study: Blumberg Residence, Clinton, Iowa (1955) (Project) 1092.27.0303
1955 Blumberg Correspondence: Three photos of the drawing of the home. House for Mr. and Mrs. Mel Blumberg, Clinton, Iowa. View from southeast. Frank Lloyd Wright Architect. Photographs of the Preliminary illustration of the home. Usonian Automatic concrete block design. Very similar to the Kalil residence built in Manchester, New Hampshire, 1955. (S.387). Three Polacolor (Polaroid) photographs, images flipped horizontally. 4.25 x 3.375. See Wright Study: Blumberg Residence, Clinton, Iowa (1955) (Project) 1092.28.0303 1092.29.0303 1092.30.0303
1955 Blumberg Correspondence: Three photos of the plan of the home. House for Mr. and Mrs. Mel Blumberg, Clinton, Iowa. Frank Lloyd Wright Architect. Floor plan. Photographs of the Preliminary floor plan of the home. Usonian Automatic concrete block design. Three Polacolor (Polaroid) photographs, images flipped horizontally. 4.25 x 3.375. See Wright Study: Blumberg Residence, Clinton, Iowa (1955) (Project) 1092.31.0303 1092.32.0303 1092.33.0303
J. L. Smith Elevations Blueprint 1955 (2)
1955
J. L. Smith Elevations Blueprint 1955. "House For Mr. & Mrs. J. L. Smith. Kane County, Illinois. Frank Lloyd Wright Architect. Frank Lloyd Wright, Jan 20 / 55. Elevations. Scale 1/4" = 1' - 0"." Upper: "Southeast Elevation." The Terrace is on the far left. The ceiling in the Workspace is lowered for the first three feet, then raises up to the height of the Living Room. The Loggia is to the right of the Living Room, and lines up with the Carport in the foreground. The Gun Shop is to the far right, embedded into the hillside. Lower: "Southwest Elevation." The two Bedrooms are on the left. Both have corner doors that open outward. The Workspace is to the right of the Bedrooms, the ceiling has been lowered. The Living room has four sets of floor-to-ceiling doors that open outward, set between two foot wide columns. The carport is to the far right. There are handwritten notes in pencil toward the bottom right. "Print of Preliminary Plans for Grading Prints on Forms as Soon as Possible. Workshop - Dry - Gun Shop. Fireplace Storage. No Cabinets over Sink. Carport. View out of Kitchen... Laundry Equip, deep sink. Canoe Storage. Lanai Larger. Laundry Larger." The notes on both sheets, and the fact that Gun Shop was relocated, would indicate that the Smiths were very serious about...  Continue...  See Wright Study on J. L. Smith Residence Project. 1092.99.0117 -1
1955
J. L. Smith General Plan Blueprint 1955. "House For Mr. & Mrs. J. L. Smith. Kane County, Illinois. Frank Lloyd Wright Architect. Frank Lloyd Wright, Jan 20 / 55. General Plan. Scale 1/4" = 1' - 0"." The home is built into a hillside and faces Southwest. The elevation at the South corner of the Terrace is 92 feet. The elevation of the North corner of the Gun shop is 110 feet, a change of 18 feet. As in other Usonian Automatic homes, these blocks are 1' x 2' in size, and the floor plan is designed in 2' x 2' modules. The home is built on two levels. As you drive up to the graveled forecourt, and park in the Carport, a covered walk leads to the Entrance which is along the back of the house. The Lanai is on the right, the Gun Shop is embedded into the hillside. Double doors lead to the Entryway which is on the upper level. The Gallery on the right leads to two Bedrooms, the Bath, and a thin passageway leading down five stairs to the Workspace on the lower level. As you walk down the Loggia to the left, there are built-in bookshelves on the left, low built-in cabinets on the right. The wall on the right side is open, creating the Loggia. At the end, five stairs lead down to the Living Room. The bookshelves that cover the right side of the Loggia wrap around the end, then continue into the Living room...  Continue...  See Wright Study on J. L. Smith Residence Project. 1092.99.0117 -2
1956
1956 Imperial Hotel Receipt - 6/20/1956 (6 x 7) 1956.00.0904
1957
1957
Letter from Frank Lloyd Wright to Cary Caraway concerning The Frank Lloyd Wright Endowment Fund 1957. "Copy. My dear Cary: A long talk with Senator Benson opened my eyes to the hazards we face in future if we go on with the Endowment Fund Campaign. I believe it is better to concentrate on the Foundation as it stands – trying to clear up its status and promote its prestige – by bringing proper outside authority and influence to bear on our present situation and our needs... Let’s direct our efforts now not toward this endowment fund-raising but toward strengthening the foundation itself – now practically a three million dollar establishment. My Will would become the document that will ensure the proper direction of its use and growth in future and those authorized to help. After considerable thought on the part of Olgivanna, the Fellows and myself – this is our conclusion. I see the acquisition of the Robie House is in line with this decision, making it a Foundation Library Center for Organic Architecture there in Chicago. An angel might be found who would put up the necessary purchase to buy the place if the Foundation would guarantee a reasonable quarterly interest payment... The establishment called Taliesin is so far developed now that the association in almost any form is a distinction to be coveted. I am sure that... Continue... 1205.77.0517
1957
Letter from Frank Lloyd Wright to Cary Caraway about a court hearing in Madison concerning income tax, 1957. "Dear Cary: The Foundation is to appear at a court-hearing on Saturday, June 18th, at 10:00 a.m. in Madison, State of Wisconsin, concerning income tax. Our status as a cultural organization seems in jeopardy and taxation retroactive. The loss of our present status would probably ruin our work. We are writing to some of you staunch boys now out in the world for yourselves, asking you to testify as to what of cultural value you received from life at Taliesin – backing that up with a statement of what you are now doing. Some photographs of your buildings of published recognition of work would help give testimony credence. Would you appear for us in this struggle and testify at the hearing? We are on the way to Bagdad on commission, returning about May 21st. Kindly let us hear from you at Taliesin North. The greatest service you could render us would be to appear in court and testify to the value of pour work in Organic Architecture where you were concerned with Taliesin leadership. The Foundation will pay your expenses to and from Wisconsin. The matter is serious. By our enemies we may have Taliesin taken away from us. Affectionately," (Signed) "F. LL. W" "Frank Lloyd Wright. May 9th, 1957." Letterhead: 11 x 8.5. 1205.78.0517
1958
1958 Original Specifications: Church for the Milwaukee Hellenic Community. Frank Lloyd Wright. Original specs and drawings for the church. Cover is in pencil, drawn by Eugene Masslink. Pencil and pen changes and additions throughout. Drawings in pencil. All pages are typed or drawn on vellum.  This allows blue print copies to be produced from originals.  Pp 158.  Authenticity Prairie Avenue Bookstore. 1221.03.0902
1958

Frank Lloyd Wright Will.  Copy of Frank Lloyd Wright's 1958 last will and testament. Heavily annotated by Frank Lloyd Wright.  This was a single copy from the original, from the files of Kelmscott Gallery, Chicago.  Dated 25 April, 1958. Filed May 19, 1959.  Pp 4.

1259.09.0305
1958 Imperial Hotel Christmas Card.  Front: Metal etched or stamped plate, hand tinted or plated (4.5 x 3), mounted to a decorative cloth backing (7 x 5). Text printed on Rice paper.  Framed (7.5 x 5.5).  Text on back: “With Best Wishes for a Merry Christmas and a Prosperous New Year.” T. Inumara, President.  Imperial Hotel, Tokyo, Japan. 1958-1959. 1377.24.0406
1960
1960 Imperial Hotel (1915 - S.194) Christmas Card, 1960. Cover: "Imperil Hotel, Tokyo, Japan." The illustration is a tapestry made of up three different tightly woven colored threads, beige, black and copper. The beige runs vertically throughout the whole illustration. The background includes a horizontal copper thread, creating a beige background. Black threads are woven horizontally creating the landscape and line work of the buildings. The copper colored threads are woven horizontally to create two different shades. The darker shading in the original Imperial Hotel and the lighter shade in the newer Imperial Hotel in the background and in tinting the landscaping. The border and back cover is a light colored cloth glued to the decorative paper. It is printed or silk screened with dark green ink and vertical silver ink lines over the green. Inside: Printed on rice paper, folded and glued to the gutter inside: "With Best Wishes for A Merry Christmas and A Prosperous New Year. T. Imumaru, President. Imperial Hotel, Tokyo, Japan. 1960 - 1961. 8.25 x 5.3. Pp 4. 1458.40.0512
1961 Monona Terrace Auditorium and Civic Center Blueprints
Monona Terrace Auditorium and Civic Center Blueprints and Specifications, 1961. In 1938, a private committee, headed by Paul F. Harloff commissioned Frank Lloyd Wright to design a civic center on the shores of Lake Monona on a plot of land known as "Olin Terrace," a park at the end of the mall that extended from the state capital to the shores of Lake Monona in Madison, Wisconsin. Wright drew up plans, named it Olin Terraces. Opposition to the plan and the war put plans on hold until the early 1950s. Plans to build a civic center were resurrected in 1953. Wright was encouraged to reintroduce his plan, and in October, 1953 using the original concept, presented drawings to the citizens of Madison. In 1955, Wright redesigned the plans, and built a model of the Monona Terrace Civic Center. Although Wright’s project was supported by the mayor and citizens groups, it also encountered strong opposition. After Wright’s death, the Taliesin Associated Architects, lead by William Wesley Peters, completed working drawings and specifications for the project and put it out to bids during the early part of 1961. The bids returned at triple the budget, the battle continued, and the project was placed on hold. On July 20, 1997, nearly forty years after Mr. Wright’s death, opening ceremonies began for the completed Monona Terrace Civic Center. This set is from 1961. Eugene Gangstad worked for the city of Madison as the Director of Planning. He noticed that these plans had been thrown in the dumpster. After rescuing and storing the plans for years, he passed them on to his son, Kent. "After taking them with me through a couple of moves, and storing them carefully each time, I figured it was time for someone else to appreciate them," said Kent. We acquired them from Kent Gangstad in 2015. Eugene retired from the city in the late 80's.  
1961
This set includes: 1) Complete bound set of working drawing for the "Monona Terrace Auditorium and Civic Center. Designed by Frank Lloyd Wright for the City of Madison, Wisconsin. William Wesley Peters Architect, Taliesin Associated Architects." Published by The Taliesin Associated Architects. Title (1); Index (1); A:1 - A:53 (Architectural); EV:1 (Elevator); SE:1 - SE:7 (Stage Equipment); M:1 - M:27 (Mechanical); S:1 - S:35 (Structural); E:1 - E:21 (Electrical). 146 sheets bound on the left side. Stamped Feb 7 1961. 40 x 30. 1483.26.0715 -1
1961
2) Eighteen loose sheets, two additional sets of Addendum #1, A:54 - A:62. Published by The Taliesin Associated Architects. Dated 2/26/61. 40 x 30. 1483.26.0715 -2
1961
3) Twenty loose sheets, Addendum #1. Published by The Taliesin Associated Architects. Details, dated 2/26/61. 24 X 15. 1483.26.0715 -3
1961
4) Monona Terrace Auditorium and Civic Center Specifications. "Monona Terrace Auditorium and Civic Center. Designed by Frank Lloyd Wright for the City of Madison, Wisconsin. William Wesley Peters Architect, Taliesin Associated Architects." Published by The Taliesin Associated Architects. Stamped Jan 30 1961. 8.5 x 11. 361 pages which include seven large plans folded. 1483.26.0715 -4
1961
5 & 6) Two sets of Monona Terrace Auditorium and Civic Center Specifications Addendum #1. "Monona Terrace Auditorium and Civic Center. Designed by Frank Lloyd Wright for the City of Madison, Wisconsin. William Wesley Peters Architect, Taliesin Associated Architects." Published by The Taliesin Associated Architects. 8.5 x 11. 33 pages. 1483.26.0715 -5&6
1961
7) Bid Form. Six page Bid Form for the Monona Terrace Auditorium and Civic Center. Published by The Taliesin Associated Architects. Pp 6. 8.5 x 11. 1483.26.0715 -7
 
 
BACK TO TOP
 

HOME   ARTIFACTS   AUDIO   BOOKS   PERIODICALS   PHOTOS   POSTCARDS   POSTERS   STAMPS   STUDIES   ASSISTING   ABOUT   SEARCH

To donate or pass on information, comments or questions:
info@wrightlibrary.com
©Copyright 2001, 2017