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YEAR |
DESCRIPTION |
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Alfonso
Iannelli (1888-1965)
Born to a poor shoemaker in Andretta, Italy, Alfonso Iannelli studied the
techniques of the traveling artists who stayed at his parent's small inn.
His father then set off alone for America to build a new life for the
family. In 1898, Iannelli, his mother and three brothers finally joined him
in Newark, New Jersey, where Alfonso was soon apprenticed to a jeweler and
by 1900, to the famous sculptor, Gutzon Borglum (Mt. Rushmore). Working with
Frank Lloyd Wright inspired Iannelli to create sculpture that was totally
integrated into a cohesive, organic architectural artwork. Wright saw
Iannelli as a talented interpreter of his design language and a worthy
partner to Richard Bock, his usual sculptor. Wright passed off all the
sculpture as his own in the ensuing publicity, crushing Iannelli and
depriving him of any credit in what could have been his triumphant Chicago
debut. When Wright later asked him to create the sculpture for his Imperial
Hotel in Tokyo, Iannelli refused, an action he later came to regret. |
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Edward
C. Waller was an important early Wright patron. He lived in River Forest
near the Wright's William Winslow house. Waller sold Winslow the property
upon which his home was built. Waller commissioned several projects to be
designed by Wright: the Francisco Terrace Apartments 1895 (S.030) (since
demolished); the Waller Apartments 1895 (S.031); the remodeling of his home
in River Forest 1899 (S.047); the Edward C. Waller Gates (S.065) and Stables
(S.066) 1901; and the Edward C. Waller Bathing Pavilion 1909 (S.166).
Waller's son Edward C. Jr. commissioned Midway Gardens 1913 (S.180). |
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Midway Gardens. Designed in 1913, built in 1914, demolished in 1929. It
experienced a successful first season in 1914, but that same winter began to
feel the chill of World War I in Europe. Night life throughout Chicago
suffered. By 1916 matters had not improved. Anna Pavlova, one of the
century's greatest ballerinas, danced that season at the Gardens, yet, even
her talents could not restore the establishment's initial success. So,
Midway Gardens was sold to the Edelweiss Brewing Company in 1916 and turned
into a beer garden.
Mr. Wright's well-planned architectural
designs and decorations were altered and defaced in an effort by the brewing
company to attract an audience. This effort proved unsuccessful. The final
blow came in 1920 when Prohibition was declared. Since the open-air patios
and the enclosed Winter Gardens were far too visible to be converted to a
speakeasy, ownership of the Midway Gardens continued to change hands several
times, serving once as a garage and a car wash. The building was finally
closed and demolished in October of 1929.
Midway Gardens was bulldozed into Lake
Michigan as break wall. The building didn't go down without a fight. Two
wrecking companies went out of business trying to demolish the concrete
structure. The company that finally took it down still lost a considerable
amount of money on the job.
The Sprites were thought to be lost
forever. Then sometime after World War II, word reached Taliesin, the
original estate and Frank Lloyd Wright School in Spring Green, Wisconsin,
that a few of the Sprites had been saved and were lying in pieces in a
farmer's field in Lake Delton, Wisconsin. A member of the Midway Gardens
wrecking crew either rescued the Sprites from the lake or snatched them
before they were destroyed. For years they had lain in his farm field.
Taliesin recovered the three damaged Sprites and shipped them to the
Stillwater, Minnesota home of Don Lovness, a client and friend of the
Wright's. Lovness and his wife restored two 5 to 6-foot Sprites and a
12-foot Sprite. For over 20 years, these figures guarded their Frank Lloyd
Wright-designed home.
In 1980, Mrs. Wright built a garden at
Taliesin West and had the Sprites shipped to Phoenix for placement. After
restoration and recasting work was done on these wandering Sprites, Taliesin
Associated Architects donated eight Sprites, each standing 6 feet tall and
weighing 450 pounds, to the Arizona Biltmore in October of 1985.
For a different account see the
“Dawn Manor” article #15. |
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1914
 |
Midway Garden
Sprite. Chicago Architectural Photographing Company, Chicago. Original gelatin silver photograph printed by photographer
Clarence Fuermann (1883-1983). Printed in the early 1960s from the
original negative (1913-14). Clarence Fuermann of Henry Fuermann and
Sons. The original image was published in “The Life-Work of the
American Architect Frank Lloyd
Wright” 1925, page 76,
center. 8 x 10. |
1407.01.0406 |
1914
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Midway Garden
Entrance (1914). Chicago Architectural Photographing Company,
photographer Clarence Fuermann (1883-1983), Chicago, (Note: "Domino's
Collection" page 152; "In The
Nature of Materials", page xvi, no. 194).
Purchased from "The Architectural Forum". Note on back indicates it
was used by Arthur Drexler - MOMA. This image published in “Frank Lloyd Wright:
Writings and Buildings” 1960, Edgar
Kaufmann and Ben Raeburn, page 120. “Frank Lloyd Wright
and Midway Gardens” 1998, Paul Kruty,
page g. "Frank Lloyd Wright: Preserving an Architectural
Heritage, Domino’s Collection" David A. Hanks, page 89.
8 x 10. |
1407.02.0706 |
1914
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Exotic
Dancers, Midway Gardens 1914. Photographed by Collins (emboss on verso of
board). Possibly a publicity photograph or souvenir a that could be
purchased as a keepsake, 4.75 x 3.6, mounted to decorative board 6.76 x 5.8.
Photograph 4.75 x 3.6. |
0124.03.0407 |
1918
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“Independence Day Dance. The Midway Garden. Music By Kelton’s Music
Makers. Wed., July 3" In July of 1916 the name was changed to “Edelweiss
Gardens” but in this poster it is still called “Midway Garden”. It was
referred to by “Midway Garden” (singular). 2.75 x 4.5. |
0139.03.0407 |
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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. |
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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
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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
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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
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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
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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
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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
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9)
Original typescript of the above letter (#8) dated May 26, 1915. Two
sheets 8.5 x 11. |
0128.07.0407 |
1960
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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
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12)
Iannelli Studios envelope that contained this set of original letters.
(Circa 1960) 11.75 x 8.8. |
1458.23.0407 |
1961
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13) “The Midway
Gardens, 1914 - 1929" |
3) Fern, Alan M.
4) Iannelli, Alfonso 5) John Lloyd Wright 6) Wright,
Frank Lloyd |
An exhibition of the
building by Frank Lloyd Wright, and the sculpture by Alfonso Iannelli.
April 24 - May 20, 1961, Lexington Hall Gallery, 5831 University Avenue.
Sponsored by the College Humanities Staff, The University of Chicago.
Includes: 1) Acknowledgments 2) Materials of Exhibition
3) “The Midway Gardens” 4) “Architecture and Sculpture in the
Making of Midway Gardens” 5) “A letter to Mr. Iannelli from John
Lloyd Wright” dated June 10, 1954 6) “Frank Lloyd Wright, on
Midway Gardens” three excepts from his books 7) “Table of
Illustrations” which includes the Cover and Figure 1-9. 8)
Figure 1-9. Includes five photographs and six illustrations. 8.5
x 11. |
Pp 17 |
1526.08.0407 |
1961
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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 |
1955
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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 |
1987
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Biltmore Sprite. “The Biltmore Sprites,
donated by Taliesin Associated Architects to the Arizona Biltmore were
recently unveiled. These architectural statues of concrete were
originally designed in 1914 by Frank Lloyd Wright to decorate the now
destroyed Midway Gardens of Chicago.” Photographed October 21, 1987 at
the Arizona Biltmore Dedication Ceremony. Original 5 x 7 B&W
photograph. |
1987.44.0507 |
1987
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Dedication Ceremony. “John Rattenbury of
Taliesin Associated Architects explains the history of the Sprites of Midway
Gardens at the unveiling at the Arizona Biltmore. The Sprites were
recently restored and donated to the hotel by Taliesin. Renamed the
“Biltmore Sprites,” these architectural statues were originally designed in
1914 by Frank Lloyd Wright to decorate the now destroyed Midway Gardens of
Chicago.” Photographed October 21, 1987 at the Arizona Biltmore
Dedication Ceremony. Original 7 x 5 B&W photograph. |
1987.45.0507 |
1987
 |
PR: The
Biltmore Sprite Fact Sheet |
Arizona Biltmore |
Fact sheet
concerning Sprite, Dimensions, Material, Donations, Restoration, Design
and Original Sculpture. 8.5 x 11. |
Pg 1 |
1987.47.0507 |
1987
 |
PR:
Arizona Biltmore PR - 10/87 (Published by DBG&H, Phoenix) |
Spitza, Anne M. |
“The History of
the Sprites of Midway Gardens.” Includes information on the
history and destruction of the Midway Gardens and the Sprites. “It
seemed the Sprites were lost forever. Then sometime after World
War II, word reached Taliesin... that a few of the Sprites had been
saved and were lying in pieces in a farmer’s field in Lake Delton,
Wisconsin.” 8.5 x 11. |
Pp 4 |
1987.48.0507 |
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1987
|
PR:
Arizona Biltmore PR - 10/87 (Published by DBG&H, Phoenix) |
Spitza, Anne M. |
“Creation of the
Sprites Old & New.” Includes information on the creation of the original
Sprites and the restoration. “The Biltmore Sprites... are
authentic, accurate reproductions of the damaged originals.” 8.5 x
11. |
Pp 3 |
1987.49.0507 |
1987
 |
PR:
Arizona Biltmore PR - 10/87 (Published by DBG&H, Phoenix) |
Spitza, Anne M. |
“Press
Conference. ...the Sprites of Midway Gardens have been resurrected from
their demise. Now called the Biltmore sprites, they will be
donated to the Arizona Biltmore by Taliesin on Wednesday, October 21 at
2:00 p.m., in front of the hotel.” 8.5 x 11. Two Copies. |
Pp 2 |
1987.50.0507
1987.51.0507 |
1990
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Sprite Bud Vase. Midway Garden Sprite
engraved on each side with a different angle. Silver Plated Pewter.
The Museum Company #400-54920. 1.5 x 7.4. |
1990.51.0706 |
1998
 |
Frank Lloyd
Wright and Midway Gardens (Hard Cover - DJ) |
Kruty, Paul |
Original HC List Price $60.00.
(First
Edition) |
Pp 362 |
1998.27.0404 |
1998 |
Midway Gardens
"Sprite" Garden Sculpture, 42" Tall with Base. A reproduction of the
original sculpture designed by Frank Lloyd Wright and executed by Alfonso Iannelli.
(Produced by Nichols Brothers Stoneworks, Woodinville, Washington) |
1998.00.1098 |
2004
 |
Midway Garden "Sprite" with Baton.
Frank Lloyd Wright Licensed vase. 42" tall with base.
A reproduction of the
original sculpture designed by Frank Lloyd Wright and executed by Alfonso Iannelli.
(Produced by Nichols Brothers Stoneworks, Woodinville, Washington) |
2004.13.0704 |
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