YEAR DESCRIPTION ST# 1885 1885 Wright at 18. Frank Lloyd Wright Portrait (circa 1885). Photographer E.R. Curtiss, Wisconsin Historical Society. High-res digital 4 x 5 image. 0001.01.0706 1886 Circa 1886 Wright at 19. Frank Lloyd Wright Portrait (circa1886). In January 1886, Wright was admitted to the University of Wisconsin. In early 1887 Wright left Madison for Chicago. 5.75 x 7.1. Print, High res digital image. 0001.02.0310 1887 1887 Wright at 20. Portrait of Wright shortly after he arrived in Chicago. Published in "An Autobiography, Frank Lloyd Wright", Wright, 1977, page 64f. Dated at age 20. Also published in "Frank Lloyd Wright A Biography, Secrest, 1992, page 80. Dated at age 20. 4.25 x 6 Print, High res digital image. 0004.01.0509 1889 1889 Wright at 22. Frank Lloyd Wright Portrait (circa 1889). International Newsreel Photo - Received 9/20/29. Typed caption on back: "Friends incorporate F.L. Wright, Architect. Chicago Ill... Frank Lloyd Wright, internationally famous architect who is now an institution under the charter of Frank Lloyd Wright, Inc., following the establishment of the corporation by his friends. Wright may now give his talent free play unhampered by domestic or financial matters. He is said to have invented a method that will revolutionize skyscrapers." Time line: Wright arrived in Chicago in 1887. Set up his own practice in 1893. Original silver gelatin photo. 6 x 8. 0009.01.0401 1890 1890 Wright at 23, Wright Family, Summer 1890. On June 1, 1889, Catherine and Frank were married in Chicago, Illinois. She was 17 years old. During the Summer of 1890, at one of the family gatherings, this photograph was taken on the front steps of Wright’s newly completed home. Always aware of appearance, Wright placed an oriental carpet on the stairs, and a tennis racket in his Aunt’s hand. (L to R) Uncle Jenkin Lloyd Jones and his wife Aunt Susan Lloyd Jones; Wright’s sister Jane; Catherine holding Frank Lloyd Wright, Jr. (Lloyd); his mother Anna Wright; his sister Maginel; Wright; and Mary, the daughter of Jenkin and Susan. Published in "Frank Lloyd Wright’s Monona Terrace", Mollenhoff; Hamilton, 1999, page 61, Dated late 1890. 6.75 x 5.5. Print, High res digital image. 0011.01.0310 1894 1894 William H. Winslow House (1894). Photographed in 1894, printed in 1959. Chicago Architectural Photographing Company, Chicago. This is the actual print that was used for producing the image on page 117 in the June 1959 “Architectural Record”. Original gelatin silver photograph printed from the original negative. Printed in 1959 by Henry Fuermann and Sons. The original image was published in June 1900 "The Architectural Review" page 62. Also published in “In The Nature of Materials” 1942 Henry-Russell Hitchcock plate 27; “Frank Lloyd Wright to 1910" 1958 Grant Carpenter Manson page 66; “Frank Lloyd Wright: A study in Architectural Content” 1966 Norris Kelly Smith page 70; “Frank Lloyd Wright and Le Corbusier” 1994 Richard A. Etlin page 42; “Frank Lloyd Wright: Architect” 1994 Terence Riley page 115; "Frank Lloyd Wright and The Meaning of Materials", 1994 Patterson page 34; “The Decorative Designes of FLW”, 1979, Hanks, pp 12. 8 x 10. 1275.07.0706 1895 1895 Wright at 28. Portrait of Wright in 1895. Frank Lloyd Wright: Wright was about 28 at the time this picture was taken, circa 1895. Just two years earlier he had left the employment of Louis Sullivan and begun his independent practice of architecture. Published in "Frank Lloyd Wright, His Life and His Architecture", Twombly, 1979, page 23 but dated 1889. Courtesy National Library of Australia. 3.25 x 5.6 Print, High res digital image. 0018.01.0509 1895 Wright at 28. 1895. "A self-photograph. No ‘picture-taker’ could satisfy him. So he rigged up his camera with a long rubber tube, and at the right moment, squeezed the bulb! It was the year 1895." John Lloyd Wright, published in "My Father Who is on Earth", 1946, page 18. Stamped on verso, "August 26, 86". Original 8 x 10 B&W Print. 0018.02.1210 1898 1898 "Down The Valley" Spring Green, Wisconsin 1898. Photographed by Frank Lloyd Wright. Wright printed a series of photographs for an album showing the Hillside Home School (S.001 - 1887) run by his Aunts in Spring Green, Wisconsin. The album included a number of horizontal panoramic prints. Five of which are part of the CCA, Canadian Centre for Architecture collection. Each print was titled in Wright’s handwriting. When placed side-by-side, three of the images; "N.W", "Down the Valley", and "Bryn Mawr" form a panoramic view of the Jones Valley looking north. A number of these photographs are also part of the Wisconsin Historical Society collection. Clipping pasted on verso: " ‘Down the Valley’ (Spring Green, Wis.) c. 1898, by Frank Lloyd Wright." Acquired from the archives of the Chicago Tribune. Original 10 x 8 B&W photograph, (cropped). 0032.04.0911 1900 C 1900 James Charnley Residence (1890 - S.009) Circa 1900. Viewed from the Northwest during the winter. The 16-room home included six bedrooms, four baths, and six wood burning fireplaces. James Charnley was a wealthy lumberman who was a personal friend of Louis Sullivan. Frank Lloyd Wright was the chief draftsman at the time for the architectural firm of Adler and Sullivan. Acquired from the Library of Congress. Original 10 x 8 B&W Print. 0041.05.1011 C 1900-10 Francis Apartments (Circa 1900-10). Francis Apartments, 4304 Forestville Ave. Chicago, Illinois (1895 - S.032). Designed by Wright in 1895, for the Terre Haute Trust Company, Chicago. Demolished in 1971. Looking west on East 43rd Street, Forrestville Avenue is on the left. 8 x 10 B&W photograph. 0094.16.0711 C 1900 Nathan G. Moore Residence (1895/1923 - S.034) Circa 1900. Original 1895 structure. Originally designed in 1895, the home was destroyed by fire in 1922. It was redesigned by Wright in 1923. 333 Forest Avenue, Oak Park. Viewed from the Northeast. Superior Street is seen in the foreground. Courtesy of the Art Institute of Chicago. Original 9 x 7.75 B&W photograph. 0041.06.0112 1900 Wright at 33. Circa 1900. Wright wearing a hat, looking to the left. 5 x 6.2 Print, High res digital image. 0041.01.0609 C 1900-1910 Miriam Noel Wright. Circa 1900-1910 (30-40 years old). Miriam wearing a hat, facing slightly to the right. Courtesy of the Smithsonian Institute, Phil Fedderson collection. (Note: AIA Monthly Bulletin, Michigan Society of Architects - December 1959) (Phil H. Fedderson: A native of Clinton and a graduate of Iowa State University in Ames, Phil Feddersen gained his work experience with Alden Dow of Midland, Michigan before opening his own architectural firm in Clinton 1959. Like Dow, Feddersen has been strongly influenced by the later work of Frank Lloyd Wright.) Many of Feddersen’s designs exhibit the "organic" design philosophy of Wright. Published in “Many Masks” Gill, 1987, page 235. 5 x 7 Print. High res digital image. 0041.02.0609 1901 1901 Fine Arts Building April 1901. Browne's Bookstore (1907 - S.141), which opened for business during the last few months of 1907, was located on the left side of the seventh floor as you faced the building. The W. Scott Thurber Art Gallery (1909 - S.154) occupied the fifth floor of the Annex adjacent on the right. The reader board above the door on the left reads "The Studebaker, Castle Square Opera Co. Pirates of Penzance". The May 1, 1901 issue of "The Dial" ran an ad, "The Studebaker. Fine Arts Building... 3D Year. Castle Square Opera Company. Week of April 29 - Pirates of Penzance." The "Pirates of Penzance" was performed two times. Construction began in late 1887 on the Auditorium building (left) and in late 1889 it held its grand opening. 8 x 10 Print. High res digital image. For more information see our Wright Study on Browne’s Bookstore. 0048.01.0311 1903 1903 Wright at 36. Circa 1903. Portrait of Wright slightly facing to the right, resting his head on his hand. May have been photographed at the same one dated 1905 (Wright at 38), but his hair does not have the touch of gray. Published in "Frank Lloyd Wright" Thomas, 1997, page 6 and dated 1903. 4 x 5 Print, High res digital image. 0054.02.0609 1905 1905 Wright at 38. Circa 1905. Wright slightly facing to the right. This portrait has been dated circa 1926, which would place Wright at 59. A more accurate date would be circa 1905. A very similar portrait is published in "Frank Lloyd Wright Collected Writings", Volume 1, Pfeiffer, page 2. 5 x 7 Print, High res digital image. 0058.03.0609 1905 Martha “Mamah” Bouton Borthwick Cheney (June 19, 1869 - August 15, 1914). Mamah Borthwick was born in Boone, Iowa. She received a BA at the University of Michigan, and later worked as a librarian in Port Huron, Michigan. In 1899, she married Edwin Cheney, an electrical engineer from Oak Park, Illinois, USA. They had two children: John (1902) and Martha (1905). Edwin commissioned Wright to design them a home in 1903. In 1909, Mamah and Frank left their respective spouses and traveled to Europe, settling in Italy for about a year. Upon their return, they settled at Taliesin in Spring Green, Wisconsin. On August 15, 1914, one of Wright's recently hired domestic workers murdered Mamah, both her children, three of Wright's associates, and a son of one of the associates. He set fire to one wing of Taliesin, and murdered the seven people with an ax as they tried to escape the fire. At the time, Wright was overseeing work on Midway Gardens in Chicago. Catherine Wright refused to give Wright a divorce until November 13, 1922. Note on Verso, dated 11/15/22 (two days after divorce was granted) “Old love of famous architect who is divorced. Photo is of Mamah Borthwick Cheney who fled with Frank Lloyd Wright to a ‘Love Hegira’ in Japan, and who died in the flames of the 'Love Bungalow' of herself and Wright, at Spring Green, Wis. Note: Chicago Herald & Examiner of November 15th carried story of Frank Lloyd Wright divorce.” Very few images exist. Meryle Secrest notes in a portrait caption “Frank Lloyd Wright A Biography” 1992, page 196, “The only known photograph of Mamah Borthwick Cheney, published in the Chicago Tribune at the time of her murder, in 1914.” Original silver gelatin 8.5 x 6.5 photograph. 0058.02.0307 1906 1906 Wright at 39. Circa 1906. Portrait of Wright slightly facing to the right. Hair has just a touch of gray. May have been photographed at the same one dated 1905 (Wright at 38). Published in "Frank Lloyd Wright Collected Writings" Volume 1, Pfeiffer, page 2; “Many Masks” Gill, 1987, page 180. Courtesy of the Frank Lloyd Wright Home and Studio Foundation. 7 x 8.2 Print, High res digital image. 0064.02.0609 1907 1907-1908 Catherine Tobin Wright. Circa 1907-1908. Catherine and her youngest child Robert Llewellyn Wright (1903-1985) age 4-5. Catherine Tobin Wright in a dress designed by Frank Lloyd Wright. See similar photograph without Robert in "The decorative designs of Frank Lloyd Wright", Hanks, page 25. (Note: Robert Llewellyn Wright was born on November 15, 1903 in Oak Park, IL, and passed away on February 22, 1986 in West Bethesda, MD. He married Elizabeth Bryant Kehler on July 29, 1933. He was buried in Unity Chapel Cemetery, Spring Green, WI.) Courtesy of the Smithsonian Institute, Mrs. Robert L. Wright collection. Published in "Frank Lloyd Wright A Biography", Secrest, 1992, page 191, dated 1907. 5 x 6.5 Print. High res digital image. 0080.07.0609 1907 Pebbles and Balch Store Remodeling (1907 - S.131). This exterior photograph was taken just after completion of the remodel and was acquired by Grant Manson. The exterior was first published in "In The Nature of Materials: 1887 - 1941", Hitchcock, 1942. Hitchcock indicated "Photo courtesy of Grant C Manson". Manson could not have taken them in 1907-08, he would have been only three to four years old at the time. He published this photograph in "Frank Lloyd Wright to 1910", 1958. In Manson's Illustration Credits, he indicates that "Another source of illustrations of erected buildings of the Oak Park Period are the remaining photographs of the set made around 1910 by Henry Fuermann of Chicago...", but is not specific as to the origin of the image. The clerestory windows with wood muntins (thin bands of wood), are similar to the earlier Peter Beachy Residence Remodel (S.117) and the Frederick D. Nichols Residence (S.118), both in 1906. Wright designed the large show window as an enclosed display area, blocking exterior activity, giving privacy to clients shopping inside. Wright compensated for the blocked daylight by an unobstructed band of clerestory windows. Of interest are the two exterior light fixtures. They are very similar to the fixtures of the Waller Gate (1901 - S.065) and the Frank L. Smith Bank (1905 - S.111). Restored and enhanced by Douglas M. Steiner. 10 x 6 B&W photograph. For more information see our Wright Study on Pebbles and Balch Remodel. 0080.11.1011 1907 Pebbles and Balch Store Remodeling (1907 - S.131). This interior photograph was taken just after completion of the remodel and was acquired by Grant Manson. The interior photograph was first published in "Frank Lloyd Wright to 1910", 1958. In Manson's Illustration Credits, he indicates that "Another source of illustrations of erected buildings of the Oak Park Period are the remaining photographs of the set made around 1910 by Henry Fuermann of Chicago...", but is not specific as to the origin of the image. Wright designed the large show window as an enclosed display area, blocking exterior activity, giving privacy to clients shopping inside. Wright compensated for the blocked daylight by an unobstructed band of clerestory windows. The interior reflected Wright’s prairie style. Bands of horizontal trim, natural wood and warm earth tones and stained glass lighting fixtures. The interior glass fixture seems to be a scaled down, less complex fixture than the Browne’s Bookstore (S.141) fixture. All the wood cabinetry was designed by Wright. There were wood framed cabinets with glass doors for displaying decorative objects to entice any homeowner in Oak Park. Being a "paper-hanger’s" shop, Wright also designed some of the cabinetry to hold and display rolls of wallpaper. Restored and enhanced by Douglas M. Steiner. 8 x 6.5 B&W photograph. For more information see our Wright Study on Pebbles and Balch Remodel. 0080.12.1011 1908 1908 Photo of Minnehaha Falls. F.L. Wright Photo, St. Paul. Copyright 1908. Not a Frank Lloyd Wright photograph. 1908.00.1201 1908 Browne’s Bookstore (1907 - S.141) Exterior Entrance Circa 1908. Exterior view of entry from hallway. Glass, envelopes the entryway. Two doors allow customers to enter. "Browne's Bookstore" is on the glass above the left door. Two Copper Weed Holders are seen inside display case. Storrer dates Bookstore as 1908. But November 1907 issue of The Dial announced that "Browne’s Bookstore... is now open". Photographed by Henry Fuermann and Sons. 8 x 8 Print. High res digital image. For more information see our Wright Study on Browne’s Bookstore. 0085.09.0311 1908 Browne’s Bookstore (1907 - S.141) Interior Entrance Circa 1908. The cashier's station is conveniently situated between the two entry doors. Wright designed every fixture and every piece of furniture. "Browne's Bookstore" is on the glass above the right door. Storrer dates Bookstore as 1908. But November 1907 issue of The Dial announced that "Browne’s Bookstore... is now open". Photographed by Henry Fuermann and Sons. 8 x 10 Print. High res digital image. For more information see our Wright Study on Browne’s Bookstore. 0085.10.0311 1908 Browne’s Bookstore (1907 - S.141) Front Cove Circa 1908. View of front Cove. Browne sought to combine the best features of a well-equipped bookstore with those of a choice home library. Built-in seating, high-backed chairs and tables, stained glass windows and light fixtures, and a view of Lake Michigan from these seventh floor windows. Wall and ceiling trimmings were of quartered oak throughout. Storrer dates Bookstore as 1908. But November 1907 issue of The Dial announced that "Browne’s Bookstore... is now open". Photographed by Henry Fuermann and Sons. 7 x 10 Print. High res digital image. For more information see our Wright Study on Browne’s Bookstore. 0085.11.0311 1908 Browne’s Bookstore (1907 - S.141) Viewed From Front to Back Circa 1908. Alcoves were arranged along the left side; each alcove had chairs, a table and reading light. The shelves extend only part way up the walls, giving the effect of a home library. By a unique system of shelf-lighting, the title of every volume from top shelf to bottom were easily be read, while at the same time the lights were hidden from the eye. Every fixture and every piece of furniture was specially designed by Wright and manufactured to order. The cases, tables, chairs, and wall trimmings were of quartered oak throughout. Wright also lowered the ceiling in the main room. Storrer dates Bookstore as 1908. But November 1907 issue of The Dial announced that "Browne’s Bookstore... is now open". Photographed by Henry Fuermann and Sons. 8 x 9 Print. High res digital image. For more information see our Wright Study on Browne’s Bookstore. 0085.12.0311 1908 Browne’s Bookstore (1907 - S.141) Viewed From Entry to Back Circa 1908. View from entry to back. Alcoves were arranged along the left side; each alcove had chairs, a table and reading light. The shelves extend only part way up the walls, giving the effect of a home library. By a unique system of shelf-lighting, the title of every volume from top shelf to bottom were easily be read, while at the same time the lights were hidden from the eye. Set between every tier of shelves, at right angles to the wall are long library tables, with dependent reading lamps and high-backed chairs. The cases, tables, chairs, and wall trimmings were of quartered oak throughout. Wright also lowered the ceiling in the main room. Wright adorned the top of a book shelf with his familiar Winged Victory Statue and quotations on the wall. Moving from one room to the next, Wright would often lower the ceiling, giving the effect of immensity as you moved into the next room. Wright dropped the ceiling in the space between the two rooms, while continuing the ceiling above. Storrer dates Bookstore as 1908. But November 1907 issue of The Dial announced that "Browne’s Bookstore... is now open". Photographed by Henry Fuermann and Sons. 8 x 10 Print. High res digital image. For more information see our Wright Study on Browne’s Bookstore. 0085.13.0311 1908 Browne’s Bookstore (1907 - S.141) View Toward Fireplace Circa 1908. The smaller room contains no shelving other than on either side of the fireplace, and is arranged with cases and tables for the display of fine bindings and special editions. A large fireplace and comfortable easy-chairs give this the appearance of an attractive living-room. Every fixture and every piece of furniture in both rooms has been specially designed and manufactured to order. Photographed by Henry Fuermann and Sons. 8 x 10 Print. High res digital image. For more information see our Wright Study on Browne’s Bookstore. 0085.14.0311 1908 Coonley Residence (1907 - S.135 ) 1908. View of the Pool and Terrace. Avery and Queene Ferry Coonley are on the right. Their daughter Elizabeth is playing by the pool in the center. Verso: "Photographed by Clarence Fuermann, The Chicago Architectural Photographing Co." Published in "Frank Lloyd Wright, Ausgeführte Bauten", Wright, 1911, p 119. Original 10 x 8 B&W photograph. 0085.20.0112 1908 Japanese Print Exhibition at The Art Institute of Chicago. Wright loaned over two hundred prints to an extensive exhibition of Japanese Colour Prints from March 5-25, 1908, at The Art Institute of Chicago, titled A Loan Exhibition of Japanese Colour Prints. The committee in charge, and major contributors, were Clarence Buckingham, Frederick W. Gookin, J. Clarence Webster and Frank Lloyd Wright. It was the largest exhibit of Ukiyo-e prints ever displayed in America. Wright designed the exhibition installation for the Art Institute. Wright’s display consisted of a long horizontal panel suspended above the ground, held up on each end by a pair of vertical pedestals. Included with the designs for the exhibition was a Japanese Print Easel or Stand. Courtesy of The Art Institute of Chicago. 10 x 6.5 B&W print. For more information see our Wright Study on the Japanese Print Stand. 0085.16.1211 1908 Japanese Print Exhibition at The Art Institute of Chicago. Wright loaned over two hundred prints to an extensive exhibition of Japanese Colour Prints from March 5-25, 1908, at The Art Institute of Chicago, titled A Loan Exhibition of Japanese Colour Prints. The committee in charge, and major contributors, were Clarence Buckingham, Frederick W. Gookin, J. Clarence Webster and Frank Lloyd Wright. It was the largest exhibit of Ukiyo-e prints ever displayed in America. Wright designed the exhibition installation for the Art Institute. Included with the designs for the exhibition was a Japanese Print Easel or Stand. The print was held in a tall vertical frame that intersected the base, and floated above the surface it was placed on. The low base was designed to hold a small vase for flower arrangements or other decorative items. The overall design was very consistent with Wright’s prairie style. Although very vertical in appearance, this first Print Stand appears to be about three feet in height and was designed to be placed off the ground at eye level. Courtesy of The Art Institute of Chicago. 7.25 x 9 B&W print. For more information see our Wright Study on the Japanese Print Stand. 0085.17.1211 Circa 1908 Japanese Print Exhibition at The Art Institute of Chicago. Wright loaned over two hundred prints to an extensive exhibition of Japanese Colour Prints from March 5-25, 1908, at The Art Institute of Chicago, titled A Loan Exhibition of Japanese Colour Prints. The committee in charge, and major contributors, were Clarence Buckingham, Frederick W. Gookin, J. Clarence Webster and Frank Lloyd Wright. It was the largest exhibit of Ukiyo-e prints ever displayed in America. Wright designed the exhibition installation for the Art Institute. Included with the designs for the exhibition was a Japanese Print Easel or Stand. The print was held in a tall vertical frame that intersected the base, and floated above the surface it was placed on. The low base was designed to hold a small vase for flower arrangements or other decorative items. The overall design was very consistent with Wright’s prairie style. Although very vertical in appearance, this first Print Stand appears to be about three feet in height and was designed to be placed off the ground at eye level. 5.75 x 9.75 B&W print. For more information see our Wright Study on the Japanese Print Stand. 0085.18.1211 Circa 1908 Robie House, Dining Room, Dining Table and Six Chairs (1906 S.127) Circa 1908. Label pasted to verso: "Frank Lloyd Wright, Interior view of Dining Room - 1908. Title: Dining table & six side chairs in interior of the Frederick C. Robie House, Chicago. Medium: Oak. Exhibition: The Arts & Crafts Movement in America 1876-1916. Date of Exhibition: Feb 24 - April 22, 1973. Lender’s name as it should appear: Lent by the university of Chicago." Published in the Chicago Tribune February 18, 1973 and October 12, 1986. Originally published in "Frank Lloyd Wright, Ausgeführte Bauten", Wright, 1911. Possibly photographed by Henry Fuermann & Sons. Acquired from the archives of the Chicago Tribune. Original 10 x 8 B&W photograph. 0085.19.1211 Circa 1908 Unity Temple (1904 - S.096), Oak Park Circa 1908. Unity Temple during construction, nearing completion. Construction material along Lake Street. Viewed from the Southwest, Unity Temple is on the left, Unity House is on the right, and the Entrance is in the center. Lake Street is on the left, North Kenilworth Avenue in the foreground. Courtesy of the Frank Lloyd Wright Preservation Trust. Original 10 x 6.7 B&W photograph. 0085.21.0112 1909 1909 Portrait of Mrs. E. H. (Mamah Borthwick) Cheney. Chicago Tribune Photograph. Published in the Chicago Tribune on August 6, 1911 at the time of her divorce and in 1914 at the time of her death. Courtesy of the Wisconsin Historical Society. Published in "Frank Lloyd Wright A Biography" Secrest,1992, page 196; "Frank Lloyd Wright, An Interpretive Biography", Twombly, 1973, page 92. (Note: Mamah Borthwick married Edwin Cheney when she was thirty. Could this possibly be her wedding photograph? 1899?) 4.25 x 6 Print, High res digital image. 0085.05.0509 1909 Scoville Park Fountain, Oak Park (1903 S.094) 1909. Published in the Chicago Daily News in 1909. Taken by a Chicago Daily News photographer. Erected by the Oak Park Horse Show Association. Dedicated and presented to the Village July 24, 1909. Photographed and first published after the presentation. Note height of horse trough. Plants growing on top. Wrought iron fence beyond fountain. Home is visible in the background. 8.25 x 6 Print. High res digital image. 0086.04.0310 Circa 1909 Thurber Art Galleries (1909 - S.154), circa 1909. View of the smaller Viewing Gallery looking toward the Southwest. The woodwork was of fumed oak, with bronze worked into the grain and inlaid with a line of white holly. The floors were designed especially to reflect the light, composed of white magnasite. Around the edge of the floor was a band of dull yellow-toned magnasite, bringing the golden wall color down into the floor. The two colors were divided by a narrow strip of inlaid brass. The walls of both galleries were covered with cork gilded in a low-toned bronze dadoed by a higher-keyed gilded rough plaster. Each gallery had a skylight, composed of oblong pieces of dull grayed white glass, with smaller oblong pieces of rich yellow and a few small squares of black, set in brass leadings of various widths, and were different in each gallery. The furniture was designed by Wright. Photographed by Published in "International Studio", February, 1910. 10 x 7.4 B&W Print. For more information see our Wright Study on the Thurber Art Galleries. 0086.05.0911 Circa 1909 Thurber Art Galleries (1909 - S.154), circa 1909. View of the built-in portfolio booths in the larger Print and Reproduction Gallery. They were seven and one-half feet high and included viewing spaces, desks that fold up and down, drawer spaces, and innovative viewing portfolio screens that slid up and down within the wall on the right. There were no fixtures of any sort. Electric lights were concealed in the portfolio booths, so that the source of light was hidden and diffused. The furniture was designed by Wright. Published in "International Studio", February, 1910. 10 x 7.6 B&W Print. For more information see our Wright Study on the Thurber Art Galleries. 0086.06.0911 1910 1910 Coonley Living Room (1907 - S.135 ) Circa 1910. View of the right side. Copper Urn on the right. Photographed by Henry Fuermann. 8 x 5.5 Print. High res digital image. For more information see our Wright Study on Browne’s Bookstore. 0094.09.0311 1910 Coonley Living Room (1907 - S.135 ) Circa 1910. View of the left side. Copper Urn on the left. Photographed by Henry Fuermann. 8.5 x 6.5 Print. High res digital image. For more information see our Wright Study on Browne’s Bookstore. 0094.10.0311 1910 Coonley Living Room Hall (1907 - S.135 ) Circa 1910. Hallway viewed from Living Room. Photographed by Henry Fuermann. 10 x 7.5 Print. High res digital image. For more information see our Wright Study on Browne’s Bookstore. 0094.11.0311 1910 Coonley Living Room Hall (1907 - S.135 ) Circa 1910. Hallway looking toward Living Room. Two Urns were placed symmetrically in the Living Room. Wright used this same symmetry in the Waller Dining Room and possibly his own Dining Room. Photographed by Henry Fuermann. 10 x 7.5 Print. High res digital image. For more information see our Wright Study on Browne’s Bookstore. 0094.12.0311 1910's Hillside Home School Copy Negative and Contact sheet (circa 1910)
1910.00.0604 1910's Lake Geneva, Wisconsin. Photo Package. Package of 10 Genuine Photographs, Lake Geneva, Wis. One photo of Hotel Geneva (1.75 x 2.75"). Grogan Photo Systems, Inc. 0104.03.0602 1910's Lake Geneva, Wisconsin. Photo Package. Package of 10 Genuine Photographs, Lake Geneva, Wis. One photo of Hotel Geneva (1.75 x 2.75"). Grogan Photo Systems, Inc. 0104.04.0307 1910 Wright’s Oak Park Playroom (1895 S.003) C1910. Photographed by Henry Fuermann & Sons. Published in "In The Nature of Material" Hitchcock, 1942, Plate 16, credited to Fuermann; also published in "Frank Lloyd Wright to 1910" Manson, 1958, page 47, credited to Fuermann and dated 1910. Caption on verso: "Abundant use of wood and stone in living room of Wright’s own Oak Park home, built in 1895, sowed seeds for natural building materials often seen in today’s homes. Wall mural over fireplace recalls popularity of this type of interior decorating treatment today. Hanging lamps over chairs near fireplace may be forerunners of today’s pulley lights. Chicago Architectural Photography Co. Photo. (Stamped) Mar 27, 1957. " Noted changes from photograph published in House Beautiful, February 1897: Built-in window seats on left and right are removed; Windows on left cover have been sealed off; Four light fixtures have been added; Two leaded glass cabinets have been added.4 on either side of fireplace. Original 10 x 8 B&W Print. Acquired from the archives of the Chicago Sun Times. 0094.06.0310 1910 Mamah Borthwick Cheney. Circa 1910-1914. She appears to be just a little older in this photograph than in the other two available photographs. Note: she was 45 at the time of her death (1914). She would have been 41 years old in 1910. Published in “Many Masks” Gill, 1987, page 207. 4.75 x 6.5 Print, High res digital image. 0094.05.0609 Circa 1910 Thurber Art Galleries (1909 - S.154), circa 1910. View of the smaller Viewing Gallery looking East toward Lake Michigan. The floors were designed especially to reflect the light, composed of white magnasite. Around the edge of the floor was a band of dull yellow-toned magnasite, bringing the golden wall color down into the floor. The two colors were divided by a narrow strip of inlaid brass. The walls of both galleries were covered with cork gilded in a low-toned bronze dadoed by a higher-keyed gilded rough plaster. Each gallery had a skylight, composed of oblong pieces of dull grayed white glass, with smaller oblong pieces of rich yellow and a few small squares of black, set in brass leadings of various widths, and were different in each gallery. The furniture was designed by Wright. Published in "International Studio", April, 1911. 10 x 7.2 B&W Print. For more information see our Wright Study on the Thurber Art Galleries. 0094.17.0911 Circa 1910 Thurber Art Galleries (1909 - S.154), circa 1910. View of the larger Print and Reproduction Gallery looking East toward Lake Michigan. Wright "carefully considers every detail of room size and height, the lighting by day and night, placing of doors and windows, the breaking up of the wall surfaces, the design and use of each piece of furniture..." (I.S.) The built-in portfolio booths were seven and one-half feet high and include portfolio screens, drawer space, tables, desks and seats. There were no fixtures of any sort. Electric lights were placed above the skylights and concealed in the portfolio booths, so that the source of light was hidden, diffused and softened "as to have the effect of daylight". Each gallery had a skylight, composed of oblong pieces of dull grayed white glass, with smaller oblong pieces of rich yellow and a few small squares of black, set in brass leadings of various widths. The furniture was designed by Wright. Photographed by Henry Fuermann and Company. Published in "Frank Lloyd Wright, Ausgeführte Bauten", 1911. 10 x 7.4 B&W Print. For more information see our Wright Study on the Thurber Art Galleries. 0094.18.0911 Circa 1910 Thurber Art Galleries (1909 - S.154), circa 1910. View of the larger Print and Reproduction Gallery looking West. Wright "carefully considers every detail of room size and height, the lighting by day and night, placing of doors and windows, the breaking up of the wall surfaces, the design and use of each piece of furniture..." (I.S.) The built-in portfolio booths were seven and one-half feet high and include portfolio screens, drawer space, tables, desks and seats. There were no fixtures of any sort. There were electric lights placed above the skylights and concealed in the portfolio booths, so that the source of light was hidden, diffused and softened. This larger gallery had two skylights, composed of oblong pieces of dull grayed white glass, with smaller oblong pieces of rich yellow and a few small squares of black, set in brass leadings of various widths. The furniture was designed by Wright. Photographed by Henry Fuermann and Company. Published in "Frank Lloyd Wright, Ausgeführte Bauten", 1911. 10 x 6.5 B&W Print. For more information see our Wright Study on the Thurber Art Galleries. 0094.19.0911 1911 1911 Wright’s Oak Park Home and Studio (1895 S.003) 1911. "In December of 1911 he left Oak Park and moved to Spring Green... There he built Taliesin 1 for his new life with Mamah Cheney. Before leaving Oak Park, Wright extensively remodeled the home and studio. The studio was converted to a dwelling for his wife and four children still living at home. The home was converted into a rental unit to provide income for Catherine. This wall was constructed to add privacy to the garden and ‘Library’. "The Plan for Restoration" 1978, pages38-40. Stamped on verso: "Dec 2 - 1911". Photographed by "Bu... & At..., Press Photographers, Chicago." Clipping on verso: "Although Frank Lloyd Wright’s home in Oak Park today serves as a museum, it was built in 1889 for about $6,000. In 1911, workers built the brick fence that assures privacy." 10 x 8 Print, High res image. From the archives of the Chicago Sun Times. 0104.07.0410 C 1911-25 Wright’s Oak Park Home and Studio Master (North) Bedroom (1889 - S.002) Circa 1911-1925. Looking North after 1911 renovation by Wright. The Master Bedroom looking North, shows the vault ceiling and mural painted by Orlando Giannini. "In December of 1911 he (Wright) left Oak Park and moved to Spring Green... There he built Taliesin I for his new life with Mamah Cheney. Before leaving Oak Park, Wright extensively remodeled the home and studio. The studio was converted to a dwelling for his wife and four children still living at home. The home was converted into a rental unit to provide income for Catherine..." "The Plan for Restoration" 1978, pages 38-40. This could explain the single beds and sealed doors to the balcony. Photographed by Henry Fuermann and Sons Photographic Company. The Frank Lloyd Wright Preservation Trust dates this photograph circa 1911-1925. The Art Institute of Chicago, Ryerson & Burnham Archives, dates this photograph circa 1890-1910 and acquired their copy of the photograph in 1933. Clipping pasted to the verso: "What seems to be an Indian brave commands the space above rectangular bedroom windows", stamped "May 11, 86". Second clipping pasted to verso: "A bedroom in his Oak Park home: elegance even in the most modest spaces", stamped "Feb 9, 92". Acquired from the archives of the Chicago Tribune. Original 8 x 10 B&W photograph. 0104.13.1211 1911 (Side Note) Hoquiam Library, Hoquiam, Washington. After living in the State of Washington for over 30 years, I was surprised to find such a fine example of a prairie style building right here in my back yard. I was even more surprised when I discovered it was built in 1911. Originally funded by the Andrew Carnegie Foundation, (funding secured in 1910), it's on the National Register of Historic Places and is known as a rare example of the Prairie Style of Architecture found in the Pacific Northwest. The original building was designed by the architectural firm of Claude & Starck, Madison, Wisconsin. Louis Claude was a former associate and lifelong friend of architects Louis Sullivan and Frank Lloyd Wright. Claude & Starck's work reflects this influence. This firm was selected by Miss Macpherson, the first Librarian. She had previously worked in the Evansville, Wisc. Library which was also designed by them. After additional research I was surprised to five additional libraries from the same design. The library was formally dedicated on August 25, 1911. In 1991, the building was enlarged and remodeled by Tonkin/Koch Architects of Seattle. They did an excellent job of duplicating and blending the with original design. The original frieze mold was still available through a University of Minnesota Library which houses the Louis W. Claude Papers. I commend the City of Hoquiam and Tonkin/Koch Architects for preserving such a wonderful piece of art. Set of 12 high-res digital images (February 23, 2007), including two brochures. 2007.03.0207 1912 1912 Burton J. Westcott Residence (S.099 - 1904), circa 1912. Designed by Frank Lloyd Wright in 1904, built in 1905 (according to Storrer). View of the South and East side and the garage. Hand written on verso: "By Frank Lloyd Wright. Westcott House, Springfield, Ohio, 1912. 1340 E. High Street. Present owner Roscoe Pierce, who bought house in 1927." In dating this photograph the date written on the back (1912), presents a few questions. A brief history: When Burton Westcott’s father passed away in 1907, he inherited the Westcott Carriage Co. located in Richmond, Ohio. He converted the company to the Westcott Motor Car Co. and produced the first two-seater (seen on the far right) in 1909. By 1911 they were producing a larger sedan, seen to the left of the two-seater. Around 1915, Burton moved the company from Richmond to Springfield, about 190 miles to the west. Westcott would have been driving the latest models of his vehicles, but it is difficult to date the vehicles in the photograph. Production continued until 1925, so this photograph would have been taken between 1910-1925, so most likely 1912 is correct. The Oak Park Public Library attributes this photograph to Grant Manson. Manson was born in 1904. That would have place Manson at 8 years old. So most likely Manson acquired the photograph but did not take it. Burton's wife Orpha past away in 1923, Burton J. Westcott past away in 1926. Roscoe Pierce purchased the house in 1927. Also, in dating this photograph it is noted that the second floor "Veranda" (balcony) has been enclosed, which was not originally intended by Wright. Acquired from the Art Institute of Chicago. Original 4.75 x 2.75 B&W Print. 0114.06.1011 1912 Burton J. Westcott Residence (S.099 - 1904), circa 1912. Designed by Frank Lloyd Wright in 1904, built in 1905 (according to Storrer). Viewed from the South. Dining Room on the left, Living Room in the center, Sitting Room on the far right, first floor. Photographed at the same time as S#114.06. Noted that the second floor "Veranda" (balcony) has been enclosed, which was not originally intended by Wright. Acquired from the Art Institute of Chicago. Original 4.75 x 2.75 B&W Print. 0114.07.1011 1913 1913 Francis W. Little House Living Room 1913. “200B. Francis W. Little House, ‘Northome’ R.F.D. 3, Wayzata, Minn. 1913 - Living Room.” Photographic copy of Plate 200b, “In The Nature of Material” Hitchcock, 1942. Verso label: “The Living Room from the Francis Little House, Wayzata, Minn. 1912-1914. Designed by Frank Lloyd Wright. The Metropolitan Museum of Art. The Emily C. Chadbourne Bequest. Photo by Hollis, courtesy Henry-Russell Hitchcock.” 8 x 10 silver gelatin photo. 0120.03.0207 1914 C 1914 Harry S. Adams Residence (1913 - S.179) Circa 1914. Wright’s first proposal was more extensive than the finished project, and was dated September 4, 1912. Wright’s second proposal was dated May 31, 1913. Both were rejected as too elaborate, and the third scaled down proposal was one of Wright’s last prairie homes to be completed. 710 Augusta Blvd., Oak Park. Viewed from across the street. Photographed by Henry Fuermann. Original 10 x 6.75 B&W photograph. 0124.16.0112 C 1914-15 Mrs. Lydia Avery Coonley Ward. The Mother of Wright client Avery Coonley (1907 - S.135) Circa 1914-15. Lydia Avery Coonley was born in Virginia on Jan 31, 1845 to Benjamin Franklin and Susan Look Avery. Lydia Avery Coonley became a writer, publishing many poems. One poem entitled "Indian Summer", was published in the Nov 3, 1894 "The Outlook". She compiled a number of poems and published "Singing Verses for Children". She was also the author of "Under The Pines and Other Verses", published in 1895 by another client of Wright’s, Chauncey Williams, of Way & Williams. She also wrote and published "Washington and Lincoln". She was active in the women’s movement, and was president of the Chicago Women’s Club from 1895-1896. On March 18, 1897, Lydia Avery Coonley, a wealthy Chicago widow, married Naturalist Henry Augustus Ward. Original 3 x 4.25 B&W photograph. Courtesy of the New York Public Library. 0124.15.0112 1914 Wright at 47. Circa 1914. Portrait of Wright facing slightly to the left. This was taken about the time he was completing Midway Gardens. Published in "An Autobiography, Frank Lloyd Wright", page 192a. 4.6 x 7 Print, High res digital image. 0124.09.0709 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. For more information see our Midway Gardens Study. 1407.01.0406 1914 Midway Gardens Summer Garden 1914. Photographed by Henry Fuermann & Sons in September 1914. The Southeast corner of the interior, viewed from the North Terrace looking out over the Summer Garden. The Winter Garden on the left, the South Belvedere is in the center, and the South Arcade is on the right. Vases, Totem poles and Light Tree are visible in the foreground. Label pasted to verso: "Photo caption: Nostalgia buffs will get a glimpse of the past at the flower show where ‘Memories of Midway Gardens’ has been recreated by the Chicago School of Architecture Foundation. This unique entertainment complex was designed by Frank Lloyd Wright in 1914 and located near the University of Chicago. The original Midway Gardens (pictured here) was a center for good entertainment, food and music and was designed by Wright as a synthesis of architecture, sculpture and painting. The mini-Midway gardens at the Flower Show was designed by Joe Karr and Associates who designed the courtyard garden at Glessner House, home of the Chicago School of Architecture Foundation, 1800 S. Prairie Avenue." Stamped on verso: Mar 29 1973". Acquired from the archives of the Chicago Tribune. Original 10 x 8 B&W photograph. 0124.14.1211 1914 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. For more information see our Midway Gardens Study. 1407.02.0706 1914 Midway Gardens 1914. Photographed by Henry Fuermann & Sons in 1914. Cottage Grove Avenue viewed from the Northeast. The Winter Garden to the left side of this image, the Tavern is on the right. Both towers are prominent above the Winter Garden. Patterned concrete blocks, Two Queen of the Gardens and three Sprite statues are visible. Caption on face: "The Chicago Architectural Photographing Co. Midway Gardens, Cottage Grove Avenue at 60th Street, Chicago, Illinois, 1914. Demolished." Stamped on verso: "Field Enterprises, Inc. Oct 1968." 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. Original 8 x 10 B&W photograph. For more information see our Midway Gardens Study. 0124.12.0911 1914 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. For more information see our Midway Gardens Study. 0124.03.0407 1914 Puppet Theater 1914. The Puppet Theater was displayed at an exhibition of Wright’s work entitled "The Work of Frank Lloyd Wright" at The Art Institute of Chicago in 1914. The Puppet Theater was designed in 1908 for his son Llewellyn. The engraved masque reads, "To Fashion Worlds in Little - Making Form As God Does One With Spirit - So God Makes Use Of Poets", an adaptation of a passage from Richard Harvey's "Taliesin". This quote was used three years before Wright began building Taliesin I in 1911. Also visible in the photograph is a Coonley Playhouse window (1912 - S.1912) and three Print Stands. The shorter version seen on the left behind the Puppet Theater and the taller version seen on the right. A smaller desk top Print Stand can be seen in the center. 7.75 x 10 B&W print. Courtesy of The Frank Lloyd Wright Preservation Trust. For more information see our Wright Study on the Japanese Print Stand. 0124.13.1211 1915 1915 Larkin Building. Darwin D. Martin's desk designed by Frank Lloyd Wright in the Larkin Administration Building (1905) atrium, Buffalo, New York, August 3, 1915 (Martin was CEO of Larkin). It shows Martin's desk on his return from a family vacation to Yosemite. The "Welcome Home" flowers are in a Rookwood(?) vase. In the early 1980s the Kelmscott Gallery acquired this photograph from the estate of Darwin. D. Martin. It beautifully illustrates Wright's concept of a common workspace for executives and employees. The desk by Van Dorn Iron Works Company had "drawers of various sizes and designed to provide space for specific forms and papers". The chair is designed with painted steel and an oak seat. The photograph is so clear that “Tuesday August 3" is visible on a number of desk calendars. According to the Graycliff Conservatory, Inc., Scott Elliott (Kelmscott Gallery) donated an impressive collection of historic photographs of the Darwin D. Martin family, including a photo album and journal of the Martin family's cross country trip to California including Yosemite National Park in 1915. The Larkin Company was a mail-order house that sold soap and other household products. The building was demolished between February and July 1950. Published in "Frank Lloyd Wright’s Larkin Building, Myth and Fact" Quinan, 1989, page 50. Original silver gelatin 1915 photograph. Photographer unknown. 7.5 x 7.75. 0128.02.0107 1915 Dining Room, Taliesin II, 1915. Taken at the same time as a photograph published in "Architectural Record", October, 1915. This was taken after rebuilding from the fire of August 15, 1914, but before August, in time to go to production for publishing in October, 1915. Photographed by Henry Fuermann and Sons, most likely in July or August, 1915. Dated incorrectly, but courtesy of the Wisconsin Historical Society. 8 x 10 B&W photograph. For more information see our Wright Study on the Japanese Print Stand. 0128.09.1211 1916 1916 Robie House, Wilbers seated in Living Room (1906 S.127) 1916. Seated on the left, Mrs. Isadora Wilber and Jeannette, seated on the right, Mr. Marshall D. Wilber. Stamped on Verso: Feb 1963, Field Enterprises, Inc. Hand written: "Frank Lloyd Wright. Mr. & Mrs. Marshall D. Wilber and daughter Jeannette (age 10). The second (third) owners of Robie House. Photo taken 1916." Robie sold the house in December 1911 to David Lee Taylor. Taylor died in October, 1912 and his wide sold the Robie House to Marshall Dodge Wilber in November 1912. "...the Wilbers loved the place and preserved everything as it was originally built. Commenting on the occasion when he accompanied the older Wright to dinner, he continued: "The old brown-stained furniture and woodwork was cleaned and polished. The soft autumn shade on the sand-finished wall panels had been maintained. The special light fixtures and leaded glass windows were clear and bright.. After we left, Dad said to me: 'You see John, that's an example of a house that has character, it grows more valuable as it grows older."' John Lloyd Wright, biography page 148. Wilber sold the house to the Chicago Theological Seminary on June 9, 1926. Published in "Frank Lloyd Wright’s Robie House", Hoffmann 1984, page 65. 7.25 x 5.75 Print, High res image. From the archives of the Chicago Daily News. 0132.08.0410 1916 Robie House, Wilbers seated in Living Room (1906 S.127) 1916. Stamped on Verso: Feb 1963, Field Enterprises, inc. Hand written: "Frank Lloyd Wright. Mr. & Mrs. Marshall D. Wilber and daughter Jeannette, age 10. 2nd (3rd) owners of Robie House - 1916." Robie sold the house in December 1911 to David Lee Taylor. Taylor died in October, 1912 and his wide sold the Robie House to Marshall Dodge Wilber in November 1912. "...the Wilbers loved the place and preserved everything as it was originally built. Commenting on the occasion when he accompanied the older Wright to dinner, he continued: "The old brown-stained furniture and woodwork was cleaned and polished. The soft autumn shade on the sand-finished wall panels had been maintained. The special light fixtures and leaded glass windows were clear and bright.. After we left, Dad said to me: 'You see John, that's an example of a house that has character, it grows more valuable as it grows older."' John Lloyd Wright, biography page 148. Wilber sold the house to the Chicago Theological Seminary on June 9, 1926. Acquired from the archives of the Chicago Daily News. Original 10 x 8 silver gelatin photograph. Published in “Frank Lloyd Wright’s Robie House”, Hoffmann 1984, page 71. 0132.05.0310 1916 Robie House, Mrs. Wilber poses in the Living Room (1906 S.127) 1916. Hand written on verso: "Mrs. Marshall D. Wilber, wife of second (third) owner of Robie House, shown in house in 1916." Stamped on verso: "Sun Times, Jan 5 1963". Clipping on verso: "In 1916, the wife of the second owner of Robie House, Mrs. Marshall D. Wilber, posed in the home’s living room." 5.75 x 7.25 Print, High res image. From the archives of the Chicago Sun Times. 0132.09.0410 1916 Robie House. View from the Dining Room and South Aisle, toward the Living Room, 1916. Photograph printed circa mid 1960s on Agfa paper. Verso: “The Office of Public Relations, The University of Chicago”. Original silver gelatin photograph. 10 x 8. Published in “Frank Lloyd Wright’s Robie House”, Hoffmann 1984, page 74, “The Robie House of Frank Lloyd Wright”, Connors 1984, page 31. 0132.04.0707 1916 Robie House, Dining Room (1906 S.127) 1916. Stamped on Verso: Feb 1963, Field Enterprises, Inc. Published in "Frank Lloyd Wright’s Robie House", Hoffmann 1984, page 71, "The Robie House of Frank Lloyd Wright", Connors 1984, page 33. Original 10 x 8 silver gelatin photograph. Acquired from the archives of the Chicago Daily News. 0132.06.0310 1916 Robie House Dining Room (1906 - S.127). View of the Dining Room looking Southeast, 1916. Built-in cabinetry on the left, dining table and chairs on the right. The Kitchen is through the doorway on the left. The dining alcove can be seen in the background. This photograph was taken at the same time as S#132.06. Stamped on verso: "Feb 4, 1963". Published in "Frank Lloyd Wright’s Robie House", Hoffmann 1984, page 77. Acquired from the archives of the Chicago Tribune. Original B&W 10 x 8 silver gelatin photograph. 0132.12.1211 1916 Robie House, Jeannette Wilber standing in Hall (1906 S.127) 1916. Stamped on Verso: Feb 1963, Field Enterprises, Inc. Hand written: "Frank Lloyd Wright Robie House. Mrs. Jeannette Wilber Scofield shown in Robie House, 5757 S. Woodlawn, at age of 10, as Jeannette Wilber, photo made in 1916." Published in "Frank Lloyd Wright’s Robie House", Hoffmann 1984, page 62. 7.25 x 5.75 Print, High Res image. From the archives of the Chicago Daily News. 0132.07.0410 1916 Robie House, Jeannette in Rumpus Room (1906 S.127) 1916. Caption on Verso: "Early-Day Rumpus Room. Among dozens of innovations introduced by Frank Lloyd Wright is his Robie House, which he completed in Chicago in 1909 was this ground level family room, forerunner of today’s rumpus room. Playing with doll house (left) is Jeanette Wilber, whose family was third to occupy dwelling. Now Mrs. Jeanette Wilber Scofield, of Riverdale, California., she remembers it as a ‘beautiful house.’ Associated Press Photo, 2/6/63." Stamped on verso: "Feb 8 - 1963". Published in "Frank Lloyd Wright’s Robie House", Hoffmann 1984, page 56. Original 9 x 7 Print. Acquired from the archives of the Associated Press. 0132.10.0511 1916 Robie House, Jeannette Wilber in Bedroom (1906 S.127) 1916. Jeanette Wilber’s family was the third to occupy the Robie House. Stamped on verso: "Feb 4 1963". Published in "Frank Lloyd Wright’s Robie House", Hoffmann 1984, page 87. Acquired from the archived of the Chicago Tribune. Original 10 x 8 B&W Print. 0132.11.0811 1917 Circa 1917 Dining Room, Taliesin II, circa 1917-19. This photograph was first published in "The Nature of Materials: 1887 - 1941, The Buildings of Frank Lloyd Wright" Hitchcock, 1942, plate 177. Hitchcock mistakenly dates this photograph at 1911 (pg xvi). One of the many items in the photograph is an Imperial Hotel Coffee Service. Very similar to a photograph published in "Architectural Record", October 1915, page 395, which was the very first published interior of Taliesin II. Also published in "Frank Lloyd Wright Monograph 1907-1913 Volume 3" ill 275 and dated 1911. Photographed by Henry Fuermann. 10 x 8 B&W Photograph. For further information see our Wright study on: Imperial Hotel Monogram, Japanese Print Stand. 0138.04.1209 Circa 1917 Living Room, Taliesin II, circa 1917-19. Taken around the same time as a photograph of the Dining Room published in "Architectural Record", October 1915, page 395, which was the very first published interior of Taliesin II. Also published in "Wright Studies, Taliesin 1911-1914", Menocal, 1992, page 111, and dated circa 1915. Possibly photographed by Henry Fuermann. 10 x 7.25 B&W Photograph. Courtesy of the Wisconsin Historical Society. For more information see our Wright Study on the Japanese Print Stand. 0138.05.1211 1918 1918 “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 1919 1919 Wright at 52. Portrait of Wright facing slightly to the left. Published in "Frank Lloyd Wright Monograph 1914-1923 Volume 4", Pfeiffer, Futagawa, 1990, page 2. Courtesy of the Frank Lloyd Wright Foundation. 8 x 10 Print, High res digital image. 0141.02.0709
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