NOW AVAILABLE CLICK TO ORDER   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 CORRESPONDENCE    YEAR DESCRIPTION ST# 1858 Print “Fireworks at Ryogoku Bridge” from the series “One Hundred Famous Views of Edo”.  Original Japanese woodblock print, first printed 1858.  This was part of the last series of landscapes produced by the Japanese woodblock-print artist Utagawa (Ando) Hiroshige (1797-1858). These designs of Edo, or modern Tokyo, are among the most familiar images of Japanese art in the world, which ultimately numbered 118.  Many copies were printed until the wooden blocks wore out.  Image area 8.5 x 13.25.  Unknown printing date of this print.  8.5 x 13.25.  Wright owned one of these prints.  See "The Japanese Print”, Wright 1967, Plate 2, Page 35.  "Hiroshige: 100 Famous Views of Edo" Page 45, Plate 98. 2006.07.0706 C 1895 Ralph Fletcher Seymour etching, Bookplate for Nancy Lincoln Binner, Circa 1895. Proof for an etched bookplate for Nancy Lincoln Binner. "One gift the Fairies gave me, the love of books; the Golden Key that opens the Enchanted Door." Nancy Lincoln Binner - Her Book - Taken from the poem by Andrew Lance, "Ballade of the Bookworm." 1888. "Far in the Past I peer, and see; A Child upon the Nursery floor, A Child with books upon his knee, Who asks, like Oliver, for more! The number of his years is IV, And yet in Letters hath he skill, How deep he dives in Fairy-lore! The Books I loved, I love them still! One gift the Fairies gave me: (Three; They commonly bestowed of yore); The Love of Books, the Golden Key; That opens the Enchanted Door; Behind it Bluebeard lurks, and o'er; And o'er doth Jack his Giants kill, And there is all Aladdin's store,– The Books I loved, I love them still! Take all, but leave my Books to me! These heavy creels of old we bore; We fill not now, nor wander free, Nor wear the heart that once we wore; Not now each River seems to pour; His waters from the Muses' hill; Though something's gone from stream and shore, The Books I loved, I love them still! Pulled from an etched copper plate, red ink. Etched in plate, lower right corner: "Ralph Fletcher Seymour." Etching: 3.75 x 5.5. Paper: 7 x 9. 0018.40.0517 1906 Ralph Fletcher Seymour Illustration for Chief Chicago Shoes 1906. Illustration of Fort Dearborn on the left, Michigan Avenue and the Fine Arts Building on the right. Ralph Fletcher Seymour was a book publisher, engraver, illustrator and graphic designer. While working for the J. Manz Engraving Company, Ralph Fletcher Seymour began designing and publishing his own books in his spare time. The first book Seymour produced on his own was completed in 1897, featuring John Keats’ "Ode to Melancholy". He hand-lettered the text and designed the small book to imitate old wood block books. His second was "Three Merry Old Tales" 1898, based on "Shakespeare Jest Book". For his third, he chose Browning’s "Sonnets from the Portuguese." 1899. In 1900 he took over space in the Fine Arts Building from Charles Francis Browne. In October 1900 he published his fourth book, "The Eve of St. Agnes", by John Keats. This ad was published in the "Boot and Shoe Recorder," March 7, 1906, p.59. 9.5 x 12.4. 0064.26.1119 C 1913 Ralph Fletcher Seymour etching, La Poterne #2, possibly 1913. About 55 miles Southeast of the heart of Paris, there is a small bridge, the Rue du Pont that crosses the Loing. On the west end of the bridge you pass through an arched portal at the base of a tower. It looks very similar to this print, but not exact. On the North side of this arch is a restaurant called the La Poterne, at Moret-Loing-et-Orvanne, (France). On the North side of the restaurant is another smaller arch that matches this print. The sign today marks it as the "Le Pre Margaron." The Library of Congress houses a print attributed to Ralph Fletcher Seymour, but signed Hubbard Fund (possibly owner of print?), 1920s. It is a view from the opposite side of the arch. Ralph Fletcher Seymour was on the staff of the Art Institute of Chicago between 1907 and 1918. While there, he was given a year’s paid sabbatical to study art in France. His twelve-month leave began in the summer or early fall of 1912 and ended around September or early October 20, 1913. The Caxtonian, May 2011, page 9. Pulled from an etched copper plate. Under left corner of etching, signed in pencil: "Ralph Fletcher Seymour." Under right corner of etching, signed in pencil: "La Poterne #2." Hand written in the bottom left corner by Seymour: "La Poterne #2." Just up from... Continue... 0120.18.0817 1916 Ralph Fletcher Seymour etching, Fourth Presbyterian Church, Chicago," 1916. Etching pulled from a copper plate. View of the church from the Southeast. The Fourth Presbyterian Church of Chicago was organized on February 12, 1871. Later that same year, the great Chicago fire destroyed the existing building. In 1874 the church dedicated a new stone church on the northwest corner of Rush and Superior Streets. By 1911 they had outgrown their building and relocated to Michigan Avenue and Delaware Place. They began building in 1912, and dedicated the new building in 1914. Ralph Fletcher Seymour etched this drawing in 1916, two years after the dedication. Signed in plate lower right "Ralph Fletcher Seymour MCMXVI." Signed in pencil, lower left: "To Dorothy Phelps with the regards of Ralph Seymour." Etching 10.5 x 14. Framed: 19.5 x 23.5. 0136.05.0119 1917 Acme Packing Company Original Watercolor by Charles L. Morgan, 1917. Charles L. Morgan (1890-1947) had a reputation as an excellent artist as well as being an architect. Frank Lloyd Wright was working on the National Life Insurance Company project in 1924-1925. Wright sought Morgan’s help in preparing a series of perspective drawings for the project. In 1925, an illustration or a home Morgan designed was exhibited at the Chicago Architectural Exhibition League. In 1926, the League awarded Morgan second place in the "Dickey" Architectural Competition. His illustrations were published in a number of Chicago Architectural Exhibitions. C. E. Martin Formed the Acme Packing Company in 1909. It was announced on November 16, 1910 in the Chicago Tribune that the company was breaking ground on a new $50,000 packing plant which "is to be the most modern and complete for the manufacture of canned meats in the country." It was announced that the "Acme Packing Company has acquired 3 acres at Western Avenue and Forty fifth Street and will improve at once with a modern packing house for special lines," The Way-Bill, August. 1916. Ice and Refrigeration, February 1917 reported the same, adding: "...they will build a new packing house to cost about $250,000. Plans for buildings to... Continue... 0138.23.0218 1917 Chicago Theological Seminary By Charles L. Morgan, 1917. Charles L. Morgan (1890-1947) was an architect, and had a reputation as an excellent artist. Frank Lloyd Wright was working on the National Life Insurance Company project in 1924-1925. Wright sought Morgan’s help in preparing a series of perspective drawings for the project. In 1925, an illustration or a home Morgan designed was exhibited at the Chicago Architectural Exhibition League. In 1926, the League awarded Morgan second place in the "Dickey" Architectural Competition. Text lower left: "Riddle and Riddle Architects." Signed lower right: "Chas Morgan, 1917." Courtesy of the University of Chicago Library. 10 x 6 Color photograph 0138.19.1017 C 1920 Ralph Fletcher Seymour etching, "Mexican Market," Circa 1920. Etching pulled from a copper plate. Ralph Fletcher Seymour also titled this etching "Market Day at Tamazunchale." Tamazunchale is approximately 330 kilometers north of Mexico City. Just Northwest of the bridge that crosses the Rio Amajac River in Tamazunchale, where Hidalgo Street merges into Morelos Street, the church shown in this etching still exists and is now the Parroquia San Juan Bautista in Tamazunchale, on the corner of Francisco L. Morelos Street and Morelos Street. Nearly one hundred years later, the church has been enlarges, but if you look closely, elements of the old building exist. Signed in plate lower right "R F Seymour." Signed in pencil, lower left: "Mexican Market." Signed in pencil lower right: "Ralph Fletcher Seymour". Etching 10 x 8. Sheet 12.3 x 10. 0142.17.0119 C 1921 Charles L. Morgan Etching "Love and Peace" Circa 1921. Illustration of a young girl, slight smile on her face, standing on her tip toes, arms raised, dove settling on her right hand. Signed in plate: "Chas Morgan." Hand written: "Love and Peace." Bet_ _ Chas Morgan. Not dated. It has been suggested that this was Morgan’s daughter. Etching pulled from a copper plate and hand colored, watercolor. Plate size: 2.75 x 7.7, Paper size: 3.5 x 8.5. 0144.15.0720 1922 Ralph Fletcher Seymour etching "Afternoon on the Desplaines" 1922. View from the shore. A fisherman sits on the end of a boat floating close to shore. In the background is an arched bridge. Hand written in pencil bottom left: "Afternoon on the Desplaines." Hand written in pencil bottom left: "To Mary Arnold, with the appreciation of Ralph Fletcher Seymour." Etched in plate lower left: "Ralph Fletcher Seymour." Etched in plate lower right: "MCMXXII Ralph Fletcher Seymour." Etching from a copper plate, 8.6 x 6.6. Sheet size: 12 x 9.75. Framed: 15.75 x 14.5. 0147.14.1117 C 1925 Ralph Fletcher Seymour etching "Spring in the South" Circa 1925. An etching pulled from a copper plate. A lone figure stands next to a fence, under a tree. In the background is a two-story house. The washed clothes are drying in the breeze. Seymour also titled this etching "Spring in Natchez." Natchez, Mississippi is about halfway between Jackson and Baton Rouge, and sits on the banks of the Mississippi River. Not dated. Etched in plate lower left: "R F S." Etching pulled from a copper plate 5.4 x 7.4, sheet size 8 x 10. Hand written in pencil lower left: "Spring in the South." Signed bottom right: "Ralph Fletcher Seymour." 0171.29.1018 C 1925 Ralph Fletcher Seymour etching "West Shore - Florida" Circa 1925 Not Dated). An etching pulled from a copper plate. A few blades of hardy grass, blown by the wind, sprout up here and there on the beach along the "western shores" of Florida. A storm squall can be seen on the horizon to the far left. A single fishing vessel is out a sea. Etching is not dated, but possibly created on the same trip to the south when Seymour etched "Spring in Natchez." Natchez, Mississippi is about halfway between Jackson and Baton Rouge, and sits on the banks of the Mississippi River. Etched in plate lower left: "Seymour." Etching pulled from a copper plate 9.75 x 7.25, sheet size 11.25 x 9. Hand written in pencil lower left: "West Shore - Florida." Signed bottom right: "Ralph Fletcher Seymour." 0171.30.0619 1926 Garrett Biblical Institute Etching by Charles L. Morgan, 1926. Morgan was an associate of Frank Lloyd Wright. View of the Tower from the Northwest. Large etching. Garrett Biblical Institute, Evanston, Illinois, established in 1853 through a gift by Mrs. Eliza Garrett, was the first Methodist Seminary in the Midwest. It was formed largely by the same church people who founded Northwestern University. Text in plate, lower left below etching: "The Tower - Garrett Biblical Institute." Sighed in the plate, within the etching, lower right: "Chas Morgan 1926." Signed in pencil: "Chas L. Morgan." Original 12.125 x 17.75 Etching from a copper plate. Framed, 20.25 x 27.3. 0172.44.0618 C 1926 Garrett Biblical Institute Etching by Charles L. Morgan, Undated, Circa 1926. Garrett Biblical Institute, Evanston, Illinois, established in 1853 through a gift by Mrs. Eliza Garrett, was the first Methodist Seminary in the Midwest. It was formed largely by the same church people who founded Northwestern University. Text lower right in the etching: "View from the lake side - Garrett Biblical Institute. C. M." Signed in pencil: "Garrett Biblical Institute, Evanston. Ch. Morgan." Note: Morgan presented a copy of the etching to Dr. James Henry Breasted, and hand-signed it: "Garrett Biblical Institute, Evanston - To Dr. Breasted. Chas. Morgan." Etching is in the archives of the University of Chicago. Original 10.75 x 7.75 Etching from a copper plate, on paper, 14 x 11.2. 0142.15.0917 1926 Charles L. Morgan Etching from a copper plate. Sailors on deck folding their nets. Charles L. Morgan (1890-1947) was an architect, and had a reputation as an excellent artist. Frank Lloyd Wright was working on the National Life Insurance Company project in 1924-1925. Wright sought Morgan’s help in preparing a series of perspective drawings for the project. In 1925, an illustration for a home Morgan designed was exhibited at the Chicago Architectural Exhibition League. In 1926, the League awarded Morgan second place in the "Dickey" Architectural Competition. "During 1926, Mr. Morgan made a flying trip to Europe, and during this short time in Spain, in France, and in England, he produced for The Western Architect an amazing series of sketches in pastel." From the foreword by Rexford Newcomb, A. I. A., "Color Sketches: Spain, France, England. A Series of Thirty Sketches Made by Mr. Morgan in a Trip to Europe." One of the thirty included with the Sketches, is an etching titled, "Barcelona Wharf." This etching is in the same style, but more complex. It is assume he drew many more drawings than just the thirty alone. This one may be been one of the many additional illustrations he created during his trip. An article in the October 10, 1926 Chicago Tribune announces an exhibit of Morgan’s sketches... Continue... 0172.31.1016 1926 "Barcelona Wharf." Charles L. Morgan. Original Etching from a copper plate. Charles L. Morgan (1890-1947) was an architect, and had a reputation as an excellent artist. Frank Lloyd Wright was working on the National Life Insurance Company project in 1924-1925. Wright sought Morgan’s help in preparing a series of perspective drawings for the project. In 1925, an illustration for a home Morgan designed was exhibited at the Chicago Architectural Exhibition League. In 1926, the League awarded Morgan second place in the "Dickey" Architectural Competition. "During 1926, Mr. Morgan made a flying trip to Europe, and during this short time in Spain, in France, and in England, he produced for The Western Architect an amazing series of sketches in pastel." From the foreword by Rexford Newcomb, A. I. A., "Color Sketches: Spain, France, England. A Series of Thirty Sketches Made by Mr. Morgan in a Trip to Europe." This etching was reproduced as one of the thirty prints in Color Sketches. An article in the October 10, 1926 Chicago Tribune announces an exhibit of Morgan’s sketches of his trip in his studio in the Munroe Building in Chicago. "Barcelona Wharf" was chosen as one of the fifty best prints of 1926 by the Graphic Arts Society of New York. His sketches and portraits have been widely... Continue... 0172.39.0917 1926 Charles L. Morgan Original Pastel and Pencil. "Toledo, Spain." View of the Bridge San Martin over Tajo River in Toledo, Spain. Charles L. Morgan (1890-1947) was an architect, and had a reputation as an excellent artist. Frank Lloyd Wright was working on the National Life Insurance Company project in 1924-1925. Wright sought Morgan’s help in preparing a series of perspective drawings for the project. In 1925, an illustration or a home Morgan designed was exhibited at the Chicago Architectural Exhibition League. In 1926, the League awarded Morgan second place in the "Dickey" Architectural Competition. "During 1926, Mr. Morgan made a flying trip to Europe, and during this short time in Spain, in France, and in England, he produced for The Western Architect an amazing series of sketches in pastel." From the foreword by Rexford Newcomb, A. I. A., "Color Sketches: Spain, France, England. A Series of Thirty Sketches Made by Mr. Morgan in a Trip to Europe." This is one of the original thirty illustrations used in the series, and is titled "Toledo, Spain." An article in the October 10, 1926 Chicago Tribune announces an exhibit of Morgan’s sketches of his trip in his studio in the Munroe Building in Chicago. One of Morgan’s greatest achievement was his work on the Powhatan Building in Chicago, competed... Continue... 0172.32.1016 1928 Ralph Fletcher Seymour etching "Rag Pickers Court" 1928. In 1928, Ralph Fletcher Seymour traveled to Mexico, then on to Spain and Germany. In the volume "Fine Prints of the Year, Etchings and Engravings," Malcolm Charles Salaman, Halton & T. Smith, 1928, p.111 lists the following etchings: "Ralph Fletcher Seymour, Fine Arts Building, Chicago, Illinois. C.S.E. Etchings: Rag Pickers Court; Church in Burgos; From the Rock of Gibraltar; News of the Day; Old Frankfort, 12 1/2 X 6 1/2, $20; By the Wall of Nery Osmania, 8 3/4 X 11 1/2, $25; The Blue Mask, 12 1/2 X 10, $25; Old Court..." Printed on a tan paper. Etching pulled from a copper plate, 7.3 x 10. Signed in pencil: "Rag pickers court. Ralph Fletcher Seymour." Not dated. Sheet: 9 x 12. 0215.32.0920 1928 Ralph Fletcher Seymour etching "From the Rock of Gibralter" 1928. In 1928, Ralph Fletcher Seymour traveled to Mexico, then on to Spain and Germany. In Spain, he visited Madrid and Gibralter and created this drawing. In the volume "Fine Prints of the Year, Etchings and Engravings," Malcolm Charles Salaman, Halton & T. Smith, 1928, p.111 lists the following etchings: "Ralph Fletcher Seymour, Fine Arts Building, Chicago, Illinois. C.S.E. Etchings: Rag Pickers Court; Church in Burgos; From the Rock of Gibraltar; News of the Day; Old Frankfort, 12 1/2 X 6 1/2, $20; By the Wall of Nery Osmania, 8 3/4 X 11 1/2, $25; The Blue Mask, 12 1/2 X 10, $25; Old Court..." Printed on a very this tan tissue paper, unlike many of his other etchings on thicker paper. Etching from a copper plate, 6.5 x 13. Signed in pencil From the Rock of Gibralter, Ralph Fletcher Seymour." Not dated. Matt: 14.5 x 18.75. 0215.27.0519 1928 Ralph Fletcher Seymour etching "Old Frankfort" 1928. On February 5, 1928, The Chicago Daily Tribune announced: "The Chicago Society of Etchers opened their annual exhibition last week in the print rooms of the Art institute. It is a keen shame that more space Is not allotted to this exhibit. There are 323 etchings hung this year, and another 300 equally good had to be refused. Possibly it may be arranged that the society shall have all the galleries of the print department for this yearly affair. Upstairs, It is true, the Chicago artists have the entire cast wing for their work.... The current show is exceptionally good. The average is so high it is difficult to find peaks. The most satisfactory way, perhaps, is to select the ten which please you the most and dub them your peaks. I tried that, a little, and had for one result this list of etchings which should not be missed; "Eagle," by H. Emerson Tuttle; " Grand Mosque, Kalronan," by Louis C. Rosenberg; " Log Team," by George Soper; " Corn Stubble," by. Lee Sturges; " Comrades All," by George Rosier; " Dancing on Hampstead Heath," by Laura Knight; "Sand Dunes," by Sears Gallagher; "La Mangla, Siena," by John Taylor Arms; "Angker Bayou at Sunset," by Lucille Douglass; " Pig Market," by Pop Hart; "Black Brig," by W. A. Sherwood; " Old Frankfort," by Ralph... Continue... 0215.19.0217 1928 Ralph Fletcher Seymour etching "Rothenberg Turm" Circa 1928. In 1928 Seymour produced the etching "Old Frankfort." 174 kilometers to the Southeast is Rothenburg, Germany. Old Rothenburg is filled with many "Turms" ("Towers"). This etching in particular is the "WeißerTurm," on Georgengasse Street, viewed from just across Pfarrgasse Street. When Seymour etched this scene, it was etched on the plate as seen, which when printed, is viewed backwards. It is listed as one of Seymour’s etchings in "Fine Prints of the Year" 1928. "Seymour, Ralph Fletcher, Fine Arts Building, Chicago, Illinois. Etchings..." Signed in the plate, bottom left hand corner "RFS." Signed in pencil "Rothenberg Turm, Ralph Fletcher Seymour." Etching pulled from a copper plate, 7.9 x 10.75. Sheet size: 11.5 x 15. Framed: 14 x 17.5. 0215.22.1017 1937 Ralph Fletcher Seymour etching "Old Main" 1937. Ralph Fletcher Seymour was artist in residence at Know College, Galesburg, Illinois. In 1937, Seymour painted Abraham Lincoln, on stage, giving a speech at the Lincoln-Douglas debate at Knox College, Galesburg, Illinois, October 7th 1858. The painting hangs in the college’s Old Main. For the 100th anniversary of Knox College, Seymour also etched this illustration. Text etched in lower left corner: "Old Main" Knox College, A Commemorative Etching, 1837-1937. Hand signed in pencil lower left: "Old Main" Knox College. Hand signed in pencil lower right: Ralph Fletcher Seymour. Etching from a copper plate: 12 x 9.4. Sheet size: 14.1 x 10. Framed: 16.5 x 12.5. Signed in pencil by Ralph Fletcher Seymour. 0429.29.0417   Set of 5 etched prints by Ralph Fletcher Seymour.   1937 Ralph Fletcher Seymour etching "590 North Prairie Street" 1937. Ralph Fletcher Seymour was artist in residence at Know College, Galesburg, Illinois, in 1937. 590 North Prairie St, Galesburg, IL is a 5,390 square foot home built by George A. Lawrence (1859-1934) in 1898 at a cost of $80,000. Built of Colona Sandstone with marble columns, the Lawrence house was the most expensive house built in Galesburg during the 19th century. Lawrence graduated from Knox College in 1875 and became a successful local attorney and banker, and was a longtime trustee of Knox College. His wife Ella (1857 - 1924), was also a Knox graduate, and was one of the founders of the local Daughters of the American Revolution. They had five children, but two passed away in infancy, a son who died at the age of 112, and a daughter that died at the age of 9. Their fifth child, was a daughter, Ella Rebecca Lawrence (1891-1975). Rebecca was on the faculty of Knox College from 1913-16. After she married John Marshall Lowrie in December, 1916, they moved to New York City. In 1928, she wrote Cambric Tea, a book about growing up in Galesburg. Following her husband's death in 1954, she moved to Chicago. The home remained in her name until after her husbands death when it was reported that she donated it to the... Continue... 0429.30.0517 1937 Ralph Fletcher Seymour etching "590 North Prairie Street" Back Yard 1937. Ralph Fletcher Seymour was artist in residence at Know College, Galesburg, Illinois, in 1937. 590 North Prairie St, Galesburg, IL is a 5,390 square foot home built by George A. Lawrence (1859-1934) in 1898 at a cost of $80,000. Built of Colona Sandstone with marble columns, the Lawrence house was the most expensive house built in Galesburg during the 19th century. Lawrence graduated from Knox College in 1875 and became a successful local attorney and banker, and was a longtime trustee of Knox College. His wife Ella (1857 - 1924), was also a Knox graduate, and was one of the founders of the local Daughters of the American Revolution. They had five children, but two passed away in infancy, a son who died at the age of 112, and a daughter that died at the age of 9. Their fifth child, was a daughter, Ella Rebecca Lawrence (1891-1975). Rebecca was on the faculty of Knox College from 1913-16. After she married John Marshall Lowrie in December, 1916, they moved to New York City. In 1928, she wrote Cambric Tea, a book about growing up in Galesburg. Following her husband's death in 1954, she moved to Chicago. The home remained in her name until after her husbands death when it was reported that she donated... Continue... 0429.31.0517 1937 Ralph Fletcher Seymour etching View From the Back Porch of the Laurence House 1937. Ralph Fletcher Seymour was artist in residence at Know College, Galesburg, Illinois, in 1937. The Laurence House, 590 North Prairie St, Galesburg, IL is a 5,390 square foot home built by George A. Lawrence (1859-1934) in 1898 at a cost of $80,000. Built of Colona Sandstone with marble columns, the Lawrence house was the most expensive house built in Galesburg during the 19th century. Lawrence graduated from Knox College in 1875 and became a successful local attorney and banker, and was a longtime trustee of Knox College. His wife Ella (1857 - 1924), was also a Knox graduate, and was one of the founders of the local Daughters of the American Revolution. They had five children, but two passed away in infancy, a son who died at the age of 112, and a daughter that died at the age of 9. Their fifth child, was a daughter, Ella Rebecca Lawrence (1891-1975). Rebecca was on the faculty of Knox College from 1913-16. After she married John Marshall Lowrie in December, 1916, they moved to New York City. In 1928, she wrote Cambric Tea, a book about growing up in Galesburg. Following her husband's death in 1954, she moved to Chicago. The home remained in her name until after her husbands death when it... Continue... 0429.32.0517 1937 Ralph Fletcher Seymour etching View From the Back Porch of the Laurence House 1937. Ralph Fletcher Seymour was artist in residence at Know College, Galesburg, Illinois, in 1937. The Laurence House, 590 North Prairie St, Galesburg, IL is a 5,390 square foot home built by George A. Lawrence (1859-1934) in 1898 at a cost of $80,000. Built of Colona Sandstone with marble columns, the Lawrence house was the most expensive house built in Galesburg during the 19th century. Lawrence graduated from Knox College in 1875 and became a successful local attorney and banker, and was a longtime trustee of Knox College. His wife Ella (1857 - 1924), was also a Knox graduate, and was one of the founders of the local Daughters of the American Revolution. They had five children, but two passed away in infancy, a son who died at the age of 112, and a daughter that died at the age of 9. Their fifth child, was a daughter, Ella Rebecca Lawrence (1891-1975). Rebecca was on the faculty of Knox College from 1913-16. After she married John Marshall Lowrie in December, 1916, they moved to New York City. In 1928, she wrote Cambric Tea, a book about growing up in Galesburg. Following her husband's death in 1954, she moved to Chicago. The home remained in her name until after her husbands death when... Continue... 0429.33.0517 1937 Ralph Fletcher Seymour etching View of the Southeast corner of the Laurence House 1937. Ralph Fletcher Seymour was artist in residence at Know College, Galesburg, Illinois, in 1937. The Laurence House, 590 North Prairie St, Galesburg, IL is a 5,390 square foot home built by George A. Lawrence (1859-1934) in 1898 at a cost of $80,000. Built of Colona Sandstone with marble columns, the Lawrence house was the most expensive house built in Galesburg during the 19th century. Lawrence graduated from Knox College in 1875 and became a successful local attorney and banker, and was a longtime trustee of Knox College. His wife Ella (1857 - 1924), was also a Knox graduate, and was one of the founders of the local Daughters of the American Revolution. They had five children, but two passed away in infancy, a son who died at the age of 112, and a daughter that died at the age of 9. Their fifth child, was a daughter, Ella Rebecca Lawrence (1891-1975). Rebecca was on the faculty of Knox College from 1913-16. After she married John Marshall Lowrie in December, 1916, they moved to New York City. In 1928, she wrote Cambric Tea, a book about growing up in Galesburg. Following her husband's death in 1954, she moved to Chicago. The home remained in her name until after her husbands death when... Continue... 0429.34.0517 1955 Dallas Theatre Center (1955 - S.395). "Dallas Theater Center. Frank Lloyd Wright Architect. Perspective of the Dallas Theater. Print of an Illustration by Frank Lloyd Wright. Hand written note of back. "A drawing by Frank Lloyd Wright of the Dallas Theater Center - 3636 Turtle Creek Blvd. This is the only Theater ever executed by Frank Lloyd Wright." The design for this theater was first conceived for the New Theatre for Woodstock, New York (1931 Project). In 1938 Wright designed the Pfeiffer Chapel (S.251) at the Florida Southern College and utilized the original Woodstock floor plan. In 1949 the "New Theatre" was revived again in Hartford, Connecticut, but was never executed. The concept for the "New Theatre for Woodstock" was finally executed in Dallas as the Dallas Theater Center. From the estate of Jean Warner Epperson (Jul. 7, 1919 - Oct. 15, 1998), who was involved with the theater. Print measures 8.5. x 3.75. Matted and framed in red, 12 x 7.25. Printed in two color, black and red square. See "Wright" 1943-1959, page 392. 1092.51.0813 1956 The Price Tower, Bartlesville, Oklahoma, February 9, 1956.  A two-color folder which includes Seven 8 x 10  prints (Sweeney 1093)   1956 The Price Tower.  Set of seven prints. (Published by the H. C. Price Co., Bartlesville, Oklahoma) Wright, Frank Lloyd; H. C. Price Co. 1) Four-color of exterior.  The only four-color print from the set of seven prints included in The Price Tower Promotional Folder.  This is a lithograph print, not a photographic print.  Printed on glossy paper.  (First Edition) 7.8 x 10.3 1093.15.0507 1956 The Price Tower.  Set of seven prints. (Published by the H. C. Price Co., Bartlesville, Oklahoma) Wright, Frank Lloyd; H. C. Price Co. 2) Arial View. B&W print from the set of seven prints included in The Price Tower Promotional Folder.  This is a lithograph print, not a photographic print.  One color printed on glossy paper.  (First Edition) 9.9 x 8 1093.01.0303 1093.16.0507 1956 The Price Tower. Set of seven prints. (Published by the H. C. Price Co., Bartlesville, Oklahoma) Wright, Frank Lloyd; H. C. Price Co. 3) Duotone of Exterior at Night. The only duotone print from the set of seven prints included in The Price Tower Promotional Folder.  This is a lithograph print, not a photographic print.  Two color printed on matt paper.  (First Edition) 8 x 10 1093.02.0303 1093.17.0507 1956 The Price Tower. Set of seven prints. (Published by the H. C. Price Co., Bartlesville, Oklahoma) Wright, Frank Lloyd; H. C. Price Co. 4) Exterior at Night. B&W print from the set of seven prints included in The Price Tower Promotional Folder.  This is a lithograph print, not a photographic print.  One color printed on glossy paper.   (First Edition) 8.1 x 9.8 1093.03.0303 1093.18.0507 1956 The Price Tower. Set of seven prints. (Published by the H. C. Price Co., Bartlesville, Oklahoma) Wright, Frank Lloyd; H. C. Price Co. 5) Exterior Day Time. B&W print from the set of seven prints included in The Price Tower Promotional Folder.  This is a lithograph print, not a photographic print.  One color printed on glossy paper.   (First Edition) 8.1 x 9.8 1093.04.0303 1093.19.0507 1956 The Price Tower. Set of seven prints. (Published by the H. C. Price Co., Bartlesville, Oklahoma) Wright, Frank Lloyd; H. C. Price Co. 6) Detail Exterior. B&W print from the set of seven prints included in The Price Tower Promotional Folder.  This is a lithograph print, not a photographic print.  One color printed on glossy paper.   (First Edition) 8.1 x 9.9 1093.05.0303 1093.20.0507 1956 The Price Tower. Set of seven prints. (Published by the H. C. Price Co., Bartlesville, Oklahoma) Wright, Frank Lloyd; H. C. Price Co. 7) Detail Tower. B&W print from the set of seven prints included in The Price Tower Promotional Folder.  This is a lithograph print, not a photographic print.  One color printed on glossy paper.  (First Edition) 8.1 x 9.9 1093.06.0303 1093.21.0507 Circa 1966  Isabel Roberts Residence (1908 - S.150). Hennessy, Joseph F. Illustration of residence by Joseph F. Hennessy, circa 1966. Printed on beige stock. "Isabel Roberts House, 1908. 603 Edgewood Place, River Forest, Ill." Joseph F. Hennessy was born in 1917 in Pittsfield, Mass., and attended the University of Notre Dame. He was on the design team for the Prudential Building, utilizing his rendering ability. By the late 1950s, he started his own firm. His focus changed as demand for his renderings grew. His renderings of Frank Lloyd Wright structures were sold at...  Continue... 15 x 10 1679.07.0713 Circa 1968  Nathan G. Moore Residence (1895/1923 - S.34). Hennessy, Joseph F. Illustration of residence by Joseph F. Hennessy, circa 1968. Printed on beige stock. "Nathan G. Moore House, 1995 & 1923. Forest Ave, Oak Park, Ill." 15 x 10 1757.10.0713 Circa 1968  Frederick C. Robie Residence (1906- S.127). Hennessy, Joseph F. Illustration of residence by Joseph F. Hennessy, circa 1968. Printed on beige stock. "Frederick C. Robie House, 1909. 5757 Woodlawn Ave, Chicago, Ill." 15 x 10 1757.11.0713   Unitarian Meeting House. Set of five 8 x 10 lithograph prints.   Circa 1978  Unitarian Meeting House (1947 - S.291) Circa 1978. Set of five 8 x 10 lithograph prints. (#1) Exterior view of the sanctuary from the Northwest, at night. Text of face: "Frank Lloyd Wright Unitarian Meeting House, Madison, Wis. Photographs by Mary Allen." 8 x 10 B&W lithograph print. 1978.43.0514 Circa 1978 Unitarian Meeting House (1947 - S.291) Circa 1978. Set of five 8 x 10 lithograph prints. (#2) Exterior view of the sanctuary from the Northwest, at night. Text of face: "Frank Lloyd Wright Unitarian Meeting House, Madison, Wis. Photographs by Mary Allen." 8 x 10 B&W lithograph print. 1978.44.0514 Circa 1978 Unitarian Meeting House (1947 - S.291) Circa 1978. Set of five 8 x 10 lithograph prints. (#3) Exterior view of the sanctuary from the West. Text of face: "Frank Lloyd Wright Unitarian Meeting House, Madison, Wis. Photographs by Mary Allen." 10 x 8 B&W lithograph print. 1978.45.0514 Circa 1978 Unitarian Meeting House (1947 - S.291) Circa 1978. Set of five 8 x 10 lithograph prints. (#4) Interior view of the sanctuary. Text of face: "Frank Lloyd Wright Unitarian Meeting House, Madison, Wis. Photographs by Mary Allen." Published in "Frank Lloyd Wright, His Work and His Architecture," Twombly, 1979, p.353. 10 x 8 B&W lithograph print. 1978.46.0514 Circa 1978 Unitarian Meeting House (1947 - S.291) Circa 1978. Set of five 8 x 10 lithograph prints. (#5) Interior view of the sanctuary. Text of face: "Frank Lloyd Wright Unitarian Meeting House, Madison, Wis. Photographs by Mary Allen." 8 x 10 B&W lithograph print. 1978.47.0514 1987 S.C. Johnson & Son Prints by Steelcase, 1987. Set of four prints and envelope of 1939 photographs. Each card has a thick embossed border symbolizing the glass tubing used throughout the Administration building. The Envelope is printed with Frank Lloyd Wright’s signature red square, "Frank Lloyd Wright/Apr 15 39." 1) The Great Workroom. Text on Verso: "The Johnson Wax Building, Racine, Wisconsin. In the Great Workroom, the rounded edges of worksurfaces and the backs and seats of chairs repeat the distinctive lines of Frank Lloyd Wright’s dendriform columns. Steelcase. 1987 Steelcase Inc., Grand Rapids, Michigan 49501. Form number S-455. Litho in U.S.A." 2) Desk designed by Frank Lloyd Wright. Text on Verso: "The Johnson Wax Building, Racine... Continue... 1987.88.0316   S.C. Johnson & Son Administration Building.  Set of 12 lithograph prints (printed on a printing press, not photographically). Tours were available at the S.C. Johnson & Son in 1988 at cost $8.00 per person. S.C. Johnson & Son handed out a tour booklet and these prints during the tour. Tour booklet included five sites: Wingspread, the Golden Rondelle, the Johnson Wax building, the Prairie School, and St. Patrick's Church.   C 1988 Print 1) SC Johnson Administration Building Great Room, 1939 (1936 - S.237). Set of prints circa 1988. West side of Administration Building 1939, viewed from the Northeast. Exterior of the great workroom. Designed in 1936, the official opening of the SC Johnson Administration Building spanned three days, April 22-24, 1939. It has been called the greatest contribution to business housing since the design of the skyscraper. Similar image in "Frank Lloyd Wright and the Johnson Wax Building", Lipman, 1986, p.98. 8 x 10 lithograph print. 1988.77.0523 C 1988 Print 2) SC Johnson Administration Building Lobby (1936 - S.237) 1939, viewed from the East, second level. Designed in 1936, the official opening of the SC Johnson Administration Building spanned three days, April 22-24, 1939. It has been called the greatest contribution to business housing since the design of the skyscraper. Monolithic dendriform columns had a metal base embedded in the floor. Golf tee in shape, the base has a diameter of 9 inches, gradually widen to 2 feet 10 inches at the top, then spread out to a diameter of 18 feet 6 inches. The tallest columns are in the lobby at 31 feet tall, and the great room which are 21 feet 7.5 inches high. Published in "Frank Lloyd Wright and the Johnson Wax Building", Lipman, 1986, p.50. 8 x 10 lithograph print. 1988.56.0911 C 1988 Print 3) SC Johnson Administration Building detail of the Lobby, 1939 (1936 - S.237), viewed from the ground level. Designed in 1936, the official opening of the SC Johnson Administration Building spanned three days, April 22-24, 1939. It has been called the greatest contribution to business housing since the design of the skyscraper. Monolithic dendriform columns had a metal base embedded in the floor. Golf tee in shape, the base has a diameter of 9 inches, gradually widen to 2 feet 10 inches at the top, then spread out to a diameter of 18 feet 6 inches. The tallest columns are in the lobby at 31 feet tall, and the great room which are 21 feet 7.5 inches high. Similar image in "Frank Lloyd Wright and the Johnson Wax Building", Lipman, 1986, p.113. 8 x 10 lithograph print. 1988.78.0523 C 1988 Print 4) SC Johnson Administration Building detail of the Lobby, 1950 (1936 - S.237), viewed from the ground level. Designed in 1936, the official opening of the SC Johnson Administration Building spanned three days, April 22-24, 1939. It has been called the greatest contribution to business housing since the design of the skyscraper. Monolithic dendriform columns had a metal base embedded in the floor. Golf tee in shape, the base has a diameter of 9 inches, gradually widen to 2 feet 10 inches at the top, then spread out to a diameter of 18 feet 6 inches. The tallest columns are in the lobby at 31 feet tall, and the great room which are 21 feet 7.5 inches high. Image published in "Frank Lloyd Wright and the Johnson Wax Building", Lipman, 1986, p.102. 8 x 10 lithograph print. 1988.83.0415 C 1988 Print 5) SC Johnson Research Tower (1944 - S.238) 1950, viewed from the Northwest, inside the courtyard. Designed in 1944, the tower opened in November 1950. The tower was designed with a center core the was 54 feet deep. Fifteen floors cantilevered out from the core, floors alternated square and round, reaching a height of 153 feet. Similar image in "Frank Lloyd Wright and the Johnson Wax Building", Lipman, 1986, p.155, dated 1950. 8 x 10 lithograph print. 1988.34.0307 C 1988 Print 6) SC Johnson Research Tower complex (1944 - S.238) 1950, viewed from the Southwest, across the rooftop of the new Research Tower complex. The Research Tower is to the left out of the picture. The flora pond is in the foreground. The walkway bridge extends from the original Administration Building to the new complex that also included the advertising department. The glass done covers the lobby of the reception area of the advertising department. 8 x 10 lithograph print. Two copies. 1988.57.0911 1988.58.0911 C 1988 Print 7) Frank Lloyd Wright visits SC Johnson Administration Building (1936 - S.237), overlooks Lobby from third floor balcony 1950. When the research tower complex was dedication on November 17, 1950, Mr. Wright was in attendance. Published in "Frank Lloyd Wright and the Johnson Wax Building", Lipman, 1986, p.ii. 8 x 10 lithograph print.  1988.32.0307 C 1988 Print 8) SC Johnson Administration Building Great Room (1936 - S.237) Circa 1950. Designed in 1936, the official opening of the SC Johnson Administration Building spanned three days, April 22-24, 1939. It has been called the greatest contribution to business housing since the design of the skyscraper. Monolithic dendriform columns had a metal base embedded in the floor. Golf tee in shape, the base has a diameter of 9 inches, gradually widen to 2 feet 10 inches at the top, then spread out to a diameter of 18 feet 6 inches. The tallest columns are in the lobby at 31 feet tall, and the great room which are 21 feet 7.5 inches high. 8 x 10 lithograph print. 1988.33.0307 C 1988 Print 9) SC Johnson Administration Building Great Room, 1939 (1936 - S.237). Set of prints circa 1988. Viewed from the Northern end, looking East. Designed in 1936, the official opening of the SC Johnson Administration Building spanned three days, April 22-24, 1939. It has been called the greatest contribution to business housing since the design of the skyscraper. Monolithic dendriform columns had a metal base embedded in the floor. Golf tee in shape, the base has a diameter of 9 inches, gradually widen to 2 feet 10 inches at the top, then spread out to a diameter of 18 feet 6 inches. The tallest columns are in the lobby at 31 feet tall, and the great room which are 21 feet 7.5 inches high. Photographed after handrails were added to the short walls around the second level. 8 x 10 lithograph print. 1988.84.0415 C 1988 Print 10) SC Johnson Advertising Department Reception Room (1944 - S.238) 1950. The Advertising Department is in the Southeast corner of the Research Tower complex. Designed in 1944, the tower complex opened in November 1950. The dome above the reception room is similar to one of the designed first proposed for the Guggenheim Museum (0987.35). Also see "The Solomon Guggenheim Museum", Pfeiffer, 1994, cover. 8 x 10 lithograph print. 1988.79.0523 C 1988 Print 11) SC Johnson Advertising Department Reception Room (1944 - S.238) 1950. The Advertising Department is in the Southeast corner of the Research Tower complex. Designed in 1944, the tower complex opened in November 1950. The dome above the reception room is similar to one of the designed first proposed for the Guggenheim Museum (0987.35). Also see "The Solomon Guggenheim Museum", Pfeiffer, 1994, cover. 8 x 10 lithograph print. 1988.80.0523 C 1988 Print 12) SC Johnson Administration Building (1944 - S.238) aerial view circa 1970. Aerial view in "Frank Lloyd Wright and the Johnson Wax Building", Lipman, 1986, p.162-3, is dated 1961. Parking lot in foreground was filled with homes in 1961. Building just to the right of the tower in 1961 has also been torn down and paved. 8 x 10 lithograph print. Two copies. 1988.35.0307 1988.55.0911 C 1988 Loren B. Pope Residence, Circa 1988 (1939 - S.268). Designed in 1939, construction was completed during the early part of 1941. The Popes lived in the home until 1947 when they sold the home to Mr. & Mrs. Leighey. The house was slated for destruction by the highway department, and Mrs. Leyhey saved the house by having it moved to the grounds of Woodlawn Plantation, a National Trust property. Printed on a toothed paper stock from an original pen and ink stippling drawing by Rachael A Peden. The original 20 x 24 inch pen and ink stippling drawing was created at the request of the National Trust. Original 11 x 14 offset lithography print. Gift of Kathryn Smith. 1988.117.0321 1990 Exhibition Prints: Frank Lloyd Wright: In The Realm of Ideas. 1990. Three prints used at the Bellevue, WA exhibition of the Usonian Exhibition House at the Bellevue Art Museum, October 9 - January 7, 1990. 1) "Frank Lloyd Wright: In The Realm of Ideas. October 9 - January 7, 1990. (Logo.) Bellevue Art Museum, 301 Bellevue Square, Bellevue, Washington. Printing: Puget Sound Power & Light Company. Type: Typehouse. Design: Nichols & Zwiebel." 2) "National Sponsors. Frank Lloyd Wright: In The Realm of Ideas is organized by the Scottsdale Cultural Council and the Frank Lloyd Wright Foundation. This exhibit has been made... Continue... 1990.120.0416 (1-3) 2004  Fallingwater 2004 (1935 - S.230). "Frozen Fallingwater" by Dee Lee Stevens, 2004, 3/50. Dee Lee Stevens attended John Herron Art School, now part of the Indiana University, and later transferred to Ball State University, and earned a Bachelor of Science in Fine Arts. She is a member and past chairman of the Sanford Seminole Art Association (SSAA), one of the oldest cultural organizations in Seminole County, Florida. Signed and numbered. 8.5 x 6.25 2004.66.0214 2007 Oak Park illustration by Patrick E. Hilton. Circa 2007. Frank Lloyd Wright Historic District, Oak Park, Illinois. Compilation of nine illustrations of Frank Lloyd Wright designed homes in Oak Park. Illustrations include: Home & Studio (3), Hills, Beachy, Thomas, Gale, Moore and Heurtley. Signed in pencil by Patrick E. Hilton. Original list price $26.00. 8 x 10 B&W illustration. 2007.90.1018 2010  The New Yorker Cover. Oct. 21, 2010. Illustration of the Guggenheim Museum. Possible alternative cover for the October 25, 2010 issue to accompany the article "Turning Away. The classical revival between the World Wars," concerning an exhibit on early twentieth-century classicism at the Guggenheim Museum. Bottom right hand corner has an emblem, "SP". See "The New Yorker Visits The Guggenheim." Print measures 5 x 7. 2010.15.0813   BACK TO TOP

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