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This is drawing number 4930.006 in the Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Library, Columbia University, New York).

I found another Taliesin drawing

Posted on 07/02/2023 | by admin

Reading Time: 6 minutes

This is drawing number 4930.006 in the Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Library, Columbia University, New York).

Two years ago I wrote here about when I found a Taliesin drawing of bunkbeds for a room at Taliesin in 1911.

srsly: someone needs to give me a commission for suggesting that the Frank Lloyd Wright Foundation use this to market Wright-designed bunkbeds.

My post today is about another Taliesin drawing I found.

Several months ago I went looking at the drawings that show Wright’s drawings related to buildings on the Taliesin estate.

I did that because researching things related to Taliesin makes me happy.

C’mon: you know you’re not surprised.

You can see the drawings from 1910 at the Wasmuth Portfolio and in a number of books. But you can see also a lot of online black and white photos in the Frank Lloyd Wright Foundation Archives through Artstor.

Artstor is:

a nonprofit organization that builds and distributes the Digital Library, an online resource of more than 2.5 million images in the arts, architecture, humanities, and sciences, and Shared Shelf, a Web-based cataloging and image management software service that allows institutions to catalog, edit, store, and share local collections.

Every drawing in the Frank Lloyd Wright Foundation Archive has an identification number. The first four digits of each ID comprise the project number.

So, like, all drawings for Wright’s Guggenheim Museum commission start with “4305.”

The first two numbers are because the commission started in 1943. Bruce Pfeiffer (a member of the Taliesin Fellowship who became the archivist for Wright’s collection) numbered the Gugg as that year’s 5^th commission. So: 4305.¹

I’ve got the project numbers for all of Wright’s buildings on the Taliesin estate. So I searched for those numbers at ARTSTOR.

You can do it, too, if you have the time. Just go to this page. Might not be something you want to do in the summer, but you could. Sure, you could!

One of the building projects that I studied was labelled:

#4930

4930 were drawings executed during the planned renovation of the “Home Building” at Hillside. Hillside is one of the buildings on the Taliesin estate. If you’ve taken a tour that went anywhere near the Hillside building, your guide might have told you about the Home Building. It stood there from 1887-1950, and is part of the site’s history.

In 1887, Wright designed the building for his aunts, Jennie and Nell Lloyd Jones when they were planning their new school (see the whole history of it here).

You can find lots of photos of the Home Building at the Wisconsin Historical Society. Here’s one below:

From a postcard. Photo taken 1887-1915 (although probably pre-1915). Looking northwest at the Home Building. The postcard says “Hillside Home School”, which was the name of the school, but not the name of the building. Wright’s later Hillside Home School building (the stone building) was built to the left of the building you see in the photo.

When Wright published his autobiography in 1932, he described the building as “designed by amateur me and built by Aunt Nell and Aunt Jennie in 1887 to mother their forty or fifty boys and girls.”²

Actually, he was so young when he first designed it, that none of the detailed drawings survive.³ But here’s part of what Aunt Nell wrote to the young Wright after he’d arrived in Chicago:

…. Do not take time to make elegant drawings if you are busy but send a rough sketch of what you think the best plan as soon as you can – as we hope to get men at work upon it as soon as the ground is fit in the spring….

I write in great haste but with much love –

Aunt Nell⁴

Really: it was not a bad building for a 19-year-old to design.

After Wright’s aunts closed their school in 1915, the building and grounds stood idle for years.

Then,

in 1932 he and wife Olgivanna started the Taliesin Fellowship (his apprentice program).

The photo below

Shows work taking place at the Home Building. Apprentice Edgar Tafel took it and it’s published in his book, Apprentice to Genius. The photo was taken in 1932-33:

Looking northeast at two people working near the Home Building during its initial renovation. Photo in Apprentice to Genius, p. 29.

We saw this side of the building in the earlier photo. In the photo above, we’re looking northeast. In the earlier photo, we were looking northwest.

Apparently, he wanted to do a lot more, but he never got around to it.

Yet in 1949, he addressed the building again.

And that’s how come,

Bruce numbered this collection of drawings “4930”.

When I looked at them, I realized one of them wasn’t the Home Building at all.

Drawing 4930.006 is part of Taliesin. In fact,

the drawing shows the old dining room

I put the drawing of the old dining room on the left next to the drawing in the collection for 4930 on the right:

There were a few things in the drawing I recognized. The main thing is saw was the fireplace. It’s shaped like an upside down “T”. Not that far from it is the “entry” and the “cooling” room, just like they were in that part of the building. You can see where Wright drew little tables and chairs in figuring out the seating.

I then sent the compared drawings to Kyle Dockery, the Wisconsin onsite Collections Coordinator for the Frank Lloyd Wright Foundation. He agreed that I found another Taliesin drawing. He thought 4930.006 shows Wright expanding the room. Which is why he had that large part (also shaped like a “T”) coming off on the left.

After this, I wrote my thoughts to someone at the Avery Library, since they have the drawings. I gave them my theory and sent them the comparison drawings. Shelley (from the Avery) wrote me back, agreeing with me and thanking me for my “meticulous eye”.⁵

By the way:

the continuation of the renovation was halted in 1950 when Wright ordered his apprentices to destroy the building. Leading to this fantastic photo of Wright “conducting a symphony of destruction”:

You can see it on page 6 of The Harvester World at the Wisconsin Historical Society. The image above links to that page of the magazine.

Why did he get rid of the Home Building?

It was part of Wright’s “cleaning up” of Hillside over the years. I think he did this because Hillside became his testing ground for large-scale designs. Here’s a photo of the walk up to Hillside that he created:

Photograph that Maynard Parker took for House Beautiful magazine in 1955. Looking east at the Hillside Home School structure.

Because of the Home Building, for years you really could not have gotten a view like Parker got in the photo above. The Home Building would have stood right in the way of the photographer.

First published July 2, 2023.
The drawing at the top of this page is property of the Frank Lloyd Wright Foundation and is from The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art|Avery Architectural & Fine Arts Library, Columbia, New York).

Notes:

1. I think the second number is the commission for that year. No one ever told me, but it seems logical.

2. Frank Lloyd Wright. An Autobiography (Longmans, Green and Company, London, New York, Toronto, 1932), 129.

3. One was published at the time in Inland Architect. It’s on this page.

4. Nell Lloyd Jones to Frank Lloyd Wright on March 9, 1887. FICHEID #: J001A03

5. Someday I’d like to get to the archives and look at everything they haven’t identified.

Photograph in 1998 of Keiran Murphy lecturing to staff in the Hillside Theatre.

Hey Keiran Q and A

Posted on 08/23/2022 | by admin

Reading Time: 6 minutes

A photograph of me taken by the Executive Director at Taliesin Preservation in 1998. I was giving a lecture on Taliesin’s history.

I talked about “Hey Keiran” in my blog post on “How I became the historian for Taliesin.”

Back then, the only way people got their weekly schedules was to pick up the printed ones at work.
Craig, at that time the head guide, thought a weekly question/answer section would remind people to pick up them up. They called it “Hey Keiran!” and printed them on the back of the schedules.
I thought it was called “Hey Keiran!” because people would ask me things all the time while I was walking through the main floor. Yet someone recently reminded me that the name was inspired by what Dan Savage wanted to call his question-and-answer feature¹ at The Onion satirical newspaper.

“Hey Keiran!” is the reason why I’ve contemplated what side of the bed Wright slept on,² if he knew Feng Shui,³ and whether or not Taliesin had outhouses.

Here are two Hey Keiran Q-and-As that I think are pretty cool. They were too short to write a whole post about, but I thought they deserved to be enjoyed by the masses.

Note that I’ve edited the Hey Keirans for clarity, etc., etc.:

Another geek adventure

until your questions bathe me in the sweat of hardworking researchment (or I figure out answers to questions you’ve already asked), I’ll give you this:

So,

we have a copy of a photograph that shows Frank Lloyd Wright and Olgivanna reading in his bedroom, in front of his bookshelves.

Melvin E. Diemer took it after FLLW moved to the room in 1936, but before he expanded the room in 1950

(I know this because the bookshelves show a slightly different configuration than what existed after he expanded the room).

So, the general date for the photo was 1936-1950.

But then

I had some time before Thanksgiving. And you know me when I have time to think about photos.

In this case, I was musing and thought,

“Hey, Keiran! The photo shows books on the bookshelves – maybe you could look them up and get a better sense of the photograph’s date?”

[btw, I talk to myself like this all the time. Oh, and there’s a bridge I want to sell you.]

Therefore, I took the time to look on-line for the titles of the books. I found some of the books and, as a result, came to the conclusion that this photograph was taken sometime between 1940-1950. Yay!!!!

Here’s the gold, people:

©Wisconsin Historical Society—Deimer Collection, #3976. Please don’t copy this on a large scale, but it is on their website.

What I could read is below:

The New Universe, Baker Brownell, pub. 1926,

A Storyteller’s Holiday (2 vols.), by George Moore, pub. 1928,

The People, Yes, by Carl Sandburg, pub. 1936,

After 1903—What?, by Robert Benchley, pub. 1938,

Panic, by Archibald MacLeish, pub. 1938, and

A Concise History of Gardening, by A.J. MacSelf, this ed. pub. by Garden City Pub. Co., 1940.

At the time that I wrote that Hey Keiran article, the book, After 1903—What? was in the room at Taliesin known as the Garden Room (someone took a photo of it, here).

I mentioned that in the Hey Keiran article:

I freaked out on a tour

(in a good way)

when I looked down and saw this book. Donna

(the House Steward working that day)

seemed to handle it ok. I think that is because she’s used to me coming into Taliesin and finding odd things that I get really excited about.

Ok.

Here’s another Hey Keiran!

This is the question:

Q: When was the portrait of Anna Lloyd Wright put above the fireplace in Wright’s studio? Originally, Wright had an Amida Buddha painted on a 3-part screen—if I’m interpreting an old photo correctly. What happened to that? Sold? What was up there when he died?

Here’s my response:

A: Anna’s portrait was up there when Wright died. Initially, we were told that Wright put his mother’s portrait up there when it was painted.
So we thought he put it there c. 1920.

However,

when I began looking at historic photographs, I couldn’t find evidence of that.

In fact, a couple of photographs clearly show the Amida Buddha, and those photos date from the late 20s-early 30s.

(so, before the Taliesin Fellowship started in 1932).

One of those photos is on the Wisconsin Historical Society website. That photo is below:

Photograph from the Wisconsin Historical Society.
Collection: Frank Lloyd Wright Projects Photographs.

You can see two panels of the Amida Buddha screen in the background.

So, when did Anna’s portrait get up there?4

Former apprentice, the late Kenn Lockhart, answered that question in an interview with Indira Berndtson

(she is the Frank Lloyd Wright Foundation Administrator of Historic Studies: Collections and Exhibitions)

Indira interviewed him at Taliesin on July 27, 1990, and he talked about the painting. Lockhart, who entered the Fellowship in 1939, said in his interview that:

“I have an idea that one of his relatives had it and it came. Because I remember when it arrived. We were living here [i.e., at Taliesin] during the [second World] war.”

Here’s a photograph of Lockhart sitting in Wright’s studio, on the built-in seat by the studio’s fireplace. Priscilla Henken likely took the photograph in 1942-43:

Photograph of Frank Lloyd Wright in the Taliesin studio with four architectural apprentices.

Photograph in Taliesin Diary: A Year with Frank Lloyd Wright, by Priscilla Henken. Page 107, bottom.

Lockhart is in the middle of the photo, facing the viewer. Frank Lloyd Wright sits on the far left. The apprentices David Henken, Curtis Besinger and Ted Bower sit on the right.

Wright did not sell The Amida triptych. After he removed the triptych from that wall, he put it into storage. I know that because it doesn’t appear in other photos of Taliesin interiors while he was alive. At some point, the Taliesin Fellowship brought it down to storage at Taliesin West in Arizona.

The screen was restored in the 1990s. The Frank Lloyd Wright Foundation sent it up here for viewing one summer in the late 1990s, but it didn’t go where Anna’s portrait is. After that summer, the screen went back down to T-West and has been occasionally shown at the Phoenix Art Museum.

So, that’s it.

Ultimately, I wrote hundreds of “Hey Keiran” pieces. Most were only one-page long. However I did mess with font sizes and such to get them to stay on one page.

I’ll add other things when they fit here and there.

First published August 23, 2022.
This photograph was taken when I was around 30 years old. As I recall, I was answering TPI’s Executive Director (Juli Aulik) on how I was going to uncover all of Taliesin’s history. . . . Still workin’ on it.

Notes

1 Savage wanted to call it “Hey Faggot!”

2 After analyzing a couple of photos, I concluded that Wright might have slept on the left side of the bed (like the photo below),

Frank Lloyd Wright's Taliesin bedroom, 1927-28 — Published in Frank Lloyd Wright Selected Houses, v. 2: Taliesin. p. 56.

then switched to the right side of the bed (like in the photo here), which is just INSANE.

3 After rejecting the idea for years, I think he might have realized something about it. Although I still don’t think he “studied” it.

4 The Frank Lloyd Wright Foundation Administrator of Historic Studies reminded me that I do know the answer now on when Anna’s portrait came to Frank Lloyd Wright’s Drafting Studio at Taliesin. Kenn Lockhart was correct: this did have to do with Wright’s family. The painting is by John Young Hunter, and Indira looked up correspondence Hunter had with Taliesin. The painter knew Wright’s sister, Maginel, and asked her if she was interested in the painting. Wright ended up purchasing it, and it was sent to Taliesin in 1939. [confirmation of it was sent in correspondence H053E09.]

I found another Taliesin drawing

Tag: Keiran Murphy

I found another Taliesin drawing