Cover of Taliesin album. Image sent to Keiran Murphy in 2005.

The Album

This is a photograph of the cover of “The Album”. The image was sent to me by the person selling it through the online auction site, Ebay, in January 2005.

Since we’re in January, I’ll take the time to expand my story of “The Album” that I mentioned months ago in my entry, “Post-it Notes on Taliesin Drawings“.

The Album was how I knew that Wright had designed bunkbeds for his draftsmen. Two photographs in The Album showed the bunkbeds and later, I found a drawing of them in Wright’s archives. I marked it with a post-it note.

WHAT?! You’re putting Post-It notes on archival drawings?!
Calm down – read the post to get the story.

Finding out about The Album:

In January 2005, Carol Johnson (Taliesin Preservation’s then-Executive Director), met me after I’d just gotten out of my car for work and said,

“Tony told me there are photos of Taliesin on Ebay.”

“Tony” was Tony Puttnam (1934-2017), who became Wright’s apprentice in 1953.

The director knew they were really old and rare and sent me the website address for the Ebay auction so I could try to see them. Once I looked online, I recognized 2 of the 3 photographs shown by the seller.

Yes: these were really rare images in a handmade album (the cover of which is at the top of this page). Building details dated them to 1911-12.

I wrote to the seller, Helen Conwell, as someone who “might” buy them. I asked her to send me some of them.

Sounds sneaky, but I didn’t say anything fraudulent. My supervisor and I thought we might be able to get money for them, depending on what they were. We had dreams, you see.

Conwell sent me 28 scans (out of 33 images). I had seen 10 of them before this.

Where had I seen them?

See, in the early 1990s, when the Taliesin Preservation Commission—as the .org was known then—began the restoration of Taliesin, others tried to get this new organization up to speed. Architects, architectural historians,1 former Wright apprentices, and those in Wright’s archives at the Frank Lloyd Wright Foundation gave “TPC” copies of photographs to enhance the knowledge of Taliesin’s history.

In particular, the Frank Lloyd Wright Foundation gave copies of Taliesin I photographs from the “Clifford Evans collection” at the University of Utah.

Why Clifford Evans?

Here’s a rundown on Evans (1889-1973), an architect who donated his materials to the U of UT:

  • Evans was the architectural partner of a man named Taylor Woolley.
  • Taylor Woolley was a draftsman for Frank Lloyd Wright in Oak Park, Italy, and Taliesin.
  • Taylor Woolley gave some of his items to the Clifford Evans collection. Included were his photos taken during the first year of Taliesin, some of which are also in The Album.

I’ve already posted Woolley’s photographs on this blog. Here are some entries including them

  • The Woolley photos in Utah include 9 that The Album didn’t have.

I told people what I knew

The week The Album was up for auction and the whole Wright world was freaking (which I wrote in “Post-it Notes…”), I told people a version of what I just wrote above. It really didn’t do anything, but I felt the story had to get out there. Besides, I wasn’t the only person who knew these images were repeated elsewhere. There were those at Frank Lloyd Wright’s Archives; and a professor in Utah, named Peter Goss.2

Why were these important?

Previous to this album’s discovery, most Frankophiles knew the existence of about 60 photos of Taliesin I (1911-14). This album had 33 more images, 32 of which had never been published.

One had been published in Frank Lloyd Wright’s Taliesin and Taliesin West, by Wright scholar, Kathryn Smith.

Photos from The Album included several of Taliesin’s east façade, its carriage path in its first autumn, and almost 10 interiors, including Wright’s Drafting Studio.

One in the studio has workmen in front of its fireplace. The Wisconsin Historical Society says that they’re “maybe at Taliesin”. No: they’re actually at Taliesin. Trust me.

Nancy Horan wrote in her novel, Loving Frank, that these men were in the Living Room, but that’s wrong: the photo shows them in the Drafting Studio. I don’t blame her that she didn’t realize this was at the Drafting Studio fireplace. It took us a while to figure it out, too.

Note: when I write “us”, I usually mean “me”.

That’s not even mentioning the two photos with the bunkbeds.

Moreover,

The Album shows landscape photos all over what is now the Taliesin estate. There’s one of them, below, taken just south of Taliesin:

Looking south on the Taliesin estate with snow. Taliesin is behind the photographer.
Property Wisconsin Historical Society. Whi-29048

I went out later, trying to match the views. My attempt to do that is in color, below:

Looking south on the Taliesin estate in winter.

Photograph by me, March of 2005.

But, more importantly,

This album, showing the newly completed building, had a history that could be traced. In other words, it had a “provenance“. Someone from the Spring Green, Wisconsin area owned the album, then sold it to Conwell in the 1970s.

End of the auction:

Helen Conwell thought she would get about $200 for an album that sold for $22,100.

I wrote about it in “Post-it Notes…”, but you can also read here how Conwell got the album and how the Wisconsin Historical Society acquired it.

While the photographer was unknown in 2005, I knew it was likely Taylor Woolley. This was proven in 2010, when author Ron McCrea found Woolley’s collection at the Utah State Historical Society. He’s included in my post, “This Will Be a Nice Addition“.

So, that week was exciting.

And you can see all of the images online at the Wisconsin Historical Society website, here.

That said,

It’s been much too long since a big, unknown haul of Taliesin photographs has come to light. Seriously: we need new, old photos of Taliesin.

Now, there are photographs taken in the early 1940s by David or Priscilla Henken that were published in A Taliesin Diary: A Year With Frank Lloyd Wright.

But that was published almost a decade ago. Yet, I still have hopes that children of those who were in the Taliesin Fellowship in the 1950s will discover photographs their moms or dads took while apprentices at Taliesin.

What do I want to see?

Off the top of my head, I’d like detailed photographs of Olgivanna Lloyd Wright‘s bedroom taken in 1957-58. That’s a pipe dream, but what you see in her bedroom today was restored and worked on with as much information as possible. But it’s probably not the room as it stood. We do what we can.

“If we knew what we were doing, we wouldn’t call it research, would we?”

A quote often ascribed to Albert Einstein that he apparently never said/wrote. Read someone writing on how it doesn’t appear to have come from Einstein.

First published, January 20, 2022.
The scans of The Album’s cover, and the exterior photograph taken in the winter were sent to me by Conwell in 2005.
They are the property of the Wisconsin Historical Society, and can be found here and here.


Notes:

1. Like Sidney K. Robinson, who owns the Ford House by architect, Bruce Goff.

2. Goss wrote about Woolley in the article, “Taylor A. Woolley, Utah Architect and Draftsman to Frank Lloyd Wright,” Utah Historical Quarterly (2013) 81 (2): 149–158.
https://doi.org/10.2307/45063406

Looking toward Taliesin from the grounds of Unity Chapel

“This book is going to be big”

This photograph is looking from the Unity Chapel cemetery, which is the private cemetery of the Lloyd Jones family. Frank Lloyd Wright received permission to bury Mamah Borthwick here. Wright’s home, Taliesin, can be seen against the hill.

I wrote that in an email to Taliesin Preservation‘s Programs Director, as well as its Bookstore Manager.

Then I continued:

“I don’t mean big in ‘our’ little Wrightworld. I mean big in the real world.”

It was May 2007 and I had just read about the release of an upcoming book, Loving Frank. Written by Nancy Horan, it is a book of historical fiction with Frank Lloyd Wright and Mamah Borthwick as the main characters.

As August 15 (and the anniversary of Taliesin’s 1914 fire) comes up this weekend, I thought I would write about Loving Frank, and my thoughts on it when it came out.

My first encounter with tales of this upcoming book included newspaper titles with headlines like this:

“They were the Brangelina of their time…”

It catches the eye, you can say that. That sentence, in the Courier Journal newspaper (Lexington, KY), came from Ballantine publisher Libby McGuire, speaking about Wright and Borthwick’s scandalous love affair that made the national news in 1909-1910… 1911-12… and 1914.

And everyone at Taliesin (and all Wright sites) totally wants Brad Pitt (fan of architecture that he is) to take notice and come around.

You’ve seen the photo of Brangelina at Fallingwater, right?

So, in talking about that upcoming book through the summer in 2007, I would jokingly say, “I can’t wait to see the ending!”

Yes, it’s black humor, but what are you going to do?

I mean, I worked at a place where seven people were murdered on August 15, 1914 by servant Julian Carlton in an unknown and unknowable butchering with an axe, and fire (of the seven lives lost, only one died from his burns).

And the summer was full of listening to radio programs with guests discussing Wright and Borthwick. Looking it up, I wrote this in my own journal at that time:

I’m getting tired of reading that Mamah Borthwick is seen as a “footnote” in Wright’s life; or “not dealt with at all,” or “brushed over” or, perhaps, “not dealt with because people feel squeamish,” or that, “she’s not seen as very important.”

I continued:

It’s not that way for me…,  but I get tired of it….

I realize I may be taking this personally.

Me taking something personally? Really? Nah!

But the book came out, which I dutifully purchased. I expected to hate it. Perhaps my view of Loving Frank was reading the word “Brangelina” in relation to Wright and Borthwick.

Perhaps they would be called “Wrightwick”? “Framah”?

The word “Borght”, though, is cute. A Hungarian soup that Björk would eat.

Therefore, I held my breath as I read Nancy Horan’s book. I wanted to hate it, silently checking its facts. And yet I remember, early on, my old boyfriend walking through our living room, asking me what I thought.

By that time I had read, perhaps, up to page 50.

“Well, I don’t want to throw it against the wall,”

I replied.

And, over one hundred pages in, I became impressed by the research done by the author.

For example, in Chapter 21, Wright and Borthwick (who have left their families) are in Berlin, Germany. They have been discovered there by a reporter from the United States; which is true. And upon their discovery, Loving Frank tells the story of how the two became front page news in papers across America. This is also true.

After being discovered, the two leave the hotel and get breakfast. Wright says, “I want to take a little detour over to Darmstadt to see Olbrich, if we can. I’m told his work is worth seeing. Then on to Paris.”1

“Oh my God—she’s read Alofsin,” I said out loud.

I think I even put the book down in amazement.

While in Germany with Mamah Borthwick, Frank Lloyd Wright visited Austrian architect, Joseph Olbrich. In fact, Wright was said to be “The American Olbrich”.

But, then there’s my mention of Alofsin. “Alofsin” refers to Anthony Alofsin. I wrote about him in my post on “Post-It Notes on Taliesin Drawings”. Alofsin wrote a seminal book in Wright scholarship: Frank Lloyd Wright: The Lost Years, 1910-1922: A Study of Influence.2

Alofsin worked on tracing Wright’s movements in Europe

It sounds simple, but it’s not. Wright wasn’t in touch with many people and his movements had to be dug up by Alofsin through Wright’s correspondence (which had recently been indexed3) and Wright’s later statements. So, until Alofsin’s work, Wright’s time in Europe in 1909-1910, was mostly a big hole. 

Here’s a later post I made about Wright’s travels throughout his life.

Returning to Loving Frank

The book sold so well that it inspired a special “Loving Frank Tour” at Taliesin. The first of these tours was done with Nancy Horan, in September 2008 (links on a press release and a poster for the tour are here and here). I was her contact on it, and created the timeline, etc, for the tour. It combined my touring and talking portion, where I told people what they would have seen in 1911.

Then I brought them to Taliesin’s living room, where they met Nancy, who was seated. She then read from the book.

She donated her time to Taliesin Preservation, did a public reading at the end of the day, and did a book signing. Regardless of all that, I found her to be delightful, sincere, and touched by Taliesin. 

And, again, I don’t know when, or if, the Loving Frank movie is going to come out, but if he wants to know, both myself, and Nancy Horan’s friend (who came out to Taliesin with her) thought that actor Brendan Fraser should play William Weston (Wright’s real-life carpenter who survived the 1914 fire/murders).

Of course, August 15 is still this coming Sunday.

I took this trip down Memory Lane as more-or-less a distraction from the approaching date. If you want to read my serious take on that day, read here.

For other photographs of the first Taliesin, and its devastation after the 1914 fire, you can get Frank Lloyd Wright’s Taliesin: Illustrated by Vintage Postcards, by Randolph C. Henning; and Building Taliesin: Frank Lloyd Wright’s Home of Love and Loss, by Ron McCrea.

Originally published August 13, 2021
I took the photograph at the top of this page on August 15, 2005.


1 Loving Frank, by Nancy Horan (Ballantine Books, an imprint of Random House, New York, 2007), 125.

2 University of Chicago Press, Chicago, 1992.

3 Frank Lloyd Wright: An Index to the Taliesin Correspondence is a 5-volume set that was edited under the direction of Alofsin and published in 1988. It’s available at larger libraries.