Tag: Randolph C. Henning

Black and white graphic of the Hill Tower at Frank Lloyd Wright's Taliesin.

A recommended book: At Taliesin

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Reading Time: 5 minutes

The graphic at the top of this page is one of the designs created by the Taliesin Fellowship for their weekly “At Taliesin” newspaper articles that ran from 1934 through late 1937. Architect Randolph C. Henning found these “At Taliesin” articles and put them into a book that I want to write about today.

The book is

At Taliesin: Newspaper Columns by Frank Lloyd Wright and the Taliesin Fellowship, 1934-1937, edited and with commentary by Henning (Southern Illinois University Press, Carbondale and Edwardsville, Illinois, 1991). I included it in the list of books I wrote about awhile ago, but I’ll concentrate on it in this post.

In part because, this book  contains essential primary material about:

  • Frank Lloyd Wright
  • Taliesin, and
  • The Taliesin Fellowship.

Before this book, the “At Taliesin” articles were relatively unknown. Henning wrote in the preface that when he decided to search for them, he thought he would find several dozen.

Or 100 “at most”.

In the end, he tracked down 285 of them. He transcribed them, edited them, and also wrote commentary on and around them. 112 articles are in the book.

The book was only published once,

in hardcover. However, many copies are still available online and elsewhere for purchase. Online aggregate www.abebooks.com is somewhere I often look for books. I typed in the title found this  listing with over 30 copies.

And you could borrow it from your library.

I’m recommending it now because

once you get past its cover which looks like a college textbook

It’s actually a fun summer read.

Most of the articles fit on one to two pages. And many are just a trip. I mean that in a good way: many are a total blast.

As I wrote before:

“At Taliesin” “demonstrates why these kids in their early 20s would move out to rural Wisconsin to live and work with a man old enough to be their grandfather, and like it.“

Their insanity reminded me that, yes, there was a time in my life in which I spent 4 to 5 hours on a Friday or Saturday night on a roof playing drums.

I was not a drummer. I was 21 years old.

Oh, that time passed quickly.

That’s just a year younger than architect Cornelia Brierly when she wrote this “At Taliesin” article in May, 1935:

Screen grab of an "At Taliesin" article published in the Wisconsin State Journal on May 22, 1935.

The whole article is on p. 125-127 of the “At Taliesin” book.

Secondly,

the book is a source about the life and culture of the Taliesin Fellowship. The authors wrote about things going on at Taliesin, but also, as Cornelia did, they relayed their thoughts on new ideas.

Most of the articles

end with a listing of movies that were to be shown at the Hillside Playhouse to the public on the coming Sunday afternoon. Because the “At Taliesin” articles weren’t just philosophical treatises: they were a bid by the Fellowship to entice an audience to come out and pay 50 cents for a movie and cup of coffee.1

The articles also gave weekly updates on building activities at Taliesin.

The July 4, 1935 article

tells you construction they did at Taliesin:

Fortunately, Taliesin is in an ever state of change.  Walls are being extended and new floors are being laid to accommodate our musical friends.  We are trying out the new concrete mixer – which marks a new day in our building activities.

Edgar Tafel. “At Taliesin”, p. 140.

I wrote about this change in my post, “Preservation by distribution“.

Thirdly:

The book has 38 fantastic photographs. Like the one below:

Black and white photograph looking southeast in the Hillside Dana Gallery

This is the fireplace in the Dana Gallery at Hillside. The photo is on page 201 of the “At Taliesin” book. I put this image in my post, “Truth Hiding in Plain Sight“.

and 20 drawings:

Black and white map of the Taliesin estate drawn from memory by John H. Howe.

The image above comes from 154 of Apprentice to Genius because I couldn’t get a good copy of the one on pages 6-7 from the “At Taliesin” book.

In addition, the “At Taliesin” book has 31 articles by Frank Lloyd Wright. In one, he

actually

compliments someone else’s architecture!2

Wright wrote in the August 9, 1935 article that:

…. In their jail and courthouse Pittsburghers own a masterpiece of architecture.  A great American architect H.H. Richardson of Boston built the building.  He was a big man in every way and his bigness was of a kind that not only marks a distinct epoch in American architecture but commands the respect of the civilized world. 

Frank Lloyd Wright. “At Taliesin”, p. 149.

In addition,

Henning wrote overviews for each year that the Fellowship wrote articles: 1934 to 1937. In the introductions to these chapters, he describes what was going on with the group, Frank Lloyd Wright, and the world at large.

Plus

Henning included articles about Taliesin written in the 1930s by professional writers. These writers came from the newspapers in Madison. They were invited out to Taliesin on the weekends. One writer, Betty Cass3 wrote about the “affair of the stringed instruments”. The article is a silly (true) story staring Wright and his wife, Olgivanna.

In it, Olgivanna watches as her husband keeps leaving the living room and coming back in with larger stringed instruments that have been delivered to Taliesin. They’ve obviously cost more and more money, but Olgivanna, helpless, watches as he comes back with them.

The last one is a bass viola. This was, Cass writes, “larger than he was, a regular Paul Bunyan of an instrument.” And Wright is mostly obscured behind it with “just twinkling eyes just peeking over the shiny brown side of the giant he was trying to strum.” “At Taliesin”, p. 308.

At that point, the humor of all of it got to Olgivanna, who started laughing so much that she cried.

 

 

First published July 11, 2023.
The graphic at the top of this post is used courtesy of The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural and Fine Arts Library, Columbia University, New York).

Notes:

1. I’m not going to reel off all the movies. Read the book if you want to see them! – you could binge them…

we’ll call it “Fringing”

(y’know: binging on movies seen by Frank Lloyd Wright).

Check out how Wright ended his penned article on August 9, 1935:

We are happy to announce the extraordinary program to be presented at the Playhouse this Sunday, Aug. 11.

Four films, of such importance and such different character, will form one of the most significant and delightful performances ever presented at the Playhouse.

Le Million, one of the best films by the greatest French director, Rene Clair,–no film made, unless it be another by this same director, has integrated sound and movement more beautifully;

A Dog’s Life, an early and rare film, one of the few remaining made by Charlie Chaplin;

Orphan’s Benefit, the funniest of all the 30 or more Disneys we have seen;

Czar Duranday, a wonderfully made Russian cartoon of a famous Russian fairy story.

Three of these films have been chosen from the finest we have seen during the past two years at the Playhouse.  Don’t miss this “picnic” next Sunday at three if you want to enjoy a hilariously entertaining afternoon.

“At Taliesin”, August 9, 1935. In the “At Taliesin” book, 150-151.

2. I know, I know: Wright insulting other people’s architecture. Most of us Frankophiles are aware of the man’s many traits, but some people really think he was an S.O.B.

3. Betty Cass is related to Bob Willoughby. He and I both worked at Taliesin Preservation and he read to us one winter at Taliesin.

Photograph taken in Taliesin's living room on Frank Lloyd Wright's birthday. Wright is with 5 others, including his wife, Olgivanna (standing), and daughter, Iovanna (seated closest to him).

Frank Lloyd Wright’s birthday

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Frank Lloyd Wright was born on June 8, 1867.

If you’re in the Wrightworld you know this.

Read my post, “Keiran don’t try to correct the internet“, about how people originally thought he was born in 1869.

In today’s post, I’m going to write about traditions within the Taliesin Fellowship connected to Wright’s birthday.

In addition to giving him a reason to have a party, Wright’s decision to celebrate his birthday with the Fellowship was cohesive.

The Fellowship was founded in 1932 in the midst of the Great Depression. So, Wright’s birthday gave the “boys” and the “girls” a celebratory purpose during the Fellowship’s hardscrabble years. After all, from 1932-35, the house for Malcolm and Nancy Willey in Minnesota was the only commission that Wright had.

In addition, Wright’s birth date, June 8, can be really nice in Wisconsin.

(and hopefully the mosquitoes aren’t in full force)

Here’s what an apprentice wrote about celebrating Wright’s birthday in 1934:

AT TALIESIN, June l4, l934

            Birthday celebrations would be really celebrations if we became one year younger instead of older each time – that is, if we didn’t start too soon.  We really celebrated last Friday when Mr. Wright became one year younger and said that next year he will be in his fifties.  Equipped with everything possible and impossible we drove through the country to a rocky pine-covered hill and had a magnificent picnic.  

From At Taliesin: Newspaper Columns by Frank Lloyd Wright and the Taliesin Fellowship, 1934-1937 (Southern Illinois University Press, Carbondale and Edwardsville, Illinois, 1991), edited and with commentary by Randolph C. Henning. Page 51.

Then, in 1936, they held a scavenger hunt.

Here’s the beginning of its description:

AT TALIESIN, June 12, 1936

            That the apprentices, regardless of years, should have the spirit of youth is a cardinal qualification of membership in the Fellowship.  Nothing has brought that quality to the surface more than the “treasure-hunt” we held on the occasion of Mr. Wright’s birthday.  While the treasure hunt lasted we were all children very young in spirit.  Don’t laugh at us for being childish until you have tried the hunt yourself.  You will find that you will leave most of your dignity and all of your reserve at home or lose it on the road.
By Earl Friar

From “At Taliesin” edited and with commentary by Randolph C. Henning. Page 207.

Check out the whole scavenger hunt on pages 207-210 in the “At Taliesin” book. It’s a blast that includes a live turkey gobbler!

But in 1937-38, Wright started the desert camp, Taliesin West, in Arizona.

Subsequently, celebrating his birthday became an even bigger deal.

The “birthday formal” would become the first big gathering with invited guests the group could have after they had returned from the desert. Check out this photo of men and women in Taliesin’s Garden Court during Wright’s birthday formal in the 1950s:

Exterior summer party at Taliesin in Wisconsin with men and women in formal dress.
By Richard Vesey. Courtesy, Wisconsin Historical Society. Richard Vesey photographs and negatives, 1955-1963

Plus, Wright and the Fellowship knew the party wouldn’t be sullied by chilly/damp rain

or snow

Seriously—Prince was not exaggerating:

sometimes it does snow in April:

btw: I embedded this song for a chuckle about its title; not to get you depressed about a lost friend. Prince was from Minnesota and knows that sometimes it snows in April. But, seriously: since the song starts with the words, “Tracy died…” do not listen to this song if you want to remain chipper. Just be amused by Prince’s half-shirt.

And by June it’s usually warm and dry.

Time for a party!

With time, Wright’s birthday became more formal

Check out my photo below of all the fancy people:

Photograph by Keiran Murphy of people at Taliesin's Garden Court during the 2019 Frank Lloyd Wright birthday formal.

I took this photograph in Taliesin’s Garden Court during Wright’s birthday formal in 2019. If I’d been thinking, you would see a photo of me in my fancy dress, too.

In addition, Wright’s birthday became the time for one of the year’s

Box Project presentations.

The Box Projects were really important for the Taliesin Fellowship as a learning institution.

Olgivanna Lloyd Wright, Wright’s wife, explained the Box Projects well:

The Box is a tradition in the Fellowship, occurring twice a year, at Christmas and at the birthday. It consists of designs by the young people, plans, abstractions, models, paintings, weaving and ceramics….

After giving Wright their projects as Olgivanna explained:

           Each one explains that he has done and Frank gives him the benefit of his criticism, indicating to him the direction he should take….

The Life of Olgivanna Lloyd Wright: From Crna Cora to Taliesin; from Black Mountain to Shining Brow, compiled and edited by Maxine Fawcett-Yeske, Ph.D. and Bruce Brooks Pfeiffer, D.H.L. (ORO Editions, 2017), 186.

Therefore, the Box Projects allowed Wright to check on the development of the work by apprentices.

Everyone did a project—

even the spouses of apprentices.

During Wright’s birthday Box in 1943, Priscilla Henken (the wife of apprentice/architect David Henken) gave a floor plan for a school (even though she wasn’t a draftsmen). I got a photo of the plan from her published diary:

Drawing by Priscilla Henken on page 176 of Taliesin Diary: A Year with Frank Lloyd Wright.

This drawing was published on page 176 of Taliesin Diary: A Year with Frank Lloyd Wright, by Priscilla Henken (W.W. Norton & Co., New York, London, 2012).

Moreover, Priscilla noted some very nice things that Wright said about her drawing:

About my plans, which FL looked at after tea, he said that I had a lot of common sense, that I took the school as it was made an extraordinarily good thing out of it; that I had a lot of brains under this hair of mine; that now he knew I was busy during a lot of the time he couldn’t account for me; that I was the surprise… package of the box.

Taliesin Diary: A Year with Frank Lloyd Wright, by Priscilla Henken, 175.

The Box Projects and Wright’s birthday celebration are an interesting way to mark how Frank and Olgivanna Lloyd Wright created the culture of the Taliesin Fellowship.

Culture:

The CliffNotes website gives a good definition of it under “Sociology“. Culture, it says:

consists of the beliefs, behaviors, objects, and other characteristics common to the members of a particular group or society. Through culture, people and groups define themselves, conform to society’s shared values, and contribute to society. Thus, culture includes many societal aspects: language, customs, values, norms, mores, rules, tools, technologies, products, organizations, and institutions.

In 1994 when I started in tours, the Fellowship still had the Box Project presentations around Wright’s birthday. But that was changed in the mid-late 1990s. The reason for that was the difficulty apprentices had with moving from Arizona in the midst of their preparation for “the Birthday Box”. Consequently, they switched the presentation to September. That way, they could spend all summer working on it. And didn’t have to drive all that way from Arizona on little sleep, or worry about smashing the models or losing the computer files in the migration.1

First published on June 3, 2023.
The photograph at the top of this page was taken for The Capital Times in Madison for Wright’s birthday in 1957.

Note:

1. They changed the Box Presentation in Arizona, I think, to March or April.

Photograph taken by Edmund Teske. Taliesin in winter with snow and ice.

Snow at Taliesin

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Edmund Teske took this photograph in the winter of 1936-37. He was in the Breezeway at Taliesin, looking northeast towards the Living Room.

This week, a winter storm is crossing the United States. This storm reminded me of one of the “At Taliesin” newspaper articles written by apprentices in the Taliesin Fellowship.

This article is in At Taliesin: Newspaper Columns by Frank Lloyd Wright and the Taliesin Fellowship, 1934-1937, ed. by Randolph C. Henning. It’s on p. 241-42 of the “At Taliesin” book:

AT TALIESIN, February 20, 19371

In winter the sharp lines of the horizon along the ridges of our surrounding hills disappear and in the soft light of evening the valleys merge into the hills and the hills vanish into the sky.  Trees upon the hills are patterned tracery.  Pods of weeds, close by, are sharp edged black spots upon the white: staccato notes in the prevailing rhythm of quiet.

Snow: sharp, keen, icy, in billowing drifts or in long horizontal ledges, brings harmony to the landscape of our Wisconsin farmland: farmland that in summer is fenced in and fenced up and out by farm after farm of farmers who have worked out countless ingenious ways to characterize their acres of land.  The boxed-in boxes of farmhouses, styes, coops, pens scattered about, hit and miss, over the countryside mar the land’s native beauty.

          We view – in winter – Wisconsin’s hills as we saw the Arizona desert stretching off toward distant mountains: untouched, whole, clean.

          What man could not do to the Arizona desert because of nature’s protection, the winter snow has buried in Wisconsin.

As the hot desert sun decorates simplicity by sending color into the myriad lichens upon the patterned rock faces of the desert floor, so our winter sun flashes light and fire into the ice-jeweled thistles showing above the frosted earth in our own valleys.

And as the saguaro-cactus stands in heroic silhouette against the sunny southern sky, the ice clad Wisconsin trees crackle and shimmer: miraculous against the cobalt above.

What we went in search for to Arizona we have here around us: this harmonious union of natural things.  A union here made supreme and impervious to harm by ice and snow: white and blue – silver and black.  Again contrast and accentuation – in the distance a red spot – the Wisconsin barn.

            EUGENE MASSELINK

First published December 20, 2022
The photograph at the top of this post was published in Architectural Forum magazine, January 1938, volume 68, number 1, p. 3.

Notes:

1 You read Masselink talking about Arizona, but everyone is in Wisconsin. That’s because the land where Wright will build Taliesin West has not been found yet. That will happen in November of 1937.

Black and white photograph of dormitory room at Taliesin

Oh my Frank – I was wrong!

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A bed in a room at Taliesin. I’ll explain more in the post below.

About what? About a photograph.

But, while I’ve been wrong sometimes about things with Taliesin, I haven’t usually communicated those things to other people.

In this case, I was wrong about a photograph I put in a post of mine from last year: “Preservation by Distribution“. While I’ve taken the misidentified photo out of that post, in today’s post, I’ll explain what the photo really shows, and how I figured out I was wrong.

Let me explain:

The top of today’s post has the same photo I got wrong. I originally showed the photo in “Preservation by Distribution”. That post is about a generous gift from two women whose aunt, Lucretia Nelson, was an apprentice in the Taliesin Fellowship.

(read about the gift from the women, and their aunt, in the “Preservation by Distribution” post).

The women gave us copies of letters that Nelson wrote to her parents. In one of the letters, Nelson described a change that was going to happen under her room. When I wrote “Preservation by Distribution”, I thought the change Nelson wrote about was going to happen on the outside of the room that’s in the photograph.

But I was wrong. Not about the change; just about the photograph.

That is:

everything that I learned from what Nelson described remains unchanged. All I got wrong was the room that I thought photo showed. I think I figured this out yesterday.

But since learning I was wrong, it’s taking me a little while to re-think the space. Because

I’d been mistaken for 18 years.

I got this wrong in 2004.

And, since discovering my mistake, I corrected the “Preservation by Distribution” post. But, still –

18 years!!

Ok, fine. Then what room are we seeing in that photo?

The photograph appears to show a bedroom a couple of rooms to the west of Taliesin’s Drafting Studio. I only started to figure this out

2 days ago,

when I was thinking about writing a new post. While I didn’t look at the photo above, I looked at photos by George Kastner, an architect and draftsman who worked for Wright in 1928-29. Kastner came to Taliesin in November, 1928 and took photographs there in that month, and in December.

If you’d like to read about Kastner, The Organic Architecture + Design Archives1 published a journal issue on some of his collection in 2019.
The article is by Randolph C. Henning, and it’s published in Volume 7, Number 3.

Regardless, here’s the Kastner photo that got this started:

This photo shows Kastner’s room at Taliesin, which had a bay window (on the right):

Looking (plan) southeast. Room was later the bedroom of William Wesley Peters.
Photograph by architect, George Kastner. Taken November 28, 1928.
Courtesy, Brian A. Spencer, Architect.

Photograph taken on November 28, 1928. By architect George Kastner. Courtesy of Brian A. Spencer, Architect. Looking (plan) east/southeast in what later became the bedroom of Wright’s son-in-law, architect Wes Peters.

Although I’d never seen this room before, I knew right where this was: I was looking at part of a former carriage house at Taliesin that Wright turned into a bedroom.

Like I wrote in my post, “Guest Quarters“, Wright wanted to make Taliesin an attractive place to stay, so he converted spaces into bedrooms.

The bay window on the bedroom faced Taliesin’s Middle Court.2

Next

I looked at another photograph of the room by Kastner. You can see it’s the same room, because of the night table that’s on the right. It has the same lamp. And the same screen is against the wall:

Looking (plan) northeast. Room later became the bedroom of William Wesley Peters.
Photograph by architect, George Kastner. Taken December 17, 1928.
Courtesy, Brian A. Spencer, Architect.

So: there’s the screen that you see in the photo at the top of this page, and the desk with the lamp that you see in the last photo. Looking east/northeast.

So looking at these two images made me realize that I was wrong about the room in the photo at the top of this post.

Because

the room I thought was in the photograph had the same Japanese screen, but never had bay windows. So, I mentally searched for Taliesin’s rooms that had bay windows at one time. And I looked for drawings to show me the windows in the rooms.

I double- checked, and I think I found the best floor plan of Taliesin with the bay windows. It was was drawn in 1924, and I put it below.

Since the room I wanted to show is pretty small, I thought I’d show the whole plan to give you an idea of what I’m trying to show. What you see is the floor plan for several courtyards in the Taliesin complex:

Drawing of Taliesin published in Wendingen magazine in 1924, 1925.
Originally published in Wendingen Magazine, 1924, 1925.
Published in the book, The Life-Work of the American Architect Frank Lloyd Wright, by Frank Lloyd Wright, H. Th. Wijdeveld, ed. (Santpoort, Holland: C. A. Mees, 1925).
Location of original drawing unknown.

I’m going to show a detail from the lower right hand side of the drawing. That’s below, with the courtyard labelled “Mid-Way”.

Detail of Taliesin drawing published in Wendingen magazine in 1924, 1925.
Originally published in Wendingen Magazine, 1924, 1925.
Then the magazine issues were published as a book, The Life-Work of the American Architect Frank Lloyd Wright, by Frank Lloyd Wright, H. Th. Wijdeveld, ed. (Santpoort, Holland: C. A. Mees, 1925).
Location of original drawing unknown.

The drawing, published in 1925, has an archival number of 1403.023. But those who put the magazine (then book) together didn’t return the original drawing. So, the Frank Lloyd Wright Foundation gave it a number, but didn’t have the drawing. 

The bay window in the photo was next to the door of the “STUDENTS BED ROOM” in the drawing.

The room has two small windows on the wall opposite of the bay windows. I think the photo is showing the window on the left in the room.

And, fortunately,

George Kastner took another photo that’s really helpful to figuring this out. This is an exterior photo that shows that wall with the two windows. That photo is below. I added an arrow to the photo so you can see where the window is:

Looking (plan) southwest at N facade of Taliesin.
Photograph by architect, George Kastner. Taken December 19, 1928.
Courtesy, Brian A. Spencer, Architect.

Looking (plan) west/southwest at the north façade of Taliesin. I put the arrow into the photograph to show which window I think is showing in the photograph at the top of this post.

What happened to this room?

So, this area was always used by apprentices in the Taliesin Fellowship after Wright and his wife, Olgivanna, started it in 1932. Apprentices in the Fellowship lived in the bedrooms. Later, Wright had the apprentices add three more windows on the wall with the two windows.3

The final changes were made before Wes Peters, his wife, Svetlana, and their son moved in there in 1943. Apparently at that time they—the Fellowship as a whole, or just Peters and his wife—removed the bay windows.

Today, it’s still a bedroom.

 

First published May 6, 2022
The image above is at the Wisconsin Historical Society on this page.

Notes:

1 Their website is: https://www.oadarchives.com/. As of early May, the site administrators were having problems with it, but I’ll take this notice off when the site’s working again.

2 Here’s where I always wanted to “correct” some guides and staff at Taliesin Preservation. Starting around 2005, guides, drivers, and other staff members began referring to a tour drop-off area as the “Middle Court”. I think that’s because this area’s right near Taliesin’s “Lower Court”. So, that’s on your left, and there’s a courtyard in front of you. But that courtyard was known (in drawings) as the Upper Court. The Middle Court was called that because it’s between two courtyards.

3 The windows are in a drawing published in the January 1938 issue of Architectural Forum magazine. 

Abstract drawing. Property: The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).

Gene Masselink

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Abstraction looking (plan) north at Taliesin against the hill in Wisconsin.
Pen, ink, and paint. By Gene Masselink.

Eugene Meyer “Gene” Masselink (1910-1962): Taliesin Fellowship, 1933 until his death. This post will be about him, and why I like him.

Gene was born in South Africa, then his family moved to Grand Rapids, Michigan, where he grew up with his brother, Ben. A talented visual artist, Gene came into the Fellowship with a BS in painting from Ohio State University. The Taliesin Fellowship wasn’t only a group for architectural apprentices, and Gene didn’t join intent on doing architecture. He did, however, paint and illustrate within the group for years, including the image of Taliesin up at the top of this page.

And, as many Fellowship members did, he helped build models. Here’s a 1936 photograph by Edmund Teske showing Gene working a model of the Johnson Wax building:

Property: The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).
Photograph of Gene Masselink taken in 1936 by Edmund Teske.

How Gene became the secretary:

When he came into the Fellowship in 1933, Karl Jensen was the secretary (this is a photo of Jensen at Taliesin). Gene became Karl’s assistant. Therefore, when Karl left in 1934, Gene took over the job. Subsequently, Gene became was one of the “triumvirate” of crucial Fellowship members. This triumvirate was composed of Gene, Wes (Peters, engineer), and Jack (Howe, head draftsman). The Fellowship wouldn’t have been the same without Gene, just like it wouldn’t have been the same without Wes & Jack.

He:

  • Kept Wright’s correspondence—with friends, family, and clients—on track and up-to-date through all of the traveling back and forth from Wisconsin to Arizona.
  • Followed the bills—which, as you can imagine, were quite complicated when it came to Wright.
  • Learned to how to run the printing press. Thus, Gene became the resident pressman, printing the 1943 edition of Wright’s autobiography.1

In fact, on the last page of his 1943 autobiography, Wright specifically thanked Gene:

Gene (Masselink) of the Fellowship and his helpers have untangled day by day, month by month, the mass of inter-lined and defaced scripts that would tease anyone, especially myself. Gene is the only one who could read them.

Having both seen Wright’s handwriting, and his small edits that are hard to keep track of, I applaud Wright’s recognition of Gene’s work.

Here’s Gene with a couple of “the boys” and The Master:

Frank Lloyd Wright and 4 apprentices in Taliesin's Drafting Studio, 1930s.Looking (plan) northwest at Wright at a drafting table in the Taliesin studio. Standing behind him are (L-R): Gene Masselink, Bennie Dombar, Edgar Tafel, and Jack Howe. This photograph is from the Associated Press and is in the public domain. The Library of Congress says the photo was taken in 1953. However, they’re wrong. Wright was not in his 80s in the photograph above, and both Bennie and Edgar left the Fellowship in 1941. This photograph, on the other hand, has Gene and Wright in this same room in the 1950s.2

Yet, this is not a post about him just as an artist. No, I decided to write about Gene today because I just genuinely like the man (who passed away before I was born). Gene’s way of keeping everything together at Taliesin reminds me a little of the character of Walter “Radar” O’Reilly from M*A*S*H*.

He jumped in as, I think, Wright envisioned the Fellowship—everyone together, all for one, one for all. And he seemed to have a sense of humor about all of it. You’ll see it in his “At Taliesin” article from 1935 below.

Examples:

Below, Gene writes about his responsibilities as the secretary in the August 4, 1935 “At Taliesin”:

“Have I a little list?  Koko was only an amateur with his.

Remember in “Physical Taliesin history” (fn1) how I said that working at Taliesin made me learn about things? I just learned how “I have a little list” is related to Gilbert and Sullivan musicals.

Lists – lists everywhere and lists for everything.  Large important Madison lists on large white paper.  Spring Green lists on any old paper.  Dodgeville grocery and butcher lists on ruled note-pads from the kitchen.  Lists typewritten and lists handwritten in every kind of pen and or pencil within reach.  Lists lost and half remembered – they flutter about me dominating my kingdom of letters and articles and filing cards and endless odds and ends of what is bravely called “business”.  The word should be spelled busy-ness, or why not busy-mess.  But the list is only embryo compared with the listers actually getting what the list lists.  There are so few who will stand to wait longer than three days for what they’ve listed and at the end of that time a package of cigarettes or “Plowboy” or “Red Man” or one spool of thread or a pound of 6-penny casing nails will assume terrific proportions.  Not my peach only but my life is continually jeopardized by little lists.

….

EUGENE MASSELINK

Randolph C. Henning, ed. and with commentary. At Taliesin: Newspaper Columns by Frank Lloyd Wright and the Taliesin Fellowship, 1934-1937 (Southern Illinois University Press, Carbondale and Edwardsville, Illinois, 1991), 147-148.

Gene about listening to the radio!

This links to my love of Old Time Radio that I wrote about in this post.

Gene was in the hospital after breaking his hip and was bedridden. He wrote about his experience in the hospital, and about passed the time listening to the radio:

AT TALIESIN, June 11, 1937

. . .  After this is all over and I’m selling apples on some street corner, this Radio will sell apples with me.  My mind has become so controlled by its direction that any sudden break from its supervision would be fatal.

         The Life problems of Bill and Mary and Susan and Jim of all the Tom Dick and Harrys radio story tellers can think of are my problems now.  And let me say that these problems are without parallel in the history of literature.  Each day fresh heartaches and new situations keep the agony of life constantly on the run and bring vicarious sorrow into the lives of Americans, incidentally make my own hip-problem only the most minor consideration for me to think of. . . .

It has opened the walls of this tiny room to a world many times removed and I maintain wherever I go it shall go.

Its love me, love my Radio from now on.

EUGENE MASSELINK

Randolph C. Henning, 267-268.

Gene by someone else:

Gene showed up in Taliesin Diary: A Year With Frank Lloyd Wright, by Priscilla Henken. Here’s Priscilla on November 16, 1942 (p. 59):

“… Gene always speaks hurriedly & nervously as if he were doing ten things at once & only nine were getting done.“
 
Former apprentice Curtis Besinger dedicated his 1995 book, Working With Mr. Wright: What it Was Like, to Gene Masselink. Besinger wrote,

As Mr. Wright’s secretary for many years, Gene’s grace, awareness, and sense of humor served to anticipate and ameliorate many of the strains of Fellowship life. Unfortunately he didn’t live to write the book which in some stress-filled situation he threatened to write: “Mr. Wright goes to New York…, to Italy… to Paris

Curtis Besinger. Working with Mr. Wright: What It Was Like (Cambridge University Press, Cambridge, England, 1995), xiv.

Finally, his work:

In the 1950s, Gene began designing murals for the following buildings by Wright:

While Masselink’s original icons were removed from the altar, they can still be seen in the basement. See Mark Hertzberg’s blog post about the church to see photographs of the icons.

Others have investigated his work. Check these out:

Published January 31, 2022.
The drawing at the top of this post is the property of The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).

Notes:

1. I can’t imagine that would have been possible for him to print all of the copies of the 1943 edition of the autobiography. However, I’ve seen letters that Gene wrote to Jack Howe, describing the activities. Plus, “Gene’s Press Room” is the name of a room at Taliesin.

2. Bonus: the Wisconsin Historical Society has another photograph taken of Gene that day. He’s seen in the same clothes walking in Taliesin’s Garden Court with another Fellowship member, Kay Rattenbury (1918-1996).

Looking south in the Hillside Drafting Studio

Hillside Drafting Studio flooring

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Looking south in the Hillside Drafting Studio, with its flooring.
The black and white photograph on the right shows the V.C. Morris Gift Shop, designed by Frank Lloyd Wright in San Francisco (currently a men’s clothing store).

In this post, I am diving into the flooring at the Hillside Drafting Studio on Wright’s Taliesin Estate. I wrote about Hillside here. Hillside’s Drafting Studio, added in the 1930s, is 5,000 sq feet of space (1,524 m2). The Hillside Studio became Wright’s main studio in Wisconsin after the Taliesin Fellowship completed it.

There was one real point of curiosity about the studio’s flooring, which has pinstripes. This post concentrates on that flooring.

As I wrote before in my Hillside post, the Taliesin Fellowship apprentices, in the 1930s, wrote about working on the studio. Here, in the September 5, 1937 “At Taliesin”1 article, an apprentice writes that:

“…. Two months of continual and concentrated group activity by the Fellowship should announce the fact that our principal workroom – an abstract forest in oak timber and sandstone – is in order.  Then watch our dust!”2

Uh… not yet

The Fellowship, and Wright, only started using the studio full-time in 1939.

Wait – what? Why not?

Well, the structure had been built, but it didn’t have a finished floor. You can see a photograph of the unfinished floor in a photo below. It was taken in 1937 by Ken Hedrich for the magazine, Architectural Forum. Its January 1938 edition concentrated on Wright.

Ken photographed the Taliesin estate, while his brother, Bill Hedrich, went to Pennsylvania and took the first, famous, photograph of Fallingwater (the house over the waterfall).3

While Bill photographed elsewhere, Ken photographed all over the Taliesin estate. His work included the Hillside Studio and you can see the state of it in the fall of 1937:

Looking north in the Hillside Drafting Studio
Photograph taken by Ken Hedrich of the firm Hedrich-Blessing.

1938 Architectural Forum magazine issue: January 1938, volume 68, number 1, 18.

This photograph looks north in the Hillside Drafting Studio. Wright and the Taliesin Fellowship did not yet use the studio, because the room did not have its finished flooring.

When you walk into the studio today you see a wooden, waxed flooring, that has pinstripes. These pinstripes were not painted on the floor surface. What one sees is the veneered wood on its side. It’s as if you are seeing the edge of a wafer cookie.

To illustrate the “wafer cookie” look

I’ll show a photograph of the edge of some of the flooring:

The edge of the laminated flooring at Wright's Hillside studio in Wisconsin

I took this photograph.

Wright only used this type of flooring in one other place: on the mezzanine in “Wingspread“. That’s the name of a house he designed in Wisconsin for Herbert Johnson. Here are some of my pictures from that:

I took this photograph by the grand fireplace at Wingspread. Most of the people in this photograph worked in the Taliesin tour program.

The photograph below is the flooring of the mezzanine that matches what’s at the Hillside studio.

I took this closeup of the mezzanine flooring.

I don’t know Wright’s thoughts on the flooring.

However:

I know where it came from, when it was installed in the Hillside studio, and when Wright and the Taliesin Fellowship started studio operations in there.

That’s all because of someone else’s work.  

We know the month they moved to the Hillside Drafting Studio because of Kenneth B. Lockhart (1914-1994). He arrived in the Taliesin Fellowship in 1939. The Administrator of Historic Studies of the Frank Lloyd Wright Foundation interviewed Lockhart several times. In their May 5, 1988 interview, “Kenn” [sic] said that he arrived as an apprentice right after Wright and the Fellowship moved to the Hillside studio in July, 1939.

Where the flooring comes from:

That flooring caused curiosity for years. Where did it come from? And Herbert Johnson’s name floated around in the tour program in relation to that flooring. Did Johnson give the flooring to Wright? Was the flooring first planned for Wingspread? Was the flooring “overdraft” from Wingspread?

The answer to questions one and three, by the way, is NO

Yet, the question on how Wright got the flooring still had to be answered. And it was, by the Administrator of Historic Studies. In 1992, Indira tracked down its history. She started her task by asking former architectural Wright apprentice, Edgar Tafel.

Tafel had worked on the Johnson Wax World Headquarters, also commissioned by Herbert Johnson.

This is the same Edgar Tafel who wrote Apprentice to Genius, which I wrote about.

Tafel told Indira that he thought of a connection between the Evans Products Co. and Frank Lloyd Wright. With that in mind, she went looking in Wright’s correspondence.  

Correspondence between Wright and Evans Products Co.

There are 8 letters between that business and Wright (or his secretary, Gene Masselink).

The first letter (E030C06) was written on March 15, 1940. Their records indicate that they shipped flooring to Wright on November 28, 1938, but hadn’t yet been paid (the bill was $400.00).

Wright replied (E03D01) on March 22, 1940. He wrote that he appreciated their patience regarding the “laminated flooring in our draughting [sic] room.”

And he wrote that it had been difficult getting paid by clients. Yet, the flooring has been doing “good work for you – as well as for us” as at least a hundred people go through the buildings during the summer and have admired the “beauty and durability of the floor.”

Unfortunately, there does not appear to be a record that Wright ever paid the Evans Products Co.

One of the last letters from the Evans Product Co. was written on September 26, 1941. This is #E033E05. The author (apparently a secretary), began by noting how so many things had changed since that day they shipped the flooring to Wright on November 28, 1938.

They emphasized how Europe (then at war) had changed very much since that day. Then, they ended the letter noting that “there will always be an England” but (I’m paraphrasing here) they hoped that there would not always be a $400 outstanding debt from Frank Lloyd Wright to the Evans Products Co.!

Once more

I found this information in 2009 while working at Wright’s archives (then at Taliesin West in Arizona). I had spent months working on the history of Hillside with architectural historian, Anne Biebel (the principal of Cornerstone Preservation). And I finally answered where that flooring came from; which Indira had discovered it 17 years before!

Published October 8, 2021

I took the photograph at the top of this page on August 26, 2009.

1 “At Taliesin” was the name of weekly articles published by Wright and the Taliesin Fellowship in the 1930s. They were found, transcribed and edited by Randolph C. Henning. He published them in a book in the early 1990s. I wrote about the book in my post, “Books by Apprentices“

2 Randolph C. Henning, ed. and with commentary. At Taliesin: Newspaper Columns by Frank Lloyd Wright and the Taliesin Fellowship, 1934-1937 (Southern Illinois University Press, Carbondale and Edwardsville, Illinois, 1991), 273.

3 Not that you’ve never heard of Fallingwater, but it’s a big world out there on the World Wide Web. So, what the hell!

Exterior of Fellowship dining room, summer.

Old Dining Room

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The photograph above shows the dining room areas, first built before 1920, then used by the Wrights and the Taliesin Fellowship. The area dining rooms were on the left, with the kitchen located behind the tower on the right.

I have had the goal of figuring out the history of Frank Lloyd Wright’s home, Taliesin, for awhile. Well, a lot. It’s almost like it’s, I dunno, a career or something.

And, I’ve written about figuring out Taliesin’s history in this blog here, and here, and a few more places.

Regardless, come along with me while I talk about how I figured out something because of photographs and what others wrote.

The old Fellowship dining room at Taliesin is a simple example.

That’s the dining room Wright was exiting in 1925 when he saw that his home was on fire:

… [O]ne evening at twilight as the lightning of an approaching lightning storm was playing and the wind rising I came down from the evening meal in the little detached dining room on the hill-top to the dwelling on the court below to find smoke pouring out of my bedroom. Again—there it was—Fire!

Frank Lloyd Wright, An Autobiography, in Frank Lloyd Wright Collected Writings: 1930-32, volume 2. Edited by Bruce Brooks Pfeiffer, introduction by Kenneth Frampton (1992; Rizzoli International Publications, Inc., New York City, 1992), 294.

Below is a photo from the Wisconsin Historical Society, taken prior to that day:

Taliesin dining area and Hill Tower, summer. 1920-22.
Wisconsin Historical Society. See image online here:
https://www.wisconsinhistory.org/Records/Image/IM38788

The door he was coming out of was to the left of the stone pier. You can’t see the door because it’s behind all of that foliage.
https://www.wisconsinhistory.org/Records/Image/IM38788

There’s a tree coming out of the roof on the left hand side of the photograph. That tree was there for close to a decade (don’t worry: the tree didn’t stand inside a room).

Continuing on Taliesin’s history

Taliesin’s second fire happens in 1925, then, after ups and downs in his career over the next seven years, Frank Lloyd Wright and his wife, Olgivanna, founded the Taliesin Fellowship in 1932. The apprentices in the Fellowship did a lot of work at Taliesin in the 1930s so they could have places to live and eat.

(I wrote about one of them, Edgar Tafel, and his book, Apprentice to Genius, in this post).

Here are the changes in the dining room in the 1930s:

Eventually, the main Fellowship dining room was at Hillside. But, in those early Fellowship years, while the group still ate at Taliesin, Wright added a chimney with two fireplaces to the existing dining room. Abe Dombar, then a Taliesin Fellowship apprentice (along with his brother Bennie; they both became architects) mentioned this in his “At Taliesin” article on March 23, 1934:

….  Additions were made… and the little dining room soon grew to be the big dining room.  The apprentices that were there helped to make it grow.  The low ceiling of the old dining room now projected out into the new part to form a deck….

And then they built a corner fireplace on the far side by the windows.

At Taliesin: Newspaper Columns by Frank Lloyd Wright and the Taliesin Fellowship, 1934-1937. Edited and with commentary by Randolph C. Henning (Southern Illinois University Press, Carbondale and Edwardsville, Illinois, 1991), 30.

The chimney mentioned in Dombar’s article is seen in an aerial photograph from the Wisconsin Historical Society, below:

Aerial of Taliesin in summer, 1932-33. Cropped.
Owner: Wisconsin Historical Society. Available at: https://www.wisconsinhistory.org/Records/Image/IM38757

The chimney stands on the far left-hand side of the photograph, to the left of the tree.
Wisconsin Historical Society, ID 38757. The image is online here.

Then, in 1936, Wright invited young photographer, Edmund Teske, to live at Taliesin as the Fellowship photographer. Teske’s photos also show the tree.

In 1937, photos were taken for Architectural Forum mag

On preparation for an issue of that magazine devoted to his work, that fall, Wright dispatched young photographers Bill and Ken Hedrich (of the photography firm, Hedrich-Blessing) to photograph Taliesin and his other recent work. This magazine issue was released the next January. Among other things, that issue of Architectural Forum included unique photographs from the Taliesin estate, as well as the Johnson Wax world headquarters, and that little Wright building known as “Fallingwater”.

During his session, Ken Hedrich took a distant photograph of Taliesin, which showed the building without that tree in the roof. I don’t have that one to show, but here‘s a photograph Ken took on a roof looking over a courtyard with the dining room in the background. It ends at the chimney, and has no tree through the roof.

So, I’m figuring this stuff out: “Ok, the chimney’s built, then the tree is eliminated. Got it.”

Around that time, I grabbed another piece of writing. This is the book, Working With Mr. Wright: What It Was Like, by Curtis Besinger. He wrote about his years in the Taliesin Fellowship (1939-43; 1946-55).

Besinger on a change to the dining room in 1939:

He was involved in this during his first fall in the Fellowship:

I was also involved in one other construction project that fall, a remodeling of the Taliesin dining room…,

One morning, having finished his breakfast in the nearby little dining room, Mr. Wright1 came into the Fellowship dining room and announced that he wanted to put a clerestory in the ceiling to let more light as well as the morning sun into the room…. He directed some people to start knocking off the plaster on the ceiling along the east side of the ridge…. He made a rough drawing to indicate how he wanted the clerestory built….

Curtis Besinger. Working with Mr. Wright: What It Was Like (1995; Cambridge University Press, Cambridge, England), 26.

Even though he wrote his memoir years after his time at Taliesin, I trust Besinger’s memory on when this construction took place. That earliest experience at Taliesin makes a strong impression.

Here’s the conclusion to this information:

By looking at things written contemporaneously (as well as in memoirs), and by using definitively dated photographs (the Teske and Hedrich-Blessing photos), I was able to figure out when the chimney was built (1932-33); then when the tree disappeared (1936-37); then when the clerestory was constructed (1939).

In my nonstop refining of the dates of Taliesin’s changes, I looked at all the photocopies, took a pencil, and re-dated them accordingly. Figuring out these photographs has helped me to figure out changes; and on the other hand, figuring out changes has helped me figure out photographs.

First published, August 21, 2021.

The image at the top of this post is published online at https://commons.wikimedia.org/wiki/File:Taliesin_Exterior_21.jpg. The image is licensed under the Creative Commons  Attribution-Share Alike 4.0 International license.

1 While it’s slowly changing, people who knew him and worked with him referred to him as Mr. Wright. I was taught that specifically when I started giving tours. But, as I was completing grad school at that time, I carried the lesson on referring to an artist. First introduce them by their full name and thereafter just use their last names. I tried to call him “Frank Lloyd Wright” otherwise, but I can’t guarantee it.

Looking toward Taliesin from the grounds of Unity Chapel

“This book is going to be big”

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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. You can see Wright’s home, Taliesin, 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 the work of 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. 

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.

Taliesin interior. On left: by Raymond Trowbridge, 1930. On right, by Keiran Murphy 2019.

Why Did You Have to do That, Mr. Wright?!1

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Two views of the same space, 89 years apart.

Frank Lloyd Wright began his home, Taliesin (south of Spring Green, Wisconsin), in 1911 and worked on it almost continuously until he died in 1959. As researcher and historian I easily documented over 100 changes he made just to his home (that number doesn’t include the necessary construction after Taliesin’s first or second fires).

And this doesn’t count his work on the other buildings on the Taliesin estate; about which you can read at Wikipedia. If you go to the Taliesin (studio) page, there are links to the four other buildings on the estate. Yes, I did start all of the Wikipedia entries on those Taliesin estate buildings, why do you ask?

And the changes I numbered were just those that could be documented through photographs.

Taliesin is very important, yes

That’s why we call Taliesin a sketchbook. In addition, it was an experiment for the artist/architect/genius-extraordinaire [that looks like I’m being snotty, but I’m not].

I was told by someone who worked in the Wisconsin State Historic Preservation Office that when they began talking about Taliesin restoration, they didn’t want to create the Taliesin “zoo”. As they restored/preserved the building, they didn’t want to pick out what they thought were the “best” changes done there by Wright.

Their conclusion: restore Taliesin back to the last decade of the architect’s life, 1950-59. And as close to 1959 as possible/doable, combined with new technologies that wouldn’t screw up the building in the future. So that’s how, for example, Taliesin got geothermal heating and cooling.

And I agree. I fiercely want Taliesin to be as it was in Wright’s lifetime—as long as the “building envelope” is “sealed” to help the building survive long past my death.

YET

I wrote all of this because I have a confession: there are changes I really wish that guy hadn’t made to his home.

Some things that used to be at Taliesin just seem so cool. Their rarity is part of the attraction. And, yes, I love what is there today… but  sometimes I really wish he’d left well enough alone.

Look below for an example.

The first photo, taken 1926-33, shows the entry to his living quarters. The part you see under the roof is what I’m talking about. Between those three stone piers were French doors. They opened to the exterior balcony that ended at a parapet behind where that teenage boy is sitting (he’s sitting on a little bit of roofing). He added the balcony in Taliesin III (so, after the second fire). It stood one floor above today’s “front door” at Taliesin.

Postcard of Taliesin, 1926-30. Unknown photographer
Postcard property of Patrick Mahoney. Used with permission. The photograph is published in Frank Lloyd Wright’s Taliesin: Illustrated by Vintage Postcards, by Randolph C. Henning, p. 61.

Then in 1942 (approximately), Wright constructed a roof over that balcony, making it into a storage room. Former Wright apprentice / longtime Taliesin Fellowship member John DeKoven Hill called the room “the hell hole”.

The same view in the 1950s:

The next photograph shows the same part of the building, with a roof where the balcony used to be. It’s the configuration one sees today:

Photo of Taliesin 1955 taken by Maynard Parker

Maynard Parker took the photograph above in 1955 by for House Beautiful magazine. Then you click on the photo above, at the website of its owners (the Huntington Library) it’s backwards from its correct orientation.

What you see in the 1955 photo by Parker/for House Beautiful, is great, of course. But I look at archival photos, or scan what’s in my memory, comparing it to what he had before 1942 and I want to whine: “oh man – why did you do that?”

Then, here’s what I’m thinking: “grumble, grumble – sketchbook — grumble grumble… architectural genius… grumble grumble… HIS gorram house… grumble…”

But what right do I have, given the mistakes from the past?

… you can’t deny all those times in which people, with the best of intentions, completely destroyed something.

Like so many buildings by architect Louis Sullivan in Chicago

And Wright’s Larkin Building in Buffalo

Check out this from the Buffalo City Gazette shows newspaper articles talking about the building’s decline

You get the point.

FINALLY

There’s also the fact that the National Park Service, which confers “National Historic Landmark” status, is firmly against people “creating a false sense of history.” That is a hard-and-fast rule.

Besides, if Taliesin had all the things in it that I really like it would end up being a Taliesin that never actually existed.

But I can still yell at him in my head, though.

 

 

Initially published on May 4, 2021

At the top of this page are two photos. The one on the left was taken in 1930 by Raymond Trowbridge (who I’ve written about) and is at the Chicago History Museum (and online here). I took the photo on the right a couple of years ago, showing the same room. You can tell it’s the same because what remains the same in the two photographs are the ceramics in the fireplace on the left and, against the wall, the built-in bench and the radiator cover. He lowered the ceiling in 1933-34 when a bedroom/sitting room was built one floor above for his youngest daughter, Iovanna Lloyd Wright.

1 accompanied by lots of words for him that I cannot repeat in polite company.

Books by apprentices

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Last time I wrote on the book Years With Frank Lloyd Wright: Apprentice to Genius by former Wright apprentice, Edgar Tafel. This week I’m writing about more books by Taliesin Fellowship apprentices.

If you need to remember what the Taliesin Fellowship is, click here

Memoirs by former apprentices:

Reflections From the Shining Brow: My years with Frank Lloyd Wright and Olgivanna Lazovich Wright, by Kamal Amin

Amin came from Egypt to join the Fellowship in 1951 and remained until 1978. Amin gives a unique view about Frank Lloyd Wright, and his wife, Olgivanna.

Working with Frank Lloyd Wright: What it was Like, by Curtis Besinger

This is a nice companion to “Apprentice to Genius”. Besinger became a Wright apprentice in 1939 and stayed until 1955. He brings you year by year through his experience at Taliesin in Wisconsin in the summer, and Taliesin West in Arizona in the winter. He also discussed projects through the years, like the Unitarian meeting House in Madison. Additionally, he talked about activities in the Fellowship: movies the group saw, and about playing and practicing music. And the author wrote about the effect of World War II on the group.

See the book below (A Taliesin Diary, by Priscilla Henken), for the day-to-day Fellowship life during World War II.

Tales of Taliesin: A Memoir of Fellowship, by Cornelia Brierly

Cornelia was an early Taliesin apprentice, and this book contains a collection of her remembrances. Her memories are unique and often humorous. In addition, the book includes interesting photos from her collection.

Picturing Wright: An Album from Frank Lloyd Wright’s Photographer, by Pedro Guerrero

Picturing Wright shows Wright’s openness. “Pete” was 22 years old, with no experience, when he asked Wright if he could work for him. Wright, who was 50 years older, saw Peter’s talent and gave him all the work he wanted.

Check out Guerrero’s website, https://guerrerophoto.com/. This has a great collection of his photographs all through his career.

A Taliesin Diary: A Year with Frank Lloyd Wright, by Priscilla Henken

Most books by apprentices were written years later, but this was an actual diary kept at the time. Priscilla and her husband, David, were in the Fellowship (1942-43) and she wrote in her diary every day. What she saw and felt give a unique perspective on daily life in the group, and on Wright and his family. The book includes photographs taken by the Henkens when they were apprentices, that have not appeared elsewhere.

Frank Lloyd Wright and Taliesin, by Frances Nemtin

“Frances”, was in the Taliesin Fellowship from 1946 until she died in 2015, wrote this book about Wright’s design and about the Taliesin Fellowship. The book contains original photographs.

She wrote a variety of booklets about her life in the Fellowship, but this is one of the few published in hardcover. 

Some of her booklets may still be in gift shop at the Frank Lloyd Wright Visitor Center, so maybe you’ll see them if you take a Taliesin tour this year.

Taliesin Reflections: My Years Before, During, and After Living With Frank Lloyd Wright, by Earl Nisbet

Nisbet was an apprentice under Wright in 1951-1953. His “Taliesin Reflections”—short scenes—are mixed with profiles of people in the Fellowship (Gene Masselink, Wes Peters, Jack Howe, and others). When Nisbet went to work as an architect, he employed lessons from Wright in his practice. The book has original illustrations and photographs.

Autobiographies by former apprentices:

Pedro Guerrero: A Photographer’s Journey with Frank Lloyd Wright, Alexander Calder, and Louis Nevelson, by Pedro Guerrero

In this book, “Pete” writes about growing up, as well as his career. He worked not only with Frank Lloyd Wright, but with two other major 20th Century artists. He photographed the sculptors: Alexander Calder and Louise Nevelson. Also, Guerrero writes about his work in the magazines House Beautiful, House & Garden, and Vogue among others (while always working at Wright’s request).

Related:

The film documentary, “American Masters — Pedro E. Guerrero: A Photographer’s Journey”, was released on PBS, American Masters, in 2017.

Escape Home: Rebuilding a Life after the Anschluss — A Family Memoir, by Charles Paterson (Author), Carrie Paterson (Author, Editor), Hensley Peterson (Editor)

Charles Paterson was in the Taliesin Fellowship from 1958-60. Truthfully, I purchased the book only for its Taliesin Fellowship connection. I read it in its entirety during the Covid-19 lock-down. So, that’s one thing to be grateful for in the year 2020.

Paterson’s life begins in the 1930s in Austria. Then, his father helped him and his sister escape to Australia during World War II. The three were alive at the end of the war and reunited in the United States. Yet, Paterson’s study under Wright was one stop before he moved to the raw Colorado town of Aspen, where he became an architect.

And all of this is without mentioning Paterson’s uncle, architect Adolf Loos!

More Than One Author:

At Taliesin: Newspaper Columns by Frank Lloyd Wright and the Taliesin Fellowship, 1934-1937, compiled by Randolph Henning

Another companion to “Apprentice to Genius”.

The editor found as many of the weekly “At Taliesin” newspaper as he could. Then he typed them up and edited them into this book. The “At Taliesin” articles were written in the 1930s and show Wright and his apprentices as they lived them. The apprentices worked as entertainers, cooks, laborers, and farmhands. Also, imo, the book shows why these kids would move to rural Wisconsin to live and work with a man old enough to be their grandfather. And like it. The book contains photographs found almost nowhere else.

About Wright: An Album of Recollections by Those Who Knew Frank Lloyd Wright, Edgar Tafel, ed., with foreword by Tom Wolfe.

This book has written memories by a wide group of people from all aspects of Wright’s life: friends, co-workers, family, and former apprentices.

Books showcasing photographs and graphics:

A Way of Life: An Apprenticeship with Frank Lloyd Wright, by Lois Davidson Gottlieb.

Gottlieb apprenticed under Wright in 1948-49. She took the photographs of both Taliesins that are in this book. The colors in the photos are amazing and make you really appreciate Kodachrome film.

William Wesley Peters: The Evolution of a Creative Force. Editor emeritus John DeKoven Hill, with text by John C. Amarantides, David E. Dodge, et al.

“Wes” Peters’ “Box Projects” (bi-yearly projects given as presents by apprentices to Frank Lloyd Wright). The projects by Peters are beautifully illustrated, with an essay that explains them.

Websites:

Here are links to blogs written by former apprentices:

JG on Wright, John W. Geiger, Apprentice of Frank Lloyd Wright

John Geiger tried to trace apprentices and the years they started under Wright. So, this site includes the list he created. He also had photographs that he gave to the Frank Lloyd Wright Foundation.

An explanation of the site is here: https://jgonwright.net/jgdb1.html

Robert M. Green, an apprentice in the last months of Frank Lloyd Wright’s life, kept a website and wrote about his reasons for leaving the Taliesin Fellowship.

https://web.archive.org/web/20011120175318/http://robertgreen.com/robert_green/robert_green.asp

First published April 5, 2021.
I took image at the top of this page.