{"title":"Frank Lloyd Wright","description":"\u003cp\u003eSed arcu velit, lacinia quis scelerisque sit amet, fringilla eu nibh. In in metus vel lacus fringilla mattis vitae at augue. Nullam malesuada, urna at scelerisque consequat, enim libero commodo enim, in malesuada purus erat ut ipsum. Nunc non justo odio, sed tempus turpis. Cras et turpis turpis.\u003c\/p\u003e","products":[{"product_id":"original-c-1930-hand-signed-frank-lloyd-wright-modern-architecture-being-the-kahn-lectures-for-1930","title":"original c. 1930 hand signed frank lloyd wright modern architecture: being the kahn lectures for 1930","description":"original c. 1931 first edition book, titled modern architecture: being the kahn lectures for 1930 (held at princeton university). the book cover, containing a wonderful geometric graphic design supplied by frank lloyd wright, was signed by the architect shortly before his death (provenance provided upon request). the kahn lectures were series of lectures that took place from 1929 to 1931 at the department of art and archaeology of princeton university, sponsored by the new york banker otto hermann kahn (18671934). kahn had funded visits by european scholars to princeton since 1925, and the new lectures were announced as a continuation of the earlier ones. frank lloyd wright was invited by baldwin smith, who was the acting chair of the department of art and archaeology. according to the original donation by otto kahn, each series was to consist of eight lectures, but wright proposed that he would instead hold six lectures and arrange an exhibition of his own recent work \"illustrating the ideas and principles involved in the \"course.\" wright's kahn lectures gave him a new and important experience and even \"opened a new career path\" for the architect, who continued to lecture extensively at universities and other institutions for the next year. his exhibition toured america in 1930 and europe for six months in 1931. wright's lectures were originally published in 1931 in the princeton monograph series for art and archaeology. they were reprinted in 1987, and a new edition, with an introduction by harvard professor neil levine, was published in 2008. in a contemporary review of the first edition of wright's lectures, the critic catherine bauer described the book as \"the very best book on modern architecture that exists\".","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50668940099882,"sku":"UR-7584-10","price":1800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20100726-008m_2.jpg?v=1759974372"},{"product_id":"very-rare-c-1897-heller-house-fret-sawn-pine-wood-exterior-eave-trim-panel","title":"very rare c. 1897 heller house fret-sawn pine wood exterior eave trim panel","description":"original museum quality late 19th century intricately designed fret-sawn pine wood exterior eave panel removed in 1984 from the isidore h. heller residence located in hyde park (chicago, il). the unique geometric floral abstraction represents a turning point in wright's shift to geometric, prairie school architecture (defined by horizontal lines, flat or hipped roofs with broad overhanging eaves, windows grouped in horizontal bands, and an integration with the landscape, which is meant to evoke native prairie surroundings). traces of the original paint finish remains intact. the 1897 isidore h. heller house was designed by architect frank lloyd wright. the design demonstrates wright's shift away from emulating the style of his mentor, louis sullivan. richard bock, a wright collaborator and sculptor, provided some of the ornamentation, including a plaster frieze on the third floor. little is known about isidore h. heller and his family, but what is known has been compiled through personal interviews as well as census and county records. heller purchased land in the hyde park area of chicago from jonas hamburger in 1895 and commissioned frank lloyd wright to design the house in 1896. a building permit was issued on july 13, 1897. william adams was named as the builder. in 1906, the lot was enlarged when heller purchased an additional 25 feet to the north of his original plot. the hellers lived in the house for about 16 years, until the death of ida heller in 1909. when frank lloyd wright designed the heller house in 1896, it marked his move away from styles that were popular into an era of geometric and highly modern designs. wright's design exhibits the influence of wright's mentor, louis sullivan, and demonstrates wright's move towards prairie school homes which would epitomize much of his early work. sullivan's influence can also be seen in the floral pattern of the richard bock plaster frieze on the home's third floor. during the 1970's, \"restoration\" work in the form of sandblasting, destroyed much of the detail on the frieze. the rectangular house was built with indiana limestone, and yellow roman brick, which emphasizes the geometric and horizontal nature of the home's exterior. the house was constructed on a narrow lot, so the main entryway is located on the side of the building, similar to wright's warren mcarthur house of 1892. the south side entrance was adorned with classical detailing and the cantilevered entry lintel, which sits on two ornately detailed stone columns, was decorated with quatrefoils which were set on a stone panel. the front room is not split by a corridor or side hall, making it more spacious. the heller house was frank lloyd wright's first work in the hyde park neighborhood of chicago, an area that was influenced by the gothic revival work of henry ives cobb. wright's robie house is six blocks from the heller house, and the blossom house and mcarthur house are nearby, in kenwood. the design of the heller house was unlike any other home in chicago at the time it was built and was called wright's most \"outrageous\" design. the panel measures 38 1\/2 x 9 1\/4 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669162168618,"sku":"UR-9512-11","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20110308-20110308-img_5399n_1_2.jpg?v=1759980971"},{"product_id":"fifteen-matching-original-american-frank-lloyd-wright-designed-geometric-flower-prism-glass-building-facade-tiles","title":"fifteen matching original american frank lloyd wright designed \"geometric flower\" prism glass building facade tiles","description":"fifteen matching highly sought after early 20th century antique american \"flower\" pattern prism-light glass tiles designed and patented in 1897 by notable architect frank lloyd wright for the luxfer prism co., chicago, il. of the 41 frank lloyd wright patented designs submitted, the \"flower\" pattern was the only one manufactured. the highly stylized tiles exhibit a light purple hue, caused by a reaction between the manganese oxide's prolonged exposure to natural sunlight. prism glass tiles contain lightly embossed concentrically-arranged ornament consisting of geometric design motifs on one side, and the \"saw-tooth\" prisms on the other side. the tiles date to 1905-10. the tiles were fabricated by the luxfer prism tile co., chicago. prismatic glass, which was a highly successful building material in the united states between the turn of the century and the 1920s, promised to refract daylight from the facades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. the luxfer prism companies were the inventors and most prominent producers of this material. luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass facades. in the early 1930s prismatic glass finally lost the competition with electrical lighting and new structural day lighting devices such as hollow glass blocks. priced for the entire lot.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50669484245290,"sku":"UR-12394-11","price":2200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20111223-017m_2.jpg?v=1760411881"},{"product_id":"19th-century-louis-sullivan-designed-exterior-schiller-building-facade-terra-cotta-block-featuring-richly-embellished-and-highly-detailed-foliage","title":"19th century louis sullivan-designed exterior schiller building facade terra cotta block featuring richly embellished and highly detailed foliage","description":"original late 19th century intricately designed and deeply embossed ornamental terra cotta building fragment designed by notable chicago prairie school architect louis h. sullivan for the schiller (later garrick ) building completed in 1891-2. the exterior corner block features a richly embellished leaf in high relief. the original cream-colored finish has darkened considerably due to prolonged exposure to soot and other air pollutants over the decades. the terra cotta fragment was fabricated by the northwestern terra cotta company, chicago, il. the non-extant late 19th century terra cotta-clad schiller theatre building was designed by architects louis sullivan and dankmar adler of the firm adler \u0026amp; sullivan for the german opera company. at the time of its construction, it was one among the tallest buildings in downtown chicago. The building’s focal point was an elaborately designed 1,300-seat theater noted for its highly organic-themed plaster ornament and remarkable acoustics. opened in 1892, the schiller theater was originally funded by german investors and was projected to be used for german-language operas and cultural events. one of the more tangible references to its german heritage was a series of terra cotta busts of prominent german figures integrated within the second story arcade. the theater changed its name and duties over the following decades. it was briefly known as the dearborn theater from 1898 to 1903, until finally settling on the name garrick theater. after german investors backed out of the project in the late 1890’s, it ceased its german performances, and exhibited touring stage shows. in the 1930’s the theater was acquired by balaban \u0026amp; katz and subsequently used as a television studio and movie theater. after a long decline that began during the depression, the garrick was razed in 1960 and replaced with a parking structure. the demolition instigated a large outcry and is considered to be one of the first wide scale preservation efforts in chicago. photographer and historical preservationist richard nickel spearheaded an effort to document and rescue hundreds of architectural artifacts from the building shortly before and during its demolition. 8\" x 12\" x 12\".","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670409122090,"sku":"UR-17874-13","price":1800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130809-051m_2.jpg?v=1760340077"},{"product_id":"two-original-early-20th-century-american-frank-lloyd-wright-designed-sun-purple-ornamented-luxfer-prism-tiles","title":"two original early 20th century american frank lloyd wright-designed \"sun-purple\" ornamented luxfer prism tiles","description":"pair of  highly sought after early 20th century antique american \"flower\" pattern prism-light glass tiles designed and patented in 1897 by notable architect frank lloyd wright for the luxfer prism co., chicago, il. of the 41 frank lloyd wright patented designs submitted, the \"flower\" pattern was the only one manufactured by luxfer. the highly stylized tiles exhibit a light purple hue (also known as \"sun-purple\"), caused by a reaction between the manganese oxide's prolonged exposure to natural sunlight. prism glass tiles contain lightly embossed concentrically-arranged ornament consisting of geometric design motifs on one side, and the \"saw-tooth\" prisms on the other side. the tiles date to 1905-10. the tiles were fabricated by the luxfer prism tile co., chicago. prismatic glass, which was a highly successful building material in the united states between the turn of the century and the 1920s, promised to refract daylight from the facades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. the luxfer prism companies were the inventors and most prominent producers of this material. luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass facades. in the early 1930's prismatic glass finally lost the competition with electrical lighting and new structural day lighting devices such as hollow glass blocks. priced for the pair. each one measures approximately 4 x 4 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670660780330,"sku":"UR-18838-13","price":300.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20131118-039n_2.jpg?v=1760167426"},{"product_id":"matching-lot-of-four-original-early-20th-century-american-frank-lloyd-wright-designed-geometric-flower-pattern-transom-panel-prism-tiles","title":"matching lot of four original early 20th century american frank lloyd-wright designed geometric flower pattern transom panel prism tiles","description":"four matching early 20th century antique american \"flower\" pattern prism-light glass tiles designed and patented in 1897 by notable architect frank lloyd wright for the luxfer prism co., chicago, il. of the 41 frank lloyd wright patented designs submitted, the \"flower\" pattern was the only one manufactured by luxfer. the highly stylized tiles exhibit a light purple hue (also known as \"sun-purple\"), caused by a reaction between the manganese oxide's prolonged exposure to natural sunlight. prism glass tiles contain lightly embossed concentrically-arranged ornament consisting of geometric design motifs on one side, and the \"saw-tooth\" prisms on the other side. the tiles date to 1905-10. the tiles were fabricated by the luxfer prism tile co., chicago. prismatic glass, which was a highly successful building material in the united states between the turn of the century and the 1920s, promised to refract daylight from the facades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. the luxfer prism companies were the inventors and most prominent producers of this material. luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass facades. in the early 1930's prismatic glass finally lost the competition with electrical lighting and new structural day lighting devices such as hollow glass blocks. priced for the lot. each one measures approximately 4 x 4 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670661533994,"sku":"UR-18852-13","price":595.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20131118-034n_2.jpg?v=1760167457"},{"product_id":"frank-lloyd-wright-designed-original-exterior-sun-purple-prism-glass-transom-tiles-with-geometric-flower-design-motif","title":"frank lloyd wright designed original exterior \"sun-purple\" prism glass transom tiles with \"geometric flower\" design motif","description":"set of matching early 20th century antique american \"flower\" pattern prism-light glass tiles designed and patented in 1897 by notable architect frank lloyd wright for the luxfer prism co., chicago, il. of the 41 frank lloyd wright patented designs submitted, the \"flower\" pattern was the only one manufactured by luxfer. the highly stylized tiles exhibit a light purple hue (also known as \"sun-purple\"), caused by a reaction between the manganese oxide's prolonged exposure to natural sunlight. prism glass tiles contain lightly embossed concentrically-arranged ornament consisting of geometric design motifs on one side, and the \"saw-tooth\" prisms on the other side. the tiles date to 1905-10. the tiles were fabricated by the luxfer prism tile co., chicago. prismatic glass, which was a highly successful building material in the united states between the turn of the century and the 1920s, promised to refract daylight from the facades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. the luxfer prism companies were the inventors and most prominent producers of this material. luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass facades. in the early 1930's prismatic glass finally lost the competition with electrical lighting and new structural day lighting devices such as hollow glass blocks. priced for the pair. each tile measures 4 x 4 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670673789226,"sku":"UR-18959-13","price":295.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20131205-030n_2.jpg?v=1760256487"},{"product_id":"custom-built-quartered-oak-and-walnut-wood-electric-table-or-desk-lamp-containing-frank-lloyd-wright-designed-prism-glass-tiles","title":"custom-built quartered oak and walnut wood electric table or desk lamp containing frank lloyd wright-designed prism glass tiles","description":"attractive repurposed american custom-built table or desk lamp comprised largely of frank lloyd wright-designed luxfer prism tiles. the rectangular-shaped lantern contains a single interior paddle socket (in-line switch optional) used to illuminate the \"geometric flower\" pattern tiles fabricated by the luxfer tile company, chicago, il. of the 41 frank lloyd wright patented designs submitted, the \"flower\" pattern was the only one manufactured by luxfer. the highly stylized tiles exhibit a light purple hue (also known as \"sun-purple\"), caused by a reaction between the manganese oxide's prolonged exposure to natural sunlight. prism glass tiles contain lightly embossed concentrically-arranged ornament consisting of geometric design motifs on one side, and the \"saw-tooth\" prisms on the other side. the tiles date to 1905-10. the tiles were fabricated by the luxfer prism tile co., chicago. prismatic glass, which was a highly successful building material in the united states between the turn of the century and the 1920's, promised to refract daylight from the facades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. the luxfer prism companies were the inventors and most prominent producers of this material. luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass facades. in the early 1930's prismatic glass finally lost the competition with electrical lighting and new structural day lighting devices such as hollow glass blocks. the four-legged, uniquely-shaped base is comprised of solid walnut wood. the mortised frame consists of thin strips of quartered oak wood salvaged from the chicago athletic association building. the lamp fixture has been wired with braided brown cloth lamp cord.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670682308906,"sku":"UR-19051-13","price":1800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20131218-004n_2.jpg?v=1760344513"},{"product_id":"original-and-intact-early-20th-century-american-frank-lloyd-wright-designed-exterior-building-geometric-flower-glass-prism-transom-tiles","title":"original and intact early 20th century american frank lloyd wright-designed exterior building \"geometric flower\" glass prism transom tiles","description":"group of four all original early 20th century antique american \"flower\" pattern prism-light glass tiles designed and patented in 1897 by notable architect frank lloyd wright for the luxfer prism co., chicago, il. of the 41 frank lloyd wright patented designs submitted, the \"flower\" pattern was the only one manufactured by luxfer. the highly stylized tiles exhibit a light purple hue (also known as \"sun-purple\"), caused by a reaction between the manganese oxide's prolonged exposure to natural sunlight. prism glass tiles contain lightly embossed concentrically-arranged ornament consisting of geometric design motifs on one side, and the \"saw-tooth\" prisms on the other side. the tiles date to 1900-10. the tiles were fabricated by the luxfer prism tile co., chicago. prismatic glass, which was a highly successful building material in the united states between the turn of the century and the 1920's, promised to refract daylight from the facades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. the luxfer prism companies were the inventors and most prominent producers of this material. luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass facades. in the early 1930's prismatic glass finally lost the competition with electrical lighting and new structural day lighting devices such as hollow glass blocks. priced for the lot. each tile measures 4 x 4 inches.\u003cbr\u003e-","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670716518698,"sku":"UR-19291-14","price":595.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140120-20140120-072m_2.jpg?v=1760257842"},{"product_id":"single-early-20th-century-american-exterior-frank-lloyd-wright-designed-luxfer-glass-prism-tile-with-geometric-flower-motif","title":"single early 20th century american exterior frank lloyd wright-designed luxfer glass prism tile with geometric flower motif","description":"all original early 20th century antique american \"flower\" pattern prism-light glass tile designed and patented in 1897 by notable architect frank lloyd wright for the luxfer prism co., chicago, il. of the 41 frank lloyd wright patented designs submitted, the \"flower\" pattern was the only one manufactured by luxfer. the highly stylized tile exhibits a light purple hue (also known as \"sun-purple\"), caused by a reaction between the manganese oxide's prolonged exposure to natural sunlight. the prism glass tile contains lightly embossed concentrically-arranged ornament consisting of geometric design motifs on one side, and the \"saw-tooth\" prisms on the other side. the tile dates to 1900-10. prismatic glass, which was a highly successful building material in the united states between the turn of the century and the 1920's, promised to refract daylight from the facades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. the luxfer prism companies were the inventors and most prominent producers of this material. luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass facades. in the early 1930's prismatic glass finally lost the competition with electrical lighting and new structural day lighting devices such as hollow glass blocks. measures 4 x 4 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670740242730,"sku":"UR-19424-14","price":150.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140208-20140208-008n_2.jpg?v=1760258358"},{"product_id":"elegantly-designed-original-c-1900-s-exterior-building-facade-geometric-flower-pattern-luxfer-prism-glass-tile-with-purple-hue","title":"elegantly designed original c. 1900's exterior building facade \"geometric flower\" pattern luxfer prism glass tile with purple hue","description":"all original early 20th century antique american \"flower\" pattern prism-light glass tile designed and patented in 1897 by notable architect frank lloyd wright for the luxfer prism co., chicago, il. of the 41 frank lloyd wright patented designs submitted, the \"flower\" pattern was the only one manufactured by luxfer. the highly stylized tile exhibits a light purple hue (also known as \"sun-purple\"), caused by a reaction between the manganese oxide's prolonged exposure to natural sunlight. the prism glass tile contains lightly embossed concentrically-arranged ornament consisting of geometric design motifs on one side, and the \"saw-tooth\" prisms on the other side. the tile dates to 1900-10. prismatic glass, which was a highly successful building material in the united states between the turn of the century and the 1920's, promised to refract daylight from the facades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. the luxfer prism companies were the inventors and most prominent producers of this material. luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass facades. in the early 1930's prismatic glass finally lost the competition with electrical lighting and new structural day lighting devices such as hollow glass blocks. measures 4 x 4 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670740341034,"sku":"UR-19425-14","price":150.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140208-20140208-010n_2.jpg?v=1760345675"},{"product_id":"original-early-20th-century-unrestored-historically-important-exterior-cast-concrete-midway-gardens-diminutive-building-panel-fragment-with-exposed-rebar","title":"original early 20th century unrestored historically important exterior cast concrete midway gardens diminutive building panel fragment with exposed rebar","description":"documented c. 1914 diminutive exterior cast concrete frieze block fragment salvaged from the non-extant midway gardens complex designed by architect frank lloyd wright. the fragment was likely apart of a larger concrete geometric designed block, which are almost always found in various states of disrepair (i.e., broken sections, fractures, damaged surface, etc). the fragment has surface wear and discoloration consistent with age. exposed bent steel rebar evident. midway gardens (opened in 1914, demolished in 1929) was a 300 ft. square indoor\/outdoor entertainment facility in the hyde park neighborhood on the south side of chicago. it was designed by architect frank lloyd wright, who also collaborated with sculptors richard bock and alfonso iannelli on the famous “sprite” sculptures adorning the facility. under wrights supervision. iannelli and bock designed all but two of the sprites, and craftsman\/cement expert, ezio orlandi, cast them. designed to be a european–style concert garden with space for year-round dining, drinking, and performances, midway gardens hosted notable performers and entertainers, but struggled financially year after year until october of 1929 when the structure was demolished. midway gardens was opened on the site of the former sans souci amusement park on the southwest corner of cottage grove avenue and east 60th street. edward c. waller commissioned frank lloyd wright to design and build the gardens in 1914. construction was completed very quickly, and the complex opened in june of 1914. the modernist architecture of the gardens was based on strict geometrical forms designed by wright. a large, open–air central area, filled with tables and chairs, was ringed by a series of three–story buildings with indoor spaces for dancing and other activities, as well as cantilevered balconies with overhanging roofs. there were terraced gardens, pools, and a music pavilion and stage.the building itself was made of yellow brick and patterned concrete block. it featured highly intricate ornament and many geometric sculptures, which frank lloyd wright named “sprites” and were co-designed with alfonso ianelli. in keeping with wright's style, the building also featured rows of art glass and hidden entries. the interior was likewise intricately ornamented and filled with wright designed furniture and accoutrements, right down to the napkin rings. midway gardens was an indoor\/outdoor entertainment center intended to act as a beer hall and concert\/dance hall which featured bands including the midway gardens orchestra. the large area (equivalent to a city block) offered entertainment to a wide variety of people in a german-style meeting place. the gardens included restaurants, saloons, newspaper and cigar stands, and arcades. when prohibition was passed, the gardens lost part of their entertainment value. when it opened, midway gardens was an upscale entertainment venue that was also affordable to the common person. max bendix and the national symphony orchestra frequented the concert section because they were the \"house band\". the ballet dancer anna pavlova performed numerous times as well. frank lloyd wright brought in popular acts to sing, dance, and play music, which created a bourgeois environment. after it became edelweiss gardens, however, the high class atmosphere switched to one of vaudeville, ragtime, and cabaret. in the beginning, business was strong, but waller never could provide adequate funding to back the construction and upkeep of midway gardens and declared bankruptcy in march 1916. at this point, midway gardens was purchased by the edelweiss (schoenhofen) brewery company and renamed “edelweiss gardens”. wright, who generally exerted strong creative control over his completed projects, was disgusted by the aesthetic changes the new owner made to the gardens, writing that edelweiss had added \"obnoxious features\" and that the whole effect of \"the proud midway gardens\" \"was cheapened to suit a hearty bourgeois taste.\" edelweiss gardens continued through the war years (closing briefly in 1918) and stayed open as a dry establishment during prohibition. in 1921, the building was sold once more, to the e. c. dietrich midway automobile tire and supply company, and renamed “the midway dancing gardens.\" finally, in october 1929, midway gardens was closed permanently and demolished. a testament to wright's design, the building was so solidly constructed that tearing it down sent the wrecking company into bankruptcy. the majority of the rubble was bulldozed into lake michigan to be used as a breakwall. several of the sprites and cement blocks survived the demolition because the original sculptor, iannelli, managed to retrieve a few segments. also, demolition contractor, william j. newman, took several sculptures and cement blocks to his farm in wisconsin. many years later when wright heard of their survival, he purchased them and they remained with his estate. other sculptures that escaped demolition can be found in private collections and museums.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670851522858,"sku":"UR-20074-14","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20111017-022m_2.jpg?v=1760261365"},{"product_id":"matching-set-of-original-museum-quality-frank-lloyd-wright-designed-c-1908-avery-coonley-living-room-leaded-art-glass-door-panes-or-insets-removed-in-or-around-1911","title":"matching set of original museum quality frank lloyd wright-designed c. 1908 avery coonley living room leaded art glass door panes or insets removed in or around 1911","description":"two matching original and intact museum quality early 20th century avery coonley (riverside, il.) interior living room leaded art glass door panes or insets executed by the linden glass company, chicago, il. the art glass doors were believed to be removed by frank lloyd wright in the 1911 remodeling of the home's garden facade. the two doors containing the art glass window panes originally flanked a projecting bay of windows. during the remodel, wright replaced the doors with windows and filled the central bay with doors to allow easier access to the terrace. the well-proportioned geometric design is an extension of an existing pattern found in the living room windows, but on a much larger scale. the copper-plated zinc caming is original and structurally sound. the coonley house estate, consisting of multiple buildings, was constructed between 1907-08 on the banks of the des plaines river in riverside, il. avery coonley was heir to an industrial fortune and had an unlimited budget. the coonley family had investigated wright's other homes and told him that they saw in his work \"the countenances of principle.\" wright stated in his autobiography that \"this was to me a great and sincere compliment. so i put my best into the coonley house.\" the extant house contains a stucco exterior that rises to an upper ceramic tile banding with a geometric pattern. the gardens contain terraces, shallow planters and a large reflecting pool. for the education of the coonley's young daughter, wright designed a playhouse nearby. around 1960, the main house was divided into two separate residences, now with separate addresses. it was declared a national historic landmark in 1970. the other set of doors remain \"in siti\" at the coonley residence. measures 70 x 40 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50670884323626,"sku":"UR-20387-14","price":125000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140701-002n_2.jpg?v=1760173949"},{"product_id":"two-historically-important-early-20th-century-frank-lloyd-wright-designed-francis-w-little-house-art-glass-interior-doors-with-copper-plated-zinc-caming","title":"two historically important early 20th century frank lloyd wright-designed francis w. little house art glass interior doors with copper-plated zinc caming","description":"two matching interlocking and remarkably intact early 20th century frank lloyd wright-designed art glass interior residential doors removed from the c. 1913 francis w. little residence shortly before the dismantlement and subsequent demolition of the house in the early 1970's. the largely colorless prairie school style doors feature a distinctively abstract and strongly geometric composition consisting primarily of clear glass accentuated with small white opalescent, red and frosted panes of triangles and squares. the nicely patinated copper-coated zinc caming remains structurally sound and overall great condition, considering age. the polychromed painted (primarily black, with green and red painted trim) pine wood doors are largely intact with original brass handles and mortise lock and strike. the frank lloyd wright-designed door glass panes were fabricated by the temple art glass company, chicago, il. around 1900 francis and mary little of peoria, il commissioned frank lloyd wright to design what was to be the first of two houses he designed for them. the littles were active founding members of the art institute of chicago, and it may have been there, where wright frequently lectured, that they and wright first came into contact. mr. little, a lawyer and owner of a utilities company, provided wright with financial assistance on more than one occasion. along with two other clients, mr. little paid for wright's trip to europe in 1909-1911 and helped finance the 1910 berlin publication commonly known as the wasmuth portfolio - a catalogue of one hundred of wright's drawings published by ernst wasmuth. the publication subsequently brought wright international attention. in the acknowledgments wright credited mr. little as one to whom he owed a great deal for support and faith in his work. around 1908 the littles commissioned wright to design a summer residence for them on lake minnetonka, with initial plans drawn that same year. the actual construction of the house, however, was not completed until around 1914, as wright left for europe in 1909, returned in 1911, and then spent part of 1913 in japan. although several letters from mr. little to wright indicate his frustration with the delay, the littles had a close relationship with wright and were willing to wait for him, rather than choosing another architect. during this time the littles spent their summers on the lake shore property in a small cottage that mr. little had designed in the style of wright's work. the home that wright designed for the littles was one of his last great prairie school-style residences. the characteristic long, low, hipped-roof building \"hugged\" two gentle hills that rose above the lake. the house plan consisted of two offset rectangles joined at the corner which formed a single 250-foot axis parallel to the lake shore. one rectangular section played a more private role, including the bedrooms and library above and the dining room, kitchen, and additional bedrooms below which was set into the lower hill. the other rectangular section included more public spaces, such as the large living\/music room, billiard room, and screened pavilion and was set atop the higher hill. wright designed nearly 300 windows for the house, which spanning the entire elevations, allowed the littles full advantage of the scenic view. mr. little died in 1923 and mrs. little subsequently moved into her husband's cottage and gave the summer home to eleanor and her husband raymond stevenson. like mr. and mrs. little, eleanor and their four daughters also spent part of the year at a residence in minneapolis and the other at the summer home on the lake. around 1951 the stevensons sold their minneapolis home, \"winterized\" the summer house, and moved in full time. however, by the late 1960’s the stevensons had grown weary of the challenges of living in a wright-designed house. the large size of the house, rising property taxes, built-in furnishings that could not easily be changed, and many uninvited visitors became too much for them. not wanting to move or tear down their house, and yet wanting a smaller house, put the stevensons in a difficult position because of city zoning ordinances which would not allow two houses on the same lot. the stevensons made every effort to find a buyer, contacting architects, societies and national groups. many were interested in preserving the house, but were unable to raise the money to buy it. moreover, the only way the stevensons could begin construction on a new house was to put the wright house on the market with the stipulation that if the house wasn't sold within two years it would be demolished. since no local buyer or institutions could be found to save the house, concerned individuals finally contacted officials at the metropolitan museum of art in new york which had a large collection of fine period rooms, to see if they might be able to purchase it for installation. director thomas hoving came to look at the house and immediately offered to purchase it for the sale price of $150,000. relieved, the stevensons sold the house to the metropolitan in the spring of 1972, while they retained the property. under the direction of metropolitan curator morrison heckscher, portions of the interior were carefully dismantled piece by piece for future installation in the metropolitan and to sell to other institutions. that same year the metropolitan sold the library to the allentown art museum in allentown, pennsylvania, a hallway to the minneapolis institute of arts, and eventually installed the large living\/music room in their own museum in 1982.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671040397610,"sku":"UR-21070-14","price":50000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140701-004c_2.jpg?v=1760177747"},{"product_id":"alfonso-iannelli-designed-single-cast-concrete-midway-gardens-figural-abstract-sprite-head-cast-from-an-original-with-custom-designed-welded-steel-stand","title":"alfonso iannelli-designed single cast concrete midway gardens figural abstract \"sprite\" head cast from an original with custom-designed welded steel stand","description":"remarkable full-scale alfonso iannelli-designed \"sprite\" head cast from a plaster mold taken from a documented original fragmented full-figured sprite undergoing restoration. the abstract figural sculpture is comprised of cast concrete with material and finish nearly identical to the original. the architectural fragment has been mounted on a custom-built welded joint display stand, comprised of a solid steel rod affixed to a flat heavy gauge steel plate with a brushed metal finish. \u003cbr\u003emidway gardens (opened in 1914, demolished in 1929) was a 300 ft. square indoor\/outdoor entertainment facility in the hyde park neighborhood on the south side of chicago. it was designed by architect frank lloyd wright, who also collaborated with sculptors richard bock and alfonso iannelli on the famous “sprite” sculptures adorning the facility. under wrights supervision. iannelli and bock designed all but two of the sprites, and craftsman\/cement expert, ezio orlandi, cast them. designed to be a european–style concert garden with space for year-round dining, drinking, and performances, midway gardens hosted notable performers and entertainers, but struggled financially year after year until october of 1929 when the structure was demolished. midway gardens was opened on the site of the former sans souci amusement park on the southwest corner of cottage grove avenue and east 60th street. edward c. waller commissioned frank lloyd wright to design and build the gardens in 1914. construction was completed very quickly, and the complex opened in june of 1914. the modernist architecture of the gardens was based on strict geometrical forms designed by wright. a large, open–air central area, filled with tables and chairs, was ringed by a series of three–story buildings with indoor spaces for dancing and other activities, as well as cantilevered balconies with overhanging roofs. there were terraced gardens, pools, and a music pavilion and stage.the building itself was made of yellow brick and patterned concrete block. it featured highly intricate ornament and many geometric sculptures, which frank lloyd wright named “sprites” and were co-designed with alfonso ianelli. in keeping with wright's style, the building also featured rows of art glass and hidden entries. the interior was likewise intricately ornamented and filled with wright designed furniture and accoutrements, right down to the napkin rings. midway gardens was an indoor\/outdoor entertainment center intended to act as a beer hall and concert\/dance hall which featured bands including the midway gardens orchestra. the large area (equivalent to a city block) offered entertainment to a wide variety of people in a german-style meeting place. the gardens included restaurants, saloons, newspaper and cigar stands, and arcades. when prohibition was passed, the gardens lost part of their entertainment value. when it opened, midway gardens was an upscale entertainment venue that was also affordable to the common person. max bendix and the national symphony orchestra frequented the concert section because they were the \"house band\". the ballet dancer anna pavlova performed numerous times as well. frank lloyd wright brought in popular acts to sing, dance, and play music, which created a bourgeois environment. after it became edelweiss gardens, however, the high class atmosphere switched to one of vaudeville, ragtime, and cabaret. in the beginning, business was strong, but waller never could provide adequate funding to back the construction and upkeep of midway gardens and declared bankruptcy in march 1916. at this point, midway gardens was purchased by the edelweiss (schoenhofen) brewery company and renamed “edelweiss gardens”. wright, who generally exerted strong creative control over his completed projects, was disgusted by the aesthetic changes the new owner made to the gardens, writing that edelweiss had added \"obnoxious features\" and that the whole effect of \"the proud midway gardens\" \"was cheapened to suit a hearty bourgeois taste.\" edelweiss gardens continued through the war years (closing briefly in 1918) and stayed open as a dry establishment during prohibition. in 1921, the building was sold once more, to the e. c. dietrich midway automobile tire and supply company, and renamed “the midway dancing gardens.\" finally, in october 1929, midway gardens was closed permanently and demolished. a testament to wright's design, the building was so solidly constructed that tearing it down sent the wrecking company into bankruptcy. the majority of the rubble was bulldozed into lake michigan to be used as a breakwall. several of the sprites and cement blocks survived the demolition because the original sculptor, iannelli, managed to retrieve a few segments. also, demolition contractor, william j. newman, took several sculptures and cement blocks to his farm in wisconsin. many years later when wright heard of their survival, he purchased them and they remained with his estate. other sculptures that escaped demolition can be found in private collections and museums.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671064154410,"sku":"UR-21367-14","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140722-014dfg_2.jpg?v=1760179566"},{"product_id":"two-matching-historically-important-early-20th-century-interior-darwin-d-martin-house-single-electric-light-cast-bronze-museum-quality-wall-sconces-with-white-opalescent-globes","title":"two matching historically important early 20th century interior darwin d. martin house single electric light cast bronze museum quality wall sconces with white opalescent globes","description":"\u003cp\u003enote: museum ONLY. Not For Sale.\u003c\/p\u003e\u003cp\u003ematching set of original and completely rewired museum quality darwin d. martin wall-mount sconces designed by notable architect frank lloyd wright. the historically-important sconces were fabricated by the wilfred lumley company, pittsburgh, pa. multiple distinctive prairie style wright-designed sconces were used throughout the complex with most comprised of cast bronze and outfitted with white opalescent glass globes. the two single electric light sconces are simply stunning both in design and execution. remarkably, the globes are original and free from damage. the brass shell keyless sockets and cloth cord wiring have been replaced. a few of the original set screws used in conjunction with the shade holders have been replaced. thankfully, the previous owners did not alter the surface patina of the bronzework. the darwin d. martin house (1903-1905) was designed by amerian architect for darwin d. martin, who with his brother, william e. martin, were co-owners of the e-z stove polish company based in chicago. in 1902 william commissioned wright to build him a home in oak park, the resultant william e. martin house built in 1903. upon viewing his brother's home, martin was eager to visit wright's studio. shortly thereafter he persuaded wright to view his property in buffalo, where he planned to build two houses. martin was instrumental in selecting wright as the architect for the larkin administration building, in downtown buffalo, wright's first major commercial project, in 1904. martin was the secretary of the larkin soap company and consequently wright designed houses for other larkin employees william r. heath and walter v. davidson. wright also designed the e-z stove polish company's factory (chicago, il.) built in 1905. wright designed the complex as an integrated composition of connecting buildings, consisting of the primary building, the martin house, a long pergola connecting with a conservatory, a carriage house-stableand a smaller residence, the barton house, which shares the site and was built for george f. barton and his wife delta, darwin martin's sister. the complex also includes a gardener’s cottage, the last building completed. martin, disappointed with the small size of the conservatory, had a 60 ft. long greenhouse constructed between the gardener's cottage and the carriage house, to supply flowers and plants for the buildings and grounds. this greenhouse was not designed by wright, and martin ignored wright's offer \"to put a little architecture on it\". over the next twenty years a great long-term friendship grew between wright and martin, to the extent that the martins provided financial assistance and other support to wright as his career unfolded well into the first half of the 20th century. the martin house exemplifies wright's prairie school ideal and is comparable with other notable works from this period in his career, such as the robie house in chicago and the dana-thomas house in springfield, illinois. wright was especially fond of the martin house design, referring to it for some 50 years as his \"opus\", and calling the complex \"a well-nigh perfect composition\". according to wright \"the main motives and indications were: first - to reduce the number of necessary parts of the house and the separate rooms to a minimum, and make all come together as an enclosed space--so divided that light, air and vista permeated the whole with a sense of unity.\" in 1900 edward bok of the curtis publishing company, bent on improving american homes, invited architects to publish designs in the ladies' home journal, the plans of which readers could purchase for five dollars. subsequently the wright design \"a home in a prairie town\" was published in february 1901 and first introduced the term \"prairie home\". the martin house, designed in 1903, bears a striking resemblance to that design. of particular significance are the fifteen distinctive patterns of nearly 400 art glass windows that wright designed for the entire complex, some of which contain over 750 individual pieces of jewel-like iridescent glass, that act as “light screens” to visually connect exterior views with the spaces within. more patterns of art glass were designed for the martin house than for any other of wright's prairie houses. walter burley griffin landscaped the grounds, which were created as integral to the architectural design. a semi-circular garden which contained a wide variety of plant species, chosen for their blossoming cycles to ensure blooms throughout the growing season, surrounded the martin house verandah. the garden included two sculptures by wright collaborator richard bock. the complex is located within the parkside east historic district of buffalo, which was laid out by renowned american landscape architect frederick law olmsted in 1876. darwin martin purchased the land in 1902 and construction began in 1903. wright signed off on the project in 1907. the original complete martin house complex was a little over 29,000 square feet.\u003c\/p\u003e","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671148925226,"sku":"UR-21999-15","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20150323-img_0022_1_2.jpg?v=1760358947"},{"product_id":"all-original-historically-important-c-1902-american-arthur-heurtley-house-leaded-art-glass-residential-window-or-light-screen-with-original-intact-wood-sash-frame","title":"all original historically important c. 1902 american arthur heurtley house leaded art glass residential window or \"light screen\" with original intact wood sash frame","description":"remarkable original and completely intact historically important early 20th century american arthur heurtley house leaded art glass window or \"light screen\" designed by frank lloyd wright and executed by the linden glass works, chicago, ills. the strongly geometric and heavily segmented window is comprised largely of clear glass panes accentuated by several clustered gold leaf sandwich glass squares and two opposed vertically oriented bands of \"uranium\" yellow-green glass. the zinc caming is structurally sound and stable. remarkably, the original pine wood sash frame is intact and free from damage. the early prairie style wright-designed window is free from cracks or breaks. excellent overall condition, considering age. located in oak park (a chicago suburb), the c. 1902 frank lloyd wright-designed arthur b. heurtley house is widely considered one of the earliest examples of a frank lloyd wright house in full prairie style.  the design patterns and\/or configurations he established within the heurtley house would eventually appear in many of his greatest works within the prairie style, including the emphasis on the exterior horizontal, with strong detail in the wooden siding and high bands of windows, low-pitched roofs, broad eaves, and terraces and balconies to bring the outside living easily to the occupants within. the interior of the heurtley house contains a grade level front door leading to a deeply colored low ceilinged entry hall. the major spaces are raised above the surrounding grounds, and as one climbs the stairs from the ground level, one is thrust into areas featuring soaring ceilings with trim echoing the exterior roof forms. this transition was used to emphasize one's leaving of the outside world as they ascended the stairs. the fireplaces, which symbolized the hearth and home are centralized in the middle of the structure. the home's interior is unique in that its floor plan is reversed from the traditional layout of a two story american home that was contemporary to the era in which the heurtly house was built. the traditional house contained public rooms located on the first floor level, and private spaces on the second floor level. the public living and dining were located on the top floor of the house. during the heurtleys occupancy, the residence underwent major changes, including the additions of screens to the windows on the elevated porch as well as a breakfast room on the main floor. in addition, the \"wood room,\" as it was known on wright's original drawing, was converted into a pantry or food storage area. it is thought that the breakfast room addition and wood room conversion were done through frank lloyd wright's office but the dates remain unconfirmed. in 1920 the house was purchased by frank lloyd wright's sister, jane porter, and her husband, andrew. they converted the home into a duplex in the 1930's and each floor was separated into apartments. the porters stayed in the heurtley house for 26 years. after the porters left the house, two other owners altered the home further. the kitchens and bathrooms were modernized, the front loggia enclosed and a black iron gate was added to the home's entryway. a master bathroom was added in the last fifteen feet of the main floor veranda and the living room inglenook and dining room breakfront were removed. a second chimney and a furnace were also added. between 1997 and 2002, the owners of the house spent 1.2 million dollars on a complete restoration of the building.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671202238762,"sku":"UR-22409-15","price":50000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20150611-img_0028_2.jpg?v=1760449157"},{"product_id":"original-and-highly-sought-after-band-of-five-matching-frank-lloyd-wright-designed-sun-purple-ornamental-prismatic-glass-building-transom-tiles-with-original-soldered-caming","title":"original and highly sought after band of five matching frank lloyd wright-designed \"sun purple\" ornamental prismatic glass building transom tiles with original soldered caming","description":"band of five matching early 20th century antique american \"flower\" pattern prism-light glass tiles designed and patented in 1897 by notable architect frank lloyd wright for the luxfer prism co., chicago, il. of the 41 frank lloyd wright patented designs submitted, the \"flower\" pattern was the only one manufactured by luxfer. the tiles are mounted in the original soldered joint caming, which was apart of a larger transom taken apart in pieces. the highly stylized tiles exhibit a light purple hue (also known as \"sun-purple\"), caused by a reaction between the manganese oxide's prolonged exposure to natural sunlight. prism glass tiles contain lightly embossed concentrically-arranged ornament consisting of geometric design motifs on one side, and the \"saw-tooth\" prisms on the other side. the tiles date to 1905-10. the tiles were fabricated by the luxfer prism tile co., chicago. prismatic glass, which was a highly successful building material in the united states between the turn of the century and the 1920's, promised to refract daylight from the facades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. the luxfer prism companies were the inventors and most prominent producers of this material. luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass facades. in the early 1930's prismatic glass finally lost the competition with electrical lighting and new structural day lighting devices such as hollow glass blocks. priced for the lot. each tile measures 4 x 4 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671480045866,"sku":"UR-23547-15","price":695.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20151207-img_0097c_2.jpg?v=1760367423"},{"product_id":"original-historically-important-hexagonal-backed-or-peacock-imperial-hotel-oil-cloth-upholstered-soak-wood-side-chair-designed-by-frank-lloyd-wright","title":"original historically important hexagonal-backed or \"peacock\"  imperial hotel oil cloth upholstered soak wood side chair designed by frank lloyd wright","description":"museum-quality 20th century american hexagonal-backed side chair salvaged from the imperial hotel (tokyo, japan), prior to demolition in the late 1960's. the iconic \"peacock\" side chair was designed by architect frank lloyd wright, with an original drawing for an \"overstuffed chair\" dating back to 1921. the chair depicted  above was likely fabricated between 1925-35, with rudolph m. schindler as contracting supervisor. the hexagonal-backed chairs were used throughout the hotel. the earlier versions contained caned backrests, seats and sides. several photographs of chairs \"in situ\" show variations with caming and oil cloth upholstery respectively. when the hotel was demolished in 1968, some of the furniture was distributed to some american museums. the shape of the chair echoes the hotel's interior design, with its hexagonal shaped forms in the cornice and ceiling. the side chair is comprised largely of oak wood, with original varnished finish. the faded oil cloth upholstery (originally a salmon pink) is likely original to the chair. the underside contains \"property of imperial hotel\" in an old red paint finish. the original imperial hotel in tokyo was completed in 1890, backed by key japanese leaders, such as foreign minister count inoue kaoru and viscount shibusawa eiichi. architect yuzuru watanabe designed the hotel, known as \"watanabe house\", in the german neo-renaissance style. french cuisine was the official banquet fare of the imperial palace, and the imperial hotel followed that tradition. by 1917, the hotel was no longer able to accommodate the growing number of visitors, and the design was seen as outdated. to replace the original wooden structure, the owners commissioned a design by frank lloyd wright. watanabe's imperial hotel burned down in 1919. the second imperial hotel, built from 1915-1923, was the best-known of frank lloyd wright's buildings in japan. it was designed roughly in the shape of its own logo, with the guest room wings forming the letter \"h\", while the public rooms were in a smaller but taller central wing shaped like the letter \"i\" that cut through the middle of the \"h\". the frank lloyd wright version was designed in the \"mayan revival style\" of architecture. it incorporates a tall, pyramid-like structure, and also loosely copies mayan motifs in its decorations. the main building materials consisted of poured concrete, concrete block, and carved oya stone. the visual effect of the hotel was stunning and dramatic, though not unique; in recent years, architectural historians have noted a marked similarity with the cafe australia in melbourne, australia (1916), designed by prairie school architects marion mahony and walter burley griffin. the architecture heavily influenced the style of the kōshien hotel, which was constructed by wright's apprentice arata endo. the structure famously survived the magnitude 8.3 great kantō earthquake of 1923. a telegram from baron kihachiro okura reported the following: hotel stands undamaged as a monument of your genius hundreds of homeless provided by perfectly maintained service congratulations[.] congratulations[.] wright passed the telegram to journalists, helping to perpetuate a legend that the hotel was unaffected by the earthquake. in reality, the building had damage; the central section slumped, several floors bulged, and four pieces of stonework fell to the ground. the building's main failing was its foundation. wright had intended the hotel to float on the site's alluvial mud \"as a battleship floats on water.\" this was accomplished by making it shallow, with broad footings. this was supposed to allow the building to float during an earthquake. however, the foundation was an inadequate support and did nothing to prevent the building from sinking into the mud to such an extent that it had to be demolished decades later. however, the hotel had several design features that minimized potential earthquake damage: the reflecting pool provided a source of water for fire-fighting, saving the building from the post-earthquake firestorm; cantilevered floors and balconies provided extra support for the floors; a copper roof eliminated the risk of falling debris created by traditional tile roofs; seismic separation joints, located about every 20 m along the building; tapered walls, thicker on lower floors, increasing their strength; suspended piping and wiring, instead of being encased in concrete, as well as smooth curves, making them more resistant to fracture. the hotel survived an earlier earthquake that struck tokyo during its construction. while many buildings in the area were destroyed, the hotel itself — while shaken — stood completely undamaged. the hotel came through world war ii unscathed, despite the devastating bombings of tokyo by the americans. it was commandeered for a period by the occupation forces and managed by the us government, before being returned to its owners. as the guest wings of the wright building were only three stories tall, it actually had relatively few guest rooms, and so a new tower wing was constructed directly behind wright's building in the 1950's. the hotel eventually slipped into decay as time took its toll. in a controversial decision, it was decided to demolish the old hotel and replace it with a high-rise structure, to maximize the use of land. while most of wright's building was destroyed, the iconic central lobby wing and the reflecting pool were disassembled and rebuilt at the museum meiji mura, a collection of buildings (mostly from the meiji era) in inuyama, near nagoya, where they are open to the public.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671886762282,"sku":"UR-26734-17","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140518-001_2.jpg?v=1760462804"},{"product_id":"original-historically-important-frank-lloyd-wright-designed-avery-coonley-house-interior-family-room-single-leaded-art-glass-window-with-intact-zinc-caming-retaining-bronze-wash","title":"original historically-important frank lloyd wright-designed avery coonley house interior family room single leaded art glass window with intact zinc caming retaining bronze wash","description":"single all original and intact frank lloyd wright-designed avery coonley residential art glass window executed by the linden glass company, chicago, ills. the window was originally located in the coonley house family room. the wood sash frame was removed long ago. the leaded glass window contains zinc caming with a bronze wash. no breaks or cracks evident. only one available for sale. the other (pictured) is apart of the bldg. 51 museum. the avery coonley house (built 1908–12) is one of three estates that frank lloyd wright developed and is one of his largest and most elaborate prairie school-homes ever built. the two other multi-building prairie complexes built by the famed architect are the dana-thomas and darwin d. martin houses. the coonley house is also the first example in wright's work of a zoned plan. the raised second floor includes three zones: the public area (living room and dining room), the bedroom wing (with its pendant guest wing) and finally the kitchen and servants areas. the original residence was over-9000-square-feet and built on a ten-acre parcel. the entrance halls, playroom and sewing room are on the ground floor. an entire complex of interrelated buildings with extensive raised and sunken gardens was designed by landscape architect jens jensen. the main structure of the avery coonley estate is the public-living room wing, located on bloomingbank road and behind that facing scottswood road is the bedroom wing of the mansion. the complex also includes a separate stable-coach house and gardener's cottage (1911). along with the robie house, the coonley estate represents the maturation of wright's prairie style, typified by wide overhanging eaves, bands of several art glass \"screens\" pr casement windows, free-flowing interior spaces and the harmonious blending of surrounding site and structure. avery coonley, a chicago industrialist and his wife, queene ferry of the detroit-based ferry seed company, were both heirs to industrial fortunes and had an unlimited budget to commission a new residence. the coonleys had investigated wright's other homes and told him that they saw in his work \"the countenances of principle.\" wright stated in his autobiography that \"this was to me a great and sincere compliment. so i put my best into the coonley house.\" wright considered the coonley house among his finest works and gave the coonleys a residence that blended indoors and out and felt as much like a little village as a home, given the way the courtyards, buildings, and garden walls interconnected. he designed all the features and furnishings within the home, including furniture, light fixtures, rugs and textiles. wright had been rumored to have designed dresses worn by queene ferry to compliment the interior surroundings. the designs of the coonley house were included in his 1907 exhibition at the chicago architectural club. construction began a year later. a philanthropic couple, the coonleys had progressive beliefs which included early education for children. at the age of four years, their only daughter elizabeth was too young to attend the local school. to educate her child and others, queene ferry requested that wright design a kindergarten, the avery coonley school playhouse, in 1912 on nearby fairbank road, a block away from the main residence. the art glass windows of the coonley playhouse feature one of frank lloyd wright's most well known designs. a pattern based on balloons, confetti and american flags, very festive for the intended use of the structure, the design used in these windows was artistically striking and represents wright's first departure from his signature style using only straight lines. except for a few relatively plain panes, the art glass windows of the coonley playhouse are all replicas -  the originals having been removed in the middle of the 20th century at a time when wright's work was either being saved or dissected and sold for large sums of money. many of the originals are housed in museums such as the metropolitan museum of art in new york and the art institute of chicago which prominently displays a completely intact triptych window system. the colored side of the art glass windows faced the inside of the house, while the outsides that faced the exterior are white. the kindergarten school moved from the coonley playhouse in riverside to a larger facility in downers grove in 1916 and eventually became a full k-8 elementary school and still exists today. the original coonley playhouse near the estate in riverside is currently a private residence.alterations to the coonley estate have been made through the years, by wright and others. a year after the house was completed, wright modified the terrace pavilion, adding bands of art glass doors and windows to allow more light into the second-floor living room and children's playroom below. a pergola with noticeable asian influences was also added. avery coonley sold the house in 1921 to peter kroehler, a furniture manufacturer from naperville, illinois. several architectural changes were made during this period including a sun-room addition to the south, the lily pond was converted into a swimming pool and a pool house was added - probably designed by harry robinson, an apprentice under wright at both oak park and taliesin. in 1952 the property was threatened with demolition to make way for 14 ranch homes. a compromise was reached that allowed developer arnold skow to divide the main house into north and south halves by inserting a firewall, build five new houses on the property and convert the gardener's cottage and stable into separate residences and addresses. the raised gardens were sold off and a modern house was built on the property. even with these radical changes, the house retains nearly most of its original exterior and interior design details, including approximately 270 original art glass windows and doors.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671889514794,"sku":"UR-26766-17","price":6800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20170605-20170605-4v0a9953-e1497576865529_2.jpg?v=1760198029"},{"product_id":"late-19th-century-historically-important-custom-cut-exterior-m-a-meyer-loft-building-ornamental-gothic-style-frank-lloyd-wright-designed-wrought-iron-fire-escape-panel-with-striking-moorish-design","title":"late 19th century historically important custom-cut exterior m.a. meyer loft building ornamental gothic style frank lloyd wright-designed wrought iron fire escape panel with striking moorish design","description":"original historically-important late 19th century single-sided exterior fire escape diminutive open grate horizontal platform panel salvaged from the the non-extant m.a. meyer loft building designed by the chicago architectural firm of louis h. sullivan and dankmar adler. the solid wrought treaded iron walkway platform panel has been re-sized for display purposes. the custom-cut panel has been thoroughly cleaned and brushed down to bare metal to really capture the detailing otherwise obscured or lost with the several coats of paint that were applied to the panel. the unusual and visually striking moorish pattern may very well have been designed by then-draftsman, frank lloyd wright. the seven-story masonry commercial loft for the estate of m.a meyer was demolished in 1968. the chicago warehouse was originally occupied by kuh, nathan \u0026amp; fischer (wholesale clothiers). the exact iron fabricator for this wonderfully designed fire escape panel is not known, although the chicago-based f.p. smith wire \u0026amp; ironworks company is a possible candidate. one of the first fire escapes of any type was invented in 18th-century england. in 1784, daniel maseres, of england, invented a machine called a fire escape, which, being fastened to the window, would enable him or anyone for that matter, to descend to the street without injury. as building codes became more common in countries around the turn of the 20th century, fire safety became an important concern for new construction. building owners were increasingly required to provide adequate escape routes, and at the time, fire escapes seemed the best option available. not only could they be included in new construction at a low cost, but they could be very easily added to existing construction. as building codes evolved and more safety concerns addressed over subsequent editions, all construction above a certain number of stories was required to have a second means of egress, and external fire escapes were allowed as a retrofit option for existing buildings prior to the post-world war ii period.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671894659370,"sku":"UR-26817-17","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20170801-4v0a5262n_2.jpg?v=1760376519"},{"product_id":"pair-of-matching-original-and-intact-early-20th-century-interior-residential-art-glass-and-oak-wood-swinging-doors-attributed-to-william-drummond","title":"pair of matching original and intact early 20th century interior residential art glass and oak wood swinging doors attributed to william drummond","description":"set of original early 20th century american interior residential oak wood swinging doors attributed to william drummond. the swinging doors (four in total) contain visually striking chicago prairie style or \"wrightesque\" leaded art glass windows. the art glass panes feature a strongly geometric pattern containing a simple white opalescent glass border surrounding clear glass panes. the center portion has lightly tinted, seeded glass possibly manufactured by the kokomo opalescent glass company. the top and bottom of each pane contains remarkable double-crown caming with unique metallic gold \"sandwich\" glass panels. the windows were likely executed by the linden glass company chicago, il. the two recessed panel oak doors retain original large rectangular brass push pates and flush mount door bolts. there are a total of four doors or two sets (i.e., double swinging door) available. the original darkly stained finish with allover crazing is mostly uniform and largely intact. the doors were acquired from a prominent chicago collector and architect. the set of doors were salvaged approximately 30 years ago from an oak park or river forest house purportedly designed by drummond during his years in private practice. research pertaining to the exact commission is still ongoing. each door measure 83 1\/4 x 24 inches. priced for the pair.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671922446634,"sku":"UR-27065-17","price":3500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130228-022c_1_2.jpg?v=1760377570"},{"product_id":"original-c-1924-hollywood-hills-samuel-and-harriet-freeman-house-geometric-textile-block-salvaged-from-the-exterior-facade-during-extensive-renovations","title":"original c. 1924 hollywood hills samuel and harriet freeman house geometric textile block salvaged from the exterior facade during extensive renovations","description":"incredible historically important c. 1924 samuel freeman patterned cast concrete exterior residential textile block designed by architect frank lloyd wright. the strongly geometric textile block contains a unique combination of design elements used at the imperial hotel and midway gardens. the pattern consists of recessed planes, dynamic diagonality and rendering to indicate planar depth and angle. the block exhibits surface wear from prolonged exposure to the elements. rust deposits along the edges of the panel were caused by the web of steel rods used to bolster the structural integrity of the panel assembly. the samuel freeman house is one of the four textile-block houses designed by architect frank lloyd wright for the hollywood hills in 1920's. the freeman house has been described as the clearest expression of the design rationale which underlies wright's development of the textile block construction system: a new technology and architectural vocabulary for the southwest. the project was supervised by lloyd wright, who also did wokring on the drawings and landscaping. student r.m. schindler designed the furniture. the freeman house is among wright's most interesting and small residences; the living room has been called by several writers one of his best rooms. placing the house in context, it marks a major transition in wright's work and plays a clear role in the development of modern architecture in southern california. the freemans celebrated their house as one of the centers of avant-garde artistic and political activity in los angeles from the 1920's virtually until the 1980's. harriet freeman arranged the gift of the house to the school of architecture at the university of southern california so as to protect and preserve a national landmark. the freeman house came into the possession of the school of architecture in 1986. the house was badly damaged by the northridge earthquake in 1994. the home is undergoing a major restoration.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671944565034,"sku":"UR-27214-17","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20151209-img_0002x_1_2.jpg?v=1760289660"},{"product_id":"intact-original-early-20th-century-antique-american-patented-sun-purple-tinted-exterior-frank-lloyd-wright-designed-luxfer-glass-tile-lot","title":"intact original early 20th century antique american patented sun-purple-tinted exterior frank lloyd wright designed luxfer glass tile lot","description":"group of 8 matching all original and intact early 20th century antique american \"flower\" pattern prism-light glass tiles designed and patented in 1897 by notable architect frank lloyd wright for the luxfer prism co., chicago, il. of the 41 frank lloyd wright patented designs submitted, the \"flower\" pattern was the only one manufactured by luxfer. the highly stylized tiles exhibit a light purple hue (also known as \"sun-purple\"), caused by a reaction between the manganese oxide's prolonged exposure to natural sunlight. prism glass tiles contain lightly embossed concentrically-arranged ornament consisting of geometric design motifs on one side, and the \"saw-tooth\" prisms on the other side. the tiles date to 1905-10. the tiles were fabricated by the luxfer prism tile co., chicago. prismatic glass, which was a highly successful building material in the united states between the turn of the century and the 1920's, promised to refract daylight from the facades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. the luxfer prism companies were the inventors and most prominent producers of this material. luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass facades. in the early 1930's prismatic glass finally lost the competition with electrical lighting and new structural day lighting devices such as hollow glass blocks. priced for the lot. each tile measures 4 x 4 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671950201130,"sku":"UR-27267-17","price":995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20131209-026n_1_2.jpg?v=1760200147"},{"product_id":"original-exceptionally-rare-and-historically-important-c-1897-rollin-furbeck-residence-exterior-sullivanesque-style-cast-plaster-pilaster-capital-fragment","title":"original exceptionally rare and historically important c. 1897 rollin furbeck residence exterior sullivanesque style cast plaster pilaster capital fragment","description":"historically important late 19th century \"sullivanesque\" style exterior rollin furbeck residence colonette capital fragment designed by architect frank lloyd wright. the intricately designed and incredibly delicate plaster fragment was likely fabricated by the decorators' supply company of chicago. the horse hair-reinforced plaster fragment has been carefully mounted in a custom-built mahogany wood wall-mount display bracket. the rollin furbeck house was a wedding present for rollin judson furbeck from his stockbroker father, warren f. furbeck, in 1897. most likely, rollin's mother, sophia wapples furbeck, was the one who made the decision to use frank lloyd wright as the architect. rollin and his wife, elizabeth, lived at their home for about one year, when they sold it and moved into another house designed by george w. maher at a cost of $12,000. this house was once again financed by rollin's father. in november of 1899, rollin moved to new york city, where as a member of the new york stock exchange he headed the east coast offices of the newly-founded w. f. furbeck company. rollin's brother, george, lived in his home until september of 1899, when he moved to another house. since the time of the original owners, the rollin furbeck house has transferred ownership several times. the house was executed during a period in wright's career spanning the years of approximately 1897-1903 when he was experimenting with the construction of vertical elements (note the home's massive three-story center tower and vertical octagonally-fluted colonnettes) and the characteristic horizontal features that resurface so consistently in his subsequent works. the sheltering lowpitched hipped roofs with wide overhanging eaves, broad, central chimney, brick string courses and corbel table, window hood moldings and projecting sills of bedford limestone and banded windows are all pure prairie attributes emphasizing the horizontal. other characteristic wright features include the continuation of the surface used on one story to the window sill level of the next story, the use of simple geometric shapes; and the implementation of architectural veiling with visually-protective colonnettes in front of textured diamond-paned windows. the house is considered a major transitional work for wright as his previous designs were either square or rectangular. with porches protruding toward the east and west, and the porte cochere at the south end of the home (as seen in the winslow house), the rollin furbeck house demonstrates a departure from the predictable, to the establishment of wright's more sophisticated cruciform and pinwheel layouts. the influence of louis sullivan is still apparent at this time, as seen in the stylized-leaf ornamentation of the capitals crowning the colonnettes (located in the stacked loggia-inspired areas of the tower).","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50671987753258,"sku":"UR-27536-18","price":6250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20131119-152n_1_2.jpg?v=1760201598"},{"product_id":"original-museum-quality-documented-american-early-20th-century-joseph-j-walser-leaded-art-glass-window-with-chevron-design-motifs","title":"original museum quality documented american early 20th century joseph j. walser leaded art glass window with chevron design motifs","description":"very rare and remarkably intact frank lloyd wright- designed leaded art glass window salvaged from the extant joseph j. walser residence constructed in 1903. the beautifully colored and strongly geometrically designed \"double chevron\" window is comrised largely of clear and variegated opalescent earth tone slag, with sandwich gold leaf glass accent. the lead caming is all original. the remarkably well-designed and rhythmic arrangement of the symmetrical geometric design motifs are most impressive and typical of wright during the early prairie years. only two of these windows in this size and configuration were made for the walser residence. frank lloyd wright designed the home for printing executive joseph j. walser in the chicago neighborhood of austin. the house is badly dilapidated from decades of neglect. nearly all of the art glass windows were removed during the 1950's by the family who owned at the house at the time. well-documented provenance was provided when the window was sold to the bldg. 51 museum (owned and operated by eric j. nordstrom of urban remains). possibly fabricated by linden or temple art glass. measures 41 3\/4 x 24 inches.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672012558634,"sku":"UR-27718-18","price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20100825-20100825-20100825-059c_1_2.jpg?v=1760202410"},{"product_id":"original-and-remarkably-intact-c-1903-museum-quality-w-e-martin-house-daylight-double-crowne-zinc-came-lightscreen-with-iridized-accent","title":"original and remarkably intact c. 1903 museum quality w. e. martin house \"daylight\" double crowne zinc came lightscreen with iridized accent","description":"original and historically important, museum quality residential \"daylight\" lightscreen designed by notable architect frank lloyd wright for the c. 1902-3 extant w.e. martin house (oak park, il). the window represents one of wright's distinctive innovations in leaded glass design involving the first successful integration of thick and thin caming within the same panel. the technique allowed wright to create designs or patterns of elegant simplicity with the use of relatively few materials. the sophisticated \"grille\" is comprised of double crowne zinc caming enclosing original panes of clear glass. the corners and edges are highlighted with iridized glass squares. likely executed by the linden glass company, chicago, il. the same base pattern was used in the fountain doors at the c. 1904 dana house (springfield, il). contains a newer wood frame. multiple hairline cracks. structurally sound. measures 69 x 23 inches. commissioned in 1902 and completed in 1903, the w.e. martin house brought frank lloyd wright eight other major commissions. wright subsequently designed the e-z polish factory, which was owned by william e. martin and his brother darwin d. martin. darwin martin was employed by the larkin company in buffalo, new york, and helped persuade the company to have wright design its new administration building. darwin also commissioned wright to design his home and a gardeners cottage in buffalo, new york, as well as a summer residence in derby, new york. in addition, homes were built in buffalo for george barton, martin's brother in law, and for w.r. heath and alexander davidson, who were larkin company employees.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672012624170,"sku":"UR-27719-18","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20110524-20110524-019n_1_2.jpg?v=1760292019"},{"product_id":"original-museum-quality-late-19th-century-documented-frank-lloyd-wright-designed-rollin-furbeck-exterior-residential-cast-plaster-colonette-fragment","title":"original museum quality late 19th century documented frank lloyd wright-designed rollin furbeck exterior residential cast plaster colonette fragment","description":"one of three original historically important late 19th century \"sullivanesque\" style exterior rollin furbeck residence colonette capital fragment designed by architect frank lloyd wright. the intricately designed and incredibly delicate plaster fragment was likely fabricated by the decorators' supply company of chicago. the horse hair-reinforced plaster fragment has been carefully mounted in a custom-built mahogany wood wall-mount display bracket. the rollin furbeck house was a wedding present for rollin judson furbeck from his stockbroker father, warren f. furbeck, in 1897. most likely, rollin's mother, sophia wapples furbeck, was the one who made the decision to use frank lloyd wright as the architect. rollin and his wife, elizabeth, lived at their home for about one year, when they sold it and moved into another house designed by george w. maher at a cost of $12,000. this house was once again financed by rollin's father. in november of 1899, rollin moved to new york city, where as a member of the new york stock exchange he headed the east coast offices of the newly-founded w. f. furbeck company. rollin's brother, george, lived in his home until september of 1899, when he moved to another house. since the time of the original owners, the rollin furbeck house has transferred ownership several times. the house was executed during a period in wright's career spanning the years of approximately 1897-1903 when he was experimenting with the construction of vertical elements (note the home's massive three-story center tower and vertical octagonally-fluted colonnettes) and the characteristic horizontal features that resurface so consistently in his subsequent works. the sheltering lowpitched hipped roofs with wide overhanging eaves, broad, central chimney, brick string courses and corbel table, window hood moldings and projecting sills of bedford limestone and banded windows are all pure prairie attributes emphasizing the horizontal. other characteristic wright features include the continuation of the surface used on one story to the window sill level of the next story, the use of simple geometric shapes; and the implementation of architectural veiling with visually-protective colonnettes in front of textured diamond-paned windows. the house is considered a major transitional work for wright as his previous designs were either square or rectangular. with porches protruding toward the east and west, and the porte cochere at the south end of the home (as seen in the winslow house), the rollin furbeck house demonstrates a departure from the predictable, to the establishment of wright's more sophisticated cruciform and pinwheel layouts. the influence of louis sullivan is still apparent at this time, as seen in the stylized-leaf ornamentation of the capitals crowning the colonnettes (located in the stacked loggia-inspired areas of the tower). a larger, more complete fragment is available.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672031793450,"sku":"UR-27905-18","price":1800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20151016-img_0015r_1_2.jpg?v=1760381323"},{"product_id":"single-remarkable-c-1913-original-and-intact-frank-lloyd-wright-designed-francis-w-little-house-leaded-art-glass-window-with-copper-coated-zinc-caming","title":"single remarkable c. 1913 original and intact frank lloyd wright-designed francis w. little house leaded art glass window with copper-coated zinc caming","description":"original and remarkably intact early 20th century frank lloyd wright-designed art glass window removed from the c. 1913 francis w. little residence shortly before the dismantlement and subsequent demolition of the house in the early 1970's. the largely colorless prairie school style window features a distinctively abstract and strongly geometric composition consisting primarily of clear glass accentuated with small white opalescent and frosted panes of triangles and squares. the nicely patinated copper-coated zinc caming remains structurally sound and overall great condition, considering age. the polychromed painted pine wood sash frame is largely intact with surface wear evident. the frank lloyd wright-designed window was fabricated by the temple art glass company, chicago, il. around 1900 francis and mary little of peoria, il commissioned frank lloyd wright to design what was to be the first of two houses he designed for them. the littles were active founding members of the art institute of chicago, and it may have been there, where wright frequently lectured, that they and wright first came into contact. mr. little, a lawyer and owner of a utilities company, provided wright with financial assistance on more than one occasion. along with two other clients, mr. little paid for wright's trip to europe in 1909-1911 and helped finance the 1910 berlin publication commonly known as the wasmuth portfolio - a catalogue of one hundred of wright's drawings published by ernst wasmuth. the publication subsequently brought wright international attention. in the acknowledgments wright credited mr. little as one to whom he owed a great deal for support and faith in his work. around 1908 the littles commissioned wright to design a summer residence for them on lake minnetonka, with initial plans drawn that same year. the actual construction of the house, however, was not completed until around 1914, as wright left for europe in 1909, returned in 1911, and then spent part of 1913 in japan. although several letters from mr. little to wright indicate his frustration with the delay, the littles had a close relationship with wright and were willing to wait for him, rather than choosing another architect. during this time the littles spent their summers on the lake shore property in a small cottage that mr. little had designed in the style of wright's work. the home that wright  designed for the littles was one of his last great prairie school-style residences. the characteristic long, low, hipped-roof building \"hugged\" two gentle hills that rose above the lake. the house plan consisted of two offset rectangles joined at the corner which formed a single 250-foot axis parallel to the lake shore. one rectangular section played a more private role, including the bedrooms and library above and the dining room, kitchen, and additional bedrooms below which was set into the lower hill. the other rectangular section included more public spaces, such as the large living\/music room, billiard room, and screened pavilion and was set atop the higher hill. wright designed nearly 300 windows for the house, which spanning the entire elevations, allowed the littles full advantage of the scenic view. mr. little died in 1923 and mrs. little subsequently moved into her husband's cottage and gave the summer home to eleanor and her husband raymond stevenson. like mr. and mrs. little, eleanor and their four daughters also spent part of the year at a residence in minneapolis and the other at the summer home on the lake. around 1951 the stevensons sold their minneapolis home, \"winterized\" the summer house, and moved in full time. however, by the late 1960’s the stevensons had grown weary of the challenges of living in a wright-designed house. the large size of the house, rising property taxes, built-in furnishings that could not easily be changed, and many uninvited visitors became too much for them. not wanting to move or tear down their house, and yet wanting a smaller house, put the stevensons in a difficult position because of city zoning ordinances which would not allow two houses on the same lot. the stevensons made every effort to find a buyer, contacting architects, societies and national groups. many were interested in preserving the house, but were unable to raise the money to buy it. moreover, the only way the stevensons could begin construction on a new house was to put the wright house on the market with the stipulation that if the house wasn't sold within two years it would be demolished. since no local buyer or institutions could be found to save the house, concerned individuals finally contacted officials at the metropolitan museum of art in new york which had a large collection of fine period rooms, to see if they might be able to purchase it for installation. director thomas hoving came to look at the house and immediately offered to purchase it for the sale price of $150,000. relieved, the stevensons sold the house to the metropolitan in the spring of 1972, while they retained the property. under the direction of metropolitan curator morrison heckscher, portions of the interior were carefully dismantled piece by piece for future installation in the metropolitan and to sell to other institutions. that same year the metropolitan sold the library to the allentown art museum in allentown, pennsylvania, a hallway to the minneapolis institute of arts, and eventually installed the large living\/music room in their own museum in 1982.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672033595690,"sku":"UR-27928-18","price":18000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20130501-20130501-001m_1_2.jpg?v=1760468125"},{"product_id":"pair-of-original-strongly-geometric-leaded-glass-windows-with-brightly-colored-flashed-glass-designed-by-william-drummond-for-1919-avery-coonley-playhouse-remodel","title":"pair of original strongly geometric leaded glass windows with brightly colored flashed glass designed by william drummond for 1919 avery coonley playhouse remodel","description":"two matching historically important william e. drummond-designed strongly geometric leaded glass windows accentuated with richly colored flashed glass rectangles and squares. the windows were likely fabricated by the linden glass works, chicago, ills. the long and narrow oversized windows were designed for an addition to frank lloyd wright's avery coonley playhouse (completed in 1912) when it was converted from a school to a residence in 1918-1919. the windows were later removed from the rear addition. both the caming and glass remains in great condition.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672044474666,"sku":"UR-27967-18","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20180409-4v0a8914z_2.jpg?v=1760292974"},{"product_id":"historically-important-chicago-midway-gardens-alfonso-iannelli-designed-cast-concrete-figural-indoor-fountain-head-cast-from-the-original","title":"historically important chicago midway gardens alfonso iannelli-designed cast concrete figural indoor fountain head cast from the original","description":"full-scale alfonso iannelli-designed midway gardens figural head cast from a plaster mold taken directly from the only surviving fragment belonging to the entertainment complex's interior fountain. the abstract figural sculpture is comprised of cast concrete with material and finish identical to the original. the architectural fragment has been mounted on a custom-built welded joint display stand, comprised of a solid steel rod affixed to a flat heavy gauge steel plate with a brushed metal finish. the original fragment was rescued in 1939 by taliesin apprentice edgar tafel who visited the midway gardens site demolition while supervising the lloyd lewis house in libertyville, an affluent northern suburb of chicago. during his visit, there was still a great deal of rubble scattered across the site, including the broken head from the massive indoor fountain. the face was slightly eroded over time from facing up (i.e., exposed to the elements) while resting in the rubble. since the back of the head was partially buried, the detailing remains sharp. the head was later handed over (reluctantly) to the lewis family after they managed to convince tafel to give it to them. there is no record indicting what became of the original fragment. midway gardens (opened in 1914, demolished in 1929) was a 300 ft. square indoor\/outdoor entertainment facility in the hyde park neighborhood on the south side of chicago. it was designed by architect frank lloyd wright, who also collaborated with sculptors richard bock and alfonso iannelli on the famous “sprite” sculptures adorning the facility. under wrights supervision. iannelli and bock designed all but two of the sprites, and craftsman\/cement expert, ezio orlandi, cast them. designed to be a european–style concert garden with space for year-round dining, drinking, and performances, midway gardens hosted notable performers and entertainers, but struggled financially year after year until october of 1929 when the structure was demolished. midway gardens was opened on the site of the former sans souci amusement park on the southwest corner of cottage grove avenue and east 60th street. edward c. waller commissioned frank lloyd wright to design and build the gardens in 1914. construction was completed very quickly, and the complex opened in june of 1914. the modernist architecture of the gardens was based on strict geometrical forms designed by wright. a large, open–air central area, filled with tables and chairs, was ringed by a series of three–story buildings with indoor spaces for dancing and other activities, as well as cantilevered balconies with overhanging roofs. there were terraced gardens, pools, and a music pavilion and stage.the building itself was made of yellow brick and patterned concrete block. it featured highly intricate ornament and many geometric sculptures, which frank lloyd wright named “sprites” and were co-designed with alfonso ianelli. in keeping with wright's style, the building also featured rows of art glass and hidden entries. the interior was likewise intricately ornamented and filled with wright designed furniture and accoutrements, right down to the napkin rings. midway gardens was an indoor\/outdoor entertainment center intended to act as a beer hall and concert\/dance hall which featured bands including the midway gardens orchestra. the large area (equivalent to a city block) offered entertainment to a wide variety of people in a german-style meeting place. the gardens included restaurants, saloons, newspaper and cigar stands, and arcades. when prohibition was passed, the gardens lost part of their entertainment value. when it opened, midway gardens was an upscale entertainment venue that was also affordable to the common person. max bendix and the national symphony orchestra frequented the concert section because they were the \"house band\". the ballet dancer anna pavlova performed numerous times as well. frank lloyd wright brought in popular acts to sing, dance, and play music, which created a bourgeois environment. after it became edelweiss gardens, however, the high class atmosphere switched to one of vaudeville, ragtime, and cabaret. in the beginning, business was strong, but waller never could provide adequate funding to back the construction and upkeep of midway gardens and declared bankruptcy in march 1916. at this point, midway gardens was purchased by the edelweiss (schoenhofen) brewery company and renamed “edelweiss gardens”. wright, who generally exerted strong creative control over his completed projects, was disgusted by the aesthetic changes the new owner made to the gardens, writing that edelweiss had added \"obnoxious features\" and that the whole effect of \"the proud midway gardens\" \"was cheapened to suit a hearty bourgeois taste.\" edelweiss gardens continued through the war years (closing briefly in 1918) and stayed open as a dry establishment during prohibition. in 1921, the building was sold once more, to the e. c. dietrich midway automobile tire and supply company, and renamed “the midway dancing gardens.\" finally, in october 1929, midway gardens was closed permanently and demolished. a testament to wright's design, the building was so solidly constructed that tearing it down sent the wrecking company into bankruptcy. the majority of the rubble was bulldozed into lake michigan to be used as a breakwall. several of the sprites and cement blocks survived the demolition because the original sculptor, iannelli, managed to retrieve a few segments. also, demolition contractor, william j. newman took several sculptures and cement blocks to his farm in wisconsin. many years later when wright heard of their survival, he purchased them and they remained with his estate. other sculptures that escaped demolition are in private collections and museums.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672244457770,"sku":"UR-29233-18","price":1200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20170220-img_4479b_1_2.jpg?v=1760383449"},{"product_id":"one-of-a-few-c-1960-s-auditorium-hotel-second-floor-lobby-ceiling-panel-cast-plaster-panels-recreated-with-assistance-from-restoration-architect-crombie-taylor","title":"one of a few c. 1960's auditorium hotel second floor lobby ceiling panel cast plaster panels recreated with assistance from restoration architect crombie taylor","description":"rare oversized cast plaster interior adler and sullivan auditorium hotel panel recreated under the direction of notable restoration architect crombie taylor during the 1960's as the theater was undergoing extensive restoration. the massive plaster panel with a uniform white glazed finish was also recreated for use in frank lloyd wright's home and studio shortly after the auditorium was completed in 1889. the originals were designed by sullivan and sculpted by james legge. the cast plaster panel was taken off a mold from an original removed for restoration. the oversized panels were used in the auditorium's second floor lobby.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672273916202,"sku":"UR-29625-18","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20180906-4v0a7670c_2.jpg?v=1760383860"},{"product_id":"documented-museum-quality-c-1914-exterior-chicago-midway-gardens-single-sided-strongly-geometric-perforated-cast-concrete-frieze-panel","title":"documented museum-quality c. 1914 exterior chicago midway gardens single-sided strongly geometric perforated cast concrete frieze panel","description":"all original and remarkably rare c. 1914 exterior perforated cast concrete frieze block salvaged from the non-extant midway gardens complex designed by architect frank lloyd wright. the very limited number of concrete geometric designed blocks known to exist, are almost always found in various states of disrepair (i.e., broken sections, fractures, damaged surface, etc). the largely intact cast concrete block is comprised of three sections that when placed together are visually cohesive and\/or a satisfactory representation of an undamaged block. the existing fragmented block has surface wear and discoloration - it was used as a \"stepping stone\" for many decades. other, smaller fragments are available for sale. midway gardens (opened in 1914, demolished in 1929) was a 300 ft. square indoor\/outdoor entertainment facility in the hyde park neighborhood on the south side of chicago. it was designed by architect frank lloyd wright, who also collaborated with sculptors richard bock and alfonso iannelli on the famous “sprite” sculptures adorning the facility. under wrights supervision. iannelli and bock designed all but two of the sprites, and craftsman\/cement expert, ezio orlandi, cast them. designed to be a european–style concert garden with space for year-round dining, drinking, and performances, midway gardens hosted notable performers and entertainers, but struggled financially year after year until october of 1929 when the structure was demolished. midway gardens was opened on the site of the former sans souci amusement park on the southwest corner of cottage grove avenue and east 60th street. edward c. waller commissioned frank lloyd wright to design and build the gardens in 1914. construction was completed very quickly, and the complex opened in june of 1914. the modernist architecture of the gardens was based on strict geometrical forms designed by wright. a large, open–air central area, filled with tables and chairs, was ringed by a series of three–story buildings with indoor spaces for dancing and other activities, as well as cantilevered balconies with overhanging roofs. there were terraced gardens, pools, and a music pavilion and stage.the building itself was made of yellow brick and patterned concrete block. it featured highly intricate ornament and many geometric sculptures, which frank lloyd wright named “sprites” and were co-designed with alfonso ianelli. in keeping with wright's style, the building also featured rows of art glass and hidden entries. the interior was likewise intricately ornamented and filled with wright designed furniture and accoutrements, right down to the napkin rings. midway gardens was an indoor\/outdoor entertainment center intended to act as a beer hall and concert\/dance hall which featured bands including the midway gardens orchestra. the large area (equivalent to a city block) offered entertainment to a wide variety of people in a german-style meeting place. the gardens included restaurants, saloons, newspaper and cigar stands, and arcades. when prohibition was passed, the gardens lost part of their entertainment value. when it opened, midway gardens was an upscale entertainment venue that was also affordable to the common person. max bendix and the national symphony orchestra frequented the concert section because they were the \"house band\". the ballet dancer anna pavlova performed numerous times as well. frank lloyd wright brought in popular acts to sing, dance, and play music, which created a bourgeois environment. after it became edelweiss gardens, however, the high class atmosphere switched to one of vaudeville, ragtime, and cabaret. in the beginning, business was strong, but waller never could provide adequate funding to back the construction and upkeep of midway gardens and declared bankruptcy in march 1916. at this point, midway gardens was purchased by the edelweiss (schoenhofen) brewery company and renamed “edelweiss gardens”. wright, who generally exerted strong creative control over his completed projects, was disgusted by the aesthetic changes the new owner made to the gardens, writing that edelweiss had added \"obnoxious features\" and that the whole effect of \"the proud midway gardens\" \"was cheapened to suit a hearty bourgeois taste.\" edelweiss gardens continued through the war years (closing briefly in 1918) and stayed open as a dry establishment during prohibition. in 1921, the building was sold once more, to the e. c. dietrich midway automobile tire and supply company, and renamed “the midway dancing gardens.\" finally, in october 1929, midway gardens was closed permanently and demolished. a testament to wright's design, the building was so solidly constructed that tearing it down sent the wrecking company into bankruptcy. the majority of the rubble was bulldozed into lake michigan to be used as a breakwall. several of the sprites and cement blocks survived the demolition because the original sculptor, iannelli, managed to retrieve a few segments. also, demolition contractor, william j. newman, took several sculptures and cement blocks to his farm in wisconsin. many years later when wright heard of their survival, he purchased them and they remained with his estate. other sculptures that escaped demolition can be found in private collections and museums. the concrete block measures 33 x 37 x 5 inches. reference only.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672434774314,"sku":"UR-29935-19","price":25000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/201811284v0a1693b_1.jpg?v=1760207680"},{"product_id":"original-museum-quality-frank-lloyd-wright-designed-sullivanesque-terra-cotta-baluster-salvaged-from-the-1894-robert-roloson-rowhouses","title":"original museum-quality frank lloyd wright-designed sullivanesque terra cotta baluster salvaged from the 1894 robert roloson rowhouses","description":"robert roloson commissioned frank Lloyd wright to remodel a group of four preexisting row houses located on calumet avenue on the southside of Chicago in 1894. concerned with ventilation, wright devised a plan that incorporated a succession of courts and wells in order to allow light and air into the buildings’ interior rooms. a series of four high-pitched gables dominate the front facade of the row house. wright proposed eliminating these design elements, but the client rejected the idea. their strict geometry is echoed in the rigid sequence of sullivanesque style buff-colored terra cotta spandrels and thickly mullioned windows below. the interiors of the houses, which were gutted after a fire and general deterioration in 1981, also featured sullivanesque ornament, as did the bulbous balustrades that once encircled the terraces at the front of the houses. similar balustrades remain intact found at wright’s nathan g. moore residence in oak park. the exterior balusters with centrally located steel rods were executed by the northwestern terra cotta company, chicago, ills.","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672455385386,"sku":"UR-30058-19","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/201904114v0a9078n.jpg?v=1760297251"},{"product_id":"group-of-four-original-matching-hard-to-find-patented-sun-purple-colored-exterior-american-made-commercial-building-transom-geometric-flower-prism-tiles","title":"group of four original matching hard to find patented \"sun-purple\" colored exterior american made commercial building transom \"geometric flower\" prism tiles","description":"\u003cp\u003elot of early 20th century antique american \"flower\" pattern prism-light glass tiles designed and patented in 1897 by notable architect frank lloyd wright for the luxfer prism co., chicago, il. of the 41 frank lloyd wright patented designs submitted, the \"flower\" pattern was the only one manufactured by luxfer. the highly stylized tiles exhibit a light purple hue (also known as \"sun-purple\"), caused by a reaction between the manganese oxide's prolonged exposure to natural sunlight. the prism glass tiles contain lightly embossed concentrically-arranged ornament consisting of geometric design motifs on one side, and the \"saw-tooth\" prisms on the other side. the tiles date to 1905-10. the tiles were fabricated by the american luxfer prism tile co., chicago. prismatic glass, which was a highly successful building material in the united states between the turn of the century and the 1920's, promised to refract daylight from the facades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. the luxfer prism companies were the inventors and most prominent producers of this material. luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass facades. in the early 1930's prismatic glass finally lost the competition with electrical lighting and new structural day lighting devices such as hollow glass blocks. priced for the lot. each tile measures 4 x 4 inches.\u003c\/p\u003e","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672466854186,"sku":"UR-30098-19","price":450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20190416-4v0a9462b.jpg?v=1760472997"},{"product_id":"rare-original-c-1914-documented-frank-lloyd-wright-designed-cast-concrete-midway-gardens-fragment-with-nicely-aged-patina","title":"rare original c. 1914 documented frank lloyd wright-designed cast concrete midway gardens fragment with nicely aged patina","description":"\u003cdiv class=\"row\"\u003e\u003cdiv class=\"col-xs-12\"\u003e\u003cdiv class=\"product info detailed\"\u003e\u003cdiv class=\"product data items\"\u003e\u003cdiv id=\"product.info.description\" class=\"data item content\" data-role=\"content\"\u003e\u003cdiv class=\"product attribute description\"\u003e\u003cdiv class=\"value\"\u003eall original and remarkably rare c. 1914 exterior cast concrete block salvaged from the non-extant midway gardens complex designed by architect frank lloyd wright. the very limited number of concrete geometric designed blocks known to exist, are almost always found in various states of disrepair (i.e., broken sections, fractures, damaged surface, etc). midway gardens (opened in 1914, demolished in 1929) was a 300 ft. square indoor\/outdoor entertainment facility in the hyde park neighborhood on the south side of chicago. it was designed by architect frank lloyd wright, who also collaborated with sculptors richard bock and alfonso iannelli on the famous “sprite” sculptures adorning the facility. under wrights supervision. iannelli and bock designed all but two of the sprites, and craftsman\/cement expert, ezio orlandi, cast them. designed to be a european–style concert garden with space for year-round dining, drinking, and performances, midway gardens hosted notable performers and entertainers, but struggled financially year after year until october of 1929 when the structure was demolished. midway gardens was opened on the site of the former sans souci amusement park on the southwest corner of cottage grove avenue and east 60th street. edward c. waller commissioned frank lloyd wright to design and build the gardens in 1914. construction was completed very quickly, and the complex opened in june of 1914. the modernist architecture of the gardens was based on strict geometrical forms designed by wright. a large, open–air central area, filled with tables and chairs, was ringed by a series of three–story buildings with indoor spaces for dancing and other activities, as well as cantilevered balconies with overhanging roofs. there were terraced gardens, pools, and a music pavilion and stage.the building itself was made of yellow brick and patterned concrete block. it featured highly intricate ornament and many geometric sculptures, which frank lloyd wright named “sprites” and were co-designed with alfonso ianelli. in keeping with wright's style, the building also featured rows of art glass and hidden entries. the interior was likewise intricately ornamented and filled with wright designed furniture and accoutrements, right down to the napkin rings. midway gardens was an indoor\/outdoor entertainment center intended to act as a beer hall and concert\/dance hall which featured bands including the midway gardens orchestra. the large area (equivalent to a city block) offered entertainment to a wide variety of people in a german-style meeting place. the gardens included restaurants, saloons, newspaper and cigar stands, and arcades. when prohibition was passed, the gardens lost part of their entertainment value. when it opened, midway gardens was an upscale entertainment venue that was also affordable to the common person. max bendix and the national symphony orchestra frequented the concert section because they were the \"house band\". the ballet dancer anna pavlova performed numerous times as well. frank lloyd wright brought in popular acts to sing, dance, and play music, which created a bourgeois environment. after it became edelweiss gardens, however, the high class atmosphere switched to one of vaudeville, ragtime, and cabaret. in the beginning, business was strong, but waller never could provide adequate funding to back the construction and upkeep of midway gardens and declared bankruptcy in march 1916. at this point, midway gardens was purchased by the edelweiss (schoenhofen) brewery company and renamed “edelweiss gardens”. wright, who generally exerted strong creative control over his completed projects, was disgusted by the aesthetic changes the new owner made to the gardens, writing that edelweiss had added \"obnoxious features\" and that the whole effect of \"the proud midway gardens\" \"was cheapened to suit a hearty bourgeois taste.\" edelweiss gardens continued through the war years (closing briefly in 1918) and stayed open as a dry establishment during prohibition. in 1921, the building was sold once more, to the e. c. dietrich midway automobile tire and supply company, and renamed “the midway dancing gardens.\" finally, in october 1929, midway gardens was closed permanently and demolished. a testament to wright's design, the building was so solidly constructed that tearing it down sent the wrecking company into bankruptcy. the majority of the rubble was bulldozed into lake michigan to be used as a breakwall. several of the sprites and cement blocks survived the demolition because the original sculptor, iannelli, managed to retrieve a few segments. also, demolition contractor, william j. newman, took several sculptures and cement blocks to his farm in wisconsin. many years later when wright heard of their survival, he purchased them and they remained with his estate. other sculptures that escaped demolition can be found in private collections and museums. other fragments, including a largely intact wright-designed block also available for viewing on website. \u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003csection class=\"block related\" data-limit=\"0\" data-shuffle=\"0\"\u003e\u003c\/section\u003e","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672637247786,"sku":"UR-31377-20","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20200410-4v0a6414.jpg?v=1760389136"},{"product_id":"museum-quality-19th-century-frank-lloyd-wright-designed-terra-cotta-cornice-fragment-from-francisco-terrace","title":"museum-quality 19th century frank lloyd wright-designed terra cotta cornice fragment from francisco terrace","description":"\u003cdiv class=\"row\"\u003e\u003cdiv class=\"col-xs-12\"\u003e\u003cdiv class=\"product info detailed\"\u003e\u003cdiv class=\"product data items\"\u003e\u003cdiv id=\"product.info.description\" class=\"data item content\" data-role=\"content\"\u003e\u003cdiv class=\"product attribute description\"\u003e\n\u003cdiv class=\"value\"\u003eoriginal historically important 19th century buff-colored terra cotta francisco terrace terra cotta cornice fragment designed by frank lloyyd wright. the terra cotta ornament was hand-sculpted (note the size of the individual spheres) by kristian schneider for the northwestern terra cotta company, chicago, ills. \u003c\/div\u003e\n\u003cdiv class=\"value\"\u003efrancisco terrace was one of several frank lloyd wright designs commissioned by edward c. waller - a wealthy real estate speculator and close friend of william winslow (founder of the winslow brothers foundry), another of wright’s early clients. located on chicago’s near west side, the two-story structure served as an experiment in low-income housing. the apartment complex, consisting of tan brick, bedford limestone, and buff-colored ornamental terra cotta was compact, but contained a spacious interior courtyard. the stair towers at each corner of the building provided access to its second story containing a wooden balcony offering views into the building’s centrally located courtyard. the apartments were largely comprised of two-bedroom units with a sitting room, kitchen, and bathroom. the most distinctive feature of the building’s exterior consisted of a heavily ornamented arch (designed by wright and executed by kristian schneider of the northretn terra cotta company) surrounding the entrance to the building’s courtyard. when the building was demolished in 1973, the arch and other terra cotta ornament were salvaged. the ornamental arch was later reinstalled in an apartment complex in oak park.\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003csection class=\"block related\" data-limit=\"0\" data-shuffle=\"0\"\u003e\u003c\/section\u003e","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672721133866,"sku":"UR-32002-20","price":450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20200912-4v0a0171.jpg?v=1760390740"},{"product_id":"original-frank-lloyd-wright-designed-unity-temple-concrete-facade-fragment-with-identification-plaque","title":"original frank lloyd wright-designed unity temple concrete facade fragment with identification plaque","description":"original frank lloyd wright-designed unity temple concrete facade fragment with identification plaque","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672809083178,"sku":"UR-32666-21","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20210125-4v0a5453.jpg?v=1760214335"},{"product_id":"1960-american-prairie-school-style-light-blue-enameled-cast-aluminum-john-dekoven-hill-designed-reticulated-modular-grille-or-screen","title":"1960 american prairie school style light blue enameled cast aluminum john dekoven hill-designed reticulated modular grille or screen","description":"\u003cdiv class=\"row\"\u003e\u003cdiv class=\"col-xs-12\"\u003e\u003cdiv class=\"product info detailed\"\u003e\u003cdiv class=\"product data items\" role=\"tablist\"\u003e\u003cdiv id=\"product.info.description\" class=\"data item content\" role=\"tabpanel\" data-role=\"content\" aria-labelledby=\"tab-label-product.info.description\" aria-hidden=\"false\"\u003e\u003cdiv class=\"product attribute description\"\u003e\u003cdiv class=\"value\"\u003eunique single-sided american prairie school style light blue enameled cast aluminum grille or panel originally designed for the modernist \"pace setter\" ralph and patricia corbett house, located in cincinnati, oh. the corbett's owned nutone (fabricator of chomes and\/or doorbells since 1936) and were major cincinnati arts benefactors. the corbett home commission was spearheaded by taliesin apprentice, john dekoven hill. mr. hill decided to become an architect early on in his life, but not until he visited taliesin did he become passionate about the design style of frank lloyd wright. hill skipped his high school graduation ceremony to enroll in the taliesin fellowship program. on june 17, 1938. because hill was so young even among the apprentices, wright often introduced him not by his name but by \"this is johnny. his father left him on my doorstep in a basket.\" with only a high school education, hill started very green as an apprentice but went on to become wright's chief architect and right hand man. hill had a keen sense of balance and an eye for design, and took responsibility for the designs and furnishings of all the interiors of the buildings wright designed. hill and wright designed a number of buildings together where hill acted as chief architect. notably, hill was the chief architect and designer for the echt-wrightian j. ralph and patricia corbett house on 2501 grandin road in cincinnati, ohio. the house was designated the house beautiful magazine's 1960 pace setter and is considered the culmination of wright and hill's collaborative designs. many features first seen in falling water and taliesin were incorporated into the house. from 1953 to 1963 hill served as the architecture editor for house beautiful magazine and in 1964 became its editorial director. in this function, hill helped promote the cause of modern architecture and particularly wright's \"organic\" approach. he went on to become treasurer of the taliesin fellowship and honorary chairman of the frank lloyd wright foundation. the striking ornamental panel with geometric design motifs were later re-fabricated by the schmidt iron works of chicago for use as rear fencing, when harry weese and i.m. pei's were looking for an alternative to the standard brick walls that were built around the urban renewal homes in hyde park. by 2013 the aluminum-paneled fence installation was badly deteriorating and ultimately removed. the panel depicted in this listing was apart of that fence. measures 17 3\/4 x 17 3\/4 inches.\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672925311274,"sku":"UR-33439-22","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20220106-4v0a0117-alt.jpg?v=1760217803"},{"product_id":"original-19th-century-schiller-or-garrick-theater-exterior-2nd-floor-loggia-dentil-terra-cotta-block-with-buff-colored-finish","title":"original 19th century schiller or garrick theater exterior 2nd floor loggia dentil terra cotta block with buff-colored finish","description":"original 19th century schiller or garrick theater exterior 2nd floor loggia dentil terra cotta block with buff-colored finish","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672936878378,"sku":"UR-33824-22","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20220321-4v0a2216.jpg?v=1760482800"},{"product_id":"alfonso-iannelli-plaster-recast-of-midway-gardens-interior-fountain-maiden-in-the-mud","title":"alfonso iannelli plaster recast of midway gardens interior fountain \"maiden in the mud\"","description":"alfonso iannelli plaster recast of midway gardens interior fountain \"maiden in the mud\"","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672940024106,"sku":"UR-33856-22","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20220409-4v0a2679.jpg?v=1760307768"},{"product_id":"one-of-a-kind-hand-crafted-wood-with-painted-finish-panel-modeled-after-midway-gardens-concrete-block","title":"one-of-a-kind hand-crafted wood with painted finish panel modeled after midway gardens concrete block","description":"one-of-a-kind hand-crafted wood with painted finish panel modeled after midway gardens concrete block","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672946610474,"sku":"UR-33922-22","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20220529-4v0a3912.jpg?v=1760483480"},{"product_id":"original-framed-frank-lloyd-wright-s-heller-house-1897-architectural-review-bates-guild-company-1900","title":"original framed frank lloyd wright's heller house (1897) architectural review bates \u0026 guild company, 1900","description":"original framed frank lloyd wright's heller house (1897) architectural review bates \u0026amp; guild company, 1900","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672949723434,"sku":"UR-33960-22","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20200830-4v0a0012.jpg?v=1760219286"},{"product_id":"important-late-19th-century-strongly-geometric-leaded-clear-glass-robert-p-parker-bootleg-house-window-featuring-bands-of-overlapping-ovals","title":"important late 19th century strongly geometric leaded clear glass robert p. parker \"bootleg\" house window featuring bands of overlapping ovals","description":"\u003cdiv class=\"row\"\u003e\u003cdiv class=\"col-xs-12\"\u003e\u003cdiv class=\"product info detailed\"\u003e\u003cdiv class=\"product data items\" role=\"tablist\"\u003e\u003cdiv id=\"product.info.description\" class=\"data item content\" role=\"tabpanel\" data-role=\"content\" aria-labelledby=\"tab-label-product.info.description\" aria-hidden=\"false\"\u003e\u003cdiv class=\"product attribute description\"\u003e\u003cdiv class=\"value\"\u003eoriginal c. 1890's american frank lloyd wright-designed leaded clear glass window from the queen anne style robert p. parker house completed in 1892. the delicate square-shaped window retains the original cleat glass and lead came, with sporadic repairs to soldered joints that were highly corroded. it is not known when the original wood sash frame was removed from the window. the simple, yet elegant geometric pattern illustrates wright's efforts to forge his own identity and\/or design while still heavily influenced by his mentors, silsbee and sulllivan. the historically important parker house, which was one of three \"bootleg houses\" along chicago avenue in the chicago's oak park suburb. the two other neighboring houses include the thomas h. gale house and the walter gale house. the houses were designed by wright independently while he was still employed as a draftsman under the architectural firm of dankmar adler and louis h. sullivan. architect louis sullivan loaned wright money during the construction of his own home and studio and wright was working it off at the firm. the parker house is especially similar to the thomas h. gale house.the houses were designed on a speculative basis for wright neighbor walter gale in 1892. in all, wright designed nine \"bootleg houses\" moonlighting while still under contract with sullivan. since independent work was forbidden by sullivan, he was quickly dismissed from the firm in 1892 when sullivan discovered these independent commissions. the design for the parker house and the thomas gale house, and to some extent the walter gale house, were derived from the more expensive emmond house in lagrange, ills. the three 19th century homes feature irregular roof composition with high pitches and polygonal dormers. wright's design and\/or configuration of the parker house was influenced by his first teacher joseph silsbee. sullivan's influence can also be seen in the taut masses of the house with his philosophy of \"geometric simplification\" evident in the parker house's design elements, including the leaded glass window featuring two bands of overlapping ovals divided by linear lines within a rectangular form. while generally cast in the queen anne style of architecture the parker house has more ample rounded forms than the common queen anne homes being built at the time. the spaciousness of the house's interior is bolstered by wright's use of an an open interior rather than the typical boxy, partitioned interiors of characteristic of victorian architecture. the exterior turret bays contain large banks of windows in a manner that leaves little actual wall space on the interior in order to connect the inhabitants with the outside nature. the fireplace is positioned in the center of the house which allows it to heat and service two rooms, the parlor and the dining room. the side elevations of the parker house are symmetrical but adjacent buildings are built too close for the design to be seen clearly. despite being small in size and adorned with inexpensive detailing, the parker house bears significance as to what it reveals about frank lloyd wright's development as an independent architect trying to break free from the influential forces of both sullivan and silsbee.\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672951656746,"sku":"UR-33979-22","price":55000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20220605-4v0a4017.jpg?v=1760483805"},{"product_id":"important-1890s-frank-lloyd-wright-designed-luxfer-prism-company-patent-tile-with-original-copper-caming","title":"important 1890s frank lloyd wright-designed luxfer prism company patent tile with original copper caming","description":"\u003cp\u003efrank lloyd wright-designed 19th century copper-camed prismatic tile with patent rights and beaded border. typically one patent plate for each panel, patent rights on the windows themselves were critical. while there aren’t drawings or documents that verify that wright designed this patent tile, consulted industry experts who know wright's work in this period well enough have confirmed are “totally comfortable with saying it is his”. furthermore, the design elements of this tile feature those similar to one in wright patent design no d27, 988’s “c, a series of dots, lines, or portions of lines on the other side.”\u003c\/p\u003e","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672958996778,"sku":"UR-34068-22","price":1950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20190412-4v0a9200_2.jpg?v=1760309082"},{"product_id":"early-20th-century-historically-important-frank-lloyd-wright-designed-oversized-william-e-fricke-house-leaded-art-glass-window-with-custom-built-oak-wood-frame","title":"early 20th century historically-important frank lloyd-wright designed oversized william e. fricke house leaded art glass window with custom-built oak wood frame","description":"\u003cdiv class=\"row\"\u003e\u003cdiv class=\"col-xs-12\"\u003e\u003cdiv class=\"product info detailed\"\u003e\u003cdiv class=\"product data items\" role=\"tablist\"\u003e\u003cdiv id=\"product.info.description\" class=\"data item content\" role=\"tabpanel\" data-role=\"content\" aria-labelledby=\"tab-label-product.info.description\" aria-hidden=\"false\"\u003e\u003cdiv class=\"product attribute description\"\u003e\u003cdiv class=\"value\"\u003emuseum-quality c. 1901-02 oversized leaded art glass window or possibly door pane designed by american architect frank lloyd wright for the extant william e. fricke residence located in oak park, il. the strongly geometric \"light screen\" is comprised of closely arranged lead cames with clear glass, interspersed by subtle blue opalescent squares throughout. the long and narrow segmented rectangles along the top, consist of hammered texture blue opalescent glass topped with pink cathedral glass squares. the exact fabricator is not known, but could be attributed to temple art glass or possible the linden glass company. the large window was purportedly removed from the passage way leading to the the non-extant pavilion that was demolished in the 1920's. the three-story william g. fricke house was originally designed and built in 1901-02 on the corner of fair oaks avenue and iowa street in oak park, il. while the main structure remains largely intact, the pavilion and garden walk were demolished in the 1920's when a later owner sold the property. the lot stood vacant until 1948 when a nondescript house was erected. frank lloyd wright designed the house in 1901 during a brief partnership with webster itomlinson. by the time the house drawings were published as part of the warsmuth portfolio in 1910, the house was known as the emma martin house, after the second owner who purchased the residence in 1907. wright designed the garage for martin 1907. william g. fricke commissioned wright to build the home shortly after he became a managing partner at the weber-costello-fricke co., specializing in school supplies. the stucco-clad house is one of the first completely mature prairie style designs by frank lloyd wright. around this time wright had dropped nearly all of his classical and \"sullivanesque\" elements from his designs and\/or commissions. the house is considered to be the most successful of wright's three story prairie homes. to this day, it remains a private residence. the window measures 50 x 27 3\/4 inches. note: measurements include oak frame.\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672972693802,"sku":"UR-34183-22","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20140622-20140622-021c_1_1_2_1.jpg?v=1760398443"},{"product_id":"group-of-three-original-1930s-amatuer-snapshots-or-photos-of-frank-lloyd-wright-s-johnson-wax-building-complex-under-construction","title":"group of three original 1930s amatuer snapshots or photos of frank lloyd wright's johnson wax building complex under construction","description":"group of three original 1930s amatuer snapshots or photos of frank lloyd wright's johnson wax building complex under construction","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672975118634,"sku":"UR-34211-22","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20221212-img406.jpg?v=1760221014"},{"product_id":"original-1930s-amateur-snapshots-or-photographs-of-frank-lloyd-wright-s-thomas-p-hardy-house-located-in-racine-wisc","title":"original 1930s amateur snapshots or photographs of frank lloyd wright's thomas p. hardy house located in racine, wisc.","description":"original 1930s amateur snapshots or photographs of frank lloyd wright's thomas p. hardy house located in racine, wisc.","brand":"vendor-unknown","offers":[{"title":"Default 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Title","offer_id":50672977674538,"sku":"UR-34246-22","price":650.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20221214-4v0a9888.jpg?v=1760310377"},{"product_id":"1890s-original-unusual-gothic-style-cast-bronze-doorknob-backplate-identical-to-wright-s-winslow-house-entrance-door","title":"1890s original unusual gothic style cast bronze entrance door backplate with nicely aged patina","description":"\u003cp\u003e1890s original unusual gothic style cast bronze doorknob backplate identical to wright's winslow house entrance door. possibly stock pattern. \u003c\/p\u003e","brand":"vendor-unknown","offers":[{"title":"Default Title","offer_id":50672979673386,"sku":"UR-34270-23","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0959\/7075\/4858\/files\/20230110-4v0a0328.jpg?v=1760221295"}],"url":"https:\/\/urbanremainschicago.com\/collections\/frank-lloyd-wright.oembed?page=5","provider":"Urban Remains Chicago","version":"1.0","type":"link"}