Minerva’s 100th Birthday Bash

Photos © Mark Hertzberg

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Guest of honor: Minerva Montooth / Guests: 135 / Location: The Frank Lloyd Wright Visitors Center (formerly Riverview Terrace Restaurant) at Taliesin, recently named to the National Register of Historic Places. /  Hugs and kisses: Many / Photos taken: Many / Minerva: Ebullient as she greeted guests, seated in front of gold “100” balloons!

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LR Minerva 100th B'day Party 008.jpgMinerva, her daughter, Margo, and son, Andrew

LR Minerva 100th B'day Party 009.jpgThere was a video slide show

LR Minerva 100th B'day Party 015.jpgGranddaughter Divina Allan and great-granddaughter Eliza Harry-Ray, 4

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LR Minerva 100th B'day Party 031.jpgOlivia Dubson, a special friend of Minerva’s

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LR Minerva 100th B'day Party 049.jpgMargo reads from Minerva’s baby book…Minerva, a surprise twin, was late, setting the stage for a lifetime habit, Margo said with a chuckle.

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LR Minerva 100th B'day Party 052.jpgIndira Berndtson

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Birthday cakes were not always part of Depression-era birthdays. David Pedersen and Bazile Booth of Soups I Did It Again in Spring Green made up for any missed cakes with their angel food creation for Minerva:

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LR Minerva 100th B'day Party 073.jpgYes, Happy B/day Minerva! Indeed!

Scroll down for previous posts, including “The Marvelous Minerva Montooth” post

Happy 100th Birthday, Minerva!

© Mark Hertzberg

I have never repeated a post before, but today is a worthwhile day to do that, in honor Minerva Montooth on her 100th birthday! A link to my September 2021 post profiling her and her career in the World of Wright,  “The Marvelous Minerva Montooth,” is below her photo. Happy birthday, dear friend!

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https://wrightinracine.wordpress.com/2021/09/29/the-marvelous-minerva-montooth/

Scrolling down brings previous blog posts.

Altruism x 2 at the Bagley House

© Mark Hertzberg (2024)

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Altruism: Unselfish regard for or devotion to the welfare of others: charitable acts motivated purely by altruism – www.merriam-webster.com

Examples: Grace Bagley (1860-1944) and Safina Uberoi and Lukas Ruecker (Contemporary)

Safina t GB exhibit opening wide.jpegSafina Uberoi – photo courtesy of Safina Uberoi

IMG_5557.jpgLukas Ruecker at the Bagley House

Safina Uberoi, President of the Frank Lloyd Wright Building Conservancy board, and Lukas Ruecker became stewards of Wright’s Tonkens House in Cincinnati in 2015. In 2022 they added Wright’s Bagley House (1894) in Hinsdale, Illinois to their Wright portfolio when they bought – and likely saved – the house which faced demolition, possibly so another “McMansion” could be built. The house has had numerous owners and alterations but its bones are important as one of Wright’s first designs after he left Adler & Sullivan the year before.

Safina Lukas with Jeff Jeannette Goldstone.jpegLukas Ruecker, right, and Safina Uberoi with Jeff and Jeannette, Goldstone, the  previous owners of the Bagley House – photo courtesy of Safina Uberoi

Uberoi and Ruecker are working with restoration architect Douglas Gilbert to restore the Bagley House. The most visible change, as visitors approach the house, will be that the white aluminum siding will be taken off and stained shingle siding – some of it original – will once again envelop the house. The aluminum siding is thought to date to the 1940s or 1950s.

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IMG_5566.jpgSome of the original siding is under the aluminum siding.

IMG_5563.jpegBefore the aluminum siding was put onCourtesy Hinsdale Historical Society

The 1980s addition on the back of the house will be taken down, replaced by a new addition designed by architects George Suyama and Jay Deguchi. They are very familiar with Wright’s work; Suyama is a former Building Conservancy board member. Uberoi describes the new addition, “…which provides additional living space at the rear of the plot while touching the Bagley House respectfully at only one point and making no changes to the original building.”

Bagley House 007.jpgThe addition to the rear of the house will be taken off.

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Gilbert elaborates on the overall program, “The plan is to restore the exterior to the original design by Wright, so the Bagley era.  For the interior, only the main floor living spaces will be restored to the original design, with back-of-house spaces altered to accommodate modern needs and the connections with the new wing. The second floor will be reworked for modern living.  The 1980s addition on the back goes away and the original rear porch rebuilt.  That porch will look out over a courtyard/terrace of the new wing.  The nice thing about the new wing design is that the two will barely touch each other and will instead have more of a dialogue with each other (as opposed to just shooting straight off the back like most additions do).”

Thanks to the rescue of the house, the distinguished career of Wright’s client, social reformer and suffragette Grace Bagley (1860-1944), is getting fresh attention. Both the house and Bagley’s career were highlighted at an event hosted by the Building Conservancy in December. Uberoi and Ruecker commissioned architectural historians Julia Bachrach and Jean Follett to research Bagley’s work on behalf of economically disadvantaged people in Chicago as part of the process of having the house declared an architectural landmark in Hinsdale. Their research was displayed on richly illustrated story panels for “Finding Grace,” a public exhibit in the house late last year. Bagley helped many Italian immigrant families – some living in a tenement in the Levee District her husband, Frederick, owned. She also helped ensure that juvenile offenders would no longer be imprisoned with adults criminals and volunteered at Jane Addams’s Hull House in Chicago.

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The unanticipated consequences of Uberoi and Ruecker’s purchase of the house include another yet another discovery about Wright’s work through Bachrach and Follett’s research. Like the Bagley House, Wright’s Stephen A. Foster cottage in the West Pullman neighborhood on Chicago’s far south side (1900) was designed as a summer cottage for the client. The surprise that Bachrach and Follett discovered was that Mrs. Bagley and Mrs. Foster were sisters.

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There is some similarity in the Bagley House design to Cecil Corwin’s Henry Mitchell House in Racine (also 1894) which Wright is thought to have helped Corwin design. [I have a special interest in the Mitchell House because I live in Racine and have researched some of its history]. Both houses are included in Tim Samuelson’s “Wright Before the Lloyd” exhibit at the Racine Heritage Museum which runs through the end of 2024. Both are Dutch Colonial.

Mitchell House 1895.jpgThe Mitchell House in 1895 – Courtesy Racine Heritage Museum

Both have a library at either end of the house. Mitchell’s is semi-circular, the octagonal one in Bagley brings to mind the octagonal office space in Wright’s Home and Studio.

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The two commissions are listed just a few lines apart in the March 1894 Journal of the Inland Architect.

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I am an avid bicyclist. There is a maxim in the cycling community that if X equals the number of bicycles one owns, then the ideal number of bicycles to own is X + 1. Perhaps the same maxim is appropriate in the World of Frank Lloyd Wright for Safina Uberoi and Lukas Ruecker!

Finding Grace Exhibit and Travel Schedule:

https://sites.google.com/view/finding-grace?fbclid=IwAR0AIEau6Qlixvytn5s-ZIY93L1HGtFoJAkL1COFXEiH6Eq4Jr07KDjVl68

Architectural Digest story about Bagley and Foster house connections:

https://www.architecturaldigest.com/story/two-early-frank-lloyd-wright-homes-have-a-surprising-link-that-was-just-discovered

Julia Bachrach on the Bagley House:

https://www.jbachrach.com/blog/2022/9/29/the-bagley-house-one-of-frank-lloyd-wrights-earliest-independent-commissions

Frank Lloyd Wright Building Conservancy:

www.savewright.org

Frank Lloyd Wright Building Conservancy on Bagley House, Grace Bagley, 2024 exhibit information:

https://savewright.org/celebrating-preservation-at-the-bagley-house/

Racine Heritage Museum “Wright Before the Lloyd” Exhibit:

https://wrightinracine.wordpress.com/2023/05/04/wright-before-the-lloyd/

Mitchell House: Corwin / Wright’s Coda?

https://wrightinracine.wordpress.com/2021/07/08/mitchell-house-corwin-wrights-coda/

Scroll down for previous posts on this website

The Laurent House’s Second Steward: Jerry Heinzeroth (1942 – 2024)

Text and contemporary photos © Mark Hertzberg 2024

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Frank Lloyd Wright’s Phyllis and Kenneth Laurent House in Rockford, Illinois (1948) and Jerry Heinzeroth are inexorably linked. We might not still have the Laurent House, Wright’s only commission designed expressly for a disabled client, if not for Heinzeroth’s persistence. It is now his legacy: Heinzeroth died unexpectedly January 19 at home. He was 81.

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Heinzeroth broached the idea of my writing a book about the house in 2014 when he gave me a private tour of the house when I was in Rockford for a colleague’s funeral. We had met at many Frank Lloyd Wright Building Conservancy conferences, and he told me he liked my three books about Wright’s work in Racine. I demurred because I was well into my commission to write and photograph a book about Penwern, Wright’s Fred B. Jones estate in Wisconsin.

Mary Beth Peterson, Executive Director of the Laurent House Foundation, raised the idea again when I toured the house in 2021 with friends who had won a private tour in a silent auction. “You are the one Jerry wants to write a book about the house.” Again, I demurred. The Penwern book had taken five years to research and write and I was not eager to start another big research project. Neither she nor Heinzeroth gave up, and Peterson called me in spring 2023. I agreed to at least interview Heinzeroth and record his history with the house and possibly do a book. My wife and I spent a delightful morning with him in the living room. I titled this possible chapter for a possible book “Transition.” There is no book at this point, but “Transition” is below, in recognition of the gentle man who saved the Laurent House.

Transition

Jerry and Barb Heinzeroths challenge was not unique in the World of Wright: how to gain entry to a Wright house and meet the clients who commissioned it. It took about 20 years, but a bottle of red wine and the promise of a lasagna dinner finally opened the front door of the Laurent House for them in 2004. Today, well, Jerry has the front door key in his pocket.

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The clients, who were still living in the house, were Phyllis and Ken Laurent. The house, commissioned in 1948 and finished in 1952, was the only one Wright designed for a disabled client (Ken used a wheelchair after being paralyzed during back surgery for a large spinal cord tumor, Memorial Day weekend in 1946). That dinner sparked an adventure that continues to this day, with Jerry the president of the Laurent House Foundation since it was founded in 2011.

The Heinzeroths had toured the house with the Frank Lloyd Wright Trust in the mid-1980s. “Ken and Phyllis had met us (40 people on tour) and had refreshments. They were the most engaging, genuine couple Barb and I had ever met,” Jerry recalls. “Now that I’ve met them, I had an in.” The Heinzeroths wrote the Laurents a long letter about how much they had appreciated the tour, and that they would welcome the opportunity to come back and talk about the house and about Wright. “I thought I had done a masterful job.” Perhaps he had, indeed, done a masterful job, but the Laurents did not reply.

Heinzeroth, who grew up and still lived in Rockford, had driven by the house many times, but respected the Laurents’ privacy. “I wasn’t raised to ring a doorbell and say, ‘Can I see your house?’” He had long been attracted to Wright’s work, even once considering joining the Taliesin Fellowship. His plans changed after he and Barb married. His father told him he couldn’t make a living in “art,” so he studied engineering and began a career designing machine tools in his hometown.

The lasagna dinner – which would end up ensuring the preservation of the Laurent House – came about when John Cook, the Laurents’ landscape architect and a friend of the Heinzeroths, told Jerry that he had to deliver an invoice to the Laurents. Jerry and Barb were gourmet cooks. They had cooked together their entire married life. Jerry asked Cook to tell the Laurents that they would love to cook dinner for the six of them. This time the Laurents agreed to meet them. Cook later recalled the dinner to Jerry, “We had a nice dinner together for half an hour, then you and Ken disappeared and we didn’t see you the rest of the night.”

Jerry says that evening forged a friendship that lasted until 2012, when the Laurents died. “About once a month we would bring dinner and a bottle of wine, then dinner and two bottles of wine! They were like second parents to us”

Jerry and Barb Heinzeroth having dinner with Ken Laurent.jpgDinner at the Laurent House: Barb Heinzeroth, left, Marcia Cook, John Cook, Jerry Heinzeroth, and Kenneth Laurent. Phyllis Laurent took the photo.

Two years later, in 2006, Ken and Jerry started talking about whether Ken would need to look at moving into an assisted living facility. Ken needed the equity in the house to move and to give him an estate to pass on to their children, Jean and Mark, and grandchildren. Ken and Jerry talked about the house becoming a museum to Wright and a museum for disability run by the Friends of Laurent. They called a neighborhood meeting and pledged that if there were a single objection to the idea of a public museum, they would cease their planning. Neighborhood support was unanimous. The Laurents wanted to sell the house for $1.2 million, but said they would sell it to Heinzeroth for $750,000. Jerry’s challenge, then, was to figure out a way to raise money to buy the house.

He cold-called Lynda Waggoner, then executive director at Fallingwater, and asked her to come to Rockford. “I considered Lynda the pre-eminent authority on the relevance of an FLW property. I asked that if we paid her expenses would she come to see the Laurent house and give her opinion on its importance. We had agreed that if she found it unremarkable we would suspend our efforts to raise the money required to continue the effort.” She was reticent, but agreed to come.

Waggoner recalls her visit, “This group of people was beyond enthusiastic. They were in love with the house and in love with Mr. Laurent.” She thought the home’s greatest significance, beyond being a Wright design, was that it was such an early design by any architect for a person with a mobility disability. “I thought if they could really highlight the accessibility nature of the house made it so much more interesting as a building. It was prescient what Wright was doing there. The house is a great rejoinder to those who say Wright did what he wanted. He carefully thought about that client, to do something that would be improve his life.” [Waggoner emailed me after learning of Heinzeroth’s death, “He was such a lovely person and his passion for the Laurent House was an inspiration to us all.” There will be countless more tributes after word of his death spreads through the Wright world]

Its location in comfortable neighborhood could be “problematic” in terms of reimagining it as a house museum. There would likely be objections to several thousand people a year descending on an otherwise quiet area.

Heinzeroth asked her not to be negative when he talked to the Friends board. I was cautious to present it as something that would be a challenge and certainly difficult, but should be preserved.” Waggoner told them that most Wright houses get perhaps 5,000 visitors annually, not enough to sustain them. The Friends had little money. There would have to be non-stop fundraising. She suggested that they consider working with a local ADA-focused foundation. Such a foundation could have its office in the Laurent House and open the house for Wright-focused tours on occasion.

The timing was terrible because it was 2008 and the economy had collapsed. Jerry had raised just $5,000…a mere $745,000 short of what Ken said the Laurents would sell him the house for. And, now, looking back at her visit with the Friends, 15 years later, “I didn’t see how their business plan could work, but they pulled it off.”

Ken and Jerry talked almost weekly. One of those talks, in the fall of 2011 bore unexpected bad news. “I called him one day, and he said, ‘By the way, Jerry, Im going to put the house up for auction at the Wright Auction House in Chicago (no relation to the architect). Ive given five years of my life for this. Weve reached a point where we have to do something. The auction house has assured me they can get top dollar, $800,000-850,000.” The auction date was set for just five weeks away, around Thanksgiving.

The Rockford community kicked into high gear at Jerry’s behest. A member of the Friends wrote an op-ed piece for the Rockford Register-Star newspaper about the house, about Ken’s condition, and about plans for the house museum. A local developer, Sunil Puri, whose CFO was paralyzed from the waist down after a diving accident, was particularly touched and called. He said he was close to then-Gov. Pat Quinn. “I am going to see the governor tomorrow, and will see what I can do.” He secured a matching grant from the state for $500,000. The Friends raised another $500,000 in those five weeks before the auction.

The auction was being streamed live on YouTube and on WNIJ radio. The only other bidder backed out. The Friends were invited to the auction floor. “I brought my auction paddle. Off to the side to observe were the couple that backed out of the bidding after learning the Foundation planned to make the house a public museum. I was the only person on the auction floor in person. The auctioneer never got up. We didn’t know it, but the livestream had gone black. The auctioneer tapped us and said to come down to the conference room. Then we knew for certain we were the only bidder.

The Friends were told, “You are the only people who are bidding. If you want it for the reserve price…I said ‘So, if I raise my paddle and say Sold!,’ then it’s sold to us? We had the house for $480,000!”

Their rejoicing was short-lived when the owner of the auction house tapped on the window and talked to the auctioneer who then said, “I’m sorry have to report, it looks like there is another bidder.” I replied, “You told me the house is ours. I’m sorry. We’re leaving. Wright’s principles are what drew me to him. My word is my bond. When I tell someone something, it’s going to happen.”

We all started walking toward the door. “No, come back, come back, it’s your house!” John Cook said, “I never met anyone with the balls you have.” I replied,  “John, if you can’t honor your word, you are nothing.”

The auction house told the Laurents to expect at least $800,000. The Friends offered them $650,000 to not go to auction, but the Laurents did not accept the offer. The Friends ended up buying the house for $578,500 with all the fees included.

The closing was set for April. and Barb and Jerry left for a “well-earned” vacation in Florida. “For a precious 15 years we had given up our vacations, given up everything. Then Ken became ill and was taken to the hospital. He said. ‘When Mr. Wright was asked how he was able to play the piano so well, he said, ‘I don’t know if I am playing the piano or it is playing me.’ I don’t know if I am living for this house or it is living for me.”

Phyllis Laurent was now living in the house alone. The Friends reassured her, “We don’t need the house. You are to stay in this house for as long as you need to. The sale closed in April. She moved into assisted living at the end of the month. “Then we took over the house.”

One wall of her apartment was a four by eight foot mural photo looking down the hallway of the house. She also kept one of the barrel chairs on which Ken had hung his sports coat ever evening after coming home from work…with one of his sports coats hanging on it. She told Jerry, “It’s like Im still living in my house.”

The grand opening of Laurent was scheduled for April 2013 but there were “horrific” snowstorms in March. The Heinzeroths repeatedly checked on the house. One fateful Friday they found water dripping in four places from the bedroom ceiling, two places in the entry way, and a leak in the dining room. They brought buckets in and moved the furniture out of the path of the water. By the time they returned Saturday, large portions of the bedroom ceiling had caved in. They spent 16 – 18 hours each of the next two days bubble-wrapping the furniture and getting it out of harm’s way.

The opening was pushed back a year because the restoration they had planned to do over five or six years, had to be done immediately. The Friends had no money, but a bank gave them a bridge home equity loan of $480,000. They hired John Eifler, an experienced Wright restoration architect, whose credits at the time included the Seth Peterson Cottage and Herbert and Katherine Jacobs’s “Jacobs 1” house.

Stewards of Wright properties have to decide what time period to represent: should the house reflect what it looked like when the Laurents moved in, or when they left the house. The Foundation decided on 1952, the former, “at the time Wright last had his hands on it,” says Jerry. The restoration was a daunting challenge because Wright reportedly told the Laurents that it was probably the best construction job he had seen of any of his houses, including the finest millwork. The Foundation’s work was guided by the “meticulous records” that Ken, a statistician kept. “He had receipts for everything.”

The sale included the house and furniture. That was not sufficient for the plans to have a house museum. The foundation bought 22 original letters from Taliesin to the Laurents from Jeanne, the Laurent’s daughter, and got copies of the Laurents’ letters to Wright from the Taliesin archives. They also bought all of the Laurents’ personal effects, down to Ken’s socks and three books that Wright had signed for the couple. “We have everything that was in the house.”

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The Foundation had the house, but not a home for themselves. They rented office space at a nearby church. In 2021 they jumped on the opportunity to buy a 1927 house on two lots across the street from the Laurent house. It is now the Foundation’s headquarters, their archives, a gift shop, and restrooms and parking for tour guests.

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Every Christmas the house is decorated as if the Laurents were still living there, even using their Christmas ornaments on an artificial tree. There are still parts of the Laurents’ voluminous archives yet to unpack. “At some point it will be exactly how the Laurents had it with their personal decorations,” says Jerry.

Barb died in early 2023, and Jerry carries on, with dedicated volunteers from the Foundation. Laurent House is now a house museum, meticulously presented as it was when the Laurents lived there. Ken’s hat and gloves are on a shelf in the entry way, as if he had just come home from the office. His wheelchair is pulled up to the desk with his typewriter sitting on it. Another wheelchair lets visitors experience the house as he would have, rolling from room to room, to see his perspective seated. Heinzeroth says, “The thing about this house and why we present it the way we are, why I am so adamantly meticulously about how we present it, is that he would not even let me come into the house if the house was not perfect. That was depth of respect he had for Wright. If you said something disparaging about Wright in this house, he would ask you to leave.”

Laurent WSA 2022.jpgJerry accepts the Wright Spirit Award to the Laurent House Foundation from Chuck Henderson and Barbara Gordon of the Frank Lloyd Wright Building Conservancy at the Palmer House during the 2022 annual conference in Chicago. / Photo by Anne Evans for the Building Conservancy

Postscript:

“He was my dear friend and constant mentor of all things Laurent House for nearly a decade. I am at a huge loss for that sounding board and also extremely honored that he selected me to be the one to carry on his vision and passion for the Laurent House.”

-Mary Beth Peterson, Executive Director, Laurent House Foundation

“Jerry was well-respected in the Wright community for his tireless efforts to make the Laurent House publicly accessible. Under his leadership, he inspired volunteers and supporters to raise significant dollars to acquire and restore the house, and to develop a visitors center. The Frank Lloyd Wright Building Conservancy awarded the Laurent House Foundation a Wright Spirit Award in 2022 to honor their preservation success. That would not have been a reality without the vision of Barbara and Jerry. Their memory will now live on in that house, which has such an important story to tell future generations.”

-Barbara Gordon, Executive Director, Frank Lloyd Wright Building Conservancy  

Laurent House Awards and Recognition

2015: Richard H. Driehaus Foundation Preservation Award in Advocacy from Landmarks Illinois

2015: Americans with Disabilities Act (ADA) 25th anniversary award for best restoration of an accessible house.

2022: Wright Spirit Award from the Frank Lloyd Wright Building Conservancy “For its commitment to preserving and sharing the legacy of Frank Lloyd Wright and Kenneth and Phyllis Laurent.”

Links:

Jerry Heinzeroth Newspaper Obituary:

https://www.rrstar.com/obituaries/pils0706577

The Laurent House:

https://laurenthouse.com/

Frank Lloyd Wright Building Conservancy:

https://savewright.org/

Wright’s “Little Gem” in Rockford, my 2021 history and photo tour of the house:

https://wrightinracine.wordpress.com/2021/12/04/wrights-little-gem-in-rockford/

Please scroll down on wrightinracine.com to read previous posts

Waking Up My Wright Eye

© Mark Hertzberg (2023)

My Wright eye has been dormant for a long time. It finally woke up today, as I finish my 13th Road Scholar Frank Lloyd Wright Wisconsin tour as their step-on guide and “expert lecturer.” I generally look for photos other than just literal pictures of Wright’s work.

I join the tours when they get to Racine from Chicago on Wednesday, and continue with them in Milwaukee, Madison, and Spring Green through Saturday morning. It is always a challenge to find fresh photos at places I have visited so many times, especially when each stop is always at the same time of day. This time I took no photos Wednesday or Thursday. It took spectacular fall colors today – Friday – when we got to the Unitarian Meeting House in Madison to bring my camera back to life.

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Then it was on to Jacobs 1. The bonus for our tour guests, which we did not tell them about in advance, was that there was a good chance that Jim Dennis, steward of the house since the 1980s as well as Bill Martinelli would greet us, and that Jim would welcome them into his home:

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My first picture at the Taliesin estate after lunch was not of a Wright building…it was of the trees in front of Hillside Home School:

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I found new angles for photos of the drafting studio, including the sadly empty drafting room and the Romeo and Juliet windmill:

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And then it was on to the Holy Grail for our guests, Taliesin itself:

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If you know me well enough you know that I cannot go to Taliesin without a visit to our dear friend Minerva Montooth. Today was no exception:

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Links:

The Road Scholar trip:

https://www.roadscholar.org/find-an-adventure/22976/architectural-masterworks-of-frank-lloyd-wright

Unitarian Meeting House:

https://fusmadison.org/welcome/meeting-house/

Taliesin:

https://www.taliesinpreservation.org

Minerva Montooth:

https://wrightinracine.wordpress.com/2021/09/29/the-marvelous-minerva-montooth/

Please continue to scroll down for previous posts.

 

 

A Fresh Look at the Imperial Hotel – Part 1

© Mark Hertzberg (2023)

Frank Lloyd Wright is known by many people only for his domestic architecture. But some of his undisputed masterpieces were public buildings. One was the sprawling Imperial Hotel in Tokyo which was 76,865 sq. ft. in an area which measured 156,442 square feet. The hotel, which opened 100 years ago this month, was demolished in 1967-1968, despite an international outcry which included efforts to save it by Olgivanna Wright and Edgar Tafel.

The lobby and entryway were saved and rebuilt at Meiji-mura, a large park with buildings of diverse architecture from the Meiji era (1868 – 1889). It is near Nagoya, several hours from Tokyo by Shinkansen (bullet train), local train, and bus.

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The scholars and archivists at Organic Architecture and Design (OA + D), including Kathryn A. Smith, have made two new significant contributions to our understanding and appreciating the breadth and scope of Wright’s Tokyo tour de force. In 1923, concurrent with the opening of the hotel, the management published The Jewel of the Orient, a richly illustrated 32-page brochure about the building and its amenities. The narrative was written anonymously, and takes the reader on a walking tour through its public places and service areas. OA + D has republished the brochure, with an introductory essay by Smith. Only 500 copies were printed, it is a bargain at $20.00:While one can visit the remnants of the grand hotel at Meiji-mura, the OA + D republication of The Jewel of the Orient is a stark reminder of what was lost when the first wrecking ball struck and breached Wright’s hotel. What the Kanto Earthquake on opening day and the bomb couldn’t take, the wrecking ball did.

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https://store.oadarchives.org/product/jewel-of-the-orient-the-imperial-hotel

On the back cover, the writer describes the hotel as “Neither Of the East Nor Of The West, But Might Fittingly Be Called A Blending Of The Ideals Of The Two Civilizations.” He (presumably) quotes an unnamed “Writer of International Fame” describing the hotel “As A Symphony In Brick And Stone.” It certainly was.

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The 1923 black and white photographs are illuminating, particularly the double truck (one photo over two facing full pages) on pp. 14 – 15, an overhead view of the complex. The collection of photographs reinforces the wonder of how one man could design such an intricate and complex masterpiece, especially in the pre-computer age. It has been written that Wright conceived of such landmark buildings as Midway Gardens and Fallingwater long before he “shook them out of his sleeve” and articulated their design on his drafting table. We can only wonder how Wright imagined the Imperial Hotel before drawing it. Because there had to be plans for each hotel ornament, as well as the china and the furniture, and not just plans for the building itself and its ancillary structures, Smith wrote me, she estimates that there may have been between 2,000 and 3,000 drawings made. Only 822 drawings of the hotel survive in the Wright archives at the Avery Library. Consider the volume of drawings, at least one for each element of the hotel:

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As for the furnishings, the author of the brochure notes “The thing which strikes one most forcibly on entering any of the rooms, be they parts of a suite or otherwise, is the absence of ready to buy wares.” Everything was “especially designed and made for the hotel…conceived by the mind of a master and manufactured with a view to forming integral parts of a completed and harmonized whole…”

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Film 100 years ago was infinitely less sensitive to light than today’s digital cameras which can take pictures even under dark conditions. The anonymous photographer capably used natural (ambient) light in many interior photos as well as lighting others. There are photos of lesser known aspects of the hotel including the Arcade shops in the basement and the reading room. A post office as well as a branch of the Japan Tourist Bureau were also in the hotel. Hotel staff members took English lessons in the Service School (nine-tenths of the complaints to management over the years in the prior Imperial Hotel had been about guests and staff having difficulty communicating with each other). Look at Wright’s use of indirect lighting in the (reconstructed) lobby:

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Smith writes it is “surprising” that the writer of the brochure “not only sensitively describes Wright’s architectural accomplishments, but he also emphasizes the technological progress represented in everything hidden from sight. There are not only descriptions, but  photographs of the mechanical rooms.”

Wright, who many think was loathe to collaborate with anyone, had hired a Chicago company and a mechanical consultant to oversee electrical machinery for the hotel kitchen and service facilities. Meals could be served to 3,000 guests at a time. There are photographs of the “huge electric Blakes-Lee dish washing machine capable of cleaning and drying 5,600 dishes in one hour” and one of the four “large Tahera autonomic (silver) burnishing machines.”

The photographs of the powerhouse, laundry, and ice plant are of particular historic importance because they were destroyed in the Allied bombing of the hotel, May 25, 1945. The Banquet Hall was also destroyed. Although the Allies rebuilt it in 1946, the work was not executed to Wright’s design.

Wright relentlessly spent months “testing and rejecting the texture and color of the brick, just like a Japanese tea master choosing the perfect ceramic cup for his ceremony,” writes Smith. Only appliances were ordered out of a commercial catalogue. The indirect lighting, indeed all aspects of his design, she writes, were “certainly in sympathy with omotenashi, a subtle Japanese concept of hospitality and personal behavior.

The writer of the brochure takes note of the furniture and fixtures in the hotel. “They were conceived by the mind of a master and manufactured with a view to forming integral parts of a completed and harmonized whole,…possessing all the characteristics to be found in a home of refinement and culture.” He observes that the guest rooms are “convenient” to the public areas. “This feature is what has caused many to declare that the Imperial Hotel is not a single structure but the systematic and convenient grouping of a number of structures that go to form a community in themselves.”

I chuckled when I read about the barber and beauty shops in the basement in her essay. I recalled that my parents stayed in the hotel in 1957. They never mentioned Wright to me (I was not quite seven at the time). My mother kept a diary during their trip to Japan. Her only remark about the hotel was that she had her hair done there while my father was in a business meeting.

A curious phrase in the text of the brochure implies the author was writing, at least in large part, for an American audience. While describing “The Ground Floor” in his walking tour of the hotel, he notes, “The prohibition craze has not invaded Japan as yet and the Imperial Hotel has provided a place where friends may meet after the day’s task is done and enjoy one another’s society over an anti-Volsteadian cup (emphasis added).” This references The Volstead Act, the law that created Prohibition in the United States.

It is not surprising to read in Smith’s essay of the “conflict between commercial value versus cultural value” of the hotel, and that the budget eventually quadrupled. The first page of the 1923 text notes “The apparent indifference of the management to the cost of hammered copper, brass, gorgeous upholstering and the like, all bring down the wrath of the dividend seeker on the heads of the director, who approved of the structure, the architect who conceived and designed it and the builders who dared to construct it. To them the new Imperial Hotel is a masterpiece of folly, a source of never ending expense and a case where pride took the bridle in its teeth and ran away with judgement and common sense.” Aisaku Hayashi, the hotel manager who hired Wright, was forced to resign.

The hotel was arguably “The Jewel of the Orient,” as evidenced by the cover photo. The hotel is shining at night with Wright’s artful use of indirect lighting. Smith’s closing remarks address the photo. “The building looked like a glowing beacon and could be seen from miles around. It not only stood for technological progress, but for the architect’s humanistic view of how architecture could express a spiritual dimension. While it stood, it also had great meaning as Wright’s effort to embody omotenashi.”

Every issue of the OA + D Journal of Organic Architecture and Design is devoted to a single topic. The new issue, titled “100 for 100,” is 120-pages edited by Smith. It showcases 100 objects from the hotel’s history. The objects, some of which are being published for the first time, come from the OA + D archives:

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https://store.oadarchives.org/product/journal-oa-d-v11-n2

It is Smith’s second Journal about the hotel. The previous Imperial Hotel issue, published in December 2018, is well illustrated with construction photos:

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https://store.oadarchives.org/product/journal-oa-d-6-3-pre-order

I photographed the rebuilt portions at Meiji Mura in 2018 and enjoyed a drink in the coffee shop above the lobby:

https://wrightinracine.wordpress.com/2018/12/06/imperial-hotel/

https://centrip-japan.com/spot/meijimura.html

Some of the last photographs in my web piece show the unfinished and very raw rear of the rebuilt portion of the hotel, underscoring the inevitable destruction of the greater hotel in 1968. The rear of the building mocks us, making us think that what we saw inside and from the front was a Hollywood set. I wrote above the photos, “But, what about the rear of the structure? I had to look, but it was a bit like peeking behind the Wizard of Oz’s curtain.”

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A new Imperial Hotel was built after Wright’s was demolished. The  hotel website asserts that there are plans to rebuild the 1923 main building and “merge” it with the modern hotel. In the meantime, the hotel, in partnership with the Frank Lloyd Wright Foundation, now incorporates “Wright-inspired motifs, patterns and designs into the furnishings of its current buildings.” And, for $10,000 a night you can stay in the Frank Lloyd Wright Suite, “the only one in the world (which) features an Oya stone relief, handmade stained glass and oak furniture staged in the symmetry for which Wright was famous.”

https://www.imperialhotel.co.jp/e/tokyo/special/wright_building/

No, thank you, that’s not for me, not after seeing the real thing in the century old photographs in The Jewel of the Orient.

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OA + D Home Page:

https://oadarchives.org/

Please scroll down for previous article on the website.

Catching Up on All Things Wright

© Mark Hertzberg (2023)

It seems like more than a month since I last posted, but, a month it is, almost to the day. Today is catch-up day, with a variety of things for you.

First (and most important?!) are my latest photos of our dear friend Minerva Montooth. I had the pleasure of chatting with her June 30 when I was taking another Road Scholar group – my 14th since 2017 – to Taliesin, at the end of their week-long Wright adventure in Illinois and Wisconsin (I am with them for the three days in Wisconsin). I will post a link to this particular Road Scholar trip at the end of this article.

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Minerva turned the tables on me with her phone camera:

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Next, I am a few months late to the party, but I just finished an important book about the Jacobs houses in Madison and Middleton. It is published by OA+D:

https://store.oadarchives.org/product/frank-lloyd-wright-s-jacobs-houses-experiments-in-modern-living-pre-order

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The book was edited by Neil Levine, and starts with an essay by him. Neil’s late wife was Susan Jacobs Lockhart who grew up in the two houses. Hers is one of  six essays in the book (the others are by her sister Elizabeth and brother William, and by Michael Desmond) There are profiles of Herbert and Katherine Jacobs; first-person accounts of growing up in the houses; and compelling perspectives on the history and architectural significance of the two houses. There is also a rich collection of historic photos and of Wright’s drawings. I was particularly taken with the photos of the Madison house under construction, and shortly after, when it stood almost alone in the neighborhood.

Thirdly, Michael Schreiber of This American House, sent me a link to a “Reconsideration of William Cary (sic) Wright,” Wright’s father, by Hope Rogers, William Carey Wright’s great-granddaughter. The architect’s father has been given short-shrift in many accounts, wrongly portrayed as a thoughtless man who abandoned his family. One other recent setting straight of the record was Paul Hendrickson’s 2019 book Plagued by Fire. Here is a link to her telling of his story:

https://thisamericanhouse.com/the-architects-father-a-reconsideration-of-william-cary-wright-the-father-of-frank-lloyd-wright/

And, finally, mentioning Paul Hendrickson is also a way to segue into my last offering for this article. He recently attended a conference at the Embassy Suites by Hilton Rosemont hotel near Chicago’s O’Hare Airport. We were going to meet at the hotel and he emailed me that he was anxious to show me a variety of homages to Wright in the hotel. They are like fish out of water, with no apparent context. After all, the hotel was near the airport, not in Oak Park in River Forest where acknowledging Wright would have been a logical. Regrettably, the manager of the hotel has not had the courtesy to return a number of calls over several weeks, calls in which I had hoped to learn the genesis of the Wright decorations. So, here with no explanation, are some photos from the lobby and one of the ballrooms:

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Road Scholar Illinois /  Wisconsin: Architectural Masterworks of Frank Lloyd Wright:

https://www.roadscholar.org/find-an-adventure/22976/Architectural-Masterworks-of-Frank-Lloyd-Wright

What’s next? “Only the Shadow knows,” as was said on the long-ago radio program. I rarely know in advance what and when the next posting will be. Stay tuned, and in the meantime, scroll down for previous articles.

Wright Bookshelf June 2023

© Mark Hertzberg (2023)

There are two new books to consider adding to your Frank Lloyd Wright bookshelf: Kristine Hansen’s Frank Lloyd Wright’s Wisconsin: How America’s Most Famous Architect Found Inspiration in His Home State (Globe Pequot Press, 2023) and the catalogue that accompanies the “Wright Before the ‘Lloyd’: Frank Lloyd Wright’s Search for Himself” exhibit at the Racine, Wisconsin, Heritage Museum, published by the museum.

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(As a journalist I believe in disclaimers…Hansen worked as a reporting intern at the Racine newspaper in the 1990s when I was Director of Photography there. After she contacted me when she was writing her book, I introduced her to Minerva Montooth and stewards, past and present, of the Hardy House, A.P. Johnson House, Keland House, and Penwern. She quotes me extensively, drawing from my books, and used a number of my photographs.)

IMG_3225.jpgHansen at Boswell Books in Milwaukee on June 9. Her mother, left, beams in the front row.

Hansen described her book as a “guidebook” rather than an “academic” book in an email to me. That is an apt description. She is a travel writer based in Milwaukee and became aware that Wright’s work in his home state is not as well known as, say, Fallingwater, to people across the country who do not live and breathe Frank Lloyd Wright every waking moment. The book is rich in anecdotal descriptions and histories of many of Wright’s commissions in Wisconsin, as well as several Wisconsin buildings by other architects, including by Wright apprentices James Dresser. and John Rattenbury.

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Her Introduction was born during a traditional Wisconsin Friday night fish fry when someone asked her, “Who was Frank Lloyd Wright?” Then,  “I realized that most people connect Wright with his architectural projects but not necessarily his character and personality.” Fortunately, the book concentrates on his work, rather than rehashing the same-old, same-old about what a difficult man he was. I know several Wright clients who passionately disputed that characterization of Wright, so best to move on from that.

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Although there is a listing of all of Wright’s Wisconsin commissions, along biographical notes about his life, in the three page “Timeline of Frank Lloyd Wright in Wisconsin” chronology in the front of the book, the text is not inclusive of all of them. “My dream book would have been to include every project Wright designed in Wisconsin. I actually did not want to discriminate. But some people did not get back to me and as they are stewards of private homes I didn’t think it would be fair to have a chapter about a house without interviewing the person who lived in it, especially in contrast to chapters where I interviewed the stewards of other homes,” Hansen wrote me.

I emailed her about the subtitle of the book, writing her that I thought the book shows what came out of his inspiration rather than how he was inspired by his home state.  She replied, “In my talks I am further addressing this question, such as how growing up on so many acres of land likely led to his organic-architecture philosophy. If this were a more academic book, and not a guidebook, I might have included a chapter that answers this question in essay form, pulling together the tenets of each project.”

There are a few errors in the first edition, which sold out quickly. Although Hansen caught them when proofing the book, her editor did not correct them before going to press. She has been assured that they have been corrected for a second printing due out in July.

I come from a visual background, so I look at more than the narrative of a book. How is it presented to the reader? Several aspects of the design and production of the book are disappointing. I wish each chapter included the date of the commission in the heading and, in the case of the non-Wright buildings, the name of the architect, rather than introducing his name lower down, in the narrative. (Hansen breaks with convention by using the date of completion for the buildings rather than the accepted practice of the date of its design.) The book’s designer included some completely and partially blank pages in the book. The “Statewide” chapter about the Wright in Wisconsin organization has four photos which are not captioned. I recognize one as Wright’s Lamp House in Madison, but I have to guess at the names of the buildings and non-Wright architects of the other three from the text. The quality of the photo reproduction varies from excellent to poor. Muddy tones in some of the darker photos would not be hard to correct.

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Scholarly treatises about Wright’s work abound, and I am aware of at least two more in the pipeline. Hansen’s book is for a different audience. It is a good overview of Wright’s work in Wisconsin for a general audience that is not going to delve into endnotes and debate about his work ad infinitum. A Wright scholar criticized one of my books for being too anecdotal. On the contrary, I replied, I believe that it is important to let Wright’s clients and the stewards of his homes tell how they experience his architecture, how they live and work in his buildings. Hansen’s book accomplishes that through her dogged efforts as a journalist to track down her subjects.

To order: https://www.boswellbooks.com/book/9781493069149

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The “Wright Before the Lloyd” exhibit, which runs through 2024, was curated by Tim Samuelson, the City of Chicago Cultural Historian Emeritus. The exhibit draw on his vast knowledge and extensive collection of Wright and Louis Sullivan artifacts. Samuelson cut his teeth in preservation as a student in the 1960s, helping the late Richard Nickel salvage artifacts from Sullivan building that were being demolished in Chicago.

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The exhibit focuses on Wright’s early career, when he signed his work “Frank L. Wright.” He worked for Joseph Lyman Silsbee and Adler & (Louis) Sullivan before his dismissal from Adler & Sullivan. It also focuses on Cecil S. Corwin, Wright’s dear friend who he met soon after moving to Chicago form Madison.

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The exhibit catalogue, written by Samuelson, with an Introduction by museum curator Allison Barr, is a summary of many of the text blocks from the exhibit and includes some of the exhibit’s photographs and drawings. It also includes photographs of some of  Wright’s pre-“Lloyd” work and some of Samuelson’s rich collection of artifacts that are on display. The chapter entitled “A Tale of Two Houses” is about Corwin’s H. G. Mitchell House in Racine and Wright’s F. R. Bagley House in Hinsdale, Illinois, both from 1894. The chapter raises the question of how much involvement Wright had in the design of the Mitchell House, with no definitive answer.

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This slim book – it is just 23 pages – is a fine overview of the exhibit and Corwin and Wright’s relationship for people who cannot travel to Racine to see the exhibit for themselves. It ends with Wright’s tribute to Corwin in 1958, just a few months before Wright died, “…the best friend, perhaps I’ve ever had.”

To Order:https://www.racineheritagemuseum.org/product/wright-before-the-lloyd-exhibit-catalog/214?cp=true&sa=true&sbp=false&q=false

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Please scroll down to read previous posts…

“Nothing is Ever Easy at Penwern”

© Mark Hertzberg except photos © by Bill Orkild, as noted

I was not sure how to title this article. Should I be straightforward and headline it something like “Penwern Gate Lodge Lamps Refurbished?” Nah. Too boring. I figured a better hook was to quote Bill Orkild, the on-site artistic craftsman who works miracles when it comes to restoring and rehabilitating Penwern, Frank Lloyd Wright’s Fred B. Jones estate on Delavan Lake, Wisconsin.* Orkild had contacted me a few months ago and told me that the 50+ pound lamps above the Gate Lodge gates were being refinished and would be their original brass again. They aren’t brass? Orkild was kind enough to not add “Uh, duh!” when he said, “The photo on the spine of your book about Penwern has a photo of them that shows they have been black for years.” I checked. Indeed they were. “Nothing is ever easy at Penwern” is what Orkild told me when unexpected glitches came up May 3 when the lamps were being mounted back in place.

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The next two photos are Orkild’s. The text is his telling the tale of the restoration:

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“In my mind the project began many years ago.  When changing a burned-out light bulb I noticed a metallic color under the flaking black paint.  I wondered what was hidden behind that paint and would I ever have the opportunity to find out?

“Fast forward 20 + years to the building of the greenhouse (a project completed in 2020, rebuilding the Gate Lodge greenhouse which had been torn down in the 1970s).  Three years ago, when building the greenhouse new conduit was run under the driveway to the light posts. This enabled the lights to be integrated into the greenhouse electrical system. Previously, the wire came from above, creating an unsightly dangling wire situation in and out of the light fixtures.  John Major had the foresight to install new wire underground and Susan Major had the passion to make sure it happened.

“I was excited to explore what the fixtures looked like originally.  As the paint was removed the extent and detail of the metal work was revealed. I knew we had something special!

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March 31: Jim Smith of Adams Electric, left, rewired the lamps for LED bulbs in the Penwern stable. Orkild is at right:

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“The light fixtures were mounted to the posts with hot rivets.  Over the years a thick layer of rust obscured the rivet locations.  It was trial and error finding and drilling out the rivets to release the fixtures from the posts. After three separate visits, on cold winter days, Bob from RC Portable welding was able to get the fixtures off the posts.

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“The removal of the paint from the bronze surface was also challenging.  The bronze portion of the fixtures were cast in sand leaving an uneven textured surface.  Removing the paint from all of the crevasses was extremely labor intensive.

“At over 50 lbs. each, transporting the fixtures from artisan to artesian and back to the job site was a physical workout. Also, understanding the value of the light fixtures and knowing they were in jeopardy the moment they were removed from the posts added a slight mental stress.  The urgency to get the fixtures back in place was real!

LR Penwern Gate Lodge Lamps 2023 025.jpgDylan, left, and Bob Swatek of RC Welding Fabrication company, mount the lamps May 3.

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Bob had to grind some of the metal down more. This was when Orkild told me “Nothing is ever easy at Penwern!”

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“When I first saw the fixtures re-mounted on the posts I had a sense of relief. The fixtures were safe and no longer my liability.  When I first saw the fixtures lit, I wondered how many people passed through these gates never noticing the spray-painted version of these lights.  Who sprayed painted the fixtures, when and why?  How many people missed the full beauty of these magnificent objects.  It doesn’t matter now, the light fixtures are back for generations to enjoy!”

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I have long wondered what it was like for visitors to Penwern in the two years between the main house being finished (1901) and construction of the Gate Lodge two years later. But now we have a good sense again of what that wonderful entrance to the estate looked like as Jones and his friends swung toward the lake from South Shore Drive.

The late Robert Leary (who worked tirelessly at Hollyhock House and the Ennis House in Los Angeles) told a friend that the Gate Lodge was his favorite of Wright’s smaller house. We can see why, thanks to Orkild’s work and Sue and John Major’s stewardship of Penwern.

*My thanks to Robert Hartmann for his description of Bill Orkild. Gilbertson’s Stained Glass was also one of the contractors.

Please scroll down to read previous postings on this blog or website. You can use the search feature to find earlier stories about Penwern and its rehabilitation.

Shaking Words Out of His Sleeve

© Mark Hertzberg (2023) except photo from Paul Hendrickson of him in his home office

Frank Lloyd Wright told his client for Midway Gardens that “The thing (design) has simply shaken itself out of my sleeve.” Paul Hendrickson, author of the 2019 book about Wright, Plagued by Fire – The Dreams and Furies of Frank Lloyd Wright, is not much different than Wright in that respect.

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We became friends when he was writing Plagued. I have subsequently read many of his books because I am captivated by his writing style. After getting to preview his forthcoming (2024) Fighting the Night about his father in World War II, I wrote him that I think that just as Wright claimed to shake designs out of his sleeve, I think he has a gift to shake words out of his sleeve, letting them flow magically through his fingers and across his keyboard. He is often described as a former reporter for The Washington Post, but Paul was a writer, not just a literal reporter of facts. He now teaches writing at the University of Pennsylvania.

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Hendrickson does not pontificate or lecture the reader. His books are more of a conversation with his readers. He often walks readers through the building blocks that make up the story with explanations in the narrative, eliminating the need to constantly refer to the end notes.

Hendrickson’s first exposure to Wright was when he rode his bicycle past the B. Harley Bradley House near his home in Kankakee, Illinois:

https://wrightinracine.wordpress.com/2019/04/10/an-advance-peek-at-plagued-by-fire/

He came home to Kankakee last week as a guest of Wright in Kankakee to talk about the book. The reception for him at the Bradley House and his lecture at the Kankakee Public Library were originally scheduled for March 2020. Then came the Pandemic. This was the first time I heard Hendrickson lecture, no, not lecture, rather, have a conversation with his readers.

LR Hendrickson Bradley House 5.5.23 005.jpgHendrickson, left, with Gaines and Sharon Hall who bought and restored the Bradley House, and then made it possible for Wright in Kankakee to acquire it.

LR Hendrickson Bradley House 5.5.23 002.jpgHendrickson dedicated Plagued to Tim Samuelson, City of Chicago Cultural Historian Emeritus.

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I close asking one favor from you…when you order Hendrickson’s or anyone’s books, first try a local bookshop rather than reflexively ordering from the Big A. We need to save our local bookshops.

Wright in Kankakee’s website:

https://wright1900.org

Please scroll down to see previous posts or articles, including the last one about Tim Samuelson’s “Wright Before the Lloyd”exhibit which just opened in Racine, Wisconsin. It is a reinterpretation of the exhibit he had in Elmhurst, with an emphasis on Wright and Cecil Corwin.