“Wright Before the Lloyd”

© Mark Hertzberg, Tim Samuelson, and Racine Heritage Museum (2023). Images of individual artifacts cannot be reproduced without permission.

A few weeks ago I teased you with this photo of a U-Haul truck, and told you that a bunch of “stuff” was being delivered to the Racine, Wisconsin, Heritage Museum for a major exhibit about Frank Lloyd Wright and Cecil Corwin. Museum executive director Christopher Paulson and curator Allison Barr worked tirelessly with Tim Samuelson for over a year to bring it to life.

Now it is time to pull the curtain back on the exhibit which opened May 4, and runs through 2024.

Racine designer Robert Hartmann originally designed the exhibit space with  a sense of “compression and release” in 2011.

“Wright before the ‘Lloyd,’” highlights the young Frank L. Wright and his friend Cecil Sherman Corwin, the forgotten architect and mentor who did much to shape him into the architect we know as Frank Lloyd Wright.   

Wright wasn’t always Frank Lloyd Wright. In his youthful years of architectural practice at the end of the 19^th Century, he was very different from the brash, self-confident public celebrity who several decades later gave Racine its landmark S.C. Johnson & Son campus. Born Frank Lincoln Wright, the young architect signed his works prosaically as “Frank L. Wright.”

He had arrived in Chicago in 1886 as an inexperienced and self-doubting nineteen-year-old aspiring architect. He was warmly welcomed into employment with the office of architect Joseph Lyman Silsbee by Corwin, the firm’s chief draftsman. Both Corwin and Wright were sons of  much-traveled ministers. Corwin’s father, the Rev. Eli Corwin, was the popular pastor of Racine’s First Presbyterian Church from 1880 – 1888.

Corwin and Wright quickly discovered they had much in common, including similar passions for architecture, culture and music. They became inseparable friends. They shared ideas in their practice of architecture for 10 years. For many years, they shared a small office in downtown Chicago. Each had projects and clients of their own, but critiques and comments were freely shared. In later years, Wright often recalled his appreciation for the guidance, confidences and camaraderie Corwin provided in guiding his personal life, and shaping the professional identity that later gave him fame. In An Autobiography (1932) Wright wrote that he had found “a kindred spirit” when he met Corwin.

The exhibit is curated by Tim Samuelson, the City of Chicago’s Cultural Historian Emeritus.

Tim Samuelson, left, David Jameson, and Eric O’Malley of O A + D at a planning meeting for the Racine Heritage Museum’s exhibition about the Racine-related work of Alfonso Iannelli in 2018,

It is comprised of his extensive collection of early Wright architectural salvage, drawings and images, The exhibit, on the museum’s main floor center and north galleries, runs through December 30, 2024.

Hartmann, left, and O’Malley preview the exhibit April 30.

Sponsors of the exhibit are the Arch W. Shaw Foundation, Racine Community Foundation, WE Energies Foundation and the Racine Arts Council.

The museum is located at 701 Main Street in Racine. Museum hours are: Tuesday-Friday 10am-5pm, Saturday 10am-3pm, Sunday Noon-4pm.  Admission is free. The museum, built as a Carnegie Library in 1904, is a historically preserved building and is not ADA accessible. For more information call the museum at 262-636-3296 or visit their website, www.racineheritagemuseum.org

“Wright in Racine” was allowed to document the installation of the exhibit:

Museum curator Allison Barr was instrumental in putting the exhibit together.

Please scroll down to see previous posts on this blog or website…

 

 

Wright Galore in Elmhurst

(c) Mark Hertzberg (2020)

Elmhurst, Illinois is not the first Chicago suburb that comes to mind when devotees of Frank Lloyd Wright play “name that house and location.” It is no Glencoe, Highland Park, Oak Park, or River Forest. After all, it has only (!) one house designed by Wright, the F.B. Henderson House, a fine Prairie-style house designed in 1901. But playing the numbers game is no reason to pass up a visit to the city, west and slightly north of the Big Two, Oak Park and River Forest, especially on October 24.

Let’s start with some photos of the house, which was recently sold to new stewards:

October 24 is designated as “Frank Lloyd Wright Day” in Elmhurst. There will be two concurrent museum exhibitions to see. One, “Wright Before The ‘Lloyd,” opened at the Elmhurst Art Museum in September, and runs until February 14. It is curated by the incomparable source of Chicago architectural knowledge and artifacts, Tim Samuelson, the City of Chicago’s Cultural Historian. If the Smithsonian Institute is truly “America’s Attic,” as many people say, then Samuelson’s office and storage spaces are “Chicago’s attic” The second exhibition, “Frank Lloyd Wright: Architecture of the Interior,” opens at the Elmhurst History Museum on October 23, and runs through December 20. This is a national touring exhibition. The history museum showed its Wright-related chops with a fine exhibition, “In Her Own Right: Marion Mahony Griffin,” in 2016-2017.

“Before The ‘Lloyd'” focuses on Wright’s early career, before he formally replaced his given middle name, Lincoln, with “Lloyd,” in honor of his maternal family heritage. The artifacts come from Samuelson’s collection. Some – those from the Adler and Sullivan Schiller Building or Garrick Theater, and Wright’s Harlan House – were salvaged by the late Richard Nickel. [Samuelson asked me to clarify about the name: “There is some dispute about Wright’s middle name initially being “Lincoln”. It all depends on who you talk to.

“By the time of the exhibit’s theme, Wright definitely considered Lloyd his middle name.  There are some very early ink renderings where he signs them “Frank Ll Wright”.

“But when he went into architectural practice, he signed his drawings, press notices, etc. with the prosaic “Frank L. Wright”.  Just the initial. He never started signing drawings, press notices, etc with a full blown “Frank Lloyd Wright” until 1897-98. The exhibit is themed around a more modest period where he just used the initial “L” instead of writing out a more distinctive “Lloyd”.]

You doubtless have read about the Froebel gifts umpteen times, but you may have never seen them except in illustrations in books. Now you can:

How many of us thought of the game manufacturer Milton Bradley in any context other than “Chutes and Ladders” when we were children? Think again, they introduced the “gifts” to America in 1869.

There are artifacts and historic photos of the Charnley House (1891-1892) and the Rolson Rowhouses (1894), among others. I have seen the Charnley House and I have seen many photos of it, but this is the first time that its entrance made me think of Wright’s Winslow House entry (please use the comments link to tell me what you think!).

The floor plan, below, shows the layout of Adler and Sullivan’s offices when Wright worked there, showing how close Wright’s drafting space was to his “Leibermeister’s” office.

Samuelson is the curator of record, but he refuses to take sole credit for the exhibition’s artifacts. Quoting from an email he wrote me, “But Eric O’Malley has a big presence in the show. His computer and graphic design skills were what created the electronic re-draws of patterns gleaned from burned and shattered original fragments, and putting them in a format to facilitate laser-cut complete patterns as they appeared on the buildings.  Wisconsin wood finish master Stan John Zachara recreated original wood finishes perfectly.

“Much of Wright’s early ornamentation for exteriors was fret sawn wood, which weathers and deteriorated severely if not maintained.  And for those that were maintained with diligent painting have the patterns clogged to the point that it’s often no longer to discern the patterns.

“I chose to remove layered paint that compromised the design – and each piece was returned to its original color and finish.

“I never wanted to restore the pieces too much.  Repairs were made where damage compromised  the design, but I still maintained the effects of damage over time.”

This window is from the Rolson Rowhouses:

The two museums are architectural opposites. The History Museum is in the historic Glos Mansion (1893), designed the year Wright left Adler and Sullivan. The Art Museum is in a contemporary building  (1997) designed by DeStefano + Partners of Chicago. It complements an architectural bonus for visitors to the Wright exhibition, the McCormick House, designed in 1952 by Mies van der Rohe, and later moved to the museum campus.

For more information:

https://www.elmhurstartmuseum.org

https://elmhursthistory.org/