This is from the set of blueprints sent to the original owners. This is page four, the highly sought after elevations page, of the set. It’s a striking geometric blueprint, bold and beautiful. Frank Lloyd Wright’s signature in its customary box, lower left (from original drawing). Euchtman’s approval signature is just above it. A great showpiece of the greatest architect of all time. Measures 30.75 inches wide x 19.75 inches high. There is writing on the back in pencil with the owner’s name/address and some other info. Provenance: from a collection of blueprints and correspondence of the original and subsequent owners of the home. Blueprint has wear around the edges as customary for a blueprint of this age.

Original Frank Lloyd Wright Western Union Telegram. Concerning Genius and the Mobocracy. An original Western Union telegram sent by legendary American architect Frank Lloyd Wright to his publisher, Duell, Sloan & Pearce, during production of his landmark book Genius and the Mobocracy. The telegram reads in part. NOW AWARE OF SERIOUS ERROR. PLEASE LOCATE AND CORRECT THE PROOF. Wright specifically corrects a factual error relating to Louis Sullivan, the architect he always regarded as his greatest mentor. The correction concerns an individual identified in the manuscript as the mayor of Kentucky, illustrating Wright’s meticulous involvement in the publication process. This telegram was sent on May 25, 1949, only weeks before the publication of Genius and the Mobocracy, Wright’s long-awaited tribute to Sullivan. The book fulfilled a promise Wright made decades earlier after Sullivan entrusted him with many of his original architectural drawings. Original Western Union telegram. Dated May 25, 1949. Sent by Frank Lloyd Wright. Addressed to Duell, Sloan & Pearce, New York. Relates directly to publication of Genius and the Mobocracy. Features Wright’s typed signature and period pencil notation. Very good vintage condition. Please review all photographs carefully for complete condition. Unlike personal correspondence, this is a working publishing document that captures Frank Lloyd Wright actively editing what became one of his most important literary works. Pieces directly tied to the publication of Genius and the Mobocracy are seldom encountered, making this an excellent addition for collectors of Frank Lloyd Wright, Louis Sullivan, architectural history, and twentieth-century American manuscripts.

It’s in GOOD CONDITION for its age and appears to be COMPLETE. I’m auctioning this off in “AS IS” condition. Be sure to look at my store for other yearbooks – I just may have the one you are looking for.

This is a unique architectural antique. This copper gutter is one piece of the original from gutter from the Darwin Martin House is Buffalo NY. It has been crafted by Richard Foley, the coppersmith that removed and replaced the gutter on the current museum, and working with him, we designed these trough footed bowls using the same style of copper brackets used on the gutters. I have a letter of authentication from Mr. Foley, who also did the copper work for the Frank Lloyd Wright gas station at the Pierce Arrow Transportation Museum. There were seven made, this is the last one for sale. This one measures 29.5″ long, 10.5″ at the widest, 7.5 tall. Feel free to ask questions, this is the real deal.

This is an original Mint Condition poster for a FRANK LLOYD WRIGHT Exhibition (Frank Lloyd Wright and Japanese Art) at the Phoenix Art Museum (1995). The poster is approximately 11.0″ x 36.0″. The poster has never been displayed & has been stored rolled. All of my items have been carefully stored in a non smoking home. Please see images for more detail. Mint (M) is a poster that has never been used or displayed. May show extremely minor signs of age. Folded posters may show very minimal wear at the folds due to storage. The posters should have no holes, no tears and no paper loss. Near Mint (NM) is a poster that appears fresh and lightly used, with saturated colors. Folded posters may show very minimal wear at the folds. Very Fine is a poster with bright color and a clean overall appearance. It may have one or more general signs of use such as slight fold separation, fold wear, pin holes, or very minor tears. Fine (F) is a poster with good color and a very presentable overall appearance. It may have tears, slight paper loss, pin holes, minor stains and some fold separation. Very Good (VG) is a poster with either bright or only slightly faded color and presentable overall appearance. It may have some paper loss, staining, writing in unobtrusive places, tears, pin holes, fold separation and tape supporting the back of the poster. Good (G) is an average poster showing general signs of age wear, which may have some color fading, paper loss, staining, writing, tears, pin holes, fold separation, tape, tape stains, signs of aged paper and need restoration. Fair (FR) is a below average poster showing significant signs of use and age, which may have some color fading, paper loss, staining, writing, tears, pin holes, fold separation, tape, tape stains, signs of aged paper and definitely needing significant restoration. Poor (P) is a poster that is in dire need of restoration.

PERIOD ORIGINAL, FRANK LLOYD WRIGHT AUTHENTIC DRAFT DRAWING OF J. CHRISTIE HOUSE SHEET 8 SCHEDULE OF WALLS AND SASH UNITS. CIRCA 1940- 1941 FROM THE PRIVATE COLLECTION OF LOCH CRANE. PROVENANCE, ESTATE OF LOCH CRANE TALIESIN APPRENTICE – AND JESSE CAREY CARAWAY ARCHIVE THIS WAS PART OF THE WRIGHT EXPO IN SAN DIEGO. THIS SHOULD BE A MUSEUM PIECE VERY EARLY DRAWING. MEASURES APROXIMATELY 36 X 33. MINOR PAPER LOSS AND MINOR STAINING. THIS PROJECT WAS SIGNED BY APPRENTICE LOCH CRANE. FRANK LLOYD WRIGHT WOULD DO THE PRELIMINARY DRAWING AND ASSIGN THE PROJECT TO HIS APPRENTICES, AFTER THE FINAL REVISIONS HE WOULD OK AND SIGN THE PROOF. Several of them, including Vincent Bonini, Frederick Liebhardt, Loch Crane, Sim Bruce Richards and Bill Slatton, established their professional practices in San Diego. In addition to these focal studies, the work of Frank Lloyd Wright and his two sons Lloyd and John was presented. Frank Lloyd Wright’s Legacy in San Diego: the Taliesin Apprentices framed this remarkably rich portfolio of work with architectural drawings, photographs, and ephemera to demonstrate the power of Wright’s. The exhibition displayed, for the first time in San Diego, Frank Lloyd Wright’s unbuilt designs for the region. Curated by Keith York. Major funding for this exhibition provided by Ray and Ellen Merewether with additional support from Nick and Lamya Agelidis, Elizabeth Courtier — Willis Allen Real Estate, Ike Kligerman Barkley Architects P. John and Diane Kane, Luce et Studio, Margie Warner and John H. Donald and Jeannette Yeckel, Artworks San Diego, and. Institutional support provided by the City of San Diego Commission for Arts and Culture and the Members of the La Jolla Historical Society. Betty Edwards, Charles E. Young Research Library at UCLA, Loch Crane, Shannon Wehsener, the Bonini Family, Louise McWhorter, Darren Bradley, Elizabeth von Beck Archives, the Liebhardt Family, the Richards Family, Jonathan Schmock, and Private Collections for the loans and reproduction rights that made this exhibition possible.

Box is open but sealed inside box as is.

SAVING OUR TREASURES, FRANK LLOYD WRIGHT ORIGINAL DRAFT PERIOD PENCIL DRAWING OF ARIZONA DESERT HOME. MOST LIKELY A DRAFT DESIGN FROM ONE OF THE APPRENTICES. FRANK LLOYD WRIGHT WOULD DO THE PRELIMINARY DRAWING AND ASSIGN THE PROJECT TO HIS APPRENTICES, AFTER THE FINAL REVISIONS HE WOULD OK AND SIGN THE PROOF. ACTUAL ORIGINAL DESIGN NOT A REPRODUCTION. FROM THE PRIVATE COLLECTION OF LOCH CRANE. PROVENANCE, ESTATE OF LOCH CRANE TALIESIN APPRENTICE. THIS WAS PART OF THE WRIGHT EXPO IN SAN DIEGO. Several of them, including Vincent Bonini, Frederick Liebhardt, Loch Crane, Sim Bruce Richards and Bill Slatton, established their professional practices in San Diego. In addition to these focal studies, the work of Frank Lloyd Wright and his two sons Lloyd and John was presented. Frank Lloyd Wright’s Legacy in San Diego: the Taliesin Apprentices framed this remarkably rich portfolio of work with architectural drawings, photographs, and ephemera to demonstrate the power of Wright’s influence. The exhibition displayed, for the first time in San Diego, Frank Lloyd Wright’s unbuilt designs for the region. Curated by Keith York. For this exhibition provided by Ray and Ellen Merewether with additional support from Nick and Lamya Agelidis, Elizabeth Courtier – Willis Allen Real Estate, Ike Kligerman Barkley Architects P. John and Diane Kane, Luce et Studio, Margie Warner and John H. Donald and Jeannette Yeckel, Artworks San Diego, and. Institutional support provided by the City of San Diego Commission for Arts and Culture and the Members of the La Jolla Historical Society. Betty Edwards, Charles E. Young Research Library at UCLA, Loch Crane, Shannon Wehsener, the Bonini Family, Louise McWhorter, Darren Bradley, Elizabeth von Beck Archives, the Liebhardt Family, the Richards Family, Jonathan Schmock, and Private Collections for the loans and reproduction rights that made this exhibition possible.

An original oil painting by noted Michigan artist Thomas Jordan. The size is 11 by 14 inches and it is on a stretched canvas.

Frank Lloyd Wright – David and Gladys Wright original piece of home.