This offering from my collection is for a set of Frank Lloyd Wright blue prints, preliminary drawings and specifications for the 1952 Joseph H. Brewer residence, proposed for East Fishkill, Duchess Co. Wright had said, he regretted this house was not built. He felt it would have been spectacular and would rival, if not be equal to Fallingwater. The building plans and preliminary plans were taken directly from an original vintage set of blueprints. The sets offered, consist of 10 sheets of working drawings, 5 sheets of preliminary drawings and 47 pages of specifications. The overall condition is quite nice with some patina at the edges. This is a truly spectacular design. While the rendering and floor plan have been published in the past, a complete set of working drawings and specs have never previously been offered. Everything is at 1/4″ =1′- 0″ scale. 8.5″x 11″. Any questions, please ask prior to purchasing. Please inquire as to rates based on location.
1 (One) MILLER ROGASKA. Elegant Heavy Cut and Etched Lead Crystal with an. Art Deco Designby Frank Lyoyd Wright. A Wonderful Christmas, Wedding, Anniversary or Any Occasion Gift or Addition to Your Own Crystal Collection. Width: 2 3/4 in. Signed: Miller Rogaska & FLLW FDN 2000. Crafted in The Czech Republic. NOTE: All accepted offers must be paid within 24 hours or the order may be canceled. Crystal and porcelain are fragile, we pack every item in bubble wrap, reclaimed paper and reclaimed Styrofoam. Txzj pxzj5246 txzj-11 txzj-4 txzj71 txzj99 txzj115.
From Tiffany & Co’s long discontinued licensed Frank Lloyd Wright Collection for the Imperial Hotel, we are offering this extremely rare and stunning 16 serving platter in exemplary condition. From 1990 and sure to elevate any and all dining experience, this is one of Tiffany’s sadly discontinued and increasing hard to find pieces from their collection based on the timeless and now iconic Frank Lloyd Wright pattern he originally designed for the Imperial Hotel in Tokyo.
Bulova C3333 Frank Lloyd Wright Exhibition Wall Clock, Antique Bronze Metallic Finish. Color: Antique Bronze Metallic Finish. Special Feature: Large Display. Product Dimensions: 12″W x 12″H. Power Source: AA Battery Powered. Age Range (Description): Kid. Item Weight: 2 Pounds. Item Dimensions W x H: 12″W x 12″H. Clock Form: Multi Display. Dial Color: Bronze Antique finish. Number of Items: 1. Global Trade Identification Number: 72. Mounting Type: Wall Mount. Operation Mode: Solar Powered. Indoor Outdoor Usage: Indoor. Batteries are Included: No. Special Features: Large Display. From the Frank Lloyd Wright Collection. Dimensional cast resin case. Antique bronze metallic finish. Raised outer rim, center ring and stylized numerals. Adaptation of the Exhibition typeface developed by Frank Lloyd Wright in the 1930s for use on exhibition drawings. Typeface clock- from the Frank Lloyd Wright collection. Antique Bronze Metallic Finish. Adaptation of the exhibition typeface developed by Frank Lloyd Wright in the 1930s for use on exhibition drawings. Dia: 12 d: 1.
PLEASE BE AWARE THIS IS A SCRATCHED OR DENT ITEM!! THE FOLLOWING FLAW(S) ARE BELOW. Item has some scratches as pictured. WE ARE MORE THAN HAPPY TO ASSIST YOU!
PERIOD ORIGINAL, FRANK LLOYD WRIGHT AUTHENTIC DRAFT DRAWING OF J. CHRISTIE HOUSE SHEET 7 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.
The Tiffany and Co. Frank Lloyd Wright Cabaret Dinner Plate is a stunning 10.5 ceramic plate featuring a round shape with a white finish. The plate is adorned with a sophisticated pattern of circles, embodying the Art Deco style popular in the 1980s. This original piece from Tiffany & Co. Is designed for hand wash only and is perfect for adding a touch of elegance to any dining table. Very rare, highly sought after, and in PRISTINE condition- they don’t appear to have been used. The price listed is for ONE plate and I have 10 available at time of listing. I have matching salad and bread/butter plates that I will also be listing. Reach out if you’re interested and don’t see a current listing.
Offered here is an original typed and hand-signed letter by Frank Lloyd Wright, dated August 29, 1953, written on iconic Taliesin letterhead and addressed to: Mrs. Judith Sander Sheltering Hill Mianus River Road Bedford, New York This letter is part of a larger connected correspondence group between Wright and the Sander family, referencing an individual named “Baker, ” suggesting an ongoing project or shared relationship. Full Letter Transcription: Dear Mrs. Sander: You are the baker O. My best to you both. ! Faithfully, (signed) Frank Lloyd Wright Details are slow but sure. August 29th, 1953? Key Observations & Connections 1. Same Family, Same Address Pattern This letter ties directly to your previous one. Mrs. Sander (earlier letter, 1952). Mrs. Judith Sander (this letter, 1953). Same location: Mianus River Road, Bedford, NY?? This strongly suggests. Judith Sander is likely the wife of Frank S. Sander. Wright is addressing her more personally here (first name vs formal household reference)? 2. The “Baker” Reference – What Does It Mean? Across your letters, Wright repeatedly references. “official baker and her helper”. You are the baker O. This is not literal baking-this is classic Wright tone: informal, metaphorical, slightly playful. ? Likely meanings. A nickname or role within a project. Someone “producing” or “putting things together”. Possibly referring to. A client managing details. A patron coordinating logistics. Or even a term of endearment within a working relationship? Was Wright Building a House for the Sanders? This is the right question-and here’s the honest, expert take: What supports that idea. Repeated correspondence over multiple years. Personal tone (not just business-like). Mentions of “details are slow but sure”? Classic Wright project language. East Coast wealthy clientele (Bedford, NY fits perfectly). Invitation to meet in NYC (previous letter) What we don’t yet have. A documented “Sander House” directly attributed to Wright (as of known canonical works)?? Conclusion (strong but careful). The Sanders were very likely prospective clients or engaged in a project discussion. This could represent. An unbuilt commission. A preliminary design phase. Or a personal relationship that never resulted in a finalized structure?? And honestly-this is GOOD for you: Unbuilt or undocumented client relationships are very appealing to collectors because they show Wright’s process, not just finished work. What Wright Was Doing in 1953 In 1953, Wright was in one of the most active late periods of his career. Continuing development of the Solomon R. Guggenheim Museum. Designing major late works. Usonian homes. Synagogue projects (like Beth Sholom, slightly later). Traveling frequently between Taliesin (WI/AZ) and New York?? This makes the Sander correspondence even more relevant: They were interacting with Wright at the height of his late-career influence? 4. Tone & Personality (Important for Buyers) This letter is especially valuable because it shows Wright’s personality. Playful You are the baker O. “. Personal (“My best to you both”). Philosophical (“Details are slow but sure) This is not boilerplate correspondence-this is Wright being Wright. Why This Letter Matters. Part of a multi-letter correspondence group (VERY important). Shows a developing personal/client relationship. Includes handwritten signature + added line. Demonstrates Wright’s working tone and process. Likely tied to a potential or unrealized commission? Condition Notes. Original Taliesin letterhead with red insignia. Fold lines from mailing/storage. Light age toning. Strong, clear signature. Pencil notation bottom right (likely archival/pricing mark).
