frank lloyd wright (Más de 25.000 resultados)

First edition, first issue with first edition stated on the copyright page of the author's first major novel, as well as her first best-seller. Octavo, original red cloth. Association copy, inscribed by the author on the front free endpaper, "To Jack L. Warner - Thank you for your courage and for a magnificent picture - with my profound gratitude - Ayn Rand. January 7, 1949." The recipient, Jack Warner, was the co-founder, president, and driving force behind the Warner Bros. Studios. His career spanned some 45 years, its duration surpassing that of any other of the seminal Hollywood studio moguls. Rand sold the film rights to Warner several years earlier with the contractual proviso that she would provide the screenplay, which would be unalterable. In fact, the director wanted changes, but Warner supported the author and honored the contract. This book's inscription, clearly referring to this, was presented about a half year prior to the film's release. Of Rand's fiction, The Fountainhead is generally conceded to be her most important and enduring work, a passionate portrait of uncompromising individualism. In the decades since its debut, the film has gained the critical acceptance, even the acclaim, that initially evaded it. Near fine in a near fine first-issue dust jacket with a touch of rubbing and no fading to the spine, which is endemic to this title. Housed in a custom full morocco clamshell box by The Harcourt Bindery. One of the finest association copies possible, linking the famed author with the legendary founder of Warner Brothers and producer of the iconic film. Although Rand was a previously published novelist and had a successful Broadway play, she faced difficulty in finding a publisher she thought right for The Fountainhead. She let Macmillian Publishing go when they rejected her demand for better publicity (Branden, 1986), and when her agent criticized the novel, she fired him and handled submissions herself (Burns, 2009). After sifting through eleven more publishers, Rand finally released The Fountainhead with Bobbs-Merrill Company in 1943. The reception was instant, and The Fountainhead became a bestseller in two years. The protagonist, Howard Roark, whose character was thought to be inspired by Frank Lloyd Wright, is a young architect fighting against convention. Cited by numerous architects as an inspiration, Ayn Rand said the theme of the book was "individualism versus collectivism, not within politics but within a man's soul." Rand chose architecture as the analogy of her heady themes because of the context of the ascent of modern architecture. It provided an appropriate mode to make relevant her beliefs that the individual is of supreme value, the "fountainhead" of creativity, and that selfishness, properly understood as ethical egoism, is a virtue. Some critics consider The Fountainhead to be Rand's best novel (Merill, 1991). Indeed, philosopher Mark Kingwell described it as "Rand's best work" (Kingwell, 2006). In 1949 it was adapted to film, produced by Henry Blanke, directed by King Vidor, starring Gary Cooper, Patricia Neal, Raymond Massey, Robert Douglas, and Kent Smith.

No binding. Condición: Fine. Ephemera. Set of Anker-Steinbaukasten children's building blocks by F. Ad. Richter & Cie., Rudolstadt, [Germany], c.1880s. Approximately 160 composite quartz sand, chalk, and linseed oil blocks in red, limestone and slate gray, in various sizes and shapes, together with three or more sets of building plans, all contained in two wooden boxes with printed Anker-Steinbaukasten labels. A unique and important artifact of his childhood. Einstein spent his childhood building "complicated structures" with these Anker-Steinbaukasten blocks. Accepting his later theory that "Imagination is more important than knowledge," the toys that encouraged his imagination became building blocks for the most important scientific theories of the last millennium.His sister Maja Winteler-Einstein, describing his childhood, recalled that "The games he played . were very characteristic of Albert's capacities. These were mostly puzzles, fretsaw work, the erection of complicated structures with the well-known Anker building blocks, and above all the construction of multi-storied card castles, with which he filled his leisure." ("Beitrag für sein Lebensbild" in The collected papers of Albert Einstein. ed. John Stachel. Volume 1: The early years. 1879-1902. (Princeton University Press, 1987) p.lix. Translated from German.)Based on the work of German educator Friedrich Froebel (who created the concept of kindergarten) these composite stone blocks were a popular toy of the 1880s and 1890s. The blocks were designed to help develop childrens' tactile senses and manual dexterity, and also to stimulate imagination, creativity and three-dimensional perception. Fellow scientist J. Robert Oppenheimer, as well as architects Frank Lloyd Wright and Walter Gropius are among the geniuses who are known to have played with Anker blocks. ProvenanceThe set had passed by direct descent from Albert Einstein to the consignor from whom we acquired the blocks at Christie's London on July 13, 2016. ConditionA few blocks chipped and worn, with original instructions and boxes worn, soiled and defective.Albert Einstein (1879-1955) was a German-Swiss born theoretical physicist internationally recognized as one of the greatest physicists of all time. He enunciated the general theory of Relativity, with law explaining the relationship between the speed of light and its consequence, the equivalence of mass and energy (E=MC2). For his work in theoretical physics-largely for his 1905 paper on photons and photo-electricity-Einstein was awarded the Nobel Prize for Physics (announced in November 1922, retroactive for 1921). Working on a unified field theory, he then attempted to explain gravitation and electromagnetism within one set of laws. With the expulsion of Jewish scholars from Germany after Hitler's rise to power, Einstein joined the Institute for Advanced Study in Princeton, New Jersey (1933), which became the most celebrated research center in the world. In 1939, he signed a letter written to President Franklin Roosevelt warning him of the possibility of Germany developing a nuclear bomb. He urged the U.S. to begin uranium research, thus beginning the top secret "Manhattan Project." Later, at Princeton, he tried to develop a unified field theory and to refute the accepted interpretation of quantum physics, both unsuccessfully. Einstein received U.S. citizenship in 1940. Ephemera.

Condición: Good. Folio. 40.5 x 64 cm; 16 x 25 inches sheet sizes.2 vols., text vol.: 30pp. unbound as issued. Folio: 72 lithograph plates on thick wove paper (1 printed in gold) and 28 plates on translucent paper (with a total of 100 different plates), each with the blindstamp of Frank Lloyd Wright. The leaves loosely inserted in 2 original printed board portfolios with cloth ties.Plates are very good to fine since this set was sold by Wasmuth and never made it to Taliesin, where most were water damaged or destroyed. Provenance: From the Collection of the important Dutch architect Jan Wils,who was a member of the modernist De Stijl movement. His bookplates on the inside covers of the 2 portfolios. Wils became an admirer and great advocate in the Netherlands of Wright's work and wrote about the master.See: Jan Wils, Frank Lloyd Wright e De Stijl by Ezio Godoli. Calenzano : Modulo, 1980. In 1916, Wils established his own architectural firm in The Hague.The Papaverhof is a housing complex in The Hague that was designed by Jan Wils. Built between 1919 and 1921, the project was Wils' breakthrough as an architect. Today the Papaverhof is a Rijksmonument that is one of the Top 100 Dutch heritage sites. Frank Lloyd Wright's Lexington Terraces (1894) project in Chicago, Illinois was the inspiration for the Papaverhop design.Wils was one of the founding members of the De Stijl movement, which also included artists as Piet Mondrian, Theo van Doesburg and Gerrit Rietveld.Among other works, Wils designed the Olympic Stadium for the 1928 Summer Olympics in Amsterdam. His design was also entered in the Olympic art competition, and won the gold medal. Following is a list of the plates: VOLUME I: 1: Plates 1-33)1) Tafel I (1T) Tissue Winslow Detail;2) Tafel I (1) Plate Winslow Perspective;3) Tafel II (2)Plate Devin Perspective and Floor Plan;4) Tafel III (3)Plate Winslow Stable Perspective and Floor Plan;5) Tafel IV (4)Plate Heller, Detail; Husser Perspective, Floor Plan, Detail;6) Tafel V (5)Plate Francis Apartments Perspective and Floor Plan;7) Tafel VI (6)Plate Frank Lloyd Wright, Oak Park Perspective and Floor Plan;8) Tafel VII (7T) Tissue Lexington Terrace Floor Plan;9) Tafel VII (7)Plate Lexington Terrace Perspective;10) Tafel VIII (8T) Tissue Mcafee Floor Plan;11) Tafel VIII (8)Plate Mcafee Perspective;12) Tafel IX (9T) Tissue Metzger Perspective and Floor Plan;13) Tafel IX (9) Plate Metzger Perspective;14) Tafel X (10T) Tissue Hillside Home School Floor Plan;15) Tafel X (10)Plate Hillside Home School Perspective;16) Tafel XI (11)Plate River Forest Golf Club Perspective and Floor Plan;17) Tafel XII (12T) Tissue Study for Concrete Bank Cut-Away Perspective;18) Tafel XII (12)Plate Study for Concrete Bank Perspective and Floor Plan;19) Tafel XIII (13)Plate Quadruple Block Plan House Perspective;20) Tafel XIIIa (13a)Plate Quadruple Block Plan Perspective and Floor Plan;21) Tafel XIV (14) Plate Concrete House For LHJ Perspective;22) Tafel XIVa (14a)Plate Concrete House For LHJ Perspective and Floor Plan;23) Tafel XV (15T) Tissue Hardy Floor Plan;24) Tafel XV (15T) Tissue Hardy Perspective;25) Tafel XV (15)Plate Hardy Perspective;26) Tafel XVI (16T) Tissue Ullman Floor Plan;27) Tafel XVI (16)Plate Ullman Perspectives (2);28) Tafel XVII (17T) Tissue Heath Floor Plan;29) Tafel XVII (17)Plate Heath Perspective;30) Tafel XVIII (18)Plate Thomas Perspective and Floor Plan;31) Tafel XIX (19)Plate Martin Perspective and Floor Plan;32) Tafel XX (20)Plate Heurtley Perspective and Floor Plan;33) Tafel XXI (21)Plate Martin Perspective and Floor Plan;34) Tafel XXII (22)Plate Bradley Living Room Perspective and Detail;35) Tafel XXIII (23)Plate Curtis Publishing Company Perspective and Floor Plan;36) Tafel XXIV (24)Plate Hickox Perspective and Floor Plan;37) Tafel XXV (25) Plate Willits Perspective and Floor Plan;38) Tafel XXVI (26)Plate Martin Perspective and Floor Plan;39) Tafel XXVII (27)Plate Henderson Perspective and Floor Plan;40) Tafel XXVIII (28)Plate Little Perspective and Floor Plan;41) Tafel XXIX (29)Plate De Rhodes Perspective, Floor Plan & Detail;42) Tafel XXX (30T) Tissue Cheney Floor Plan;43) Tafel XXX (30)Plate Cheney Perspective;44) Tafel XXXI (31T) Tissue Dana Floor Plan;45) Tafel XXXI (31)Plate Dana Perspective;46) Tafel XXXIa (31a) Plate Dana Perspective;47) Tafel XXXIb (31b)Plate Dana Interior and Detail;48) Tafel XXXII (32T) Tissue Martin Floor Plan;49) Tafel XXXII (32)Plate Martin Perspective;50) Tafel XXXIII (33T) Tissue Larkin Perspective Interior;51) Tafel XXXIII (33)Plate Larkin Perspective and Floor Plan;52) Tafel XXXIIIa (33a)Plate Larkin Perspective and Floor Plan;(VOLUME II: Plates 34-64)53) Tafel XXXIV (34T) Tissue Shaw Floor Plan);54) Tafel XXXIV (34)Plate Shaw Perspective;55) Tafel XXXV (35)Plate Tomak Perspective and Floor Plan;56) Tafel XXXVI (36)Plate Larkin & Browne's Perspectives and Floor Plan;57) Tafel XXXVII (37T) Tissue Robie Floor Plan58) Tafel XXXVII (37)Plate Robie Perspective;59) Tafel XXXVIII (38T) Tissue Horse Shoe Inn Floor Plan;60) Tafel XXXVIII (38)Plate Horse Shoe Inn Perspective;61) Tafel XXXIX (39)Plate Clark Perspective and Floor Plan;62) Tafel XL (40)Plate Waller/Fuller Perspectives and Floor Plan;63) Tafel XLI (41)Plate Pettit Perspectives and Floor Plan;64) Tafel XLII (42) Plate River Forest Tennis Club Perspective and Floor Plan;65) Tafel XLIII (43)Plate Glasner Perspective and Floor Plan;66) Tafel XLIIIa (43a)Plate Summer Perspectives (2);67) Tafel XLIV (44)Plate Millard Perspective and Floor Plan;68) Tafel XLV (45)Plate Gale Perspective and Floor Plan;69) Tafel XLVI (46T) Tissue Como Orchards Plot Plan;70) Tafel XLVI (46)Plate Como Orchards Areal Perspective;71) Tafel XLVII (47)Plate Como Orchards Club House Perspective;72) Tafel XLVIIa (47a) Plate Como Orchards Cottages (3) Perspectives;73) Tafel XLVIII (48T) Tissue Waller Houses (3) Floor Plans;74) Tafel XLVIII (48)Plate Waller Houses (3) Perspectives;75) Tafel IL (49T) Tissue City National Bank Perspective and Floor Plan.

First edition, first issue with first edition stated on the copyright page of the author's first major novel, as well as her first best-seller. Octavo, original red cloth. Association copy, inscribed by the author in the year of publication on the front free endpaper, "To Gertrude Lynneberg- - with my best wishes for long years of happiness- Ayn Rand November 16, 1943." The recipient, Gertrude Lynneberg was the sister-in- law to Linda Lynneberg, also known as Aslaug Lynneberg, a lifelong friend of Rand. Near fine in a very good first issue dust jacket with some chips and wear. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. First editions in the original dust jacket are uncommon, association copies rare. Although Rand was a previously published novelist and had a successful Broadway play, she faced difficulty in finding a publisher she thought right for The Fountainhead. She let Macmillian Publishing go when they rejected her demand for better publicity (Branden, 1986), and when her agent criticized the novel, she fired him and handled submissions herself (Burns, 2009). After sifting through eleven more publishers, Rand finally released The Fountainhead with Bobbs-Merrill Company in 1943. The reception was instant, and The Fountainhead became a bestseller in two years. The protagonist, Howard Roark, whose character was thought to be inspired by Frank Lloyd Wright, is a young architect fighting against convention. Cited by numerous architects as an inspiration, Ayn Rand said the theme of the book was "individualism versus collectivism, not within politics but within a man's soul." Rand chose architecture as the analogy of her heady themes because of the context of the ascent of modern architecture. It provided an appropriate mode to make relevant her beliefs that the individual is of supreme value, the "fountainhead" of creativity, and that selfishness, properly understood as ethical egoism, is a virtue. Some critics consider The Fountainhead to be Rand's best novel (Merill, 1991). Indeed, philosopher Mark Kingwell described it as "Rand's best work" (Kingwell, 2006). In 1949 it was adapted to film, produced by Henry Blanke, directed by King Vidor, starring Gary Cooper, Patricia Neal, Raymond Massey, Robert Douglas, and Kent Smith.

Original boards. Condición: Very Good. First edition. RARE FIRST EDITION OF FRANK LLOYD WRIGHT'S MAGNIFICENT WASMUTH PORTFOLIO, COMPLETE WITH ALL 100 LARGE FOLIO PLATES. Known the world over as the Wasmuth portfolio, the immensely influential Ausgeführte Bauten und Entwürfe (1910) was a project conceived by Ernst Wasmuth-a Berlin publisher of high-end art books who "intended to publish a complete portfolio of Wright's work to that date [.] that would become a collector's item" (Secrest, Biography, p. 203). In contrast to the compact Frank Lloyd Wright: Ausgeführte Bauten, the Wasmuth portfolio is a grand expression of Wright's architectural vision, containing 100 lithographs of his most successful projects completed by 1910, including: Unity Temple, I.L.; the Robie House, I.L.; the Westcott House, O.H.; and the Cheney House, I.L. (the project on which he met his lover Mrs. Mamah Borthwick Cheney). The extraordinary portfolio showcased here presents an exceptional opportunity to own first-rate architectural drawings compiled by Wright himself and crafted in exquisite detail by Wasmuth. The Wasmuth portfolio is rare in any form, with many partial copies surviving today. Wasmuth produced only 650 copies, 500 of which were sent to Wright for circulation in the U.S. A fire on August 15, 1914, however, at Wright's home and studio, Taliesin, caused the destruction of over 400 of these copies, with Wright noting that only 30 damaged portfolios were salvaged. Thus, less than 200 copies are speculated to exist, fewer in fine or complete condition. Le Corbusier is one of the known owners of the portfolio, and its influence on twentieth-century European architects, namely Walter GropiusandLudwig Mies van der Rohe, was immediate. However, in addition to encapsulating Wright's burgeoning impact on the history of modern architecture, the portfolio captures a tender moment in Wright's life, sitting at the centre of his affair with Mrs. Cheney. The voyage to Germany to collaborate with Wasmuth offered Wright a glimpse at life with his newfound partner. Such joy, tragically, was short lived. The aforementioned Taliesin fire was in fact an act of arson, committed by one of the house's servants, that took the life of Mrs. Cheney, her two children as well as four others. Thus, any copy of the Wasmuth portfolio carries a deeply sentimental weight amidst a complex personal history. The portfolio includes 72 high-quality plates and 28 tissue overlays. Each plate and overlay is embossed in blind with "FRANK LLOYD WRIGHT" and a sigil of two squares one in another. The plates are printed on either a bright, eggshell-coloured paper or a darker paper that allows white highlights and darker shades to be added. Two plates (I: The Winslow Villa in River Forest, Illinois; and LXII: The Richard Bock Atelier in Oak Park, Illinois) are decadently lined in gold, adding a further dimension of depth to the drawings. Note: The text booklet is often lacking but is here present, though incomplete and in an unusual state, perhaps indicating a trial or unsold version. Containing an Introduction by Wright in German, but with pp. 1-4 as unfolded folio sheets, missing pages 5-16 (three sheets). The rest of the pamphlet folded in booklet form. With Index from pp. 21-30; Acknowledgement from Wright on p. 31; all in German. ALSO WITH (as an extra): Wright, Frank Lloyd. Ausgeführte Bauten. Berlin: Ernst Wasmuth, 1911. Often known as "Little Wasmuth" this small format edition was published after the large portfolio. With color frontispiece of Unity Temple and black and white illustrations throughout. Original stiff wrappers. Fragile front wrapper split and almost detached. Text in German. References: Anthony Alofsin, 'Wright, Frank Lloyd', in American National Biography, 24 vols (Oxford: Oxford University Press, 1999), XXIV, pp. 15-20. Meryle Secrest, Frank Lloyd Wright: A Biography (New York: Knopf, 1992). WRIGHT, FRANK LLOYD. Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright. Large oversized folio (25 x 16 inches) sheets (7.

1 text volume and 2 portfolios with lithographed plates. Oblong folio (plates and their portfolio, ca. 64 x 40 cm) and folio (text volume, ca. 41 x 32 cm). Text volume: 30, [1], [1 blank] pp.; plus 100 lithographed plates. Text volume with the title printed in gold. With a total of 100 lithographed plates over 2 portfolios: 72 plates numbered I-LXIV, printed on gray or white paper and mostly printed in brown, some in gray, gray & white or brown & white, one in gold (plate I), one in colour (plate LXIV) and one plate is folding (plate LX), and 28 overlays, printed in brown on tissue paper. Each plate is embossed with Wright's blindstamp. Kept loose, as issued, in the original two portfolios (64 x 41.5 cm), both dark blue half cloth with the original publisher's printed grey wrappers over boards with all white ties present. Both portfolios and text leaves are kept in a larger, later beige half cloth portfolio (ca. 65 x 43 cm) with brown paper sides, three protective flaps and white ties. Extremely rare first edition, of the complete collection of plates prepared from drawings made by master architect Frank Lloyd Wright (1867-1959) at his Oak Park Studio, illustrating seventy buildings and projects completed between 1893 and 1909. It is the first major publication by one of the true innovators of modern architecture. The work boosted Wright's fame in European architectural circles and influenced key figures in contemporary architecture such as Ludwig Mies van der Rohe, Peter Behrens and Le Corbusier. The plates show perspective views, plans, sections and interior and exterior details. Plate LVI, with an interior view of the living room of the Coonley House, is one of the most important and desirable of the series. Other works represented are the Frederic Robie House, Susan Lawrence Dana House, Ward Willets House, Darwin Martin House, Avery Coonley House, the Larkin Building, and Unity Temple, showing the variety of his buildings. - Although each plate is embossed with Wright's blindstamp, Sweeney notes that he completed the work alongside assistants and collaborators, including Marion Mahony Griffin and Wright's son, Lloyd. A massive undertaking, the work was printed by Ernest Wasmuth. The original plans and presentation drawings had to be lithographed on large stones. The text volume, written by Wright, was printed both in German and in English, containing an essay on his architectural style and a list of the plates. The text part starts with the introduction by Wright, translated into German by Wasmuth, and is dated ''Florenz, Italien, 15. Mai 1910'', followed by an annotated list of plates (pp. 21-30). An English version of the introduction was printed in Chicago by Ralph Fletcher Seymour, dated "Florence, Italy, June 1910". - The edition is scarce due to the fire at Wright's home and studio, Taliesin, in August 1914. The fire destroyed the bulk of the American copies of this portfolio, in addition to much of Wright's other work. Many of the copies intended for the American market were destroyed, for which reason the work was far better known in Europe than in the United States. - Large half beige portfolio worn: a little stained, edges a little worn, head and outer protective flap half loose, bottom protective flap loose but present, linen ties somewhat frayed. Two ties of the second plate portfolio are torn and frayed. Text volume: some plates and the wrappers of both portfolios somewhat foxed, some plates with some occasional marginal tears (never affecting them), overlays a little toned. Overall a complete set with the plates, booklet and the two original publisher's portfolios still in good condition, being Wright's extremely rare magnum opus which secures his status in Europe and being one of the most influential architectural publications of the century. - Kruft 210. Robert L. Sweeney, Frank Lloyd Wright: An Annotated Bibliography, Los Angeles, 1978, 87. Thieme-Becker XXXVI, 279.

30, [1], [1 blank] pp.; plus 100 lithographed plates.Extremely rare first edition, of the complete collection of plates prepared from drawings made by master architect Frank Lloyd Wright (1867-1959) at his Oak Park Studio, illustrating seventy buildings and projects completed between 1893 and 1909. It is the first major publication by one of the greatest innovators of modern architecture. The work boosted Wright's fame in European architectural circles and influenced key figures in contemporary architecture including Ludwig Mies van der Rohe, Peter Behrens and Le Corbusier. The plates show perspective views, plans, sections and interior and exterior details. Plate LVI, with an interior view of the living room of the Coonley House, is one of the most important and desirable of the series. The edition is scarce due to a fire at Wright s home and studio, Taliesin, in August 1914. The later portfolio worn: a little stained, edges a little worn, head and outer protective flap half loose, bottom protective flap loose but present, linen ties somewhat frayed. Two ties of the second plates portfolio are torn and frayed. Text volume, some plates and the wrappers of both portfolios somewhat foxed, some plates with occasional marginal tears (never affecting the image), overlays a little toned. Overall a complete set with the plates, booklet and the two original publisher's portfolios still in good condition, being Wright's extremely rare magnum opus that secured his status in Europe: one of the most influential architectural publications of the century.l Kruft 210; Robert L. Sweeney, Frank Lloyd Wright: an annotated bibliography, 1978, 87; Thieme-Becker XXXVI, 279.

30, [1], [1 blank] pp.; pllus 100 lithographed plates.Extremely rare first edition, of the complete collection of plates prepared from drawings made by master architect Frank Lloyd Wright (1867-1959) at his Oak Park Studio, illustrating seventy buildings and projects completed between 1893 and 1909. It is the first major publication by one of the greatest innovators of modern architecture. The work boosted Wright's fame in European architectural circles and influenced key figures in contemporary architecture including Ludwig Mies van der Rohe, Peter Behrens and Le Corbusier. The plates show perspective views, plans, sections and interior and exterior details. Plate LVI, with an interior view of the living room of the Coonley House, is one of the most important and desirable of the series. Other works represented are the Frederic Robie House, Susan Lawrence Dana House, Ward Willets House, Darwin Martin House, Avery Coonley House, the Larkin Building, and Unity Temple, showing the variety of his buildings.Although each plate is embossed with Wright's blind stamp, Sweeney notes that Wright completed the work alongside assistants and collaborators, including Marion Mahony Griffin and Wright's son, Lloyd. The work was printed by Ernest Wasmuth, a massive undertaking. The original plans and presentation drawings had to be lithographed on large stones. The text volume, written by Wright, was printed both in German and in English, containing an essay on his architectural style and a list of the plates. The text part starts with the introduction by Wright, translated into German by Wasmuth, and is dated ''Florenz, Italien, 15. Mai 1910'' and is followed by an annotated list of plates (pp. 21-30). An English version of the introduction was printed in Chicago by Ralph Fletcher Seymour being dated "Florence, Italy, June 1910".The edition is scarce due to a fire at Wright s home and studio, Taliesin, in August 1914. The fire destroyed the bulk of the American copies of this portfolio, in addition to much of Wright s other work. So many of the copies intended for the American market were destroyed, with the result that the work was far better known in Europe than in the United States.The wrappers and ties of the two portfolios are browned, both spines are worn (with the portfolios otherwise still intact) and the front board of portfolio II shows a seriously water damaged spot. All text leaves, plates and plates on overlay paper are foxed, the edges of the plates and overlays are show very slight water stains and are occasionally slightly frayed and browned, the overlays of plates LVIII and IL show a marginal tear, not affecting the image. The main surface of the plates (including the whole or the majority of the designs) are fine and clean. Overall a complete set with the plates, booklet and the two original publisher's portfolios still in good condition, being Wright's extremely rare magnum opus that secured his status in Europe: one of the most influential architectural publications of the century.l Kruft 210; Robert L. Sweeney, Frank Lloyd Wright: an annotated bibliography, 1978, 87; Thieme-Becker XXXVI, 279.

Amsterdam, De Hooge Brug (dal 1924: Mees), 1918 - 1931, Collezione completa. Collezione estremamente rara di tutto il pubblicato (1918-1931) della rivista olandese d architettura e di arti «Wendingen». Tutti i 116 fascicoli della collezione sono in condizioni più che buone quando non otttime, in brossura e completi; la collezione ritiene i sette numeri speciali dedicati a Frank Lloyd Wright rilegati in unico volume con illustrazione di H. Th. Wijdeveld su pagina 1 (versione rilegata del 1926 riservata agli abbonati alla rivista). Rarissima collezione di tutto il pubblicato dell iconica rivista olandese «Wendingen». Creata nel 1918 grazie a Hendricus Theodorus Wijdeveld e al sostegno di altri importanti architetti-artisti del panorama olandese come Jan Frederik Staal, Karel Petrus Cornelis de Bazel, Johannes Ludovicus Mattheus Lauweriks, Pieter Lodewijk Kramer, Johan Melchior van der Mey, Michel de Klerk, la rivista «Wendingen» apparve da subito come elemento di rottura e rinnovamento e, del resto, "Wendingen" significa "rivolgimenti", "cambiamenti" destinato a iniziare un nuovo corso nella storia delle riviste di settore, per almeno due ragioni. --- La prima quella immediatamente visibile riguarda l aspetto della rivista stessa: con il suo grande formato quadrato (33x33 cm), la stampa solo recto dei fogli 33x66 ripiegati, l elegante rilegatura alla giapponese con rafia e le particolari e innovative scelte tipografiche, «Wendingen» si presentava come un oggetto decisamente nuovo, bizzarro e, per alcuni detrattori, intollerabilmente lontano dai canoni estetici tradizionali. Ma l attenzione era ancor più catturata dalle copertine, non semplici presentazioni dei contenuti ma "cappotti" come amava definirle Wijdeveld che dovevano avvolgere e rappresentare lo stile del periodico, esattamente come un abito ricercato avvolge e in qualche modo rappresenta l identità di chi lo indossa. Ecco allora le bellissime composizioni di forme e colori appositamente commissionate ad artisti e architetti (quando non erano realizzate dallo stesso Wijdeveld) generalmente stampate con metodo litografico o xilografico, tutte lì a dichiarare che, benché l architettura rappresentasse il terreno di partenza di questa avventura editoriale, l orizzonte voleva includere tutte le arti. --- Impossibile non ricordare in questo senso almeno la celeberrima copertina firmata nel 1921 dal maestro dell Avanguardia russa El Lissitzky per il monografico dedicato a Frank Llyod Wright, con l architetto americano di nuovo protagonista tra il 1925 e il 1926 di sette numeri speciali. Documento ancora oggi fondamentale e straordinario sui lavori realizzati tra il 1911 e il 1923 dal massimo rappresentante del Movimento Moderno, questi fascicoli vennero pubblicati in lingua inglese per volontà dell editore Mees con il titolo «The Life-Work Of The American Architect Frank Lloyd Wright» e raccolti già nel 1926 in un unico volume rilegato. Il notissimo architetto partecipò attivamente alla realizzazione del progetto che fu fortemente voluto da Wijdeveld, suo grande estimatore e qui autore non soltanto della prefazione ma anche della copertina. M.F. Le Coultre, Wendingen: A Journal for the Arts 1918 1932, New York 2001 116 fascicoli, in 4° quadrato (330 mm), legatura "alla giapponese" con nastro esterno; copertine in brossura riccamente illustrata a colori e disegnata da artisti diversi per ciascuna uscita. Collezione completa. Collezione estremamente rara di tutto il pubblicato (1918-1931) della rivista olandese d architettura e di arti «Wendingen». Tutti i 116 fascicoli della collezione sono in condizioni più che buone quando non otttime, in brossura e completi; la collezione ritiene i sette numeri speciali dedicati a Frank Lloyd Wright rilegati in unico volume con illustrazione di H. Th. Wijdeveld su pagina 1 (versione rilegata del 1926 riservata agli abbonati alla rivista). legatura "alla giapponese" con nastro esterno; copertine in brossura riccamente illustrata a colori e disegnata da artisti diversi per ciascuna uscita.

Half Calf. Condición: Very Good. Frank Lloyd Wright Ilustrador. A deeply-personal Association copy of the 1896 1st edition of Frank Lloyd Wright's 1st published book, #37 OF ONLY 90 COPIES PRINTED. THIS COPY BELONGED TO FRANK LLOYD WRIGHT'S MOTHER, ANNA LLOYD WRIGHT, WHO SIGNED HER NAME ON THE FIRST BLANK ENDPAPER AND ALSO INCLUDED A PRINTED, LAID-IN CARD. Small folio, original half-polished calf with gilt-line borders and green paper-covered sides; top-edge gilt. 55 pages. SIGNED BY BOTH FRANK LLOYD WRIGHT AND W.H. WINSLOW (one of Wright's most important early clients) at the limitation. "Printed by hand at the Auvergne Press in River Forest by William Herman Winslow and Frank Lloyd Wright during the winter months of the year eighteen hundred ninety six and seven". Though Wright did not write the text, this really has to be considered his first book as the page decorations were entirely designed by him; in addition, the volume incorporates a booklet sewn to the front endpaper which contains a series of twelve hand-printed collotypes of dried weeds from photographs made by Wright. (Wright himself considered this his first book and said so in a letter to the Boston bookseller Samuel R. Morrill, "The Turn of a Century", #141). It is a famous book, both in the history of Frank Lloyd Wright and as an outstanding American press book. This copy descended in the family of Maginel Wright Barney, Frank Lloyd Wright's youngest sister. Edges of covers are somewhat worn; corners have been restored. Rebacked in matching polished calf. Very light old water stain in lower gutter splaying out to lower blank margins of both rectos and versos; hardly noticeable. Preserved in a handsome, dark-green, custom-made clamshell box.

Oblong folio. (10 3/4 x 13 inches). 152 albumen photographs, most 7 x 9 inches, mounted recto and verso of each leaf within the album. Images captioned in manuscript on the mount below the image, many signed in white ink or in the negative by Taylor. Expertly bound to style in half dark purple morocco over period cloth covered boards, spine lettered in gilt, marbled endpapers A remarkable album of early Chicago photography by John W. Taylor: a major photographic record of Chicago in the late 19th century. Taylor was a bookseller and stationer before advertising himself as a commercial photographer in the late 1880s. He concentrated his work on Chicago-area architecture and city infrastructure. Today he is recognized as a pioneering photographer of architecture, working in Chicago at the very beginning of the skyscraper era. This superb photograph album presents a fairly comprehensive view of Chicago's architecture and life during one of the city's most interesting and vibrant periods, from the highest of the skyscrapers to the interiors of pig pens in the stockyards, with numerous residences, parks, lush interiors, the 1893 World's Fair, and more. Taylor's importance as one of the earliest significant architectural photographers is addressed in Peter Bacon Hales' Silver Cities: Photographing American Urbanization, 1839-1939: "Photographers of the older generation managed to retain their identities even as they adjusted to their more prosaic role as visual adjuncts to the architects who designed the buildings they photographed. J.W. Taylor of Chicago, for example, made an extensive survey of the "modern" buildings of Chicago and its environs, many of which traveled throughout the globe as architects and engineers converged on the city in the later 1800s and beyond to see the miracle of the Chicago style of building. Taylor's pictures went as far as Melbourne, Australia, in the collection of Australian architect E.G. Kilburn, who made his pilgrimage to the architects' mecca in 1889. Kilburn stared, sketched, and took notes; then he brought back photographs by Taylor of everything from the Pullman company town to the Palmer House." Chicago has been an especially important architectural center since the period represented in this collection. After the Great Chicago Fire of 1871 destroyed most of the buildings in the downtown area, a special class of architects and engineers flocked to the city, resulting in an architectural boom unequaled in the history of 19th century urban development. Hallowed names such as Louis Sullivan, Dankmar Adler, John M. Van Osdel, Daniel Burnham, William W. Boyington, William LeBaron Jenney, John Wellborn Root, William Holabird, Martin Roche, Edward Baumann, Harris W. Huel, Solon Spencer Beman, and Clinton J. Warren stamped their unique architectural character on the Chicago landscape. Each of these architects is amply represented in the photographs contained herein. There is even one photograph of the magnificent lobby of the Rookery Building, considered the grandest lobby in Chicago at the time. This view is especially interesting to architectural historians because this interior was remodeled a short time later, in 1905 by Adler & Sullivan's former head draftsman, Frank Lloyd Wright. The late 19th century was also a transitional time in building construction, when architects were beginning to leave behind cast iron frames and experiment with steel-frame construction and large areas of plate glass, especially in the "Commercial Style" made famous by Sullivan and others in the Chicago School. As a result, some of the earliest modern skyscrapers are found in Chicago. A general summary of the photographs in the album is as follows: forty-two buildings including the Masonic Temple (the tallest skyscraper in the world at the time), the Woman's Temple, the Rookery Building, the Chamber of Commerce, the Monadnock Building, the Northern Hotel, the Home Insurance Building, the Tacoma Building, the Caxton Building, the Pullman Building, the Oakland Hotel, the Grand Pacific Hotel, Palmer House, the Auditorium Building, Marshall Field's, the Lester Building, the Hotel Metropole, Libby Prison, the New Regiment Armory, depots, and churches; seven downtown street scenes; seventeen residential streets, including Lake Shore Dr. and Michigan Ave., and residences of prominent citizens, including Potter Palmer and Lambert Tree; twenty parks, pavilions, and recreation scenes; three of Grant Monument and its unveiling; ten Lincoln Park scenes, some with animals; three of Garfield Park; ten featuring World's Fair building construction; nine views of the October 1892 World's Fair dedication, showing ceremonies and a large parade; two scenes of boating; twelve views of stockyards and meat processing, six exterior and interior views of an auditorium; eight interiors including Palmer House and a bank; and three scenes of horse racing at Washington Park. Taylor's photographs reside in the collections of the Art Institute of Chicago (fifty-six images) and the Chicago History Museum (150 images). The subject matter of those collections, and the present work overlap significantly, testament to the prodigious nature of Taylor's output. For example, this collection has a significant number of images related to the World's Columbian Exposition (a.k.a., the Chicago World's Fair) of 1893; the Chicago History Museum collection contains no images from this monumental event in Chicago's history. A truly remarkable record of Chicago architecture by a significant photographer.

Quarter Calf. Condición: Very Good. No Jacket. First Edition. Printed on hand-made paper with deckle edges. Double-page title in red and black, text printed within engraved frames, some full-page engraved illustrations, some ornaments printed in red, 12 photogravures of plants printed on Japan paper, bound as a booklet into green card wrappers with gold printing, and pasted on the front free endpaper as issued. (Some spotting to yapp edges, Japan paper spotted.) Original quarter calf and green paper covers, gilt frames on calf sides, the upper side also titled in gilt (dampstained, extremities rubbed, some soiling, some abrasion on upper cover). FIRST EDITION, DESIGNED AND PRINTED BY FRANK LLOYD WRIGHT. One of only 90 copies, this one number 78, signed by Wright and Winslow. The design of The House Beautiful established the form followed by most of Wright's subsequent books, and prefigures some of his famous stained-glass window designs. Auvergne Place, the house where this work was printed, was designed by Wright for Winslow and built in 1893; it had been Wright's first independent commission after leaving Adler and Sullivan. The photogravures reproduce dried weeds and plants which inspired Wright's illustrations.

Hardcover. Condición: Near Fine. 1st Edition. Frank Lloyd Wright (1867-1959) Architectural Plans for His Last Usonian House, 1957. In addition, a TASCHEN (2018) coffee table book by Bruce Brooks Pfeiffer and Peter Goessel about Frank Lloyd Wright s architectural masterpieces, published in three languages (English, German and French). The floor plans come with the necessary paperwork which ascertain provenance and authenticity. Drawing/Rendering of the Duey Wright House, Wausau, Wisconsin, circa 1957. Ink, graphite and coloured pencil on paper, 44.5″ x 29.5″ A superb and impressive drawing of three views of the house with the elevation scales. Slight creasing, mostly to the corners, with small edge tear. Signed by the master himself FLW July 57 Perched on a bluff top overlooking the Wisconsin River, the Duey Wright House is one of Frank Lloyd Wright s last Usonian residences. Built for Duey and Julia Wright (not related to the architect) who owned a local music store and music school, the home s unusual L-shaped footprint has been suggested to represent a quarter note in honor of the musical couple. Moreover, a repeated geometric design found throughout the home in perforated plywood panels suggests musical notation. Wright used these panels in the exterior windows and as screens between rooms. The unadorned concrete block walls combine with the wide overhanging eaves to create a low horizontal look to the home. The longest wing, which runs east to west, is principally used for bedrooms, with the carport on the east end and the library on the west end. The two wings are joined on the west end by a large concrete block chimney, which allows for a library fireplace, and another in the living room. The circular living room contains a continuous band of windows allowing for a panoramic view of the Wisconsin River to the southwest, and Rib Mountain in the distance. The Usonian House conceptualised by architect Frank Lloyd Wright is the embodiment of an idea for a simple, stylish small house of moderate cost designed especially for the American middle class. It is not so much a style as a type of residential architecture. Style is important, wrote Wright. A style is not. When looking at a portfolio of Wright s architecture the casual observer might not even pause at Wrights first Usonian house from 1937, looking so familiar and ordinary yet, Usonian architecture was another obsession of the famous Frank Lloyd Wright in the last decades of his long life. By the 1950s, he had designed dozens of what he was then calling his Usonian Automatics. Wright didn t want to be known solely as an architect of the rich and famous, although his early residential experimentation in Prairie house design had been subsidized by families of means. The competitive Wright quickly became interested in affordable housing for the masses. In 1936, when the United States was in the depths of the Great Depression, Wright realized that the nation s housing needs would forever be changed. Most of his clients would lead more simple lives, without household help, but still deserving of sensible, classic design. It is not only necessary to get rid of all unnecessary complications in construction wrote Wright, it is necessary to consolidate and simplify the three appurtenance systems heating, lighting, and sanitation. Designed to control costs, Wright s Usonian houses had no attics, no basements, simple roofs, radiant heating (what Wright called gravity heat ), natural ornamentation, and efficient use of space, inside and out. Some have said that the word Usonia is an abbreviation for United States of North America. This meaning explains Wright s aspiration to createa democratic, distinctly national style that was affordable for the common people of the United States. A superb, impressive architectural drawing of this important house with the elevation scales. First and Fine. Signed by Author(s).

Material: Concrete An architectural cement artifact attributed to be from Frank Lloyd Wright's Freeman House in Los Angeles, CA last originating from a departed avid Oak Park IL collector and architect measuring approximately 25 x 15 7/8 x 2 1/16 inches. This was possibly an exterior facade or walkway. Further research is underway. The gentleman developed a list of his artifacts (one being a sign from the Chicago Stock Exchange) and this is number 7 on the list and described in the listed picture. Other items from his collection are listed in my store. Ships fully insured domestically with some restrictions internationally. Thanks for looking.The Samuel and Harriet Freeman House is one of the three textile-block houses designed by Frank Lloyd Wright for the Hollywood Hills in 1924. While all three homes are beautiful and dramatic, the Freeman House has beendescribed 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 fourth textile block home in the region, the Millard House/La Miniatura, is located in the nearby city of Pasadena.)The Freeman House is among Wright's most interesting and enchanting 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 1920s virtually until the 1980s. Visitors and resident guests included Edward Weston, Martha Graham, Galka Sheyer, Jean Negulesco, Richard Neutra, Xavier Cugat, and Clark Gable.Through its life as a "Salon," encouraged by Harriet's love of the arts, and the subsequent involvement of other major architects, including Rudolph Schindler and John Lautner, this architectural jewel constitutes a unique record of the cultural, social and political history of Los Angeles.Given to the USC School of Architecture by Harriet Freeman in 1984, the house was fundamentally sound but in need of rehabilitation. However, the 1994 Northridge earthquake dramatically damaged the structure, rendering it uninhaitable.The School of Architecture, under the leadership of then Dean Robert Timme with the help of various faculty members and alumni, endeavored to secure FEMA funds, grants, and donations in order to rehabilitate the house. Grants were received from the Getty Foundation, the Andy Warhol Foundation, and the Domino Foundation. A three phase rehabilitation plan was devised and the Phase 1 seismic stabilization work began in 2000. Over $1.5 million was invested in the initial phase which included the removal of vulnerable textile block and interior furnishings, structural stabilization, and basic system upgrades.Fundraising for the next phase of the project was underway when Dean Timme passed away. The loss of his passion and committment to the house stopped the rehabilitation momentum, and phase two has yet to begin in earnest. Fundraising for this effort has begun again however! It is hoped that when the rehabilitation work is completed, the house will once again function as a residence for distinguished visitors, as well as a setting for small salons, seminars, and meetings. Source: University of Southern California School of Architecture.

An archive of approximately 212 books, posters and related ephemera from The Museum of Non-Objective Art, later called the Solomon R Guggenheim Museum from its first exhibition in 1936 to 1970. Contact me for a complete list. The archive includes the first 5 exhibition catalogs of the Guggenheim s collection from 1936-1939; and about 111 exhibition catalogs and books, 10 posters and 65 pieces of ephemera such as exhibition brochures and announcement cards from the diverse locations of the museum from 1939-1970. The condition of the material is mostly very good to as new. A brief synopsis: from 1936-1939 The Solomon R Guggenheim Collections of Non-Objective Paintings was exhibited in 5 different U.S. locations with numbered catalogs printed for each venue. In June 1939, the Guggenheim collection was given its first permanent home when The Museum of Non-Objective Art opens at 24 East 54th St. In 1948, the museum moves to 1071 5th Ave; is renamed The Solomon R Guggenheim Museum on Oct. 27, 1952 and continues to hold exhibits until 1956 when the townhouse is demolished. During 1957-1958 exhibitions are held at 7 East 72nd Street until the Frank Lloyd Wright Building opens at 1071 Fifth Ave on October 21 1959. Shipping will be at cost for this archive of material comprising about 3 banker s boxes.

First edition, first issue with first edition stated on the copyright page of the author's first major novel, as well as her first best-seller. Octavo, bound in full morocco, gilt titles to the spine, raised bands, gilt ruled to the front and rear panel, marbled endpapers, original red cloth bound in at rear. Boldly signed by Ayn Rand on the title page. In fine condition. Although Rand was a previously published novelist and had a successful Broadway play, she faced difficulty in finding a publisher she thought right for The Fountainhead. She let Macmillian Publishing go when they rejected her demand for better publicity (Branden, 1986), and when her agent criticized the novel, she fired him and handled submissions herself (Burns, 2009). After sifting through eleven more publishers, Rand finally released The Fountainhead with Bobbs-Merrill Company in 1943. The reception was instant, and The Fountainhead became a bestseller in two years. The protagonist, Howard Roark, whose character was thought to be inspired by Frank Lloyd Wright, is a young architect fighting against convention. Cited by numerous architects as an inspiration, Ayn Rand said the theme of the book was "individualism versus collectivism, not within politics but within a man's soul." Rand chose architecture as the analogy of her heady themes because of the context of the ascent of modern architecture. It provided an appropriate mode to make relevant her beliefs that the individual is of supreme value, the "fountainhead" of creativity, and that selfishness, properly understood as ethical egoism, is a virtue. Some critics consider The Fountainhead to be Rand's best novel (Merill, 1991). Indeed, philosopher Mark Kingwell described it as "Rand's best work" (Kingwell, 2006). In 1949 it was adapted to film, produced by Henry Blanke, directed by King Vidor, starring Gary Cooper, Patricia Neal, Raymond Massey, Robert Douglas, and Kent Smith.

Soft cover. Condición: Very Good. Frank Lloyd Wright (June 1926). Autograph manuscript signed, titled To the Countryside, with numerous holograph emendations and corrections in ink, several in pencil or purple pencil. 2 pages, 4to. Together with a typescript copy of an account of Miriam Noel Wright s attempt to storm Taliesin. Condition: very good with some creases, usual toning to paper commensurate with age. THREE TIMES I HAVE BUILT [TALIESIN] UP FROM ITS ASHES EACH TIME STRONGER AND MORE BEAUTIFUL THAN BEFORE TRAGEDY DESTROYED IT. Following the 1914 fire and massacre at Taliesin, which took the lives of his mistress Mamah Cheney and her children, Frank Lloyd Wright vowed to rebuild. Calling the project Taliesin II, he began work on the new project. That same year, he began a relationship with wealthy divorcee Miriam Noel, and by 1915, the couple moved into the newly-completed Taliesin II. Their relationship was turbulent, likely in part due to Noel s erratic behavior (later identified as schizophrenia), but the couple were married in November 1923; they separated less than a year later. During their separation, in 1924, Wright met Olgivanna Lazovic. They moved in together at Taliesin in 1925, and Olgivanna gave birth to a daughter, Iovanna, in December 1925. For three days in early June 1926, in a fury over divorce proceedings and convinced she had an ownership claim over the property, Miriam Noel Wright tried to take Taliesin by storm, but was rebuffed by Wright s employees each time. Wright, upset at the ensuing media frenzy, wrote a public response for publication in the local newspaper, the Home News. I have never thanked my neighbors and townspeople directly for their friendship and forbearance I want to do so now My grandfather began my life here, my mother and her people lived here and loved this valley to which I have come back as the third generation in a struggle to develop on old family soil some of the finer elements of what we call civilization. It seems that my direct ways of meeting life as it comes to me and meeting my obligations to it has made me a marked man for the benefit of modern journalism. I can have no private life I have made a mistake in accepting the desertion of Miriam Noel as final or ever believing her to be human. Having every reason to believe myself finally deserted and an intolerable domestic situation humanely ended, I allowed other lives to become entangled with mine thinking no difficulty could arise to prevent me from making my life here regular at last What I wanted to say to you was that I like you people of this region. You all seem homelike to me. I ve been about all over the globe and come back here with that feeling of coming home. I think the countryside deserves the best of me and if you who make it what it is give me its benefit of the doubt in all this for a year or two I believe I will come through right side up and you may yet take pride in Taliesin as I have always hoped and believed you would do. Frank Lloyd Wright (1867-1959) needs no introduction. The star architect has indluenced America s 20th century architecrure like nobody else. Handwritten manuscript like this are rare and highly coveted especially with such interesting content. First and Fine. Signed by Author(s).

Amsterdam, De Hooge Brug, 1921. Mit 18 Abildungen sowie illustrierten Anzeigen auf Vorder- und Hinterumschlag, die gestalterisch eine Einheit bilden. Als Blockbuch gebunden und mit Bastkordel geheftet. Makelloses and absolut frisches Exemplar der fragilen Broschur. 38 page / 33 : 33 cm. ORIGNALEINBAND - ORIGINAL PUBLISHERS WRAPPERS Sprache: Deutsch. *** Bitte kontaktieren Sie mich immer BEVOR Sie bestellen! Für ausführliche Beschreibungen und Bilder sowie günstigere Versandoptionen kontaktieren Sie mich bitte per Email! Please contact me always BEFORE you order! For detailled descriptions and photos as well as cheaper shipping options please send an email! ***.

First edition of this seminal work in architecture. Octavo, original cloth, illustrations of work by Frank Lloyd Wright, Walter Gropius, Le Corbusier, J. J. P. Oud, Mies van der Rohe, Raymond M. Hood, Howe & Lescaze, and Richard J. Neutra. Presentation copy, inscribed by Philip Johnson on the front free endpaper, "For Jim with thanks for his help Philip Johnson." Light rubbing, near fine in the very rare dust jacket with light chipping. This is the first jacketed copy that we have encountered. Housed in a custom half morocco clamshell box. Initially produced as the catalog to accompany a controversial and groundbreaking 1932 Museum of Modern Art show of the then new architecture emerging in Europe and America, The International Style quickly became the definitive statement of the principles underlying the work of such giants as Mies van der Rohe, Le Corbusier, Walter Gropius, and other pioneers. It might be said that Henry-Russell Hitchcock and Philip Johnson discovered as well as defined "the International Style," and over the decades their book has served as a frame for growth in the architectural profession.

Important autograph letter signed by Frank Lloyd Wright to friend and architectural critic, Lewis Mumford. Letter is 19 inches by 8.5 inches. It reads, "My dear Lewis: Iâ ve read "The Brown Decade" you so kindly sent me and it is a useful work in your splendid style. I didnâ t agree in total but admire and respect. I was sorry to see so little of you in New York- intending to see you if I saw no one else. And the stupidity of wandering around in the Lehigh Starret building while you were waiting for me at 41 west 12th street rises to plague me still. Dutchy and I saw something of Catherine Bauer in New York. The Guggenheim has asked me for a recommendation for the new work she wants to do and I my best- but wrote her what I thought of her thesis. You know what I must think about that. Enclosed is a copy of what I think about it for your files if you care for it. Wright would later accept the contract to build the Guggenheim three years later in 1943, Hilla Rebay, the curator stated to Wright that he wanted to build, "A temple of spirit, a monument!" Matted and framed. the curator stated to Wright that he wanted to build.

Hardcover. Condición: Near fine. First Edition. 3 vols. in 2 (as issued). Limited edition, 1 of 300 on hand made paper. A fine press reprinting of William Caxton's 1st edition, printed by William Morris at his Kelmscott Press in red and black Troy type (Chaucer type was used for the table of contents and the glossary). Gorgeous decorative wood cut borders and initials throughout the text. Original full limp vellum, brown silk ties, a natural crease to the base of the spine on vol. II, and some spots of rubbing to the polish of the vellum, else near fine and mostly unread. Ex-W. and P. J. Kupfer (bookplates). Coll: xv, [1], 295, blank]. [297]-507, [3, blank]. [509]-718 [5 blanks]. Raoul Lefevre was chaplain to Philip III, Duke of Burgundy. William Caxton was the first Englishman who learned how to print from moveable type. He bought a press in Bruges and in 1474 he translated into English, and then printed, Lefevre's book (written in 1464). Later Caxton disassembled the press and brought it to Westminster England where he reassembled it and printed the first 100 books in English including the1steditions of King Arthur and The Canterbury Tales. Recuvell of the Historyes of Trove is a courtly romance recounting what was thought to be known of Troy in the 15th century. The last copy of Caxton's1stin English at auction sold for $1,150,520. William Morris (1834-1896) was the guiding light of the British Arts and Crafts Movement. He studied classics and medievalism at Oxford. When he was young he became an architect. Later he traveled to Iceland and translated the Viking sagas. After 1861 he focused on interior design creating wallpaper, textiles, furniture, tapestries, fabrics and stained glass (Trinity Church, Boston, has a splendid Morris window). Frank Lloyd Wright called him the father of modern design, but he also wrote poetry and fantasy, and was a fine painter. In 1877 he founded The Society for the Protection of Ancient Buildings. In 1891 he founded The Kelmscott Press, still recognized as the highest achievement ever realized in printing. Morris' edition of Chaucer's Canterbury Tales is the Kelmscott Press' paramount achievement and near unanimously acclaimed as the greatest fine press book ever produced.

"WRIGHT, Frank Lloyd. Typed manuscript inscribed. Taliesin West, February, 1953. Eleven pages, each 8-1/2 by 11 inches, typed and inscribed on the rectos. $8800.Original 11-page typed manuscript on "The Language of Organic Architecture," inscribed by its author, Frank Lloyd Wright, to his friend, the architecture critic Lewis Mumford, "For Lewis, F.L. Wright." With Mumford's annotation in the top right corner, "Feb 1953." The distinctive type face and spacing of the text invite the possibility that Wright typed this himself."The Language of Organic Architecture" is perhaps the most succinct elucidation of Wright's architectural philosophy. It lays out nine terms (but really principles) that defined what he termed "Organic (or intrinsic) architecture," which he considered "the free Architecture of idea DEMOCRACY." Wright's "nine-word lexicon," that he found helpful to "defend and explain whatever I have myself written on the subject," included: "NATURE," "ORGANIC," "FORM FOLLOWS FUNCTION," ROMANCE," "TRADITION," "ORNAMENT," "SPIRIT," "THIRD DIMENSION," and "SPACE." Wright offers a brief comment after each, observing how each term had been abused. (For instance, after "FORM FOLLOWS FUNCTION," he complains that "Too many foolish stylistic constructions are placed upon the slogan.")After he lays out his general principles, Wright delves in deeper to analyze each term, perhaps the most important are his discussions of the terms "ORGANIC," and "ROMANCE": "The word ORGANIC denotes in Architecture not merely what may hang in a butcher shop, get about on two feet or cultivated in a field. The word Organic refers to entity, perhaps Integral or intrinsic would therefore be a better word to use. As originally used in Architecture, Organic means Part-to-Whole-as-Whole-is-to-Part. So Entity as integral is what is really meant by the word Organic. INTRINSIC."ROMANCE," like the word BEAUTY, refers to a quality. Reactionary use of this honorable but sentimentalized term by critics and current writers is confusing. Organic-architecture sees actuality as the intrinsic Romance of human creation or sees essential Romance as actual in creation. So Romance is the new Reality. Creativity divines this. No team-work can conceive it. A committee can only receive it as a gift from the inspired Individual " This essay originally appeared in print in Wright's occasional series of broadsheets as Taliesin Square-Paper 16 in February 1951, and again, in a slightly revised form in May 1953, under the title "Organic Architecture." The essay again appeared in an anthology of Wright's essays published by Horizon the same year, The Future of Architecture. Lewis Mumford and Frank Lloyd Wright first began corresponding in the 1920s, after Mumford had contributed an essay to the Dutch journal Wendingen in 1925 in which he discussed Wright's work as a continuation of a line of innovation begun by H. H. Richardson and Louis Sullivan, as well as placing Wright in contrast to the European modernists like Le Corbusier. Mumford also characterized Wright's work as an ideal of form and expression ideally suited to the American landscape. An article along similar lines authored by Mumford for The American Mercury, elicited a response from Wright in August 1926, in which the architect questioned the depth Mumford's understanding of his work. A set of exchanges culminated in their first meeting, a luncheon at the Plaza Hotel in New York, during the winter of 1926-1927 that would being a long and productive dialogue and friendship.This friendship, born of mutual respect and a love of argument, came under enormous strain in the years leading up the Second World War. Mumford, a liberal Democrat, viewed the rise of Nazism and Fascism anxiously as he detailed in numerous articles and two full-length works: Men Must Act (1939) and Faith For Living (1940) . Wright held a different view. His general distrust of empire compelled Wright to take a stand against American involvement in the escalating European conflict that struck many as merely isolationist a charge that the architect roundly rejected.The final straw for Mumford came in a broadsheet published by Wright: A Taliesin Square-Paper, subtitled as "A nonpolitical voice from our democratic minority"), which declared "HITLER IS WINNING THIS WAR WITHOUT A NAVY. We are facing a new kind of warfare that the British Empire, owing to traditional faith in a great navy, cannot learn in time even if we furnished the equipment Our frontier is no longer England, nor in any sense, it is European. Our frontier is our own shores."An infuriated Mumford shot back to Wright: "You dishonor all the generous impulses you once ennobled Be silent! lest you bring upon yourself some greater shame." To this, Wright retorted: "There is no good Empire, there never was a just war." True to his principles, Wright remained steadfastly opposed to the Second World War, and war in general. Escalating the feud, Mumford published his response to Wright in the interventionist journal, the New Leader. The two did not speak for over a decade.The postwar period saw a thaw in their relationship, and Mumford remained a great admirer of Wright's work, despite their personal and philosophical differences. And Wright, despite Mumford's public shaming of the architect in print, continued sending New Year's greetings, unanswered by Mumford. However in the spring of 1951, Wright forwarded Mumford a copy of Sixty Years of Living Architecture, inscribed: "In spite of all, your old F. Ll. W." The gesture moved Mumford to respond and the two began the process of reconciliation, and the pair continued to correspond until Wright's death in 1959. (Wright, Mumford, et al., Frank Lloyd Wright & Lewis Mumford: Thirty Years of Correspondence, 22-26.).Staple holes to top left corners. Fine condition.". Signed.

No Binding. Condición: Fine. 1st Edition. Strong, impassioned, and revealing letter from Wright to his longtime friend, the architecture critic Lewis Mumford, defending his architectural philosophy after the appearance of Mumford's article in the New Yorker evaluating Wright's life and work. Written on The Plaza, New York letterhead (from December 3 1953), the letter reads in full: "Dear Lewis-- Read your "appreciation" in the plane coming in last night-both glad and furious- Read? Insults my clients and myself-I may be vain but I am not stupid-neither are my clients-- He harks back to the view that an individual should go to 'a style' for his home, be the guest of a style rather than the guest of a great architect-? Yes? Good argument for the communist against Democracy-- He should talk to my clients. So you talked to one-one Paul Hanna. From him you got a false impression-at least so he says and so say I.-- Just one word slipped[;] the word 'my' was actually 'your' in reproving him for mixing his metaphors in living. As reprehensible as mixing them in writing. Your house said I-My house said you-- Well, I see the misquotation in the New Yorker article-in effect- Now Lewis do you advocate that a man should shun the master and take the slave in order that his own individuality may not suffer eclipse? If so, viva 'Le International'-The communist wins over the Democrat? No, you don't mean that-you mean that the master is so vain in the power of his works that he sacrifices his client on the altar of his virtuosity. The answer to that is from the clients themselves. They will be heard from because your imputation via Sir Herbert Read will make them all boiling mad. It is an unjust insult to their intelligence-(and mine). But love to you just the same. You will learn better now-. Affection no end Frank" Mumford and Wright had a famously tumultuous relationship that lasted over 30 years. Although Mumford, in his two-part New Yorker essay ("The Sky Line: A Phoenix Too Infrequent") that prompted this letter, praised Wright as "the most original architect the United States had produced" and "one of the most creative architectural geniuses of all time," Wright chose to focus on his criticisms, in particular the charge that Wright could be inflexible with respect to his clients' wishes. In defending himself in this letter, Wright demonstrates his powerful personality and reveals some of his deeply held beliefs on the role of the architect. Reprinted in: Frank Lloyd Wright & Lewis Mumford: Thirty Years of Correspondence, ed. Pfeiffer and Wojtowicz. New York: np, 1953. Three pages on two adjoining sheets, 5 x 6.25 inches. In fine condition, with a couple small ink and pencil notations to top right corner of first page. An outstanding letter with important content.

WRIGHT, Frank Lloyd. Schumacher's Taliesin line of decorative Fabrics and Wallpapers. 5 leaves of text and 26 Sheets of Wallpaper designed by Wright. Folio, 450 x 345 mm, bound in publisher's illustrated tan cloth. [Chicago: E.W. Bredemeier & Co., ND 1950's]. A scarce salesman's sample book for a line of wallpapers designed by Frank Lloyd Wright. In addition to the 26 original sheets of wallpaper designed by Wright, there are 6 pages of photographic plates illustrating rooms with the products in use, demonstrating Wright's ideal of the close relationship between architecture and decorative design. This is a rare book presumably issued in a small edition, and with most copies having been dismembered for the original wallpaper samples,.

Glass Framed. Typed letter, 45 x 20 cm. to friend and architectural critic, Lewis Mumford. "My dear Lewis: I've read `The Brown Decade' you so kindly sent me and it is a useful work in your splendid style. I didn't agree in total but admire and respect.The Guggenheim has asked me for a recommendation for the new work she wants to do and I gave my best - but wrote her what I though of her thesis. You know what I must think about that. Enclosed is a copy of what I think about it for your files if you care for it." Wright would later accept the contract to build the Guggenheim three years later in 1943: Hilla Rebay, the curator stated to Wright that he wanted to build, "A temple of spirit, a monument." The balance of the letter notes his apology to Mumford for missing a meeting with him, his reading of Mumford's critique of the Metropolitan Museum in the New Yorker Magazine, an invitation to Mumford to visit that winter: and perhaps most poignantly -- "And Lewis, please don't ever fall out with me. I should be afraid of you." Fine condition, matted and gilt framed -- suitable for hanging.

Later printing of Randsâ s breakthrough work and her first major literary success. Octavo, original cloth. Presentation copy, inscribed by the author on the front free endpaper, "To Maurice Sabbah- With my best wishes Ayn Rand 3/5/63." Near fine in a near fine dust jacket without the usual fading to the spine. An exceptional example. Although Rand was a previously published novelist and had a successful Broadway play, she faced difficulty in finding a publisher she thought right for The Fountainhead. She let Macmillian Publishing go when they rejected her demand for better publicity (Branden, 1986), and when her agent criticized the novel, she fired him and handled submissions herself (Burns, 2009). After sifting through eleven more publishers, Rand finally released The Fountainhead with Bobbs-Merrill Company in 1943. The reception was instant, and The Fountainhead became a bestseller in two years. The protagonist, Howard Roark, whose character was thought to be inspired by Frank Lloyd Wright, is a young architect fighting against convention. Cited by numerous architects as an inspiration, Ayn Rand said the theme of the book was "individualism versus collectivism, not within politics but within a man's soul." Rand chose architecture as the analogy of her heady themes because of the context of the ascent of modern architecture. It provided an appropriate mode to make relevant her beliefs that the individual is of supreme value, the "fountainhead" of creativity, and that selfishness, properly understood as ethical egoism, is a virtue. Some critics consider The Fountainhead to be Rand's best novel (Merill, 1991). Indeed, philosopher Mark Kingwell described it as "Rand's best work" (Kingwell, 2006). In 1949 it was adapted to film, produced by Henry Blanke, directed by King Vidor, starring Gary Cooper, Patricia Neal, Raymond Massey, Robert Douglas, and Kent Smith.

Hardcover. Condición: Near Fine. Frank Lloyd Wright Ilustrador. Collection by one of the American Greatest Architects. Printed and bound in Japan. Measured by 12 1/4? x 12?. Bright red cloth binding. Folded dustjacket with decorative design. Each housed in protective case. LIST OF TITLES: a COMPLETE series in 12 volumes: Vol. 1: Monograph 1887- 1901 // Vol. 2: Monograph 1902-1906 // Vol. 3: Monograph 1907-1913 // Vol. 4: Monograph 1914-1923 // Vol. 5: Monograph 1924-1936 // Vol. 6: Monograph 1937-1941 // Vol. 7: Monograph 1942-1950 // Vol. 8: Monograph 1951-1959 // Vol. 9: Preliminary Studies 1889-1916 // Vol. 10: Preliminary Studies 1917-1932 // Vol. 11: Preliminary Studies 1933-1959 // Vol. 12: In His Renderings 1887-1959.

Hardcover. Condición: Near fine. Frank Lloyd Wright Ilustrador. Limited. Collection by one of the American Greatest Architects. Printed and bound in Japan. Measured by 12 1/4" x 12". Bright red cloth binding. Folded dustjacket with decorative design. Each housed in protective case. LIST OF TITLES: a COMPLETE series in 12 volumes: Vol. 1: Monograph 1887- 1901 // Vol. 2: Monograph 1902-1906 // Vol. 3: Monograph 1907-1913 // Vol. 4: Monograph 1914-1923 // Vol. 5: Monograph 1924-1936 // Vol. 6: Monograph 1937-1941 // Vol. 7: Monograph 1942-1950 // Vol. 8: Monograph 1951-1959 // Vol. 9: Preliminary Studies 1889-1916 // Vol. 10: Preliminary Studies 1917-1932 // Vol. 11: Preliminary Studies 1933-1959 // Vol. 12: In His Renderings 1887-1959.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Near Fine. 2nd Edition. SIGNED and Presented by Ayn Rand, "Christmas, 1945" a second edition of The Fountainhead. A very good copy with some edgewear and faint staining to the front pastedown in a very near fine jacket. Christmas Presentation copies by Rand provide distinguished provenance only two years after the novel's original publication. Book #vP1424. $6900. From the world's largest selection of rare, signed, and manuscript Ayn Rand in private hands. Signed by Author(s).

4to. 2 pp. on 2 ff. Ramblings from a man who has loved and lost with the blame firmly placed upon his own shoulders; a vexing manuscript from Wright clearly revealing the effects of his personal upheavals. "I am regarded as though I had stolen myself, gone off with what was not my own. And I am traduced, derided, despised, held up to public contempt and loathing. My character is remorselessly assassinated: no means however vile are spared to injure my property or my work. It is a falsity that men respect and honor independent of thought and action. Tolerance in anything or anywhere is plainly a gentle lie. It is in no man's heart. The perception of Beauty is a moral test. The body is the first proselyte the soul makes. Our life is but the soul made known by its fruits, -- the body. The whole duty of man is expressed in one line. Make to yourself a perfect body! To be a man is to do a man's work! The true laborer is recompensed by his labor not by his employer. Laws are a matter of lawyers and judges. Lawyers and judges, as such, are not men of sense or principle but creatures of law: In any high moral sense they are not men at all! Earth song. Universal [in pencil]. I who have shown that I can behave particularly well am put under bonds for good behaviour! Every man should see that his influence is on the side of justice -- and let the courts make their own characters. Men talk about Bible miracles because there is no miracle in their lives. Cease to gnaw that crust, there is a ripe fruit overhead! Woe to him who wants a companion, for he is unfit even to be the companion even of himself! We inspire friendship in men when we have contracted friendship with the gods. Any reverence, even [if] a material thing proceeds from an elevation of character?". - With a few revisions; first page devoid of 3 inches of paper, marginal fraying and chipping, the two pages affixed together at head.