Wright Chat

[m.perrino]

This morning I was looking on line for photographs from Russell Lee of Taliesin West. I have one of his in my office, taken around 1940. While looking for other images, I came across this site : The Arizona Memory Project and found approximately 100+ photographs of Taliesin West, taken by the apprentice Robert Carroll May.

All photos are identified as being owned by the FLWFDN.

Along with the usual views, most B&W, there are some treasures; a photo of Wes, Jack Howe and an unknown female, (Cornelia ?) sitting outside near the reflecting pond at the work tables. Another shows the Garden Room on the left, sleeping quarters on the right with a snow capped Thompson Peak in the center. A curious electric line on a pole is also visible. Best of all, several views of the business office in its original configuration.

Some of these images would be stunning if professionally reproduced and framed.

[FarmerBill]

What great photos. Can't wait to visit there in March with the Conservancy group.

Here's the link: Taliesin West photos at Arizona Memory Project

[SpringGreen]

Those are amazing - thanks!
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"The building as architecture is born out of the heart of man, permanent consort to the ground, comrade to the trees, true reflection of man in the realm of his own spirit." FLLW, "Two Lectures in Architecture: in the Realm of Ideas".

[peterm]

It's so nice to see T West minus the kitschy sculptures and the painted wood. The interiors look so inviting. From a historical perspective, these are priceless.

Thanks for sharing these.

[Craig]

Many of May's photos were published in the Curtis Besinger book, "Working with Mr. Wright: What it Was Like." In the letter he sent to Curtis giving him permission to use them, he states that he wishes someone would one day write a book documenting the construction, changes and history of Taliesin West. He lamented the state it was in when he attended his final reunion.
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ch

[Tom]

Wow. Thanks for the link.

[Rood]

They are priceless photos ... so many I've never before seen, too. Another series which is particularly important are images from the coloured film taken by Alden Dow in the early 40's ... forget now exactly when, but early. If they haven't been transfered to individual digital images they really should be ... before the film deteriorates.

Several comments after this first quick viewing ...

1. Plate 39: According to Curtis Besinger, a posed photo, as several individuals appearing in the photo did not sing in the chorus. Besinger identifies each individual in his book: Working With Mr. Wright on page 134.

2. Plate 43: While I'm not positive, I believe the apprentice in the foreground is John Lautner.

3. Plate 46: Curtis Besinger identifies each individual in the Kiva on page 110 of his book: Working With Mr. Wright, c.1995.

4. Plate 49: Used as the jacket photo of Besinger's book: Working With Mr. Wright. Besinger is the fellow looking over the top of the easel.

5. Plate 52: Curtis Besinger identifies each individual in the photo on page 55 of his book. Gertrude and Rose Pauson, for instance, are seated directly in front of Curtis and to the right of Mrs. Wright, who is in the white hat. The trader is Elmer Shupe, who sold Indian rugs. WWPeters had an especially fine collection.

6. Plate 58: A view to the Southwest, not the southeast.

7. Plate 69: Apprentice John deKoven Hill

[SDR]

There are more than a couple of (apparent) duplications as one goes through the posted collection.

While a number of these photos appear in Besinger's volume, the great majority are new to me. For the first time I have an appreciation of the route the visitor takes from the entrance drive to the east end of the complex. The views from "behind" the pergola (from the north, that is) are little known to those of us who know the site only from photographs.

One fresh impression for me is the width of the joints in the concrete paving. One imagines these filling with sand (?) over time -- the detail seems in keeping with the general rusticity of the architecture and its site.

SDR

[Rood]

[Roderick Grant]

It's a shame the wood and canvas couldn't stand the desert environment. The pink steel beams are a lousy replacement.

Are the photos of the harpist identified correctly as Svetlana, or should they be Iovanna? Did Svet harp?

The Kiva is not a big room; do you suppose fitting all the Fellows into it made it a trifle stifling? No wonder the larger theater was built.

I wonder who belonged to "a small tent structure in the desert," #76. Its rude design seems more attuned to the original nature of the place than some of the later apprentice structures, which often verge on the precious. It seems to me that the entire enterprise, from Ocatillo to Suntrap on through the various stages of T-West represents a linear process of enclosure from tent to (post-FLW) almost suburban ranch.

In #88, "The Wrights and clients on the Sunset Terrace," I may be mistaken, but I believe the woman with her back to the camera may be Marilyn Monroe.

[Craig]

[Deke]

I wonder about the copyright of these photos. The archive lists the Foundation as owner and I assume copyright holder, but shouldn't that be with the photographer or his estate? I doubt Pedro Guerero ceded copyright of his photos to the Foundation...or did he?

Deke