Wright by Wright Frank Lloyd, Signed (15 results)

Softcover, 148 pages; very good condition; clean and crisp; signed by Leslie Freudenheim on title page; no other internal marks. Foreign shipping may be extra.

Dust Jacket Condition: Very Good. Black And White Photographs (illustrator). DJ shows minimal signs of wear and; handling, inside of a protective sleeve. Clean pages and tight binding, ; John Wiley & Sons; 1987; First Edition; Signed by Meehan on the title page. Filled with pictures and drawings. ; Square 4to 9" - 11" tall; 473 p.; Signed by Author Very Good handling, inside of a protective sleeve. Clean pages and tight binding, ; Paperback.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. The Frank Lloyd Weight Collection of Surimono by Joan B. Mirviss with John T. Carpenter. Inscribed by Mirviss on half title page. Large format hardcover first edition published in 1995 by Weatherhill/Phoenix Art Musuem. Inscribed by Author(s).

Soft cover. Condition: Very Good. Small square 4to. Illustrations from photographs and drawings. 3 pages introduction by Margaret Scott. Original stiff wrappers, spiral bound. Very good. No other signatures or bookplates. Signed and inscribed on the title by Margaret Scott in black ink: "Sincerely, Margaret Scott.". Signed by Author(s).

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. Frank Lloyd Wright (illustrator). 1st Edition. drawings for a living architecture Wright, Frank Lloyd First Edition Oblong folio, original fine cloth 1959 one of the key items published late in the life of America's great modern architect, he designed a table lamp for Dana House Springfield Illinois that fetched 7.5 million dollars this year and that lamp was not signed as far as I know, but designed by the master Published by Horizon, New York, 1959 signed by f rank Lloyd Wright in ink on the fore leaf of this book, it appears to be not printed but hand signed. FIRST EDITION Hardcover. First edition. 255 pages. Landscape 4to, 30 x 34 cm. Collection of 200 original sketches and presentation drawings, 75 in color. Wright supervised the selection of the material from his files at Taliesin, and features heretofore unpublished drawings. Essays by Giuseppe Samona and A. Hyatt Mayor. Published for the Bear Run Foundation and the Edgar J. Kaufmann Charitable Foundation. FREITAG 10398. SWEENEY 1264. Exceedlngly crisp, bright copy. Orig. salmon cloth. Fine in fine dust wrapper. Signed by Author(s).

Paperback. Condition: Very Good. First Edition. Richland Center, Richland County Publishers, 1984. Small square quarto, [ii] (blank), xvi, 232 pages including 60 illustrations, plus a frontis piece and 1 plate. Later gilt-lettered synthetic cloth retaining the colour pictorial wrappers; edges, endpapers and initial leaves a little foxed; mild signs of handling; a very good copy. Inscribed and signed by the author on the title page. Signed by Author(s).

Condition: Good. Signed by Wright on title page "to a great Irishman". 1949 second printing. Binding is tight, page block is sturdy and clean, boards straight, no highlights or underlining. Mylar covered dust wrapper shows some minor chipping/rubbing. Mild tanning to DJ and pages. Nice clean example. Well packaged and promptly shipped from California. US veteran operated.

Hardcover. Condition: Fine. Dust Jacket Included. First Edition. Berkeley, University of California Press, 1999. Quarto, [iv], x, 286 pages with numerous illustrations. Cloth; a fine copy with the dustwrapper very lightly sunned on the spine. Inscribed and signed by the editior (4 November 2000). The book contains ten essays by ten scholars, not least 'Bruno Zevi's firsthand account of traveling with Wright in Italy. Zevi was instrumental in bringing Wright's ideas to Italy and in helping launch the movement for organic architecture'. Signed by Author(s).

Loose Leaf in Solander Boxes. Condition: Very Good. Limited Edition. Very Good. A Complete Set of the Magnificent Selected Drawings Portfolio by Frank Lloyd Wright. -- -- New York and Tokyo: Horizon Press and A.D.A. Edita, 1977, 1980, 1982. Highest quality color reproductions of 50 Wright drawings in each portfolio. Introduction by Mrs. Wright. 50 plates (525mm X 384mm) in each box. Elephant Folio - over 15" - 23" tall. Portfolios are still in their shipping boxes and in clam-shell cases. --- Shipping weight of all 3 volumes over 120 lbs. Shipping within the US included, a $400-$800 value! ---. First editions of all three volumes of this enormous work. Volume I is the Tokyo issue, one of 220 copies (numbered C. 065), volume II is the New York issue, one of 700 copies (numbered A. 307), and volume III is the Tokyo issue, one of 500 copies (numbered A. 345). Volume II signed by Olgivanna Lloyd Wright (Wright's widow) beneath her printed signature. Together, three large folio volumes. Each volume complete with two-page descriptive text on one folding folio sheet and fifty mounted loose plates. Each collection is housed in original folding cloth clam shell boxes with bone ties (various colors of cloth), printed paper folding cases, which, in turn, are housed in original cardboard boxes with pull-off lids and printed paper labels on front. Original shipping boxes for all three volumes are present, plus new shipping boxes from last transport. Some wear, soiling to shipping boxes, minor rubbing to cardboard boxes, volume III has some faint spotting to the cloth clam shell case, some very minor occasional rubbing to clam shell cases. A fine set with 150 pristine plates.

Hardcover. Condition: Very Good. No Jacket. WRIGHT, Frank Lloyd [561] pp. Duell, Sloan, and Pearce 1943 9" x 8 3/4" Presenting a superb iconic architectural title by the master Frank Lloyd Wright boldly signed on FFEP under owner's details Hugh Mercer Jr (an accomplished architect in his own right who collaborated w/ Philip Johnson et al.) of Savannah, GA. A wonderful assemblage of association 'FLW' material for the 'Wright' connoisseur, indeed! Since archivally housed in a custom Japanese terracotta asahi silk clamshell slipcase. Signed by Author(s).

The second publication of this brochure for the Taliesin Fellowship, first issued a year previously. Inscribed by Wright on the front panel of the wrappers to a young architecture student. A typical - quirky - piece of FLW design and fragile. Although institutionally quite well represented with around 25 on WorldCat, it is inevitably scarce commercially with just two copies appearing at auction, neither signed. Taliesin, sometimes known as Taliesin East or Taliesin Spring Green after the establishment of Taliesin West in 1937, was the home and estate of American architect Frank Lloyd Wright, developed on land that originally belonged to Wright's maternal family. In 1932, the Wrights established the private Taliesin Fellowship, where 50 to 60 apprentices could come to study under the architect. Students helped him develop the estate at a time when Wright received few commissions for his work. Once he began Taliesin West, a winter home in Scottsdale, Arizona, Wright and the fellowship "migrated" between the two homes each year. Wright did not consider the fellowship a formal school, instead viewing it as a benevolent educational institution. Sold together with an original double-weight photograph of Wright (153 x 203 mm), a little silvered and cracked in the emulsion. The original recipient John Gordon "Jack" Rideout (1898-1950) became a noted industrial designer working out of Toledo and Cleveland, Ohio. Rideout always wanted to be an architect but family circumstance pushed him into more immediately lucrative employment in advertising, but after a series of hard-won ascending career moves he ended up heading his own industrial design firm holding a number of important patents, and with an impressive portfolio of accounts. His papers, held by the Hagley Museum, Wilmington, DE, include a photograph album with images of Rideout at Taliesin with Wright of around this date. Sweeney 2036 Small square folio (220 x 220 mm), pp. 10; 3 illustrations, original wrappers printed in red, contains lists of Friends of the Fellowship and Fellows, and an application form for fellowship, all printed in red and black on one side only, with one exception, and folded variously to form loose, unbound gatherings of two to four pages each. Includes a perspective drawing, a plan and an aerial photograph of Taliesin, together with one of a group of fellowship members. Central fold of the wrappers reinforced verso with Japanese tissue, old glued repair inside back panel - the original pocket for the loose sheets? - toned, edges lightly chipped, a few small stains to wrappers and pages, overall about very good.

Half Calf. Condition: Very Good. Frank Lloyd Wright (illustrator). First Edition. 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. Signed.

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: Iâve read "The Brown Decade" you so kindly sent me and it is a useful work in your splendid style. I didnât 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.

FRANK LLOYD WRIGHT (1867-1959). The greatest American architect, Wright developed the Prairie style, emphasizing horizontal lines, an open interior and houses that blended with nature. He is best remembered for the Robie House, Fallingwater, the Johnson Wax Factory and the Guggenheim Museum.TLS. 1pg. 11 x 8 . January 22, 1955. Phoenix, Arizona. A typed letter signed F. Ll. W. on his classic Taliesin West letterhead. He wrote to Jack Fajans of Douglaston, New York City: Plans for the Usonian Automatic house to which you refer are being developed so that wide distribution may be made during this winter. We shall send you more detailed information concerning it withing the next few months. The Usonian Automatic house was an attempt, in the 1950s, for Wright to design houses made from modular concrete blocks; there would be various models so the purchaser could modify the home to his or her needs. The dark autograph is in blue ink and two vertical mailing folds affect nothing; it is accompanied by the original envelope.

Wright first wrote to Lewis Mumford in 1926, when he was in his 50s and already renowned, but at a low point in his career and in desperate need of renewed critical interest in his work; Mumford was in his 30s and making his name in cultural criticism, with much of his writing focused on architecture and urban planning. His writing, however, connected the separate domains of philosophy, architecture, anthropology, and literature to one another and to the human domain in general. He greatly admired Wright's work as "the exemplar of organic design, built in accordance with the rhythms of modern life"; the two men shared ideas and interests. Wright first approached Mumford with an admiring note, and they developed an often wary friendship that meanders from growing intimacy to a break over politics and then to a gradual reconciliation. Their correspondence, which has been published, stands out in particular for the intensity of the pair's intellectual discourse.Both Wright and Mumford rejected what they considered the harsh designs of European modernists like Le Corbusier, whose spare cubist minimalism and focus on efficiency shaped the Modernist movement and earned the name the International Style. Wright and Mumford were very American with distinctly democratic style preferences, and shared a kind of Emersonian and Jeffersonian wish that architecture and technology should better serve humanistic ideals.Peter Behrens was a German architect, influential in Europe in the evolution of the modern architectural style. He established before World War I a predominantly utilitarian type of architecture that at the same time achieved qualities of clarity and impressiveness. Behrens is known for factories, residences, workers' apartment houses in Vienna, and for his pioneering work in industrial design. Among his pupils were Le Corbusier, Walter Gropius, and Ludwig Mi?s van der Rohe. In 1931, Wright?s work was exhibited at the Berlin Academy of Fine Arts. Behrens then wrote an article critical of Le Corbusier?s designs as obsessed with geometry and static, naming Wright as an obvious counterpoint. Thus Wright was placed in opposition to Le Corbusier throughout the architecture world in Europe, and he was very concerned about how his philosophies and work were presented in the article and wanted to know if the translation was really accurate. At any rate, he thought it was time for him to confront excessive modernism. He sent Mumford a copy of the article.Catherine Bauer was a social historian interested in public housing, urban, and regional planning. She and Mumford were romantically linked for years. In 1931, when Wright's lectures were published in the Princeton monograph series for art and archaeology, Bauer described the book as "the very best book on modern architecture that exists."Typed Letter Signed, Taliesin, September 10, 1931, to Mumford, sending the letter, asking for his opinion on the translation, mentioning that he?d sent Bauer a copy while teasing her at the same time, and inviting a visit. ?This may interest you - I would like to know if it ?gets over? in the German or is distorted. I thought it time to go to the mat. The thing is all over Europe by now. Behrens picked me up at once contra Corbusier. I?ve sent a copy to Catherine Bauer. I replied to her very characteristic note and hope she doesn?t mind teasing - for I called her ?Communist Catherine? There are lots of names she could call me to even up. The three evenings at the New School are Sept. 16, 17, and 18th and the 19th. We sail for Rio to make the award of the Columbus Memorial returning Oct. 26. A job on my hands. I can?t vote for anything the previous trio recommended. I guess I am going down to register a minority report._N.B. I have a job. New home in Washington, D.C.? He then adds in holograph, ?Won?t you come to the ?one man Parliament? and bring Catherine and others. We may have some fun!? Included is a copy of Mumford?s fascinating letter in response,