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Frank Lloyd Wright for Schumacher, Imperial Peacock, Tokyo, Textile Tapestry

About the Item

Frank Lloyd Wright for Schumacher Tokyo Imperial Hotel Geometric Textile Frank Lloyd Wright for Schumacher Imperial Peacock Textile. 54" x 80". Wright originally designed this pattern in the 1920’s for his Imperial Hotel,Tokyo (pattern features throughout the now demolished building - large rugs, curtainand stained glass panels as well as patterns in the cast stone architectural details (see grainy old photos / postcards). He translated the design for his collaboration with Schumacher in 1955. Cotton / Linen blend with various shades of blue, pink, tan, periwinkle, coral, red, lavender, etc. Wright's masterpiece was demolished in 1968 and replaced by a gleaming, ultra-modern four-star edifice. All that remains of the “Wright” Imperial nowadays is the hotel’s front facade, preserved today at Meiji Mura, the outdoor architectural museum near Nagoya that hosts a large collection of Meiji era architectural art. “The greatest success of the Imperial Hotel was the boldly monumental spaces Wright contrived to create despite restraints posed by the earthbound profile of the building with its purposely lowered center of gravity … It was valued for the opportunity it presented to distinguish building types by displaying a building’s character through a distinctive combination of ornament and plan. “The design of the Imperial Hotel is proof of this state of affairs, in terms of which Wright hoped, as he always did, to rehabilitate and redefine architectural Truth. “… In the Imperial Hotel, the hierarchy of ornament was thus matched with a hierarchy of spatial arrangement … The effect was charming and unusual, as many still alive will not hesitate to attest.” – The Making of Modern Japanese Architecture (1868 to the Present), by David B. Stewart, 1987 “Undoubtedly the Imperial Hotel is one of the world’s finest structures in point of character, which is all its own. It is not difficult to recognize the genius which conceived such a poem in stone and brick, and due praise must be spontaneously offered to the brilliant engineering talent which adhered to strictly straight lines and flat arches throughout the entire building. “The only fair comment that can be advanced is that the building is probably a hundred years ahead of the age in its architectural features and fifty years behind in many things which make for the comfort of its patrons. [Frank Lloyd Wright] sacrificed everything to his art, raising a monument to his genius and bequeathing to the Japanese the difficult task of making it a financial success.” – “Architecture and the Buildings of New Tokyo”, The Far Eastern Review, June-July 1925.

Creator:

Frank Lloyd Wright (Designer),Schumacher (Maker)

Dimensions:

Height: 6 in (15.24 cm)Width: 20 in (50.8 cm)Depth: 20 in (50.8 cm)

Style:

Prairie School (Of the Period)

Materials and Techniques:

Cotton,Linen

Place of Origin:

United States

Period:

Mid-20th Century

Date of Manufacture:

1986

Condition:

Wear consistent with age and use.

Seller Location:

Brooklyn, NY

Reference Number:

1stDibs: LU4190327927172

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Shop All Frank Lloyd Wright

Frank Lloyd Wright

Without question the greatest architect the United States has ever produced, Frank Lloyd Wright and his philosophy of “organic architecture” — of buildings that exist in harmony with their natural surroundings — had a profound influence on the shape of modern life. Wright gave us some of the most elegant and iconic buildings in America: residences such as Fallingwater, in rural Pennsylvania, the Robie House in Chicago, and Taliesin, Wright’s own home; and masterful institutional structures that include the Unity Temple in Oak Park, Illinois, the Johnson Wax headquarters in Racine, Wisconsin, and the Guggenheim Museum in New York. Whenever possible, Wright designed the furniture for his projects, to ensure an affinity between a building’s exterior and interior.

Wright’s wooden chairs and tables for his “Prairie Houses” of the early 1900s have sleek, attenuated forms, influenced by both the simplicity of traditional Japanese design and the work of Gustav Stickley and other designers of the Arts and Crafts movement. For Taliesin and several residential projects, Wright designed severely geometric chairs that are marvels of reductivist design. He revisited many of these forms in the 1950s in furniture licensed to the firm Henredon, adding a decorative frieze-like element to the edges of tables and stools.

The works on 1stDibs also show how happily Wright embraced new forms and materials. His desks and chairs for Johnson Wax have a streamlined look and use tubular steel to the same effect as designer Warren McArthur, who collaborated with Wright in the interiors of the Arizona Biltmore Hotel. For the Price Tower (1956) in Oklahoma, Wright designed angular wooden desks as well as upholstered pedestal chairs made of chromed steel — audacious furniture for his tallest completed building project.

The beauty of Frank Lloyd Wright’s furniture designs is that while many of us wish we could live in one of his houses, his vintage sofas, storage cabinets and armchairs connect us directly to his architecture, and to the history he made.