Frank Lloyd Wright Stained Glass Window "Northome House” LightScreen 1912 - 1914

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Frank Lloyd Wright Stained Glass Window "Northome House” LightScreen 1912 - 1914

About the Item

Frank Lloyd Wright (1867-1959) for the Francis W. Little House "Northome" window Exterior Living Room Window, Wayzata, Minnesota, 1912-1914 leaded glass, pine, copper-plated zinc Measures: Overall 19 1/4" W x 1 5/8" D x 50 1/4" H,; glass only 14 1/2" W x 44 3/8" H Provenance: Francis W. Little House "Northome", Wayzata, Minnesota Metropolitan Museum of Art, New York, New York Thomas Monaghan / Domino Farms Collection Christie's East John Toomey Gallery Private collection Francis Little, a lawyer and owner of a utilities company, was advised to move north from his home in Peoria, Illinois, for health reasons, circa 1906. Upon arriving in Minnesota, he moved into a house in the Kenwood area of Minneapolis with his wife, Mary, and their daughter, Eleanor. In 1907, he purchased land in Deephaven, Minnesota, about ten miles west of Minneapolis, overlooking scenic Lake Minnetonka. And around 1908, the Littles commissioned Frank Lloyd Wright, who had designed their home in Peoria, to design a summer residence for them on the lake site, initial plans were drawn that same year. Because Wright left for Europe in 1909, returned in 1911 and then spent part of 1913 in Japan, the house was not completed until 1914. Although several letters from Mr. Little to Wright indicate his frustration with the delay, the Littles had a close relationship with Wright and were willing to wait for him rather than choose another architect. During this time, the Littles spent their summers on the lake property in a cottage that Mr. Little designed in the style of Wright's work. Wright designed one of his last great Prairie School-style residences for the Littles. It consisted of two offset rectangles joined at the corner, which formed a single 250-foot axis parallel to the lakeshore. The characteristic long, low, hipped-roofed building hugged two gentle hills overlooking the lake. Windows spanned the entire lakeside elevation, giving the Littles full advantage of the scenic view, Wright, who drew elaborate designs for the windows, and Mr. Little, who did not want an intricate design that would obscure his view, discussed this feature at length. The most spacious and elegant room of the house was the large living/music room designed especially for Mrs. Little, an accomplished pianist who had studied under the composer Franz Liszt in Cologne and who planned to host recitals at the house. The sprawling brick-walled and wood-trim dwelling also included an appropriately grand entrance stair of thirty-six steps in three levels. After Mr. Little died in 1923, Mrs. Little moved into her husband's cottage, and gave the summer home to Eleanor and her husband, Raymond Stevenson. Around 1951, the Stevensons sold their Minneapolis home, "winterized" the summer house, and moved in full time. By the late 1960s, the Stevensons had grown weary of the challenges of living in a Wright-designed building-its large size, rising property taxes, built-in furnishings that were difficult to change, and numerous uninvited visitors. Not wanting to move or tear down the Wright house and yet wanting something smaller put the Stevensons in a difficult situation, because city zoning ordinances would not allow them to build another home on the same lot. Since no local buyer or institution could be found to save the house, a group of Wright enthusiasts contacted officials at the Metropolitan Museum of Art in New York to see if they might be able to purchase it for installation. The Metropolitan bought the house in 1972, allowing the Stevensons to retain the property. Portions of the interior were dismantled piece by piece for future installation in the Metropolitan and to sell to other institutions. That same year, the Metropolitan sold the library of the Little House to the Allentown [Pennsylvania] Art Museum and a hallway to The Minneapolis Institute of Arts in 1982, the large living/music room was installed in the New York museum. The Minneapolis Institute of Arts has installed its hallway, which originally connected to another hall leading to the master bedroom, in its Ulrich Architecture and Design Gallery.

Creator:
Frank Lloyd Wright (Designer),Temple Art Glass Company (Maker)
Dimensions:
Height: 2 in (5.08 cm)Width: 50 in (127 cm)Depth: 20 in (50.8 cm)
Style:
Mission (Of the Period)
Materials and Techniques:
Art Glass,Zinc,Plated,Stained
Place of Origin:
United States
Period:
Early 20th Century
Date of Manufacture:
1912
Condition:
Wear consistent with age and use. Minor losses. Fully intact. All Original parts, including frame and hardware. Age appropriate patina and wear.
Seller Location:
Brooklyn, NY
Reference Number:
1stDibs: LU4190316143101

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 North Carolina firm Henredon, adding a decorative frieze-like element to the edges of tables and stools. Owing to a cross-licensing agreement between Henredon and Heritage at the time, Wright's lines of the era are usually labeled Heritage-Henredon.

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.