© Mark Hertzberg (2026)
A quick test: think “Frank Lloyd Wright.” Chances are that images of Fallingwater, the Robie House, the SC Johnson Administration Building or other structures came to mind. It is a safe bet that you did not visualize any of his furniture. It has oft been written that Wright was concerned about the whole of his commissions…designing furnishings (and sometimes even clothing) for his clients, rather than only their home or public building. Yet, relatively scant attention has focused on his furniture en toto.
The four pieces at the entry to the show below the quotation from Wright are, from left to right: Easy Chair for Francis W. Little House, Peoria, c. 1903; Musician’s Chair for the Dana-Thomas House, Springfield, c. 1903-1904; Slant Back Chair for the Hillside Home School, Spring Green, c. 1902-1903; and Side Chair for the Avery Coonley Playhouse, Riverside, c. 1912.
There have been only three research-based books on the subject – three out of how many hundred books about Wright? That was the impetus for the “Frank Lloyd Wright- Modern Chair Design” exhibition at the Museum of Wisconsin art (MOWA) in West Bend, Wisconsin. The exhibit ran from October – January.
Thomas Szolwinski, MOWA’s Curator of Architecture and Design told guests during a curated tour in January that Wright designed more than 800 pieces of furniture. Some clients elected not to have the furniture built, and some pieces no longer exist. Wright designed “different chairs for different purposes,” noted co-curator Eric Vogel. “Wright was dismissive of his furniture,” and “Wasmuth was not interested in his interiors” for the famous portfolio.
Vogel has examined every one of the Wright furniture drawings. Vogel and Szowinski selected 42 pieces to exhibit. Thirty were located and lent to MOWA. The other dozen were built for the exhibition, meticulously following Wright’s drawings by Current Projects, by Wright’s great grandson S. Lloyd Natof, and by Stafford Norris III, whose mother and step-father are stewards of Wright’s Malcolm and Nancy Willey House in Minneapolis. They used the drawings to make computer models before making wood models of the pieces. The upholsterer was Chad Alexander Matha. The spun aluminum pieces designed for the Guggenheim Museum were fabricated by Butler Metal Spinning Corp.
The dining room set from the Malcolm and Nancy Willey House in Minneapolis
Above: Dining Chair for the Emil Bach House, Chicago, c. 1913
Right: Armchair for Taliesin, Spring Green, designed c. 1929, and second from right, and below, “Mori” Chair for the S. Mori OrientalArt Studio and Japanese Print Shop, Chicago, designed c. 1914
Above and below: Armchair for Taliesin, designed c. 1914; fabricated 2025 by Stafford Norris III
Szolwinski noted how details of the chair echoed the windows at left.
Above: Armchair for Taliesin, designed 1914
Above: Armchair for the Francis Little House II, “Northome,” Wayzata, Minnesota, designed c. 1913; fabricated 1970
Chair for the A. D. German Warehouse, Richland Center, Wisconsin, designed c. 1935; fabricated 2025 by Current Projects
Above, Ten pieces make up the famous “Origami” Armchair for Taliesin West, Scottsdale, Arizona, designed 1946
Honeycomb Lounge Chair, Prototype for Heritage–Henredon, Henredon Furniture Co., Morganton, North Carolina, designed c. 1955
Again, furniture echoes the design of the house…here are hassocks for the Robert Llewellyn Wright House, Bethesda, Maryland, designed c. 1957–58
Café Chairs and table for the Solomon R. Guggenheim Museum, New York, designed c. 1957; fabricated 2025 by Butler Metal Spinning Corp.
The museum partnered with the Frank Lloyd Wright Foundation to develop the exhibition. The 30 extant pieces were lent by 15 institutions and homeowners, integrating Wright’s furniture with his architecture. Szolwinski said there were three obstacles faced by the curators, “Time, money, and space.” The fabricators of the new pieces were sometimes challenged by ambiguities in the drawings. Using Taliesin as “a lens to see what [Wright] did” the curators looked for lesser known designs, eschewing, for example, the well known pieces designed for the Larkin Building and the SC Johnson Administration Building. Wright designed more flexible furniture beginning in the 1930s, as his house designs became smaller with the leap from Prairie-style to the Usonian designs. This was also some of the earliest use of construction plywood, “It was thin, but strong, and affordable.”
Further reading: I have presented only an overview of this important exhibition. I highly recommend the exhibition book published by MOWA. It is written by Szolwinski and Vogel, with the assistance of Jennifer Gray of the Frank Lloyd Wright Foundation. She is Vice President of the Foundation and Director of the Taliesin Institute:
https://wisconsinart.org/product/frank-lloyd-wright-modern-chair-design/
MOWA (Museum of Wisconsin Art): https://wisconsinart.org
The Winter 2025 issue of the Frank Lloyd Wright Quarterly is devoted to “The Evolution of Frank Lloyd Wright’s Furniture: and has four important articles. The Quarterly is available only to members of the Frank Lloyd Wright Foundation. Follow this link to join: https://franklloydwright.org
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Workers smooth out newly poured concrete at the entrance to the church Thursday June 19. This is part of Phase 2 of work at the church.
SC Johnson Administration Building, Racine (1936)
Mr. and Mrs. Wright and their guests sat in the seats to the right.
From Wright’s “An Autobiography:” When I was a small child I used to lie awake listening to the strains of the Sonata Pathetique—Father playing it on the Steinway square downstairs in the Baptist minister’s house at Weymouth. It takes me back to boyhood again when I hear it now.” [FLLW: Collected Writings, v. 4, p. 147.]
The Buddha statues will be put back in their original places flanking the stage.
A dining chair from Taliesin (c. 1925) frames a view of the library table for the Edward C. Waller House Remodeling (1899).
The library table, in turn, frames the Taliesin chair and an “origami chair” from Taliesin West (1946).
Hanging lamp, William R. Heath House (c. 1905) – the lines are distorted by the camera angle.
Minerva, her daughter, Margo, and son, Andrew
There was a video slide show
Granddaughter Divina Allan and great-granddaughter Eliza Harry-Ray, 4
Olivia Dubson, a special friend of Minerva’s
Margo reads from Minerva’s baby book…Minerva, a surprise twin, was late, setting the stage for a lifetime habit, Margo said with a chuckle.
Indira Berndtson
Yes, Happy B/day Minerva! Indeed!
Wright in Racine 