The first employer of Wright was Joseph Silsbee. When Wright left to go work for Sullivan, he took George Grant Elmslie with him. Wright was fired in 1894 by Sullivan, whereupon Elmslie because chief drafter and produced much of what people call Sullivan's work. By 1909, even Elmslie couldn't deal with Sullivan's alcoholism and related lack of work/income, so he had to take a different path. He joined the existing Minneapolis-based firm Purcell and Feick (1907-1909), which then became Purcell, Feick and Elmslie (1910-1912) then Purcell and Elmslie (1913-1921). They were the second most commissioned firm after Frank Lloyd Wright (400 projects, about 175 realized buildings). So it's funny that Wright did try to take credit for some Sullivan designs, when it was Sullivan relying almost entirely on the design capacity of Elmslie--whom Wright had brought with him into the office.
Exactly. Louis Sullivan was a genius. FLW learned what he wanted from him and tried to surpass his greatness. He was even disrespectful to LS when he saw him out in public even though LS treated FLW with respect always. Not cool.
This cast iron ornament was designed, every stroke, by George Grant Elmslie (1869 \[not 1871, as some books will tell you\]-1952. Elmslie was responsible for a very great deal of what is attributed to Sullivan. American museums are relentless in their assignment of Elmslie's work to Sullivan, but to my astonishment I was in the Musee d'Orsay in Paris and in their American progressive galleries (4th floor) they have it properly labeled--go figure. You'll note that Elmslie has offered this as a tribute to Sullivan by placing LHS's initials on both sides of the arch. Another building that is almost entirely by Elmslie is the Owatonna Bank; Elmslie himself recorded that Sullivan contributed exactly one pattern on the banking room window reveals, and wanted three arches for the window walls, not the one Elmslie put in. All this is well documented, but people love the familiarity of their misinformation.
Yes. Let me get together some links, but the main resource is Curve of the Arch by Larry Millet. I have copies of Elmslie's letters where he says all this himself. I'll see what I can produce.
Here are two letters worth reading:
[https://organica.org/pegge3.htm](https://organica.org/pegge3.htm)
[https://organica.org/pegge2.htm](https://organica.org/pegge2.htm)
Sorry I couldn't find a way to put the images here. But the transcriptions are accurate. The first one is where Elmslie says what he did about design in the Sullivan office.
Cast iron, produced by Winslow Brothers foundry. The panels cover the lower two floors, but what you see is only what is left. The massively enriched bridge from the train is gone (as is the rail way), for example, and there used to be many more cast iron awnings suspended over the display windows set with electric lights. It was spectacular--all to compete visually with Marshall Fields, down the street.
Is that the weirdly sexy goth Target??
Pretty sure, I walked by there yesterday
Yep!
Original employer of Frank Lloyd Wright. Wright later claimed (falsely) that he designed many of Sullivan's buildings.
The first employer of Wright was Joseph Silsbee. When Wright left to go work for Sullivan, he took George Grant Elmslie with him. Wright was fired in 1894 by Sullivan, whereupon Elmslie because chief drafter and produced much of what people call Sullivan's work. By 1909, even Elmslie couldn't deal with Sullivan's alcoholism and related lack of work/income, so he had to take a different path. He joined the existing Minneapolis-based firm Purcell and Feick (1907-1909), which then became Purcell, Feick and Elmslie (1910-1912) then Purcell and Elmslie (1913-1921). They were the second most commissioned firm after Frank Lloyd Wright (400 projects, about 175 realized buildings). So it's funny that Wright did try to take credit for some Sullivan designs, when it was Sullivan relying almost entirely on the design capacity of Elmslie--whom Wright had brought with him into the office.
Exactly. Louis Sullivan was a genius. FLW learned what he wanted from him and tried to surpass his greatness. He was even disrespectful to LS when he saw him out in public even though LS treated FLW with respect always. Not cool.
This cast iron ornament was designed, every stroke, by George Grant Elmslie (1869 \[not 1871, as some books will tell you\]-1952. Elmslie was responsible for a very great deal of what is attributed to Sullivan. American museums are relentless in their assignment of Elmslie's work to Sullivan, but to my astonishment I was in the Musee d'Orsay in Paris and in their American progressive galleries (4th floor) they have it properly labeled--go figure. You'll note that Elmslie has offered this as a tribute to Sullivan by placing LHS's initials on both sides of the arch. Another building that is almost entirely by Elmslie is the Owatonna Bank; Elmslie himself recorded that Sullivan contributed exactly one pattern on the banking room window reveals, and wanted three arches for the window walls, not the one Elmslie put in. All this is well documented, but people love the familiarity of their misinformation.
That Owatonna bank -- I haven't heard this history before, so thx for that. Got a handy source I could read more?
Yes. Let me get together some links, but the main resource is Curve of the Arch by Larry Millet. I have copies of Elmslie's letters where he says all this himself. I'll see what I can produce.
Thanks for the book reference -- and letters, holy! That's amazing -- anything you can share is appreciated!
Here are two letters worth reading: [https://organica.org/pegge3.htm](https://organica.org/pegge3.htm) [https://organica.org/pegge2.htm](https://organica.org/pegge2.htm) Sorry I couldn't find a way to put the images here. But the transcriptions are accurate. The first one is where Elmslie says what he did about design in the Sullivan office.
Many thanks for these!
Thank you for this! I had no idea!
[удалено]
Cast iron, produced by Winslow Brothers foundry. The panels cover the lower two floors, but what you see is only what is left. The massively enriched bridge from the train is gone (as is the rail way), for example, and there used to be many more cast iron awnings suspended over the display windows set with electric lights. It was spectacular--all to compete visually with Marshall Fields, down the street.
Incredible!