Lot 416
  • 416

Frank Lloyd Wright

150,000 - 250,000 USD
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  • Frank Lloyd Wright
  • Clerestory Window from the Avery Coonley Playhouse, Riverside, Illinois
  • opak glass, clear glass, zinc cames, wood frame
  • 24 x 38 1/4  in. (61 x 97.2 cm) including frame17 3/4  x 33 1/2  in. (45.1 x 85.1 cm) excluding frame


Avery and Queene Ferry Coonley, Avery Coonley Playhouse, Riverside, Illinois, 1912-1920
Thence by acquisition of the Avery Coonley Playhouse, 1920-1967
Elliot Golub, Winnetka, Illinois, 1967-1986
Domino’s Center for Architecture and Design, Ann Arbor, Michigan, acquired from the above, 1986
Christie’s New York, Important 20th Century Decorative Arts Including Arts & Crafts and Architectural Designs, June 9, 1995, lot 47
Acquired from the above by the present owner


David A. Hanks, The Decorative Designs of Frank Lloyd Wright, New York, 1979, pp. 112-113 (for the commission and period photographs of the present windows in situ)
Frank LLoyd Wright: Art in Design, exh. cat., Hirschl & Adler Modern, New York, 1983, pp. 30 (for a period photograph of the present windows in situ)
David A. Hanks, Frank Lloyd Wright, Preserving an Architectural Heritage, Decorative Designs from The Domino's Pizza Collection, exh. cat., New York, 1989, pp. 74-81 (for the commission and a period photograph of the present windows in situ) and 78-79 (for lots 119 and 120 illustrated)
Anthony Alofsin, Frank Lloyd Wright: The Lost Years, 1910-1922, A Study of Influence, Chicago, 1993, p. 73 (for a period photograph of the present windows in situ)
Terence Riley, ed., Frank Lloyd Wright: Architect, exh. cat., The Museum of Modern Art, New York, 1994, p. 165 (for a period photograph of the present windows in situ)
Thomas A. Heinz, Frank Lloyd Wright: Glass Art, Berlin, 1994, pp. 149-153 (for the commission and period photographs of the present windows in situ)
Julie L. Sloan, Light Screens: The Complete Leaded Glass of Frank Lloyd Wright, New York, 2001, pp. 284-293 (for the commission, illustrations, period photographs of the present windows in situ and artist sketches) and p. 290, no. 383 (for the present lot illustrated)
Dean Eastman, Frank Lloyd Wright’s Coonley House: Story of a Masterpiece, 2012, pp. 71-77 (for the commission and period photographs of the present windows in situ)


Overall very good condition. The window has been exceptionally well-preserved by the prior owner and sensitively, professionally conserved in order to maintain the original integrity of the materials. All of the glass and caming appear original and undisturbed. The glass with some scattered minute air bubbles inherent in the making and not visually detractive. The glass surfaces throughout with some extremely minor and fine surface scratches consistent with age and gentle handling. The window with some extremely light surface soiling concentrated to the contours adjacent to the caming. The came of the bottom border protrudes outward very slightly only visible upon close inspection when viewing the window from the side, but does not appear to be bowed. Some areas of the caming have been filled in with new putty consistent with the original production process in order to stabilize the glass. The reverse of the window with some scattered extremely minor traces of paint and discoloration to the caming. The window with a later replaced wood frame which was executed to emulate the aesthetic and proportions of the original frame. The frame with expected wear consistent with age and handling, including scattered surface scratches, abrasions and occasional white scuffs, and with some occasional small holes from prior hardware. The wood fitters on the reverse securing the windows within the frame all appear stable. A masterful example from the Coonley Playhouse clerestory window scheme, distinguished by its strong graphic composition, sophisticated color sensibility, and dynamic multi-colored squares emulating confetti from Wright’s “Kinder-Symphony.”
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.