Frank Lloyd Wright

Darwin D. Martin House, Buffalo, New York, circa 1903-1905
Richard Feigen Gallery, New York
Acquired from the above by the present owner, circa late 1960s

Jack Quinan, ed., Frank Lloyd Wright: Windows of the Darwin D. Martin House, exh. cat., Burchfield-Penney Art Center, Buffalo State College, Buffalo, 1999, p. 16 (for the smaller panel)
Eric Jackson-Forsberg, ed., Frank Lloyd Wright: Art Glass of the Martin House Complex, Petaluma, CA, 2009, p. 60 (for the design)

Overall in very good and stable condition. As seen in the catalogue photograph this lot comprises two laylight panels of different dimensions (one shorter end panel, and one longer middle segment) which together form one harmonious composition. The interior and exterior surfaces of the window have been sensitively cleaned by a leading professional conservator specializing in stained glass windows. The panels with light surface soiling to the adjacent contours of the window caming. Each panel with a few tiles with small and minor clamshell chips to the edges, not visually detractive. The smaller panel with one green tile in the innermost vertical border with a small chip on the exterior surface measuring approximately (1/8 x 1/4 inch wide), only visible upon close inspection and not visually detractive. The same panel with one white tile in the innermost vertical border with a small diagonal hairline crack, stable. The larger panel with seven adjacent tiles concentrated to the innermost vertical border with hairline cracks, and with some associated small clamshell chips, all stable. The zinc cames of each panel retain much of the original brass plating on both the interior and exterior, particularly on the perimeter cames. The cames with expected surface wear, some rubbing to the plating throughout, and scattered areas of discolorations and oxidation concentrated primarily to the joins and on the perimeter cames (the latter not visible when the panels are installed in frames). The larger panel with a few small scattered bruises to the perimeter came. A highly complex and dynamic composition displaying outstanding coloration and iridescence. When viewed with reflected light, the iridized surfaces display a wide range of fully saturated and striking jewel-tone hues. The catalogue photographs show this laylight with reflected front light (versus remitted back light). The catalogue photographs are slightly oversaturated and do not sufficiently capture the true radiance, luminosity and subtleties of the glass. Please feel welcome to contact the department for additional photographs. Please note that this two-part laylight is presently installed in a later painted wood frame that will be made available to the successful buyer. This frame is installed with two eye hooks on both the top and bottom elements for suspension.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The Martin House laylights (flat ceiling panels through which both sunlight and artificial light brighten the rooms) are among the commission’s most dynamic designs. The two-part composition offered here, comprised of a square end panel and longer middle panel, displays a complex pattern elevated by the thoughtful juxtaposition of brilliantly iridized glass next to opalescent and clear glass. A myriad of rectangular and square pieces comprise a complex border around a central motif of successive rectangles.  Bits of white and amber glass provide calm intervals between shimmering iridized green glass.  When seen with reflected light, the overall effect is rhythmic and dazzling.   The kaleidoscopic pattern has very little clear glass, making the laylights perhaps the most beautiful of the Martin House windows.

Wright’s selection of glass for the laylights was dictated by the practical issues of lighting in residences which were used both day and night.  First, by definition, a laylight is illuminated by artificial lighting at night, which required Wright to install incandescent bulbs above each laylight.  The bulb must be hidden by the laylight glass, so the design cannot contain much clear glass.  At night, the golden light from the bulbs radiates through the colored glass in hues of mossy green, butterscotch, and amber with dark bands formed by the wide caming setting off the design.  During the day light would bounce off the various interior surfaces and strike the glass.  Ordinary glass would look dull, so Wright indulged his passion for iridescent glass that would reflect the colors of the rainbow, enlivening the interiors throughout the residence.

Julie L. Sloan, Stained-Glass Consultant, North Adams, MA