The rotunda was dedicated March 1, 1925, with a concert by English contralto Maude Elliott. Just five months after the dedication, Osborne and Fitzpatrick were convicted of fraud after a lengthy $150,000 trial, more than the cost to build the portal (see above). They had sold the same burial plots repeatedly — as many as 16 times — and netted a profit of $3 million to $4 million, according to dozens of scandalous period articles making headlines in the Los Angeles Times stories of the era. They were fined $12,000 each and sentenced to 10 years in Leavenworth prison but served less than half the sentence.
"My relationship with Schindler was a cordial one. Although he never attended an assignment with me, he provided invaluable critiques of my photographs. I particularly recall his comments when reviewing prints of his Daugherty House in the Santa Monica Mountains. He asked: "Why on your interiors is the lighting equal in intensity on adjacent walls?" He then pointed to the naturally illuminated walls in his studio. Each differed, the light sources struck at varied angles. What a lesson! In my use of floodlights it had not occurred to me that illumination need not be uniform. Schindler's observations were timely for, as I became more active, there was a growing responsibility for more realistic identity of natural values in my interior compositions. My photographic techniques were further enhanced by his continuing comments on my interpretations to his designs. We both gained." (Julius Shulman: Architecture and its Photography, Taschen, 1998, pp. 46-48).
John Crosse interviewing Julius Shulman for the film "William Krisel: Architect" with film maker Jake Gorst. Photo by production assistant Phil Weyland, 2009.
R. M. Schindler's now Fitzpatrick-Leland House was donated to the MAK in 2008 by then owner Russ Leland after completing a 10-year restoration process. Most Schindler fans will remember the house through the iconic images of the then fledgling lensman Julius Shulman who captured one of the few spec houses designed by Schindler, the others being three at 423, 429 and 433 Ellis Ave. in Inglewood in 1940, one of which was recently meticulously restored in award-winning fashion by Steven Ehrlich for his daughter in 2010. (See Vuong, Zen, "House of the Issue - Steven Ehrlich Architects," Architects Newsletter, December 6, 2010).
"Unlike most of Schindler's houses, which were designed for specific clients, the Fitzpatrick-Leland House was built on spec—a promotion of sorts for a new hilltop housing development. The angular, terraced structure was anything but anonymous—Schindler was the most idiosyncratic of L.A.'s early modern masters—but the spirit of the place was still aspirational. Gordon holed up in the basement game room for two-and-a-half weeks to paint." (Romano, Andrew, "Kim Gordon: Going Solo After Sonic Youth, and Why She Identifies With ‘Girls’," The Daily Beast, April 10, 2014.)
"Both the Dallas-based collector Karol Howard and the New York dealer Luise Ross feel that, more and more, general art audiences are appreciating both self-taught and trained artists’ works without drawing strict distinctions; they credit outsider art’s increasing presence in museums and art fairs for helping to steer this trend. Howard and her husband, George Morton, have built a collection that seamlessly brings together self-taught and trained artists’ works in many different formats and media. Howard says, “What kind of artist may have a made a particular piece is less important to us than its overall strength and the appeal of its subject matter.” However, Ross notes that, in the still-ailing art economy, “there are no younger clients; young people look at the work but never inquire about anything.” Even if outsider art may appear to some to be breaking out of a label-limited category, she suggests, it is solid sales that give an art-market trend its momentum." (Gomez, Edward M., "On the Border," Art & Antiques, February 2011).