Frank Lloyd Wright and Alexander Woollcott standing outside of Taliesin. Photograph in the Avery Architectural & Fine Arts Library, Edgar Tafel collection.

A room at Taliesin

Reading Time: 9 minutes

Alexander Woollcott with Frank Lloyd Wright outside of Taliesin. 

a room that existed before we (or I) knew it existed.

I’m going to write about my discovery of that room’s appearance today. It’s the room with the windows that you see behind Wright, Woollcott, and the birch trees.

It was thought that the room was originally designed for Wright’s youngest daughter Iovanna (born to Olgivanna in December 1925).

Meryle Secrest wrote in her Wright biography that in March 1925, Wright and Olgivanna “made an impulse decision to start a family of their own.” [Frank Lloyd Wright: A Biography, 315]

Secrest gave no evidence for this “impulse decision”. Obviously something impulsive happened and Olgivanna was young and pretty, so I’m like, “Yeah… Sure.”

Here’s where it is:

The room is one floor above Olgivanna’s bathroom, so you walk by it as you go into her room on a tour through Taliesin.  

FYI: The bathroom was dismantled, so it’s not on tours.

You can see the outside of Iovanna’s sitting room when you’re on the Hill Crown at Taliesin. Wright added the parapet1 which you can see in this photo I took:

Looking at Taliesin living quarters on a sunny day in spring. Iovanna's sitting room is behind the parapet. Photograph by Keiran Murphy

Taliesin Fellowship apprentices did the construction of the rooms in 1933-34. Abe Dombar wrote about it in this February 9, 1934 article:

Two new rooms were added to the pageant of Taliesin’s 40 rooms merely by lowering the ceiling of the loggia and raising the roof above it to get the most playful room in the house.  The boys call it a “scherzo.”  This is little eight year-old Iovanna’s room.

Several new apprentices, with the aid of two carpenters, were working on the job continuously from the architect’s first sketch on a shingle to designing and building in of the furniture.  And the girls made the curtains.  In celebration of the completion of the room we had a “room-warming” in the form of a surprise party for Iovanna. 

Abe Dombar. “At Taliesin,” February 9, 1934. Reprinted in At Taliesin: Newspaper Columns by Frank Lloyd Wright and the Taliesin Fellowship, 1934-1937, ed. by Randolph C. Henning, (Southern Illinois University Press, 1991), p. 20-21.

It makes you think:

While kids may have been more hardy in the past, that is a lot of space for a little girl. Here’s one drawing that shows it:

The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York), #2501.008.

Although the rooms in the 1930s were smaller, there was still a bedroom, sitting room, and bathroom.

That makes sense

when you think of the playroom he scaled down for his kids in his first home in Oak Park, Illinois.  

I was told years ago that it was originally scaled down for Iovanna when she was 8, but I’ve never seen an interior photo taken at that time.

Not that this would matter anyway. Remember: Wright’s building scale already messes with your mind.

However,

The number of rooms is also due to things happening in the Wright family.

See,

when the Wrights started the Taliesin Fellowship in 1932, Olgivanna’s oldest daughter, Svetlana (“Svet”), was 15. So the next summer, Wright designed those bedrooms for both Svet and Iovanna (then 7 years old).

But things got complicated.

One of those complications was related to one of the first Taliesin Fellowship apprentices: Wes Peters.

No doubt

Olgivanna made sure to keep her pretty young daughter away from all of the architectural apprentices in 1932 and ’33. But it was all intense and, even if you had them working 15 hours-a-day, young is young and those two (Wes and Svet) fell in love.

They wanted to get married and Svet’s parents said absolutely not.

And, yes, Frank Lloyd Wright fell in love with Catherine Lee Tobin when he was, maybe 19-20 (Kitty was 16-17); and Olgivanna got married when she was 19, but the marriages for those two ended in divorce, so….

But, come on:

check out the screenshots from the film apprentice Alden Dow made in 1933, the first summer those two knew each other. They’re so cute:

Screenshots of William Wesley Peters and Svetlana Wright Peters in 1933 film by Alden B. Dow.

The movie is the property of the Dow Archives, but you can see it in sections through this link.

So, in September 1933,

Wes and Svet left the Fellowship, even though Svet couldn’t get married until she was 18. You can read about their history in this book, “William Wesley Peters: The Evolution of a Creative Force“.

Svet’s age (15 or 16), gets me scandalized, but then again: I’m no longer a teenager.

I mean: I was completely bummed when—in grade school in the spring of 1980—I found out that Sting was 28 years old and married. But then I realized that, “uhh… Keiran? Sting’s not waiting for you.” [I may remember this moment because I was surprised by that grown-up thought]. 

You can read my teenage thoughts about Sting in my post: “Dune, By Frank Herbert“. I wrote this about the second installment of the Dune movie by Denis Villeneuve coming out in March 2024.

To get back to Iovanna’s bedroom:

For years, we thought that before that area had rooms and a bathroom, there was just a mezzanine up there that ended above Taliesin’s Living Room.

You can see it at the top of this post.

And that it ended on the other end just over Wright’s bedroom.

To picture it, you can see part of the mezzanine in this post.

However, in 2004-5, I was asked to research the entire history of that floor up there.

So I did what I usually try do:

I try to wipe my mind of preconceptions2 and look at photos. And so, for the the first time, I saw something earlier photos at Taliesin that shouldn’t have existed at that time. I saw in these earlier photos a chimney flue for the fireplace that’s in Iovanna’s Bedroom. Among other photos,3 the flue appears in one taken in 1928:

Photograph by architect George Kastner of Taliesin. Taken on November 11, 1928.

This photo is published on p. 4 in the Journal of the Organic Architecture + Design archives, Vol. 7, no. 3, 2017 in the article for that issue, “Desert and Memoir: George Kastner and Frank Lloyd Wright,” by Randolph C. Henning.

That flue I pointed out goes to only one fireplace: the one for Iovanna’s Bedroom. Yet George Kastner took this photograph in 1928, 5 years before the apprentices even started working in that area. So it didn’t match what I thought I knew. I thought that, before 1933, this stone mass was simply… stone. That it was like the stone mass that’s on the south side of Taliesin’s living room. That this part was only stone.

Like what was in Hillside’s Dana Gallery on the Taliesin estate that I wrote about in “Truth Hiding in Plain Site“. That it was mostly stone before the Taliesin Fellowship.

But since I couldn’t deny what was in photographs,

I got in my car and drove to Taliesin to see what I could find.

I went upstairs, looking for evidence that things had changed. First thing I noticed was that the stone was executed at one time, as opposed to being changed later. See my photo of the fireplace below:

Interior photograph of fireplace in Iovanna Lloyd Wright's Bedroom. By Keiran Murphy on 9-24-2003.

Contrast this

With the fireplace in the adjacent room. In 1933-34, Apprentices built that fireplace out of the existing chimney. And it certainly looks like it.

I took the photo below where you see the side of the chimney. On the left hand side you see stone that used to be outside. The red stones were those that went through the Taliesin fires in 1914 and 1925. The lighter stone on the right is stone placed there by apprentices when they built the fireplace mantelpiece:

Side of the chimney in Iovanna Lloyd Wright's sitting room. Photo by Keiran Murphy in 2003.

 

After looking at the two fireplaces, I thought about that “At Taliesin” article. In the article, Abe Dombar says,

Two new rooms added to the pageant of Taliesin’s 40 rooms….

But there weren’t two rooms on that floor in 1934. There were three: Iovanna’s bedroom, the bathroom, and the sitting room (the room at the newer fireplace).

In fact, the drawing doesn’t label Iovanna’s bedroom. It only labels “Iovanna’s room”, which is the sitting room with the new mantelpiece.

And one more thing: the bathroom

You can see the bathroom in the plan above. When I started thinking maybe Iovanna’s Bedroom was there before 1933-4, I thought how it doesn’t make a lot of sense for Wright to build a bathroom out of line with the bathroom one floor below. Often bathrooms are in line with each other because this makes laying the plumbing lines easier.

yeah, yeah, yeah: we can talk about how impractical Wright could be as an architect, but at Taliesin he had to live with whatever he designed. And bathrooms are expensive, even if the labor was free….

Moreover,

in 2007, I looked at Taliesin’s drawings for real in Wright’s archives. Luckily for me, Taliesin’s estate manager suggested I take photocopies of Taliesin’s drawings so I could take notes on what I saw in them.

In drawing #2501.007, I saw the word “nook” in pencil with a line going about where Iovanna’s Bedroom was:

Elevation of Taliesin. The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural and Fine Arts Library, Columbia University, New York). #2501.007.

The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York), #2501.007.

I can’t tell you when 2501.007 was drawn, but the details say 1925-32. I think that in the early Taliesin III period, what became Iovanna’s Bedroom was originally a sitting room, a “nook”, that could be used as a bedroom if needed.

alas, we don’t have Wright’s design for the couch/bed simplicity of a futon frame

3 more things:

coz: in for a penny, in for a pound

One Taliesin drawing shows the “sash details” of the windows in Taliesin’s Living Quarters. This is drawing #2501.032. See the detail of it below:

The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural and Fine Arts Library, Columbia University, New York). 2501.032.

The three windows I pulled out from the drawing match the three windows currently on the east wall of Iovanna’s Bedroom. The drawing labels these windows as being for—not a clerestory or above the mezzanine, but—”Gallery Bed Room”.

Also, in 2006

The Taliesin Preservation crew worked in a closet in Iovanna’s Bedroom and found remnants of pipes going through the floor above Olgivanna’s bathroom. I asked what those pipes could be, and one crew member (I forget who) said they were small enough to be used for a sink, but not a toilet or tub.

Wright could have had this little room up there and if someone were just staying overnight, they could use the sink in the morning to brush their teeth.

One of those people might have been architect Philip Johnson

See, back in the 2000s someone emailed me at work. He was working on a book of interviews conducted by architect Robert A.M. Stern with Philip Johnson.

Stick with me here

At one point, Stern talked to Johnson about Wright:

Robert A.M. Stern: And in researching for the book [on the International Style] you also went to visit Wright?

Philip Johnson: …. We went to see Wright in 1930 in Taliesin East [sic]. I stayed overnight in the part that’s now all closed in and ruined, in the upper terrace there, just above the big room. We visited and had a great time and we realized that he was a very, very great man.

The Philip Johnson Tapes: Interviews with Robert A.M. Stern (The Monacelli Press, printed in China, 2008), 41.
The book’s price tag is over $40, but I’m that crazy: I got the book on sale for $10.

He mentions “the big room”. In 1930, there wouldn’t have been any other “big room” on the Taliesin estate except for the Taliesin Living Room.5 He was wrong about the placement of the room on that floor, but there was nothing else up there in 1930 that matches it.

OK!

I hope I explained what I found/think.

That is:

When Wright rebuilt his living quarters after the 1925 fire, he built a mezzanine above the main floor that ended in a small room with its own fireplace, three windows on the east wall, and windows (or possibly French doors) on the other side.

The windows above and behind where Alexander Woollcott and Frank Lloyd Wright are standing in the photo at the top of this post might have looked into this “nook”.

 

The photo at the top of this post was taken 1937-41 and published in Apprentice to Genius: Years with Frank Lloyd Wright, by Edgar Tafel, p. 179.
First published October 22, 2023.


Notes

1. He expanded the space and added the parapet in 1943 for an anticipated visit by Solomon Guggenheim (of the Guggenheim Museum commission) and curator, Hilla Rebay.

2. Which I remember every damned time I think about the window found in Taliesin’s guest bedroom that was staring me in the face for years in photos. I’ll write about it another time to go over it in detail. It’ll be penance.

3. I think I first noticed it in a photo that I can’t show because I don’t think it’s ever been published. It’s Whi(x3)48218, an aerial photograph in the Howe Collection at the Wisconsin Historical Society.

4. Her personal spaces were featured in a Wright Virtual Visit in 2021, which is on Facebook, here.

5. It wasn’t at Hillside because Johnson said they visited it and while it was a great building, he described Hillside in 1930 as “a total wreck”.  

Photograph of a section of Frank Lloyd Wright's Taliesin, fall.

Unfinished Wing

Reading Time: 5 minutes

George Kastner took this photograph on November 28, 1928. It’s looking northeast at the far western end of Taliesin.

“I don’t know why you say it was a pigsty,” Minerva said to me (Minerva became a member of the Taliesin Fellowship in the 1950s). “It always had goats.”

She was referring to a section at the end of Taliesin. It’s rectangular, with a shed roof, and stands over a sandy area. It’s never been lived in. I’d heard it was called a pigsty because Frank Lloyd Wright had the label “Hog Pens” in it, the first time it appeared in a drawing. You’ve seen part of this drawing before, but this part (below) shows the far western part of the Taliesin structure. “Hog Pens” is there, in and outline:

Part of the Taliesin II floor plan executed in 1924. Archival number 1403.023
Location of original drawing, unknown.

The drawing was originally published in Wendingen Magazine during issues it published on Wright in 1924 and 1925.
Then the magazine issues were published as a book, The Life-Work of the American Architect Frank Lloyd Wright, by Frank Lloyd Wright, H. Th. Wijdeveld, ed. (Santpoort, Holland: C. A. Mees, 1925).

Most of what you see in the drawing was designed as the “Farm Court”. It had the hog pens, a yard with a circular pool for the pigs, and a room on the right placed there for the boar.

Moreover,

90 degrees to the left of the Hog Pens was the poultry house. This space contained the entire chicken life cycle:

  • the “incubator room” (for hatching eggs),
  • the chicken coop (raising the chickens),
  • and the abattoir (harvesting them).

Between the poultry house and the pigsty/goat pen was the octagonal “Granary” with circular “Silo”.

Those two were never built. Even though Wright had drawings showing them.
See — I told you not to trust the drawings. But you didn’t listen to me, did you.

All of these spaces (for hogs, chickens, and feed) are all related to the photograph that is at the top of today’s post. And that’s what I’m going to write about today.

Architect, Brian A. Spencer gave me the copy of the photograph at the top of this post. This, and other photographs of Taliesin were taken in 1928 by George Kastner.

Kastner appeared in my post “Oh My Frank: I Was Wrong” and one of his photographs is in “Wall at Taliesin’s Garden Court“.

Kastner arrived at Taliesin to work under Wright on November 20, 1928.1 His dated photographs give us a certain date on details at Taliesin. Better yet, Kastner labelled the photographs on the back!

What did he write on the back of the photo at the top of this post?

Unfinished Wing

So, even though this part of the building had been around since 1924 (according to that drawing and photos 2 ) it was, according to Kastner (or Wright), “unfinished”.

Did Wright ever use this part of the building the way he originally planned?

We know this was built after 1920.

How do we (ok: mostly me) know that?

The Pigsty/Goat pen was added after the November 1920 drawing by Rudolph Schindler (I referenced the drawing in a post late last year).

And this part of the building existed by 1924 when the Tsuchiuras (Kameki and Nobuko) were at Taliesin.

But, then what? Did he ever have pigs there?

So, here’s what I did:

I investigated whether or not Wright had the time to finish this part of the building, what with a fire and bankruptcy and all that crap.

Although, I didn’t really do this. I just knew the work of the ones that did. 3

So, Wright’s life in the 1920s is abbreviated below:

1922

In August, Wright comes back from Japan after working on the Imperial Hotel for years. But, he probably didn’t have time to construct the farm wing before the winter set in. And he might have held off while trying to settle into other commissions. Because, in

1923

he’s in Los Angeles working on commissions from February through late September.

Then he was back at Taliesin in October and November, when he married his second wife, Miriam Noel. Then he was in California again from December until

1924

the end of February.

He’s back in Wisconsin near the time of the death of his mentor, Louis Sullivan (Sullivan died in Chicago on April 24).

Miriam Noel left Wright by late April/early May.

Wright stayed put at Taliesin for most of the rest of the year.

He meets Olgivanna in late November after a trip on in late November to see the ballet with a friend.

Looking at the dates and Wright’s availability, I think that 1924 was when Wright built what’s in that drawing: a chicken coop, hog pens, incubator room, and sure, parking spaces. He had the time, and perhaps thought it was time to get some farming done in Wisconsin (Wisconsin is the Dairy State after all).4

1925

In the beginning of this year, Wright, along with his new love Olgivanna and her daughter, Svetlana, was living at Taliesin. In April 20 of that year, the second Taliesin fire happens.

That little fire certainly pulled him away from thinking about the chicken coops on the other end of the building. So, Wright redesigned and rebuilt Taliesin’s living quarters for most of the remainder of 1925.

Then

In early December, Olgivanna gave birth to her and Wright’s daughter, Iovanna. The life of Wright and the three other people in his life (Olgivanna and the two daughters) for lots of reasons having

NOTHING TO DO WITH FIRES

goes off the rails for years. Due to this, Wright sure didn’t have a lot of time to think about being a dandy country farmer. 

And, while that part of the building did eventually have chickens (for years), George Kastner’s 1928 photograph says that the entire western side of the building was not, for years, used for farm work.

Originally published July 25, 2022.
The photograph at the top of this post is the property of Brian A. Spencer, architect. Used with permission.


Notes:

1 Kastner and others lived with the Wrights at the camp Wright designed in Arizona, Ocotillo. Several of Kastner’s photographs are in the article, “Desert Camp Memoir: George Kastner and Frank Lloyd Wright”, in Journal of Organic Architecture + Design, vol. 7, no. 3, 2019

2 I can’t show you the photos of that part of the building in 1924. They’re not owned by me and I have never been in contact with the person or institution that has the rights to them. The owners would be really (and justifiably) pissed off if I showed them. But I was able to show the photo of Taliesin after the 1925 fire photo months ago, because it’s published in a book. Although if anyone wants to get in touch with the owners and give me a call I’m sure I could do a good job writing about them.

3 Wright scholars have figured out Frank Lloyd Wright’s activities 1911-32. I found this information by looking in the books, FLLW: Designs for an American Landscape (185-201) (link to the Library of Congress exhibit web page, here); Meryle Secrest’s biography, FLLW: A Life, the book, FLLW: 1910-22, The Lost Years, by Anthony Alofsin, and “Wright and the Imperial Hotel: A Postscript,” by Kathryn Smith, Art Bulletin 67, no. 2 (June 1985).

4 ALTHOUGH, in some sort of Wisconsin crime against all that is perfect, the website “www.comesmellourdairyair.com” is owned by someone from outside of the state. Why, Vicarious Ranch in California of all things! They’ve got goats, pigs, lambs and a creamery, which sounds wonderful, so I hope they make a good living.

Frank and Olgivanna Lloyd Wright outside at Taliesin with Alexander Woollcott holding baby goat.

Guest Quarters

Reading Time: 5 minutes

Frank Lloyd Wright (left) with his wife, Olgivanna, and friend, writer Alexander Woollcott outside the architect’s home, Taliesin, 1935-43. Woollcott holds a baby goat. The west wall of a bedroom is in the background. This became Wright’s bedroom in 1936.

My years of working at Taliesin Preservation gave me time to uncover the history of Wright’s changes at the Taliesin estate. Although (no surprise, I admit), most of my interest centered on the Taliesin structure by Wright (his home, studio, and former farm).

In trying to figure out Taliesin’s history, I spent time looking at copies of his drawings. While I was/am always cautious toward them, I came to trust some that actually seemed to match what existed.

You’ll see them or a link to them in my post today.

For example

Wright drew elevations in the early 1920s of the portion of Taliesin on which he was adding a guest apartment. This work was done after he returned from working on the Imperial Hotel in Tokyo.

I noted this change when I wrote about Taliesin II (Taliesin’s forgotten middle child).

This drawing from the early 1920s is number 2501.025.

“2501” on the drawing usually indicates “Taliesin III” (meaning, post-1925). But details in the drawing mean it comes from the Taliesin II era (before the 1925 fire). I’ll show which portion is exclusively Taliesin II. The part where I’ve added the arrow is what became Olgivanna Lloyd Wright’s bedroom. In the Taliesin II era, that room had that small balcony that I’ve pointed the arrow at:

Elevation of Taliesin, 1920-25. 2501.025
Property: The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York

I think Wright added this “Guest Apartment” to increase the attractiveness of coming to Taliesin. Even today, you’re about a 45-minute drive west of Madison, the Wisconsin state capital. Moreover, in the early 1920s the only place to stay was in the village of Spring Green (three miles away), which had one hotel. This was a three-story building with the Hotel Myers and a restaurant on its first floor named the Dutch Kitchen.2 And in the 1920s, you couldn’t have even gotten a Brandy Old Fashioned there.

Thus, the architect designed a guest apartment (without a kitchen) at Taliesin. The two bedrooms, living room and separate bathrooms were on the same floor as the architect, separated by his own rooms by a door.

Then, the second fire happened

The April 20, 1925 fire destroyed Wright’s living quarters and he began rebuilding that summer. The reconstruction included the guest apartment. A Taliesin III drawing shows part of this in the drawing linked to here. It’s an elevation and floor plan on one sheet, labelled as “guest living room”.

You’ve seen this “guest living room” before

A door separated the “guest living room” from everything else on the floor. This door was seen in the photograph in my post “About a Wall at Taliesin That No Longer Exists”. It’s the open door on the left-hand side of the photo.

While ups and downs in Wright’s life after 1925 kept him away from Taliesin, he and his family were there in 1928 and he wanted to invite someone to his “guest quarters” when everyone was living again at home. I know this because of a letter that I found on one of my trips down to Frank Lloyd Wright’s archives when they were still at Taliesin West in Arizona.3

As I’ve written, as Wright was the architect, he didn’t have to ask permission to change whatever he wanted. So, there are very few (or non-existant) letters or telegrams to pinpoint changes. As a result, I looked for details (and, goodness, still do) in any way that I could.

What did I find?

Since I read letters between Wright and people he knew, I looked into those between him and friends, employees, etc. I knew writer Alexander Woollcott visited, so I read those letters. And, in 1928, soon after Wright and his family had returned to Taliesin, Wright invited Woollcott to visit, even encouraged him to bring a friend. On page two of this letter he wrote:

. . . . You could have my little studio with a big stone fireplace to write in, and he or she could have a little studio nearby to draw in. We would look [hook?] you up together in the guest quarters back of the house,—two bedrooms and a sunny sitting room with a big fireplace in it. . . .

FICHEID: W045B08: 1/1/1928 (unknown month and day).
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York

Those “two bedrooms” at the “guest quarters back of the house” are the ones I’ve been writing about.

I recognized this sunny room with the big fireplace in it. It’s in the photograph below. The photo was published in the March, 1929 issue of Liberty magazine:

Taken inside Taliesin, looking southwest in Loggia fireplace. 1926-29.
Copyright David Phillips| The Chicago Architectural Photographing Company.
Published in the Journal of the Organic Architecture + Design Archives, volume 6, number 1, 2018, 73.

This image is published in the Journal of the Organic Architecture + Design Archives, volume 6, number 1, 2018, 73. That’s available through here.

I’m not sure how often these two rooms were used for guests. Anyway, in 1936, Wright changed the two guest bedrooms into separate bedrooms for his wife and himself and then re-designated their former bedroom as the Guest Bedroom.

OH, and one last point:

Wright’s letter to Woollcott shows that the architect thought of those two rooms as guest rooms. But on a practical level, originally they might have been planned as bedrooms for the daughters Svetlana and Iovanna.

I thought about all of this last year, and these thoughts evolved into a presentation on Wright’s changes to Taliesin for Iovanna, which I did for the Monona Terrace “Virtual Wright Design Series” in October of 2020. That presentation, “Life Is Not Monotonous at Taliesin” is on Youtube, here.

Originally published on September 19, 2021.

The photograph at the top of this page was published in Frank Lloyd Wright. Frank Lloyd Wright Collected Writings, volume 4: 1939-49, edited by Bruce Brooks Pfeiffer, introduction by Kenneth Frampton (Rizzoli International Publications, Inc., New York City, 1994), 192.

 


Notes

1. This means that I will not trust anything that man put into a drawing unless I see a photograph of it. “Fool me once…” etc.
2. The Administrator in Historic Studies for the Frank Lloyd Wright Foundation clarified the name of the hotel (as previously I just had the name of the Dutch Kitchen).
3. I would have spent useless time during my first trip to the archives if the registrar hadn’t taken pity on me and got me a very nice listing of correspondence about the actual Taliesin structure, and not just everything latter that contained the word “Taliesin”. Taliesin was mentioned in letters from people wanting to join the “Taliesin Fellowship”, or everyone wanting to get the magazine they put out for a while entitled “Taliesin”. It was so great when the Director and Curator of Collections at the Frank Lloyd Wright Foundation gave me this modified list.