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Perhaps SDR can post a scan of the Complete Works detail. Also, you may want to consider contacting the Archives at the Avery Library/Columbia University to see what they could send to you.
They sent me a link to what they have on file, I’ve sorted through everything with no luck. The music stand in question is the one used for Zimmerman and Shavin along with both Taliesin’s.
The stand includes upward returns to the ends of the sheet-music ledges, seemingly designed to limit the width of the music that can conveniently be placed on the stand. One of these returns has been excised from the Heinz photo.
Here is a photo by Thomas Heinz of the stand as seen in Taschen, a photo in Diane Maddex, "50 Favorite Furnishings," p 58, the drawing and two details thereof, and the text found in Taschen.
Photo © Thomas Heinz
Photo © Currier Gallery of Art
© The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
http://www.steinerag.com/flw/Artifact%2 ... 3Music.htm
Like the rest of the furniture in the Zimmerman House, the music stand was constructed in a Manchester manufacturing company, under the supervision of John Geiger, Wright's on site apprentice. Like the five other Wright music stands in existence, drawings were not necessarily made; if a drawing was requested . . . Wright often incorporated any necessary modifications in terms of wood choice, form and detailing. In a recent correspondence, John Geiger recalled, "_ [the music stand] seemed such a natural in that [garden] room silhouetted against the grand piano. It went through a development period and no drawing existed for its finished form. [After it was finished,] Joe Fabris [another Taliesin apprentice] made a drawing from the finished product specifically for the Zimmermans." (3)
Wright's first designs for such a music stand date from the early 1930s when he made two versions in oak veneer and Philippine mahogany for the living room at Taliesin and the playhouse of the Hillside Home School. These were used by family members and also by his apprentices, once Hillside had been converted to use as his educational setting for apprentices called the Taliesin Fellowship. In his autobiography Wright states that his living room at Taliesin - where the music stand was installed next to a grand piano - acted as a stimulus to the apprentices to think about good design; everything was to be experienced from here, from views of the sheep on the hills outside to the "house decorations" indoors. The presence at the Hillside Playhouse of professional musicians and accomplished players amongst the apprentices themselves - where the second music stand was installed - also spurred interest in these spaces as a setting for all kinds of classical and folk repertoire. (4)
Is the drawing of the music stand as published in Taschen and reproduced above the one made by Joe Fabris ? It doesn't bear the Zimmerman's name, nor is it dated. Perhaps Joe or another drafter made a copy for the Taliesin files ? When would that have been done ? Was no drawing of the piece made before the 'fifties ?
What garden room was John Geiger referring to: the one at Taliesin North or at Taliesin West ? Is there a music stand there as well ? If so, when would it have been made ?
I might call it "the armadillo"---for the hump-like form of the "roof."