Found 8 collections related to Swatches

The Ruth Morley Papers document the career of Ruth Morley, costume designer for theater, opera, motion pictures and television. The materials date from 1940-1990 (bulk years 1925-2005) and include production materials such as costume plots and notes, sketches, and swatches; production notes, schedules, and contact lists; costume and research photographs and slides; correspondence, contracts and financial records, as well as a substantial number of scripts. The collection also includes professional papers such as correspondence, coursework and lecture notes, research materials, and theatrical vendor brochures. There are no personal papers in this collection. less

Aline Bernstein (1882-1955), New York City designer for theater, opera and dance performances from 1920s to 1950s, began her career designing for productions at the Neighborhood Playhouse, and later on for Broadway, operas and dance productions. Her credits include The little clay cart (1924), The game of love and death (1929), The happy time (1950), and Regina (1949), an opera for which Bernstein's designs won a Tony Award in 1950. Bernstein was also the author of 3 books: two novels, Three blue suits (1933) and The journey down (1938); and An actor's daughter (1941), an autobiography of her early life. Original costume and set designs, notes and correspondence of Aline Bernstein. Includes ca. 135 color designs and 306 preliminary pencil sketches, many with swatches attached. The correspondence mostly covers letters of appreciation by readers of Bernstein's two novels. The collection includes some 1929-1930 letters and postcards by author Thomas Wolfe (1900-1938), with whom Bernstein had a relationship in 1925-1930. less

Jeanne Button (1930-2017) designed costumes for Broadway and Off-Broadway productions, as well as for dance, opera, film, and television. Her second husband, MacDonald Eaton (1929-2013), was a set and production designer for television and stage, as well as a painter. The Jeanne Button and MacDonald Eaton designs and papers, dating from 1950 to 2015, document Button's and Eaton's designs, careers, and art, as well as the career of Button's son, actor Raphael Sbarge. less

Desmond Heeley (1931-2016) was a British-born costume and set designer for theater, ballet, and opera who worked internationally. Through original sketches, prints, production bibles, reference files, photographs, and correspondence, the Desmond Heeley designs and production files primarily document the North American portion of Heeley's career. less

Bonnie Cashin was born on Sept. 28, 1908 (published dates vary) in Fresno, California. While still a teenager, she received her first professional assignment for the producers of the Fanchon and Marco dance troupe. Moving with the troupe to New York, circa 1934, Cashin began designing for stage shows at the Roxy Theatre. Around 1937, she became head designer for Adler & Adler, a New York City coat and suit manufacturer. Cashin went back to California in 1943, where she worked until 1949 on some 60 Twentieth Century-Fox motion pictures. Cashin returned to fashion design around 1950, becoming one of America's most influential designers and winning numerous awards. She died while undergoing open heart surgery at New York University Hospital, New York City, on Feb. 3, 2000. Approximately 211 color costume designs, mostly for motion pictures, circa 1944 - circa 1949, including Anna and the king of Siam, 1946; Billy Rose's Diamond Horseshoe, 1945; Home in Indiana, 1944; Junior miss, 1945; Laura, 1944; A tree grows in Brooklyn, 1945; and Where do we go from here?, 1945. There are also some designs and photographs for the Roxy Theatre stage shows, circa 1930s, as well as 2 designs (unused) for Lincoln Center usherette uniforms, ca. 1960. less

Motley is the corporate name of sisters Margaret Harris (1904-2000) and Sophie Harris (1900-1966), and Elizabeth Montgomery Wilmot (1902-1993), who designed sets and costumes for theatre, opera, ballet and motion pictures from 1932 to 1976 in England and the United States. Their first designs, for London productions by John Gielgud and Michel Saint-Denis, were very successful, and in 1936 Saint-Denis founded The London Theatre Studio (1936-1939), a radical new theatre school which incorporated courses in theatre design taught by the Motleys. In 1940, Margaret Harris and Elizabeth Montgomery went to New York and remained there until the end of World War II, designing for numerous productions on Broadway. In 1946, Margaret Harris returned to London, while Elizabeth stayed, married the writer and journalist Patrick Wilmot (1904-1960), and continued to design for plays, musicals, operas, and ballets in New York until 1966. Original color costume designs on paper, tracing paper, or board, possibly created by Elizabet (Montgomery) Wilmot, one of the three women who designed under the pseudonym Motley. Includes drawings for Miss Liberty (1949); Paint your wagon (1951); The tempest (1945); and Tovarich (1963), as well as designs for Laurence Olivier (Henry II) in Becket (1961); Richard Burton (Philip the Bastard) in King John (1953); and Michael Redgrave (Warbeck) in The witch of Edmonton (1936). less

Robert Edmond Jones was born in Milton, New Hampshire and attended Harvard University. Jones became an innovative force in modern set design for the American theatre. He also designed for opera and dance and was named Radio City Music Hall's first art director in 1932. Jones died at his birthplace at the age of 67. Primarily original costume designs, but also several set designs, sketches, and portrait drawings by designer, producer and writer Robert Edmond Jones for stage productions including some operas. Among the productions are: The barber of Seville (opera) by Gioacchino Rossini, 1941; Percy Mackaye's Caliban by the yellow sands, for the New York Tercentenary Celebration, 1916; Carmen (opera) music by Georges Bizet, 1932; The Cenci by Percy Bysshe Shelley, undated; The devil and Daniel Webster by Stephen Vincent Benet, 1939; The fountain by Eugene O'Neill, 1925; Die gluckliche hand (opera) by Arnold Schoenberg, n.d.; Mary of Scotland by Maxwell Anderson, 1933; The merchant of Venice by William Shakespeare, ca. 1914; A midsummer night's dream by William Shakespeare, n.d.; Night over Taos (previously titled City forgotten) by Maxwell Anderson, 1932; Orpheus (opera) by C.W. Gluck for Central City Opera House, Colorado, 1941; Othello by William Shakespeare, 1943; Susanna, don't you cry (musical with Stephen Foster songs) by Sarah Newmeyer, 1939; and the Tuskegee Choir for Radio City Music Hall, 1932. Many of the costume designs include swatches. There are 3 unidentified portrait drawings (1 for which the actor Irving Pichel was possibly the model) and 2 caricatures (1 of which is unidentified). There are worksheets attached to 2 of the 3 costume designs for a night club scene from an unidentified 1932 production (possibly for Radio City Music Hall). less