Found 47 collections related to Set design drawings

The Theatre Guild Technical Drawings and Other Production Materials primarily consist of miscellaneous technical drawings and other items documenting various productions put on by the independent production company. The contents of the individual files on productions, mainly dating from the 1920s and 1930s, vary, but may include ground plans, stage plans, and light and/or property plots. less

Jo Mielziner, theatrical designer. Consists of 26 original set design drawings by Jo Mielziner. Seventeen are for a 1965 revival of DANTON'S DEATH translated and directed by Herbert Blau and performed by the Repertory Theatre of Lincoln Center at the Vivian Beaumont Theatre, seven are for the 1968 original production of I NEVER SANG FOR MY FATHER at the Longacre Theatre, and two are for THE THIRD LITTLE SHOW (revue), 1931, at the Music Box Theatre. A few of the drawings are signed or initialled by Mielziner. less

The Helen Hayes papers span the years 1817–1963 and consist of correspondence, the majority from friends and colleagues; speeches and writings, including drafts and handwritten index cards of speeches; clippings from her earliest days in theater and covering her work in film, television, and radio; programs for theatrical productions and awards ceremonies; awards and ephemera including her honorary degrees, appointments to committees, and citations for her charitable work; designs including costume designs for theatrical productions and artwork created by friends and colleagues; photographs, including family photographs, candid shots and professional portraits from childhood, production stills and publicity from theater, film, and radio, and portraits by famous photographers; and scrapbooks, some dedicated to particular theatrical productions and others that cover all aspects of her career and life. less

Richard Rychtarik, costume and set designer. Consists of 24 watercolor drawings, mostly costume designs, for a 1922 production of ANNE PEDERSDOTTER at The Play House in Cleveland, Ohio. Some of the drawings have notes in pencil on character, actor and costume specifics; others are unidentified. Also includes three set designs and a playbill. less

Marius Sznadjerman was born in Paris in 1926. He escaped to Spain with his parents in 1942, moving to Venezuela where he attended the School of Fine Arts in Caracas. After moving to the United States in 1949, Sznajderman studied at Columbia University with scenic designer Woodman Thompson and printmaker Hans Mueller, receiving both a B.F.A. and M.F.A. He served in the U.S. Army from 1953-1955 and has taught at several universities, including New York University, School of Visual Arts and Fairleigh Dickinson University. Sznajderman has also had numerous exhibitions of his work over several decades. Over 350 original designs, principally for sets (mostly color), floor plans, and studies created by Marius Sznajderman for Circle in the Square Theatre and the French Art Theatre in the 1950s. The collection also contains production and research notes, as well as publicity material and posters. There are also some publicity materials for Circle in the Square, programs, fliers, and postcards for individual productions, blueprints, elevations, as well as a number of black and white photographs. Also included are costume designs (possibly for The firebrand, ca. 1924), several sketches, a sketchbook with notes, ca. 1918-ca. 1924, by noted stage designer Woodman Thompson, perhaps related to Sznajderman's research for the play Ludus Coventriae. In addition to Sznajderman's set designs, studies, floor plans, and production notes for the French Art Theatre, New York City (Eve Daniel, director), there are subscription letters and 7 posters, ca. 1951-1958. less

Consists of ten slides with accompanying documentation: a detailed listing in English and an article about the fate of Bilinsky's designs by René Clémenti Bilinsky in French from CinemAction (no. 97, 2000). Slides consist of a set design for the movie MONTE-CRISTO (France, 1929), a costume design for the opera PELLÉAS ET MÉLISANDE at the Royal Opera of Covent Garden in London (1937), set and costume designs for the movie AMORE IMPERIALE (Italy, 1941), set design for the movie SENZA CIELO (Italy, 1941), costume design for the play IL TENENTE VIRGOLA at the Odeon Theatre in Milan (1941), set design for the play SAINT JOAN at the Argentina Theatre in Rome (1943), and two women's costume designs from unidentified productions. less

Donehue was a director working primarily for the New York stage and television in the 1950s and 1960s. He also directed two films in Hollywood. The collection includes personal correspondence; production files containing notes, letters, partial scripts, cast lists, contracts and financial papers; complete scripts, many for television shows; clippings of reviews; and a few manuscripts and photographs. less

The majority of the Knorr papers is comprised of set designs and production materials. The collection illustrates Knorr’s multiple talents and his unifying role as a producer. The designs and plans include Knorr’s early work for the Capitol and Roxy theaters, a formative time in his career. Amongst the designs are those of the Milton Berle shows (1948-1952) and the Miss Universe and Miss USA pageants in the early 1960s. less

Alvin Colt is an award-winning costume and scenic designer that has worked in film, television and theater. The collection consists mainly of costume designs for television productions from the 1970s and 1980s, but also includes scenic designs for stage productions drawn early in his career (1935-1947). less

Paul Morrison (1906-1980), whose prolific theatrical career began in New York with the Theatre Guild and Group Theatre, designed sets, lighting and costumes for more than 60 Broadway productions, often working in multiple capacities. This collection includes many of his scenic and lighting designs and a few costume designs, as well as notes and sketches. less

The Radio City Music Hall Collection of the Designs of James Stewart Morcom and John William Keck contain color set designs, including renderings, elevations and details, of productions primarily from the Radio City Music Hall as well as other venues. less

Original set designs, working drawings and sketches, blueprints and notes by Mstislav Dobuzhinskiĭ for the following productions: Anne of England by Mary Cass Canfield and Ethel Borden adapted from Viceroy Sarah by Norman Ginsbury (1941); Boris Godunov opera by Modest Mussorgsky (n. d.); Don Giovanni music by Wolfgang Amadeus Mozart and with an Italian libretto by Lorenzo Da Ponte (1952); Das Dreimaderlhaus (House of the Three Girls) adapted into English language versions as Blossom Time and Lilac Time is a Viennese pastiche 'operetta' with music by Franz Schubert rearranged by Hungarian Heinrich Berte and a libretto by Alfred Maria Willner and Heinz Reichert (n. d.); Emilia Plater (Lithuanian National Theatre) (1939); Enough Stupidity in Every Wise Man by Alexander Ostrovski (1953); Eugene Onegin (opera) by P. Tchaikovsky (different productions 1923-1953); The Fair at Sorochinsk book by Nicolai Gogol, music by Modest Mussorgsky (1942); The Four Ruffians by Edward J. Dent adapted from I Quattro Rusteghi by Goldoni music by Ermanno Wolf-Ferrari (1951); Die Geburt der Salome (1944); Happy Endings by A. Chekhov (n.d.); Khovanshina by M. Mussorgsky (1948-1950); Love for three oranges (1949); Masked Ball music by G. Verdi (1940); A Month in the Country (1909); Queen of Spades by P. Tchaikovsky (1925-1931); Radvila Perkunas by Jurgis Karnavicius (1936); Wozzeck opera music by Allen Berg (1952). There are also a few designs for unidentified productions. Most of the designs and sketches are signed. 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

The Kenneth Foy papers date from 1947 to 2014 (bulk dates 1990-2008) and consist of design files, drawings and sketches, paintings, photographs, and research files spanning the career of scenic designer, Kenneth Foy. The materials pertain exclusively to Foy's artistic output, predominantly showcasing his set design work in theatre and opera. less

Ben Edwards (1916-1999) was an American scenic designer and art director, and occasional lighting designer, costume designer, and producer, working in theatre, industrial shows, film, and television. The Ben Edwards designs and papers (1884-1999, bulk dates: 1938-1999) document his career and personal life with designs, drawings, research files, letters, and other files. less

Alice Lewisohn Crowley was born in New York City in 1883, a daughter of Leonard Lewisohn. With her sister Irene Lewisohn, she established the Neighborhood Playhouse on Grand Street in 1915, a theater and teaching facility for dance and drama. By 1920, professional actors had replaced the amateur troupe of children and adults, and the Playhouse became known for its avant-garde productions. The neighborhood theater closed in 1927. In 1928, Alice Lewisohn Crowley, Irene Lewisohn and Rita Wallach Morgenthau established The Neighborhood Playhouse School of the Theatre, still in operation in New York City. Crowley died in 1972 in Zurich at the age of 88. The designs are primarily costume designs, with a few set designs, for theatrical productions including Everybody's husband by Gilbert Cannan, 1919; Harlequinade by Harley Granville-Barker and Dion Calthrop, 1921; The mummer's revel and The masque of the apple, music by Kurt Schindler, 1931 with costume designs possibly by Esther Peck; Night at an inn by Lord Dunsany, 1916; Pinwheel by Francis Edward Faragoh, 1927 with sketches and notes by Donald Oenslager; and The player queen by William Butler Yeats, 1923 with costume designs probably by Alexander Koiransky. Ballets represented in the collection are La boutique fantasque, music by Ottorino Respighi, 1920 with costume designs probably by Esther Peck; Petrouchka, music by Igor Stravinsky, 1916; Royal fandango by Gustavo Morales, 1921 with costume designs and 1 set design by Ernest de Weerth; and 1 costume design for Le tricorne, 1922 "after Picasso's design for a costume for the ballet." There is 1 set design by Jo Davidson of the Wailing Wall for the symphonic drama Israel by Ernest Bloch, 1928. There are also several unidentified costume and set designs. less

The Living Theatre, founded by Judith Malina and Julian Beck in 1947, produced avant-garde plays performed in New York theaters until 1963, when they were shut down by the IRS for failing to pay taxes. After a worldwide tour, the Living Theatre settled in Berlin in 1965. The company toured the United States in 1968. After touring Brazil and Europe, the Living Theatre came back to New York in May 1989 where it has its present home. Mostly color and black and white costume designs, set designs and sketches for productions (1948-1967) by the Living Theatre, many by founders Julian Beck and Judith Malina. Also includes hand drawn floor plans, several designs for fliers and posters, and ephemera. There are a few color snapshots for Aria da capo and R.U.R. There are also several sketches by Julian Beck for a dance by James Waring, Dances before the wall, Mar. 1958. 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

Scenic designer Richard Harrison Senie, born in 1916 in New Hampshire, designed sets for several television shows, many of which were produced by NBC Studio, such as I remember Mama, the Armstrong circle theatre, and The Gabby Hayes show. In 1951, Senie also designed the sets for Broadway's St. Joan, which opened in Oct. 1951 at the Cort Theatre. He died in 1986 in New York City. Originals and copies of set designs, sketches, and technical drawings such as elevations, floorplans, and hanging plots. Designs are primarily for television sets of shows produced by NBC, but also include designs and a three-dimensional stage model for St. Joan, Senie's only theatrical production. less

Gabriel M. Powell, artist and designer was born in 1902. His early career, in the 1930's, was in dance where he worked as a dancer and designer for the Gluck-Sandor Ballet Theatre. Among the company were such noted dancers as Klarna Pinska, Jose Limon and Jerome Robbins. By 1936, however, he was a designer of theatrical sets, and created the set for OUTWARD BOUND at the Forrest Theatre. Later productions included work on the musicals of Rodgers and Hammerstein and Irving Berlin. In his later years, Mr. Powell concentrated on his career as an easel artist. The Gabriel M. Powell Theatrical Designs consist of both costume and set designs for productions throughout his career. less

Nat Karson, producer and designer of costumes, sets, and lighting in theatrical and television productions in New York, was born in Zurich, Switzerland in 1908, and moved to Chicago at an early age. He moved to New York in 1929, and worked in theatre productions at the Federal Theatre Project, including the all-black-cast production of Macbeth (1936), directed by Orson Welles. Karson also produced and created set, costume and lighting designs for theatrical productions on Broadway and elsewhere, such as the 1939 New York World's Fair. He served as the art director of Radio City Music Hall (1936-1943), and in 1948 he became consultant producer at the Columbia Broadcasting Company. His credits include The Hot Mikado (1939), Keep off the grass (1940), and Hamlet at the Kronberg Festival in Denmark (1949). Nat Karson died in New York City in 1954. Originals and copies of color costume and set designs; sketches and costume plots; technical drawings; and storyboards by Nat Karson for theatrical and television productions in New York during 1931-1949. The collection also includes 2 sketchbooks of set designs, several cut-outs of stage models, 1 caricature, 2 posters, and some black & white photographs. less