Found 45 collections related to Drawings

Richard Hoover (b. 1947) is an American scenic designer, production designer, and art director for theater, television, and film. The collection represents Hoover's professional work as a scenic designer for theater and as a production designer and art director for television and film. It contains designs, production binders, photographs, sketches, and video recordings related to his career from 1969 to 2015. less

David Amram (born 1930) is an American composer, conductor, and multi-instrumentalist active in classical, jazz, and folk music. The David Amram papers, dating from 1937 to 2011, most strongly represent his career path from the 1950s through the early 2000s, documenting his compositions, performances, conducting, writings, and business matters. They also evidence Amram's relationships with musicians and writers, including Jack Kerouac and other "Beat generation" figures. less

The Space Committee of the N.Y.P.L. Board of Trustees was established in 1955 to discern the space needs of the various divisions in the Research Library. Its members were: Chairman Arthur A. Houghton, Jr., Edward G. Freehafer, Morris Hadley, Carl H. Pforzheimer, Roland L. Redmond, Deoch Fulton, and Rutherford D. Rogers. The committee was active through 1959. Records of the Space Committee span the years 1955 to 1959 and include supporting material from the 1940s before the Committee's founding. Correspondence consists of letters and memoranda from committee members. Reports, Studies & Plans are formal written findings of the Committee and supporting visual materials. Drawings are architectural space plans of the Central Building. less

This small collection of papers consists of letters to the Sardis on their retirement, a scrapbook of photographs of Vincent Sardi, Sr. receiving a Shubert Foundation award in 1967, a drawing of Eugenia Sardi, clippings about the restaurant, a few printed programs and menus for special events, a souvenir program (1913) from the Screen Club, and drawings by the illustrator, Don Freeman, mostly of New York scenes and people. Some of the drawings are loose, but most are bound into copies of Don Freeman's Newsstand (1938-1950), a self-published periodical. less

Harold Gould Henderson (1889-1974) was an American author, teacher, translator, and anthologist of Japanese poetry. He taught the history of Japanese art at Columbia University, was president of the Society of Japanese Studies and the Japan Society from 1948 to 1952. In 1945 he served in Japan on General Douglas MacArthur's staff as special advisor on education, religion and art. His works included books and articles on Japanese poetry and grammar and his own Haiku poems. Collection consists of correspondence, writings, notes, and printed matter. Correspondence, 1960-1974, with poets, scholars, translators, and editors concerns Haiku poetry. Also, general correspondence of the 1930s, typescripts of writings, lecture notes on Japanese grammar, notes on Haiku, manuscript by K.C. Kondo on Japanese art, and papers relating to the Haiku Society of America. less

Henry Kittredge Norton (1884-1965) was an American educator, journalist, author, and businessman. He was an advocate of aerial transit as a method of urban mass transportation. His positions included trustee and president of the New York, Susquehanna & Western Railroad, director of Walter Kidde & Co., and member of the New York City Transit Authority. Collection consists of correspondence, reports, designs and plans, and scrapbooks of photographs documenting Norton's efforts toward the adoption of monorails for San Francisco and New York City. Papers include correspondence, 1947-1954; published and unpublished reports, 1948-1955, relating mostly to mass transportation in the San Francisco Bay area; and designs, blueprints and drawings of monorails, as well as related patents. Also, photographs in various formats and scrapbooks of photographs of New York, Susquehanna & Western Railroad facilities and operations. less

Gottfried von Reigersberg (1893-1962) was a German machinist who emigrated to the U.S. in 1927. He was born Gottfried Streit but was adopted in 1922 by Emilie Freien von Reigersberg, a descendant of a Bavarian noble family. Collection consists of correspondence, family and legal papers, photographs, and ephemera of the von Reigersberg and Streit families. Correspondence is largely personal in nature and is with members of the family. Family papers include documents concerning Gottfried von Reigersberg; legal papers and correspondence of his wife, Elsie von Reigersberg; baronial papers with Emilie Freien von Reigersberg's personal papers, adoption documents, genealogical information, poems, drawings, prints and other heirlooms; and photographs of family, friends and the town of Regensburg, Germany. less

The collection includes some memorabilia of Artur Bodanzky: 2 batons, portrait drawings by Emil Orlik and Albert Sterner, a tiny photograph of Bodanzky swimming with the child Linda Muschenheim, 2 commemorative items including a poem by Brenda Putnam illustrated with photographs of sculptures of Bodanzky conducting, and 1 drawing inscribed to the Bodanzkys by Hendrik Willem Van Loon. The bulk of the collection consists of portrait photographs of musicians inscribed to one or both of the Muschenheims. Some of these are also postcards with handwritten messages. Musicians represented include: Adolf Busch, Kirsten Flagstad, Sigrid Onégin, Arturo Toscanini, and others. Other correspondence consists of 4 postcards with views, 1 letter and 1 telegram. There are also several clippings and a list of donors in "Mrs. Muschenheim's group" to the Philharmonic-Symphony Society of New York. less

The collection contains portraits in photographs, drawings and reproductions of drawings of individuals involved in the entertainment arts. The portraits were created by G. Maillard Kesslère from 1925 through 1952, with the bulk of them amassed from 1925 to about 1946. The subjects include actors, dancers, singers, musicians, composers, conductors, critics, writers, directors, producers, and designers for the theater, dance, ballet, opera, radio, and television. The largest group in the collection consists of approximately 858 portraits in half-length, bust, or head only formats, and includes 589 black and white photographs, approximately 30 original pastel or charcoal drawings, and some 239 black and white photomechanical reproductions of original drawings. Over 500 of the subjects in this group are identified. The collection also includes a series of black and white photos of male and female subjects who are largely unidentified, but who were likely active in society, business, or the performing arts. The collection also contains biographies of theatre and entertainment professionals, compiled from 1951-1952. less

The Schindler papers consist of correspondence, photographs, newspaper clippings, pencil drawings, programmes, production schedules, and other material related to the career of Ewald Schindler. The collection includes extensive correspondence between Schindler and Liljan Espenak as well as photographic material, covering both Schindler's life and many of his dramatic roles. less

The collection consists of miscellaneous corporate records of Bowne & Co., Inc., and papers relating to the Bowne family of Flushing, Long Island, N. Y., including original letters by Robert Bowne and other members of the Bowne and related families. The collection was assembled by Edmund A. Stanley, Jr. (1924 - ) a former president and chairman of Bowne & Co., Inc. during the course of his research for his books on the history of the firm. less

Edward J. Eustace (1897-1971) was an American poet, playwright and screenwriter for the Fox Film Corporation. Collection consists of correspondence, writings, drawings, photographs, and printed matter. Correspondence, 1920-1971, is with Eustace's associates at Fox, family and friends. Writings include typescript and printed versions of his plays and poems; several typescript versions of Eustace's play, "King of the Mountain," ca. 1934-1949, with prefaces to the 1948 and 1955 editions, and related correspondence, 1945-1951; notes and sketches; and diary, 1891-1893. Other materials are drawings, miscellaneous notes, photographs, financial records, and printed matter. Also, typescript and printed poems of his aunt Sarah Eustace. less

Doug Anderson is an illustrator and author who specializes in subject matter pertaining to the theater. Born in Sutton, New Hampshire in 1919, Anderson worked for several years for the League of New Hampshire Arts and Crafts in Concord, N.H. After moving to New York he worked as a freelance artist, specializing in theater drawings and caricatures for newspapers in New York, Boston, Chicago and Philadelphia. Anderson's theater work has appeared in magazines such as THE NEW YORKER, THE NEW REPUBLIC, FORTUNE, THEATRE ARTS, READER'S DIGEST, and others. Anderson has also illustrated a number of books, including HOW TO DRAW WITH A LIGHT TOUCH, which he co-authored with Mary Anne Guitar. The Doug Anderson papers consist of drawings or reproductions of drawings by Anderson, two versions of a feature story concerning actress Margaret Rutherford written and illustrated by Anderson, and some correspondence concerning Anderson's work from Rutherford and Estelle Winwood. Margaret Rutherford's note concerns Anderson's article about her, written for Theatre Arts magazine in 1954. Included is Anderson's typescript draft of the article sent to the actress for her comments, her response, and the published version of the article. There are three Anderson drawings of Martita Hunt in the title role of THE MADWOMAN OF CHAILLOT (1948 Broadway premiere), one of which is inscribed, dated, and signed by her, as well as an inscribed drawing of Estelle Winwood in a supporting role in the same production, accompanied by her brief note of thanks. There are also four pages photocopied from Anderson's book HOW TO DRAW WITH THE LIGHT TOUCH. less

The John Steptoe Papers consist of personal papers, personal and professional correspondence, examples of his writings, reviews of his work, news clippings and programs regarding his seminars and lectures, and material from various organizations to which he belonged. The personal papers contain clippings and press releases about Steptoe's achievements, correspondence with family members, a resume and biographical essays, and obituaries. There is professional correspondence and fanmail from adults and children, as well as letters from other artists. less

The Kohlbach-Bickels were a Hungarian and Swiss family that contained a rabbi, a professor, engineers, and the first female Hungarian architect. The first generations originated in Hungary and Switzerland, with later branches moving to Germany, Romania, Norway and Israel. This collection documents three generations, covering the period from the 1880s through World War II. less

Papers consist chiefly of Halper's correspondence, 1919-1984, and literary work, 1928-1982. Correspondence is divided into four sections. Family correspondence, 1909-1969, contains letters to Halper from his four brothers and sister, his first wife, Pauline, and son, Thomas, as well as a few letters exchanged among other family members. Incoming letters, 1928-1984, contain all other letters written to Halper, while outgoing letters, 1919-1983, contain those written by Halper to family members and others. Both the incoming and outgoing letters are arranged chronologically by decade and consist mainly of correspondence with editors and literary agents regarding Halper's work. Although there are very few letters to Halper from prominent literary figures of the 1930s, his own letters to editors, fellow writers and friends reveal his opinions about his work, other writers, the Communist Party and political and literary issues of the period. In addition, there are letters from readers of Halper's memoir, Good-Bye, Union Square, and from researchers which discuss the radicalism of the period. Bulk of the correspondence dates from the 1950s-1980s, documenting Halper's struggles to get his work published and his plays Top Man and Aunt Daisy produced. less

The Maude Adams collection reflects many of the actress' varied interests: acting, directing, lighting, writing, sketching and teaching. The collection spans the years 1879-1956 and includes correspondence, writings by Maude Adams and others; papers relating to her teaching and directing at Stephens College; and programs, autographed material, portraits, clippings, and mementos from friends and colleagues. less

The Porter Van Zandt papers consist of typescripts, promptbooks, casting and production materials, set, costume and lighting design drawings and schematics, programs and touring information from Broadway, national, international and regional productions Van Zandt stage-managed and directed from 1952 through 1967. less

Collection consists of manuscript of Dobuzhinskiĭ's memoirs, in Russian, ca. 1914-1952; and letters, writings, drawings and diagrams, lists, synopses of scenes, costume sketches, and miscellaneous documents, ca. 1930s-1950s, largely in Russian with some in English, relating to Dobuzhinskiĭ's career in the theater. Also, manuscript chronology of Mir Iskusstva, the Russian art movement, and other manuscript writings, in Russian with some in English, relating to Russian stage artists and designers in Russia and abroad. less

Doretta Morrow was an American actress and singer, best known for creating roles in the classic musicals The King and I and Kismet. The Doretta Morrow papers contain photographs, programs, telegrams, clippings, reviews, a diploma, and two religious documents. less

Charles Bruce Millholland (1903-1991) was an American playwright, author, dancer, actor, model, and artist best known for his play The Napoleon of Broadway, which was the basis for Ben Hecht and Charles MacArthur's hit comedy Twentieth Century. The Charles Bruce Millholland papers contain writings, personal papers, scrapbooks, and artwork. 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

The Red Ozier Press is a private press noted for its fine quality limited editions of works by notable authors. The press was founded by Steven Ken Miller in Madison, Wisconsin, in 1976. In 1979 Miller moved the business to New York City and ran it with Ken Botnick. Collection consists of publication records, correspondence, business records of the Red Ozier Press, records pertaining to printing workshops, zinc printing plates, and papers of Steve Miller and Ken Botnick. Publication records, 1976-1986, include correspondence, typescripts, galley proofs, and materials related to books published by the press. Correspondence, 1976-1986, is with authors, artists, papermakers, printers, booksellers, and others associated with the production of the books. Business records, 1976-1984, contain correspondence, invoices, receipts, and related materials. Printing workshop records, 1982-1986, consist of files for workshops and classes taught by Steve Miller and Ken Botnick. Zinc printing plates, 1976-1986, are the original blocks used for printing illustrations for publications. Ken Botnick papers, 1980-1982, consist primarily of incoming letters when Botnick was proprietor of the Bedouin Press. Steve Miller papers, 1971-1986, include personal correspondence from family and friends, typescripts of his poems, photographs, and miscellaneous items. less

Commedia dell'arte was a popular form of theater which began in Italy in the 16th century. It includes masked character types and stock scenarios. Performed outdoors on temporary stages, its performers utilized various props instead of elaborate scenery. Original color and black and white costume drawings, prints, lithographs, and mostly 19th century reproductions in French, Italian, English, Dutch, and German, of commedia dell'arte stock characters such as the Doctor, Harlequin, Pierrot, Pulcinella, and Scaramouche. There are also 24 panels of the Balli di Sfessania by Jacques Callot. Artists include Umberto Brunelleschi, Cenni, G. Gallina, Pietro Leone Ghezzi, Raphael Kirchner, Eugene Ladreyt, Andre-Edouard Marty, and Antoine Watteau. Nicolo Caccatrippa, Fanny Cerrito and Marc-Antoine Romagnesi are among the performers depicted in costume. 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

The Frank Wigglesworth Papers document Wigglesworth's life and career. The collection was assembled by Wigglesworth over the course of his lifetime, and includes musical scores, correspondence, clippings, programs, miscellaneous papers, iconography, and books. Correspondents include Henry and Sidney Cowell, Lou Harrison, Otto Luening, Virgil Thomson, and Edgard Varèse among many others. Maurice Sendak and Adlai Stevenson are represented by one letter each. Lou Harrison's letter of February 12, 1952, contains the autograph score of his Serenade for Guitar, spontaneously composed for Wigglesworth. Series A/4 contains other autograph scores by Harrison and by Otto Luening, a manuscript score by Vittorio Rieti, and reproductions of manuscript scores by Paul Arma, Chester Biscardi, Edward V. Bonnemere, Richard Brooks, John Cage, Gerald C. Chenoweth, Edward T. Cone, Stefania M. De Kenessey, Aaron Einbond, Daniel S. Godfrey, Daron Aric Hagen, Jose Halac, Reiko Ito, Barbara Kolb, Robert Maggio, Denman Maroney, Henry Martin, Lucas Mason, Richard Owen, Peter Phillips, David L. Post, David Rakowski, Loren Rush, Marvin Salzberg, John Sembret, Davy Temperley, Virgil Thomson, Brian Wilson, Marilyn Ziffrin, and Ellen Taafe Zwilich. Sound recordings originally with the collection are now housed in the Rodgers and Hammerstein Archives of Recorded Sound. less

Katrina Castles (Mrs. Michael Schwab), formerly Kathleen Castles, and also known as Katherine Castles, was an Australian mezzo-soprano Lieder singer, a protege of Mme. Lotte Lehmann, and the childhood friend of Australian-American composer Peggy Glanville-Hicks. Her career was cut short by two bouts of cancer. Contains Miss Castles' correspondence, programs, clippings, photographs, and business papers. Includes letters and portraits from Lotte Lehmann as well as notes from Elisabeth Schumann, Kirsten Flagstad, and Colin McPhee. Also includes scores, photographs, and programs of Peggy Glanville-Hicks; an insurance policy showing Castles as the beneficiary of Glanville-Hicks; a photograph of Fritz Hart; and scores by Bax and Vaughan Williams. less

The Meredith Monk Archive documents the art of Meredith Monk and the history of The House Foundation For The Arts, Monk’s management and production company. The Archive contains correspondence, media clippings, concert programs, publicity material, writings, piece and project files, scores, business and financial papers, photographs and drawings, posters, and books. less