Found 86 collections related to Costume design drawings

Franne Lee (1941- ) is a costume and production designer for theater and film, as well as a producer and visual artist. This collection contains designs, correspondence, and other materials related her production designs from the 1970s to the mid-1990s. Also included are materials for original projects on which she collaborated. 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

Designer and painter Percy Anderson was known in England for his work with producer Sir Herbert Beerbohm Tree and the original productions of Gilbert and Sullivan operettas (all D'Oyly Carte productions at the Savoy from The yeoman of the guard on). The majority of Anderson's design work on Broadway occurred prior to 1915. At a time when theatrical designers were unknown, Percy Anderson was acknowledged in playbills and his name mentioned in reviews. He died October 28, 1928 at the age of 77 in London. Original designs, primarily for costumes, by Percy Anderson for the theatrical productions of Adrea by David Belasco and John Luther Long (Belasco Theatre), 1905; and 2 costume designs for Twelfth night by William Shakespeare, n.d. For the play Adrea, there are also 9 boot plots with sketches, notes and samples, and a stage curtain design for the Belasco theatre. less

Peter Wexler (b.1936-) is primarily a set and costume designer for theater, music, and television, as well as a producer, artistic director, lighting designer, photographer, and visual artist. This collection contains set designs, correspondence, and other materials related his production designs from the 1970s to the mid-1990s. Also included are materials for original projects on which he collaborated as a design consultant. 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

The Merry-Go-Rounders Records follow the activities of the Merry-Go-Rounders children’s theater group from 1944 to 1974. This collection includes administration files, production materials, music scores, and photographs of the Merry-Go-Rounders. The majority of content consists of materials from the company’s productions. Notable productions are Ballet Charades, Dr. Fasolati’s Dilemma,The Goops,A Love for Three Oranges, and The Snow Queen. 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

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

Canadian theater festival specializing in productions of Shakespeare. Consists of 28 costume designs, all color prints, from a variety of productions, Shakespearean and non. The drawings are identified with the name and date of production, the designers, the characters, and the actors who wore the costumes. Designers with three or more designs are Robert Fletcher, Desmond Heeley, Leslie Hurry, Brian Jackson, Tanya Moiseiwitsch and Robert Prevost. less

Tanya Moiseiwitsch (1914- ), costume designer. Consists of three original designs for an unidentified project, two of which have been mounted side by side on the same piece of cardboard backing. The two paintings mounted together each depict a soldier in 19th century European parade uniform. One soldier beats a drum, the other carries a baton. The painting mounted alone depicts a woman of the same approximate era, in black dress and hat. Includes fabric swatch. less

Patricia Zipprodt won three Tony Awards throughout her long career as a costume designer (and was nominated for eleven). She is best remembered for her most famous productions: Fiddler on the Roof (1964), Cabaret (1966), Zorba (1968), Chicago (1975), Sweet Charity (1987) and the film The Graduate (1967). The collection includes many original designs and sketches, as well as costume bibles, costume research, photographs, and productions materials. 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

Albert Packard was the business manager of the costume shop for both the Roxy Theatre and Radio City Music Hall from 1930 until 1982. The Roxyettes/Rockettes, a precision chorus line marked by synchronized high kicking, began as the Missouri Rockets in 1925. After moving to New York City, they becoming the resident performers at the Roxy Theatre and were renamed the Roxyettes. The Roxyettes were part of the opening show at Radio City Music Hall in 1932, stayed on and were renamed the Rockettes in 1934. Both theaters had a ballet corps as well as the precision dancers. The Roxy Theatre and Radio City Music Hall costume design drawings executed in gouache provide detailed and colorful documentation of many Roxyette and Rockette performances. Most of the materials are unsigned, undated and lack titles though some character names are given making the stories recognizable for Alice in Wonderland, Hansel and Gretel, Madame Butterfly, and Scheherazade among others. Some designs are labelled for the Christmas or Easter shows. It appears that most productions were assigned a number which is written on the back of the designs. The lower numbers are for costumes for the Roxyettes and the higher are for the Rockettes. The collection also includes costumes for individual featured performers such as Patricia Bowman and for the Radio City Corps de Ballet. The designs have penciled notations on fabric type, and sometimes, the names of the chorus line performers. Some have fabric swatches attached. Marco Montadoro drew the designs for Alice in Wonderland and some others. less

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

Designer, dancer and actress, Ruth A. Sobotka, was born in Vienna in 1925. She emigrated to the United States with her family when she was 14. Sobotka attended the University of Pennsylvania and Carnegie Institute of Technology. She also studied ballet at the School of American Ballet and was a dancer for Ballet Society and New York City Ballet. Sobotka designed costumes for both theater and dance. She appeared as "The girl" in Man Ray's segment of the Hans Richter avant-garde film, Dreams that money can buy (1947) and later worked on several films in various capacities. In 1955, she married film director Stanley Kubrick; they divorced in 1961. After retiring from dancing, Sobotka focused on acting and designing. She died after a brief illness at Flower and Fifth Avenue Hospital in June1967, at the age of 42. Approximately 71 original color costume and set designs (mostly costume designs) by Ruth Sobotka. Aladdin and the wonderful lamp is the only play represented in the collection that was actually produced (Unit Theatre Group, 1966); there are also index cards with notes and swatches for this show. Sobotka's costume and set designs for Bathsheba by Jacques Deval (1947), Ladies in retirement by Edward Percy and Reginald Denham (ca. 1944), The merchant of Venice by William Shakespeare (ca. 1944), Twelfth night by William Shakespeare (ca. 1944), a Passion play (ca. 1944), and a Shakespearean production (ca. 1944), were never executed, or were Carnegie Institute of Technology schoolwork. less

The Richard Englund Papers cover the professional career of Richard Englund (1931-1991), a noted American dancer, choreographer, director, and teacher. Englund served as the director of several small dance companies, including the pioneering regional ballet company, Birmingham Civic Ballet, and training companies for both American Ballet Theatre and the Joffrey Ballet. The largest part of the collection documents the choreographic works that made up the repertory of the companies with which Englund was connected. 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

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

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

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

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

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