Summary Information
Ruth Goodman Goetz Papers 1916-1983
- Goetz, Ruth Goodman, 1912-
U.S. Mss 28AN; Micro 1177; Item A399; Lot A113-A114
6.6 c.f. (19 archives boxes), 2 reels of microfilm (35mm), and photographs
Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research Contact Information
Wisconsin Historical Society (Map)
Papers of Ruth Goodman Goetz, a playwright and screenwriter, together with papers of two members of her theatrical family: her father, Philip Goodman (1885-1940), who was a producer of Broadway plays and musicals, and her husband and collaborator, Augustus Goetz (1889-1957). Also present are papers of agent Leah Salisbury pertaining to her management of Goetz's literary interests. Philip Goodman's papers include correspondence, contracts, agreements, financial records, and typescript copies of plays produced or written by Goodman. The work of Ruth Goodman and Augustus Goetz includes scripts, correspondence, and financial records for stage and screen plays such as Carrie (Paramount, 1952), The Immoralist (1954), The Hidden River (1957), and One Man Show (1945). The Heiress, for which the Goetzes adapted both the stage (1947) and screen (Paramount, 1949) versions, is partially documented, although scripts for neither are present. A large part of the correspondence is letters exchanged between Mrs. Goetz and her daughter over a thirty-year period. Also part of the collection is a typescript journal of a trip made to China in 1978; references to associations with Clifford Odets, S. J. Perelman, and David Selznick; and undated costume plates. English
http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-us0028an ↑ Bookmark this ↑
Biography/History
Dramatist Ruth Goodman Goetz was born in 1912, the daughter of Lily Goodman and Philip Goodman, a noted writer and producer of plays. Philip Goodman (1885-1940) originally worked as a journalist and owner of an advertising agency. During the 1920s, however, his enthusiasm for the work of Don Marquis prompted him to convince Marquis to write a play around his character, the old soak. The play was produced with that title in 1922 by Goodman and Arthur Hopkins and was a success in New York and on the road. The next year Goodman produced Poppy, casting W. C. Fields in his first true speaking role, and in the years that followed he mounted a succession of plays and musicals including The Ramblers (by Bolton, Kalmar and Ruby, 1926); Rainbow (by Lawrence Stallings and Oscar Hammerstein, with music by Vincent Youmans, 1928); The Wild Man of Borneo, (by Marc Connelly and Herman J. Mankiewicz, circa 1926); and Washington Heights (by Vincent Lawrence, 1931). Prior to his death in 1940 Goodman turned, with less success, to playwriting. Franklin Street, which was a recollection of his youth in Philadelphia, was published two years after Goodman's death.
Ruth Goodman was educated at Miss Marshall's School in New York and in Paris and she worked for a time as a story editor and a costume designer. In 1930 she married Augustus Goetz (1889-1957), a former Wall Street bond salesman and trader, and in the same year began writing plays with him. Their first play, on which they worked for two and one-half years was never produced; their second was produced, but not on Broadway. Their third completed work, One Man Show, opened in 1945. Their greatest success came in 1947 with the production of The Heiress, which was adapted from Washington Square by Henry James. The Immoralist, from the novel by Andre Gide, was produced in 1954, and The Hidden River, from the novel by Storm Jameson, was staged in 1957. Together they also wrote film scripts including an Academy-award winning adaptation of The Heiress in 1949, Carrie (1950), Stage Struck (1958) and Trapeze (1956). After her husband's death in 1957, Mrs. Goetz began a play, Ring in the New, in collaboration with George S. Kaufman, and she also wrote Sweet Love Remember'd, which closed out of town following the death of its star, Margaret Sullivan. Her other plays included Madly in Love (1964) and Play on Love (1970).
Scope and Content Note
The Goetz Papers were received in the Archives in two groups separated by a period of almost thirty years. The first group, designated the “Original Collection” (received in the Archives in 1961 and 1962), is composed primarily of plays and play fragments by Philip Goodman and Ruth and Augustus Goetz and of plays produced (or probably produced) by Goodman. It also contains some unidentified scripts (chiefly by playwrights with whom the family was associated), several short stories by Augustus Goetz, some correspondence of Philip Goodman and Ruth Goetz, legal material and contracts, financial records, and miscellany. The second group, designated the “1987 Additions,” consists of a large quantity of Ruth Goetz's personal and family correspondence and photographs, together with some additional professional correspondence primarily concerning the management of her work. In addition, this part includes papers of literary agent, Leah Salisbury, who represented Mrs. Goetz.
In 1963 the Goetz Papers as they then existed were arranged as general material, plays, screenplays, and other writings. In order to facilitate access, a parallel organizational scheme was used for the 1987 Additions, with the exception of a series that was established for the files of Leah Salisbury. Because of their deteriorated condition, several scripts and stories from the Original Collection were microfilmed and the originals destroyed.
Part 1, Original Collection, 1916-1959
The GENERAL MATERIAL includes separately-arranged files of correspondence of Philip and Lily Goodman and Ruth Goetz, with a single letter pertaining to Augustus Goetz; personal financial account books of the Goetzes' dating from the 1940s; a diary-like book of notes concerning their work, 1947-1956; several watercolor costume designs thought to have been done by Mrs. Goetz during her early career, and photographic portraits of the Goetzes.
Goodman's correspondence contains letters from a number of notables with whom he was involved professionally: James M. Cain, Marc Connelly, Oscar Hammerstein II, Jerome Kern, Don Marquis, Elmer Rice, and Robert Sherwood. There are also numerous letters from biologist Raymond Pearl. Personal letters in both Goodman's and Mrs. Goetz's files concern friendship with W. C. Fields and Sinclair Lewis. Her file also includes a letter from Brooks Atkinson.
The remainder of the Original Collection is arranged by genre, and then by author and then alphabetically by title. PLAYS filed under Philip Goodman's name contain not only works which he wrote (several under pseudonyms), but also several which he produced or which he is thought to have produced. The plays by Ruth and Augustus Goetz include extensive files on The Heiress, for which they also wrote the screenplay. (The motion picture script is not included with the papers.) Of special note is the extensive correspondence with their agent Leah Salisbury. A volume of stills from the motion picture version that was presented to Mrs. Goetz by William Wyler was at one time in the collection but currently is missing from the WCFTR Title File.
For the SCREENPLAYS on which the Goetzes collaborated, the best documentation concerns their work on Carrie. Here there is correspondence with William Wyler, draft pages concerning the revision of the script, typed notes
concerning David Selznick's involvement with the production, and related comments from Clifford Odets.
Prominent in the correspondence filed by production name are exchanges with George S. Kaufman in the files on Franklin Street, The Party, and Ring in the New.
OTHER WRITINGS consists of a file of short stories by Augustus Goetz and a collection of stories, apparently unpublished, on which he collaborated with S. J. Perelman.
Part 2, 1987 Additions, 1931-1983
The GENERAL MATERIAL in the 1987 Additions consists of family, personal, and professional correspondence, family photographs, and financial records. The family correspondence consists primarily of letters to and from Ruth Goetz and her daughter Judith Firth (and later her granddaughter Katie Firth) from 1949 when the Goetzes left her in New York City during the London production of The Heiress to 1983. Mrs. Goetz and her daughter were frequently separated, but the relationship revealed by this correspondence was unusually close and loving. Both photographs and the correspondence document the pattern of women's daily life through several generations. Beyond this value, the letters contain significant supplementary information about Mrs. Goetz's theatrical career and about the lives of her friends and associates such as Oscar and Becky Bernstein and Julius Edelstein. Unfortunately, there is little in the family correspondence about Augustus Goetz or about the nature of the couple's professional collaboration.
The personal correspondence, which primarily documents the period 1953-1975, provides only inferential information about Mrs. Goetz, as it is largely comprised of letters received. Nevertheless, her circle of friends and acquaintances are of great research interest, for it included such literary and theatrical personalities as Frith Banbury, James M. Cain, Constance Cummings, J. B. Priestley, and Chaim Raphael and the families of Alan F. Guttmacher and William Wyler.
The professional correspondence consists of alphabetically-arranged files concerning relationships with agents Irving Paul Lazar, Leah Salisbury, and Marguerite Sciatlel and information on an effort by Mrs. Goetz and others to promote the Dramatists Guild in Great Britain.
Supplementing the personal financial records contained in Part 1 are additional financial notebooks from the 1930s. In addition, the papers include an incomplete file of personal tax forms, inventories of personal property, statements concerning securities managed for her by the Bank of New York and royalties received as a result of Leah Salisbury's management of her literary interests. One file of correspondence included here concerns the disposition of her property in Keller's Church, Pennsylvania.
Documentation on the Goetzes' PLAYS received with the 1987 Additions consists largely of correspondence rather than script material, although there is a typescript and draft pages for Both of Us, an apparently unstaged work. The play material is arranged alphabetically by production title, with the majority of the files concerning Hidden River and The Immoralist. The former concerns the translation and production of a French version of the work, while the files on the second include correspondence with Andre Gide concerning acquisition of dramatic rights to the book and later with Billy Rose concerning his ongoing interest in the play. There is also some correspondence with George Oppenheimer related to Here Today.
Filed as OTHER WRITINGS is a handwritten version and an incomplete, annotated typescript of a diary concerning a trip Mrs. Goetz made to China in 1978.
A large part of the 1987 Additions consists of correspondence and contracts created by Leah Salisbury which were probably acquired by Mrs. Goetz after Salisbury's death. Not only do these files contain valuable information about Hidden River, The Immoralist, and several other Goetz works, but they also contain a rare glimpse of the activities of a prominent literary agent. The files on The Immoralist, which are the most extensive, contain material on various foreign productions of the play and on acquisition of motion picture rights by Eli Landau and other producers.
Administrative/Restriction Information
Presented by Ruth Goodman Goetz, New York, New York, 1961-1962, 1987. Accession Number: MCHC61-32, M87-304
Processed by NMcC, 1963. Portions prepared for microfilming by Carolyn J. Mattern, 1989.
Contents List
|
Series: Part 1: Original Collection, 1916-1959
|
|
|
Subseries: General Material
|
|
U.S. Mss 28AN
|
General correspondence
|
|
Box
1
Folder
1-2
|
Philip Goodman, 1916-1940, undated
|
|
Box
1
Folder
3
|
Ruth Goodman Goetz, 1924-1930, undated
|
|
Box
1
Folder
4
|
Lucy Goodman, 1929-1955
|
|
Box
1
Folder
5
|
Augustus Goetz, 1945
|
|
Box
1
Folder
6
|
Contracts and agreements of Goodman, 1928-1931
|
|
Box
1
Folder
7
|
Philip Goodman memorabilia, undated
|
|
|
Goetz family personal financial records
|
|
Box
1
Folder
8-12
|
1941-1949
|
|
Box
2
Folder
1
|
1959, undated
|
|
Box
2
Folder
2
|
Financial miscellany
|
|
|
Miscellaneous papers
|
|
Box
2
Folder
3
|
Worknotes of Ruth and Augustus Goetz, 1947-1956
|
|
Box
2
Folder
4
|
Miscellany
|
|
Box
2
Folder
5
|
Costume plates by Ruth Goetz(?), undated
|
|
WCFTR Name File
|
Photographic portraits of the Goetzes
|
|
|
Subseries: Plays
|
|
|
Philip Goodman as playright
|
|
Micro 1177
|
Birth of a Hero
|
|
Reel
1
Frame
1
|
Handwritten script, circa 1932
|
|
Reel
1
Frame
252
|
Typescript, Act II, undated
|
|
U.S. Mss 28AN
Box
2
Folder
3
|
Script, circa 1932
|
|
Box
3
Folder
1
|
Cadenza for Whiskers, Script, 1936
|
|
Box
3
Folder
2
|
Chorus Disbands, “by Charles Morris,” Script, 1938
|
|
|
Crossing the Alps, “by Paul Phillips”
|
|
Box
3
Folder
3
|
Two scripts, undated
|
|
|
Dance, My Heart
|
|
Box
4
Folder
1
|
Script, 1933
|
|
Box
4
Folder
2
|
“Twenty Winters and a Summer,” 1934
|
|
Box
4
Folder
2
|
“Love in Season,” by Paul Phillips, undated
|
|
Box
4
Folder
3
|
Jill and Mr. Jack, by John Bland, undated
|
|
Box
4
Folder
4
|
Man in Celluloid, by Jay Quinn, 1937
|
|
Box
4
Folder
5
|
Sacred Cow, Script, 1928
|
|
Box
4
Folder
6
|
The Sisters, by William Bland, 1934
|
|
|
A Policeman's Lot
|
|
Box
4
Folder
7
|
Correspondence, 1940-1947
|
|
Box
4
Folder
8
|
Typescript, by Philip Goodman and Gus Goetz, 1935
|
|
Box
4
Folder
9
|
Typescript, by Philip Goodman, February 3, 1948
|
|
Box
4
Folder
10
|
Typescript, by John Bland, undated
|
|
Box
5
Folder
1
|
Typescript, corrected typescript, undated
|
|
|
Philip Goodman as producer
|
|
|
Dear Sir by Selwyn and Kern, 1924
|
|
Box
11
Folder
11
|
“Vanity Fair,” Acts I and II, undated
|
|
Box
11
Folder
12
|
Five O'Clock Girl, 1927, Typescript, , undated
|
|
|
The Old Soak, by Don Marquis, 1922
|
|
Box
11
Folder
13
|
Miscellany
|
|
|
Rainbow, by Stallings, Hammerstein, and Youmans
|
|
Box
11
Folder
14
|
Typescript, undated
|
|
|
The Ramblers, by Bolton, Kalmar, and Ruby, 1926
|
|
Box
12
Folder
1
|
Promptbook, undated
|
|
|
Washington Heights, by Vincent Lawrence, 1931
|
|
Box
12
Folder
2
|
Typescript and program
|
|
|
The Wildman of Borneo, by Marc Connelly and Herman Mankiewicz, circa 1926
|
|
Box
12
Folder
3
|
Typescript
|
|
|
Plays possibly produced by Philip Goodman
|
|
|
Another Language, by Rose Franken, undated
|
|
Box
12
Folder
4
|
Typescript
|
|
|
Crashing the Gates, by James Cain, undated
|
|
Box
12
Folder
4
|
Typescript, undated
|
|
|
Jubilee, by James Cain, undated
|
|
Box
12
Folder
5
|
Typescript, undated
|
|
|
Mister Pie-Eyed, by Don Marquis, undated
|
|
Box
12
Folder
5
|
Typescript
|
|
|
Untitled play by Vincent Lawrence, undated
|
|
Box
12
Folder
6
|
Typescript
|
|
|
Ruth Goodman Goetz and Augustus Goetz collaboration
|
|
|
Franklin Street
|
|
Box
4
Folder
2
|
Correspondence, 1942-1946, royalty statements, , 1945 1946, copyright, , 1942, dustjacket, and clipping, , undated
|
|
Box
4
Folder
3
|
Typescript (annotated), undated
|
|
|
The Heiress, 1948
|
|
Box
5
Folder
4
|
Correspondence, 1942-1946
|
|
Box
5
Folder
5
|
Publicity and clippings
|
|
Box
5
Folder
6
|
Transfer of rights to Lily Goodman, 1949-1952
|
|
Box
5
Folder
7
|
Notes on casting, 1946
|
|
Box
5
Folder
8
|
Notes on selection of director, 1946?
|
|
Box
5
Folder
9
|
Contracts and agreements with Paramount Pictures, 1946-1948
|
|
Box
6
Folder
1
|
Financial miscellany, 1948-1955
|
|
Box
6
Folder
2
|
Tour statements, 1948-1950
|
|
Box
6
Folder
3-5
|
Production design book, undated
|
|
Box
6
Folder
6
|
Miscellany
|
|
Box
6
Folder
7
|
French translation
|
|
|
Hidden River, 1957
|
|
Box
6
Folder
8
|
Typescript, 1956
|
|
Box
6
Folder
9
|
Typescript, annotated, undated
|
|
Box
7
Folder
1
|
Typescript, notes, and corrected pages, undated
|
|
Box
7
Folder
2
|
Corrected pages, undated
|
|
Box
7
Folder
3
|
Mimeo script, annotated, undated
|
|
Box
7
Folder
4
|
Mimeo script (“Final and complete acting version”), undated
|
|
Box
7
Folder
5
|
Pages, undated
|
|
|
I'll Be Waiting, 1945
|
|
Box
7
Folder
6
|
Correspondence, 1945, program, notes
|
|
|
The Immoralist, 1954
|
|
Box
7
Folder
7
|
Correspondence, 1954
|
|
Box
7
Folder
8
|
Playbill, 1954, and notes
|
|
Box
7
Folder
9
|
Typescript of Act I, undated
|
|
Box
7
Folder
10
|
Clippings, 1954-1955
|
|
|
One Man Show, 1945
|
|
Box
7
Folder
11
|
Correspondence, 1945
|
|
Box
7
Folder
12
|
Typescript, annotated, 1944
|
|
Box
7
Folder
12
|
Typescript, undated
|
|
Box
7
Folder
13
|
Typescript and notes, undated
|
|
Box
8
Folder
1
|
Typescript, undated
|
|
Box
8
Folder
2
|
Treatment, 1950
|
|
WCFTR Theater Title File
|
Photographs
|
|
|
The Party, undated
|
|
U.S. Mss 28AN
Box
8
Folder
3
|
Typescript, undated
|
|
Box
8
Folder
4
|
Correspondence and pages, undated
|
|
|
Suffering Cats, 1941
|
|
Box
8
Folder
5
|
Typescript, 1941
|
|
Box
8
Folder
6
|
Typescript, 1941
|
|
|
Non-collaborative work
|
|
|
Augustus Goetz
|
|
Box
11
Folder
2
|
Who's Darling? Typescript, 1934
|
|
|
Ruth Goodman Goetz
|
|
Box
11
Folder
4
|
Ring in the New, by Ruth Goetz and George S. Kaufman, and notes, circa 1958 Typescript
|
|
|
Unidentified plays
|
|
|
All in Uniform, 1951
|
|
Box
11
Folder
6
|
Notes, 1937
|
|
|
The Family Play, undated
|
|
Box
11
Folder
7
|
First pages
|
|
Micro 1177
|
Francis and Sheila, 1936
|
|
Reel
1
Frame
329
|
Pages and notes, undated
|
|
U.S. Mss 28AN
|
Head of the Harem, undated
|
|
Box
11
Folder
8
|
Storyline treatment, undated
|
|
Micro 1177
Reel
1
Frame
390
|
Pages and notes
|
|
Reel
1
Frame
643
|
Untitled script
|
|
Reel
2
Frame
1
|
Untitled script
|
|
Reel
2
Frame
74
|
Untitled script
|
|
Reel
2
Folder
108
|
Untitled script
|
|
|
Subseries: Screenplays
|
|
|
Ruth Goodman Goetz and Augustus Goetz collaboration
|
|
|
Carrie, 1949
|
|
U.S. Mss 28AN
Box
8
Folder
7
|
Correspondence, 1949-1953
|
|
Micro 1177
Reel
2
Frame
274
|
Treatment, 1949, circa May
|
|
U.S. Mss 28AN
Box
8
Folder
8
|
Treatment, 1949, May 27
|
|
Box
8
Folder
9
|
Treatment, 1949, June 1, June 6
|
|
Box
8
Folder
10
|
Typescript, 1949, August 19
|
|
Box
9
Folder
1
|
Corrected pages and notes, 1949, August 20
|
|
Box
9
Folder
2
|
Pages for additional scenes, undated
|
|
Box
9
Folder
3
|
Pages sent to Wyler, 1950, January 28, February 1
|
|
Box
9
Folder
4
|
Shooting script, 1950, August
|
|
Box
9
Folder
5
|
Notes on conference with Selznick, 1949, November 9
|
|
Box
9
Folder
6
|
Notes, 1949, May 10, September 15
|
|
Box
10
Folder
1
|
Agreement with Paramount, 1949
|
|
Box
10
Folder
2
|
Expenses, 1949-1950
|
|
Box
10
Folder
3
|
Clippings, 1952
|
|
|
The Heiress, See the Plays subseries files on The Heiress for material on the film version as well
|
|
Box
10
Folder
3a
|
Is It the Night?, Scenario, undated
|
|
Box
10
Folder
4
|
Sincerely, Willis Wade, Notes, 1955
|
|
|
Stage Struck, 1956
|
|
Box
10
Folder
5
|
“The Morning Glory,” Typescript, by Zoe Akins, March 5, 1945
|
|
Box
10
Folder
5
|
Typescript and pages, undated
|
|
Box
10
Folder
6
|
Mimeo script and pages, undated
|
|
Box
11
Folder
1
|
Mimeo script, November 12, 1956
|
|
|
Non-collaborative work
|
|
|
Ruth Goodman Goetz
|
|
|
Trapeze, 1955
|
|
Box
11
Folder
2
|
Typescript treatment
|
|
Box
11
Folder
2
|
Mimeo script, undated
|
|
|
Augustus Goetz
|
|
Box
11
Folder
5
|
Tender Is the Night, 1936
|
|
|
Subseries: Other Writings
|
|
Micro 1177
|
Augustus Goetz stories
|
|
Reel
2
Frame
162
|
“Home Is Where You Hang Yourself,” by Augustus Goetz and S.J. Perelman, circa 1939, Draft chapters
|
|
Reel
2
Frame
254
|
Short stories, undated
|
|
|
Series: Part 2, 1987 Additions, 1931-1983
|
|
|
Subseries: General Material
|
|
U.S. Mss 28AN
|
General correspondence
|
|
|
Ruth Goodman Goetz
|
|
|
Family correspondence
|
|
Box
13
Folder
1
|
Letters to Augustus Goetz, 1931
|
|
Box
13
Folder
2
|
Correspondence during London opening, 1949
|
|
Box
13
Folder
3-8
|
1955-1963
|
|
Box
13
Folder
9
|
Judy's diary, 1963
|
|
Box
14
|
1964-1983
|
|
Box
15
Folder
1-4
|
Undated
|
|
|
Photographs
|
|
Lot A113
|
Snapshots : 50 snapshots of Ruth Goodman Goetz and family members, a few black & white, mostly color, many instamatic, including 10 taken in India, 4 in Greece, and 32 in France (negatives for 31 of these filed as Whi X15 27711-27750)
|
|
Lot A114
|
Judy Goetz Snapshots and Photographs : 34 snapshots of Augustus and Ruth Goodman Goetz, their daughter Judy, and her child. Many are annotated by Judy and show the Goetz family in front of their New York City home, as well as many informal snapshots of family life. There are also five 8 × 10 photos of Judy, her wedding in London, and her infant daughter.
|
|
Item A399
|
Two oval miniature portraits in a brass frame, of Ruth and her brother as children
|
|
|
Personal correspondence
|
|
Box
15
Folder
5-8
|
1953-1964
|
|
Box
16
Folder
1-8
|
1965-1975, undated
|
|
Box
16
Folder
9
|
Chaim Raphael, 1960-1972, 1980, undated
|
|
|
Professional correspondence
|
|
Box
16
Folder
10
|
Dramatists Guild, 1976-1977
|
|
Box
16
Folder
11
|
Lazar, Irving Paul, 1949-1956
|
|
Box
16
Folder
12
|
London trip, 1964
|
|
Box
16
Folder
13
|
Russian trip, 1966
|
|
Box
16
Folder
14-17
|
Salisbury, Leah, 1949, 1953-1975
|
|
Box
16
Folder
18
|
Sciatlel, Marguerite, 1951-1958
|
|
|
Goetz personal financial records
|
|
Box
17
Folder
1
|
Personal account books, 1932-1939
|
|
Box
17
Folder
2
|
Apartment management and remodeling, 1964-1976
|
|
Box
17
Folder
3
|
Dramatists Play Service, Heiress royalties, 1956-1973
|
|
Box
17
Folder
4
|
Inventories of personal property, 1975-1977, undated
|
|
Box
17
Folder
5
|
Kellers Church property, 1949-1964
|
|
Box
17
Folder
6-7
|
Salisbury financial statements, 1949-1973
|
|
Box
17
Folder
8
|
Taxes, 1972-1974
|
|
Box
17
Folder
9
|
Taxes on Judith Firth trust, 1970-1972
|
|
Box
17
Folder
10
|
Account management statements from Bank of New York, 1950-1970
|
|
|
Subseries: Plays
|
|
|
Ruth and Augustus Goetz
|
|
|
Both of Us
|
|
Box
17
Folder
11-12
|
Typescript and miscellaneous draft pages, undated
|
|
|
Franklin Street
|
|
Box
17
Folder
13
|
Correspondence, 1941-1942, 1963
|
|
|
Here Today
|
|
Box
17
Folder
14
|
Correspondence, 1937-1978
|
|
|
Hidden River
|
|
Box
17
Folder
15
|
Playbill, 1957
|
|
Box
17
Folder
16
|
Correspondence re French production, 1958-1961
|
|
Box
17
Folder
16
|
Typescript of French translation, undated
|
|
Box
17
Folder
17
|
Royalty statements, 1956-1959
|
|
|
Immoralist
|
|
Box
17
Folder
18
|
Blackburn, Aubrey, correspondence, 1949-1950
|
|
Box
17
Folder
18a
|
Clippings
|
|
Box
17
Folder
19
|
Gide, Andre, rights, 1949-1965
|
|
Box
17
Folder
20
|
Rose, Billy, contract, 1953-1969
|
|
Box
17
Folder
21
|
Salisbury, Leah, 1949-1954
|
|
|
Madly in Love
|
|
Box
18
Folder
1
|
Correspondence, 1961-1964
|
|
Box
18
Folder
2
|
Publicity and playbills, 1963
|
|
|
Maurice Guest
|
|
Box
18
Folder
3
|
Correspondence, 1951-1952
|
|
|
A Night at Sea
|
|
Box
18
Folder
4
|
Miscellany, 1977
|
|
|
Subseries: Other Writings
|
|
Box
18
Folder
5
|
Chinese diary and miscellaneous pages of edited transcript, 1978
|
|
|
Subseries: Leah Salisbury Files
|
|
|
Hidden River
|
|
Box
18
Folder
6
|
Contracts, 1956-1959
|
|
Box
18
Folder
7
|
England, 1960-1965
|
|
Box
18
Folder
8
|
Foreign rights, Miscellaneous, 1960-1961
|
|
Box
18
Folder
9
|
Germany, 1963
|
|
Box
18
Folder
10
|
Television rights, 1957-1965
|
|
|
Immoralist
|
|
Box
18
Folder
11
|
Contracts, 1953-1962
|
|
Box
18
Folder
12
|
Contract and copyrights, 1950-1965
|
|
Box
18
Folder
13
|
England, 1957-1966
|
|
Box
18
Folder
14
|
France, 1962-1968
|
|
Box
18
Folder
15
|
Germany, 1958-1959
|
|
|
Motion picture rights
|
|
Box
18
Folder
16
|
General, 1956-1968
|
|
Box
18
Folder
17
|
Landau, Eli, 1961-1964
|
|
Box
18
Folder
18
|
Cohen, Alexander, 1965
|
|
Box
18
Folder
19
|
Off-Broadway productions, 1958-1963
|
|
Box
18
Folder
20
|
Publicity, 1953-1969
|
|
Box
19
Folder
1
|
South America, 1958-1962
|
|
Box
19
Folder
2
|
Title controversy, 1967
|
|
Box
19
Folder
3
|
Miscellany, 1961-1971
|
|
|
Madly in Love
|
|
Box
19
Folder
4
|
Contracts, 1963-1964
|
|
Box
19
Folder
5
|
Correspondence, 1961-1964
|
|
Box
19
Folder
6
|
Casting notes, 1963
|
|
Box
19
Folder
7
|
Motion picture rights, 1963-1970
|
|
|
One Man Show
|
|
Box
19
Folder
8
|
Contracts, 1944-1945
|
|
Box
19
Folder
9
|
Correspondence, 1945-1960
|
|
|
Pension Beaurepas
|
|
Box
19
Folder
10
|
Miscellany, 1960
|
|
|
The Same Only Worse
|
|
Box
19
Folder
11
|
Correspondence, 1958-1962
|
|
|