Summary Information
Albert R. Johnson Papers
1910-1967
- Johnson, Albert R., 1910-1967
U.S. Mss 129AN; Disc 199A; Lot A107
12.1 cubic feet (17 archives boxes, 1 card box, 6 flat boxes, 1 tube), 1 disc recording, and photographs
Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research Contact Information
Wisconsin Historical Society (Map)
Papers of Albert R. Johnson, a Broadway set designer. The majority of the shows for which Johnson designed the stage sets and lighting during the 1920s, 1930s, and 1940s are represented only by programs and clippings but for later projects such as Night Life (1962) and several summer stock productions of Showboat during the 1950s there are technical notes, blueprints, light plots, photographs, and finished and preliminary sketches. There are similar materials for designs done for Radio City Music Hall during the 1950s, the New York World's fairs of 1939 and 1964, nightclubs and other productions of Billy Rose, and numerous automobile trade shows. For productions unsuccessfully promoted by Johnson during the 1950s such as plays based on Fernand Crommelynck's Le Cocu Magnifique, the history of the Lambs Club, and the stories of Helen Green there are scripts, lyrics, production notes, and research materials. Additional notes and correspondence with governmental leaders such as Frank Farley and James H.J. Tate relates to the American Flotilla, a floating extravaganza about American history, that Johnson attempted to promote during the 1960s. Personal papers contain family correspondence; detailed medical information; papers about travel, inventions (especially a toy theatre), and the career of his wife Dianne Valvo, a hairdresser and wig expert. Additional documentation pertains to his research and collecting in the areas of theatrical history.
English
http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-us0129an ↑ Bookmark this ↑
Biography/History
Albert Richard Johnson, the noted theatrical set designer, was born on February 1, 1910 to Albert Aaron and Anne Ellen Johnson in La Crosse, Wisconsin. When he was a child, the family moved to Long Island, New York. He was educated privately except in the year 1925-1926 when he attended Hempsted High School on Long Island.
Johnson started his professional career at age fifteen by painting scenery for the Farmingdale Opera House on Long Island. At seventeen he moved to New York City and studied stage design with Norman Bel Geddes, 1927-1928. He did his first sets at age nineteen for The Criminal Code (National, 1929). During his subsequent thirty-eight year career, he designed sets for over a hundred shows including The Skin of Our Teeth (Plymouth, 1942), George White's Scandals (Alvin, 1939), Jumbo (New York Hippodrome, 1935), Ziegfield Follies (Winter Garden, 1934), What Did I Do Wrong? (Helen Hayes, 1967), and Funny Girl (Winter Garden, 1964).
Johnson introduced modern forms of painting to stage design with his first musical Three's a Crowd (1930), and his revolutionary theories (as well as the rapidity of his work) were widely discussed in professional journals. His London-produced Waltzes from Vienna (1931) was then the most expensive musical ever produced.
In addition to his work on Broadway, Johnson designed more than thirty shows for Radio City Music Hall, and he did the sets for several Billy Rose nightclubs and productions. In 1939 Johnson was a consultant on production and design for the amusement zone of the New York World's Fair, and he designed, produced, and wrote the book for the musical spectacular American Jubilee, which opened at the fair on February 11, 1940. During the 1950s Johnson directed and designed numerous trade fairs and industrial exhibits throughout the United States, for example, the Travelers Insurance Company Exhibit at the 1964 New York World's Fair.
Johnson also did work in other media. He designed for the motion pictures, Crime Without Passion (Paramount, 1934) and The Scoundrel (Paramount, 1935) and for two ballets, Union Pacific (1934) and Coney Island Winter (1950). For television he created and designed The Buttonwood Street Television Project and he was designer for The Henry Morgan Show (NBC, 1951). In the last years of his life he spent much of his time on the development of “The American Flotilla” which was conceived as a floating extravaganza of theatrical tableaux of American life and history. This project, which was in part a stimulus for Robert Moses' concept of the 1964 World's Fair, was never produced. During this period Johnson also attempted to return to the theatre, but he was unsuccessful in his attempt to develop various theatrical properties for which he owned the rights.
In 1937 Johnson married dancer Tilda Goetz, but the marriage ended in divorce a year later. In 1957 he married Dianne Valvo, a cosmetics executive who worked at the beauty salon of Charles of the Ritz where she specialized in creating and fitting wigs; she was also a frequent public speaker on that topic.
Johnson's health was not good and, especially in the later years of his life, he was somewhat preoccupied with it. He died in New York on December 21, 1967.
Scope and Content Note
The papers are arranged in these categories: BIOGRAPHICAL MATERIAL, CORRESPONDENCE, THEATRE AND LIVE DRAMATIC PRODUCTION, TRADE SHOWS AND EXPOSITIONS, OTHER PROFESSIONAL WORK, RESEARCH MATERIAL, and COLLECTED MATERIAL.
The Albert Johnson Papers includes varied documentation about his career in the performing arts and his personal life. Unfortunately the material dating from the 1920s through the 1940s, the period when Johnson achieved wide prominence in the field of theatrical design, is sparse. In a letter to the Wisconsin Center for Film and Theater Research prior to the donation of the collection Johnson explained that he had previously destroyed thousands of sketches and designs. As a result, the WCFTR collection is strongest for the work that Johnson did during the 1950s and 1960s which primarily focused on trade shows and the development of expositions and theatrical properties. The documentation in the collection is characterized by Johnson's careful attention to his files. Perhaps the most valuable part of the collection are his voluminous handwritten and typed notes. Rather than trusting his memory, Johnson made notes on personal and professional discussions with colleagues, phone calls, and other matters he considered important, and a large number of these have survived. He also carefully researched his projects and saved extensive quantities of clippings and other background materials; only a representative sampling of this material which directly pertained to his design research has been retained in the collection, however. (Also discarded were clippings pertaining to his interests in archaeology, astronomy, psychiatry, religion, metaphysics, and unidentified flying objects.)
To support both his design research and his strong personal interest in theatrical history Johnson also accumulated large quantities of old theatrical newspapers and magazines and other visual material. This documentation, which is largely out of scope for the Wisconsin Center for Film and Theater Research, has been removed from the collection.
The BIOGRAPHICAL MATERIAL includes information about Johnson's family, his infancy, his wives, general information about his career, his will, obituaries, details about his funeral, and letters of condolence to his wife. The medical logs and associated files contain very detailed information about his health and diet, trips to doctors, prescriptions and their effects, etc. Several folders also contain information about Dianne Valvo's work and speeches at conventions. There is some information on his personal finances from 1965 to 1967, but nothing for the earlier periods of his life. Several folders relate to the Johnsons' personal and professional travel. Portraits of Johnson are available in the WCFTR name file; candid photographs dating from his youth are available in Albert A. Johnson photograph lots in the Historical Society Visual Materials Archive.
The CORRESPONDENCE gives some information on his interaction with his mother and brother but mainly with his father (whose papers are also held by the State Historical Society of Wisconsin) and Dianne Valvo, both before and after their marriage. The 1943 correspondence primarily documents the response of his mother to his World War II service in the military, from which Johnson received an honorable discharge for an undisclosed illness. The correspondence with Dianne reflects their deep affection. Additional correspondence in the collection is filed with the design project to which it pertains.
Johnson's professional work has been divided into three categories: theatre and live dramatic performances, fairs and expositions, and other work. The distinction between the first two categories is not precise, and some of the fairs and expositions on which Johnson worked featured elaborate scripted performances.
The THEATRE AND LIVE DRAMATIC PERFORMANCES section includes both produced and unproduced works, all of which are arranged together alphabetically by title. The early works are primarily documented only by printed material such as playbills and programs, clippings, and sheet music. Of special interest within this group of documentation are the programs and photographs pertaining to Johnson's collaboration with Billy Rose on numerous theatrical, aquatic, and nightclub shows. Johnson's later works are represented in the collection by similar material as well as pencil and finished sketches, blueprints, photographs, and light plots although even for this period not all of the material of this type remains. The records of two Showboat productions during the 1950s and Night Life (1962) are extensive, as is the documentation (primarily sketches and blueprints) for the Radio City Music Hall he did during the 1950s. Additional photographs which documented aspects of a production in addition to the stage set have been separated to the WCFTR Theatrical Title file.
For the productions that Johnson attempted to produce himself during the 1950s and 1960s there are extensive notes on his activities as producer, as well as correspondence, research and technical information, script drafts, and some information on picture research. The files on The Magnificent Cuckold include extensive material on difficulties Johnson had in obtaining a definitive English translation of the Fernand Crommelynck work and in obtaining a clear right to produce it for the stage. The research material on A Bottle an' a Bird contains copies of Helen Green short stories Johnson used in writing the script. The material on Huckleberry Finn indicates that Johnson intended this production to be a musical, as these files contain lyrics by Henry Sullivan.
TRADE SHOWS AND EXPOSITIONS, which primarily date from the 1950s and 1960s, are documented by material that is similar in character to that described for the above series. A large quantity of this work pertains to automobile shows and to the Chicago International Trade fairs from 1961 through 1964. Also grouped here are papers on involvement with the 1964 World's Fair and Johnson's related, unsuccessful development of the American Flotilla idea. Johnson's meticulous record keeping for this project includes a nearly complete log describing the problems associated with the project, as well as extensive notes and correspondence with local governmental officials such as Frank Farley and James H.J. Tate in cities to which he hoped to take his floating extravaganza.
The section entitled OTHER PROFESSIONAL WORK includes a variety of material on inventions he hoped to market including a toy theatre complete with moving sets and lighting equipment and his Visi-O-Rama slides for a sound and light show. Also listed here are blueprints for several showboat theatres that Johnson apparently hoped to construct.
The RESEARCH MATERIAL series includes notes of various types, and theatrical supply catalogues and supplies.
The section entitled COLLECTED MATERIAL contains that small portion of Johnson's collections that fell within the collecting scope of the Wisconsin Center for Film and Theatre research: the early theatrical photographs of his friend Sam Saltzman and a photocopy of a circus scrapbook Johnson compiled during the early 1920s. (The original of this scrapbook and nineteenth century circus heralds and broadsides that Johnson collected have been placed with the State Historical Society's Circus World Museum in Baraboo.)
Administrative/Restriction Information
Placed on deposit by Albert R. Johnson and Dianne Valvo Johnson Constanides, New York, New York, 1971-1985. Accession Number: MCHC71-134, MCHC72-030, MCHC83-088, M85-199
Processed by Eleanor McKay, Judy Endejan, and Lindsay Nauen, 1974; additions added and collection reappraised by Carolyn J. Mattern, 1992.
Contents List
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U.S. Mss 129AN
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Series: Biographical Material
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Box
1
Folder
1
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Biographical miscellany, 1913-1967
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Box
1
Folder
2
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Family information, 1956-1963
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Box
1
Folder
3
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Tilda Goetz, 1937-1938, 1963
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Box
1
Folder
4-5
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Dianne Valvo
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Box
1
Folder
6
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Credits, 1958-1965
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Box
1
Folder
7
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Medical information, 1963-1967
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Box
1
Folder
8
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Names, addresses, and inventories, 1957-1965
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Box
1
Folder
9
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Schedules, undated
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Box
1
Folder
10
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Obituaries and funeral, 1966-1967
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WCFTR Name File
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Photographs
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U.S. Mss 129AN
Box
1
Folder
12
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Personal finances, 1965-1968
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Box
1
Folder
11
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Projects at time of death, 1967
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Travel and retirement
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Box
1
Folder
13
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Miscellaneous travel, 1959-1966
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Box
1
Folder
14
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Atlantic City, 1962-1965
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Box
1
Folder
15
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Saratoga Springs, 1964-1966
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Box
1
Folder
16
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Waterbury, 1959-1964
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Box
3
Folder
3
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Will, 1958-1966, undated
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Series: Correspondence
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Box
2
Folder
1-2
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General, 1958-1969, undated
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Box
2
Folder
3
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Parents (from), 1943-1944
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Box
2
Folder
4-7
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A.A. Johnson (to and from), 1952-1963
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Dianne (to and from)
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Box
2
Folder
8
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1954-1957
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Box
3
Folder
1-2
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1958-1965
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Box
3
Folder
4
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Notes and miscellany
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Series: Theatre and Live Dramatic Performances
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American Jubilee
: New York World's Fair, 1940
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Box
4
Folder
1
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Program, sheet music, clippings, photos and slides, 1940
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Box
20
Folder
1
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Showboat blueprints, 1937
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Box
4
Folder
2
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The American Theatre (proposed television program)
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Notes and research clippings, 1955-1961
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Americana
: Shubert, 1932
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Box
4
Folder
3
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Clippings, 1932
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Aquacade
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Box
4
Folder
4
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Sheet music, programs, and clippings, 1939
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Box
4
Folder
5
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Aquacircus, 1957
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Aquarama
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Box
4
Folder
6
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Clippings, 1960
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Aquashow
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Box
4
Folder
7
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Programs, notes and clippings, 1954-1956
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Box
20
Folder
2
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Blueprints, 1949
: Also includes material on other aquatic shows, 1954-1955.
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As Thousands Cheer
: Music Box, 1933
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Box
4
Folder
8
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Playbill, clippings, photographs, 1933-1934
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WCFTR Name File
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Stills
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U.S. Mss 129AN
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The Band Wagon
: New Amsterdam, 1931
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Box
4
Folder
10
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Sheet music, clippings, 1931
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Between the Devil
: Imperial, 1937
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Box
4
Folder
11
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Playbills, clippings, photostats of sketches, 1937
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Bonanza
: Nixon, Pittsburgh, 1945
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Box
5
Folder
3
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Contract, 1944
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A Bottle an' a Bird
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Box
4
Folder
12
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Correspondence, 1956-1965
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Box
4
Folder
13
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Helen Green research, 1960
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Helen Green stories, undated
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Box
4
Folder
14
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Not in UW Special Collections
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Box
4
Folder
15
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Stories annotated for script
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Scripts
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Box
4
Folder
16
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Typed chapter drafts (annotated), 1958-1960
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Box
5
Folder
1
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Typed draft by William Henry Dawson, 1960
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Box
5
Folder
2
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Set sketches, undated
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Box
5
Folder
4
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Canadian National Exposition, Photographs, 1948
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Carousel
Carter-Barron Amphitheatre, 1953
See also Washington, D.C., Festival
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Box
19
Folder
1
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Small sketches
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Box
20
Folder
3
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Large sketches and photostatic copy of blueprint
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The Chase
: Playhouse, 1952
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Box
19
Folder
2
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Small sketches
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Box
20
Folder
4
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Blueprints 1-7
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Cloud Seven
: Golden, 1958
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Box
20
Folder
5
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Blueprints 2-7 and light plots
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Box
5
Folder
5
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Notes, playbills, clippings, fabric samples, 1958
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Box
5
Folder
6
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Picture research material and clippings, 1958
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Coney Island Winter (ballet)
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Box
5
Folder
7
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Typed script by AJ, 1950
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Crime Without Passion
: Paramount, 1934
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Box
5
Folder
8
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Clipping, 1934
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The Criminal Code
: National, 1929
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Box
5
Folder
9
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Clippings, 1929
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Cry Havoc
: Morosco, 1942
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Box
19
Folder
3
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Sketches
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Exit the Queen
: Atlantic City, 1932
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Box
5
Folder
10
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Playbill, clipping, 1932
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Face The Music Queen
: New Amsterdam, 1932
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Box
5
Folder
11
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Program and clippings, 1932
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WCFTR Name File
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Stills
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U.S. Mss 129AN
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Fancy Meeting You Again
: Royale, 1952
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Box
5
Folder
12
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Technical notes, 1952
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Box
20
Folder
6
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Blueprint of lightplot and floor plan
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The First Dandelion
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Box
5
Folder
13
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Typed script by Ben Martin, undated
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Fit For Treason
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Box
5
Folder
14
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General, 1967
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Box
5
Folder
15
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Typed script by George D. Ford, undated
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Box
5
Folder
15
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Mimeo script by George D. Ford, undated
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Fort Worth Texas Frontier Centennial
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Tube
1
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Building blueprints
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Box
5
Folder
16
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Programs, clippings, 1936-1937
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Box
5
Folder
17
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Photographs, 1936-1937
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Night club (Casa Manana shows)
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Box
5
Folder
18
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Programs, sheet music, clippings, 1939
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Funny Girl
: Winter Garden, 1964
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Box
5
Folder
19
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Notes, 1963
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George White's Scandals
: Alvin, 1938
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Box
5
Folder
20
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Playbills, clippings, 1939
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Golden Gate
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Box
5
Folder
21
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Correspondence, 1945-1946, 1960
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Box
5
Folder
22
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Notes, 1942-1966
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Box
5
Folder
23
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Typed script, undated
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Box
5
Folder
23
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Typed script by AJ and Ben Martin (annotated), 1945 May 15
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Box
5
Folder
23
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Typed script by AJ (annotated), 1945 June 20
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Box
5
Folder
24
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Technical production notes and sketches, 1945
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Box
5
Folder
25
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Research material, 1945-1954
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Great Lady
: Majestic, 1938
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Box
6
Folder
1
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Playbills, clippings and music, 1938
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The Great Waltz
: Center, 1934
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Box
6
Folder
2
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Program and clippings, 1934
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WCFTR Title File
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Stills
|
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U.S. Mss 129AN
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Half Gods
: Plymouth, 1929
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Box
6
Folder
3
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Programs, clippings, 1929
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Huckleberry Finn
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Box
6
Folder
4
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Audition notes, 1955
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Box
6
Folder
5
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Contracts and copyright, 1955
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Box
6
Folder
6
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Correspondence, 1951-1966
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Box
6
Folder
7
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Financial material, 1955
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Box
6
Folder
8
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Lyrics by Henry Sullivan
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Box
6
Folder
9
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Music and lyrics by Henry Sullivan
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Box
6
Folder
10-11
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Notes, Sullivan
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Scripts
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Box
6
Folder
13
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Typed script by Marvin Moore, 1950
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Box
6
Folder
12
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Mimeo script by Marvin Moore, 1950
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Box
6
Folder
14
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Script change notes
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Box
6
Folder
15
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Miscellaneous research
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Box
6
Folder
16-18
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Picture research (general, plantations, steamboats)
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I'd Rather Be Right
: Boston, 1937
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Box
6
Folder
19
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Clippings, 1937
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John Henry
: 44th Street, 1940
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Box
6
Folder
20
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Playbill, sheet music, clippings, 1940
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WCFTR Title File
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Stills
|
|
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U.S. Mss 129AN
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Jumbo
: New York Hippodrome, 1935
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Box
7
Folder
1
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Program, playbill, coloring book, clippings, and photographs, 1935
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WCFTR Title File
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Stills
|
|
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U.S. Mss 129AN
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Leave It To Me
: Imperial, 1938
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Box
7
Folder
2
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Programs, playbills, music, clippings, 1938
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Box
7
Folder
3
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Photographs of sketches, 1938
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Let 'Em Eat Cake
: Imperial, 1933
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Box
7
Folder
4
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Playbill, clippings, 1933
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Life Begins at 8:40
: Winter Garden, 1934
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Box
7
Folder
5
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Program and clippings, 1934
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Live Life Again
: Belasco, 1945
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Box
7
Folder
6
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Clippings, 1945
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Magnificent Cuckold
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Box
7
Folder
7
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Budget, 1955
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Box
7
Folder
8
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Copyright and agreements, 1956-1959
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Box
7
Folder
9-12
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Correspondence, 1955-1967
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Box
7
Folder
13
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Handwritten and typed notes, 1957-1965
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Box
7
Folder
14
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Promotional brochure, undated
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Scripts
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Box
7
Folder
15
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Typed William Drake translation, circa 1932
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Box
7
Folder
16
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Typed translation (annotated), by Laurence de Sybel and Peter Sutcliffe, 1955
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Box
7
Folder
17
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Typed script (annotated) by Peter Verstille, 1956
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Box
8
Folder
1
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Typed script by Peter Verstille, 1956
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Box
8
Folder
2
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Typed script by Peter Verstille, 1958
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Box
8
Folder
3
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Typed script by Peter Verstille, 1959
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Box
8
Folder
4
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Mimeo script by Peter Verstille, 1959
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Box
8
Folder
5
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Research notes
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Box
8
Folder
6
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Sketches
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A Night at the Lambs
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Box
8
Folder
7
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Notes and clippings, 1966
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Box
8
Folder
8
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Correspondence regarding redecoration dispute, 1961-1965
|
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Box
8
Folder
9
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Typed script by G.R. Glenn, 1961
|
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Box
8
Folder
9
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Typed script by G.R. Glenn and notes, circa 1965
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Box
8
Folder
10
|
Research
|
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Night Life
: Brooks Atkinson, 1962
|
|
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Box
8
Folder
11
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Contract, playbill, clippings, 1962
|
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Box
8
Folder
12
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Fabric sample
|
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Box
8
Folder
13
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Notes
|
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Box
8
Folder
14
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Notes on lighting and sound and photostat of set design, 1962
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Box
20
Folder
7
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Blueprints and sketches of set designs and light plots
|
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Box
9
Folder
1
|
Northwest Jubilee (Oregon centennial), 1958-1959
|
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Box
9
Folder
2
|
Notes for undeveloped plays, 1956-1964
|
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Of Thee I Sing
: Ziegfeld, 1952
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Box
9
Folder
3
|
Technical notes, fabric samples, 1952
|
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Box
19
Folder
4
|
Sketches
|
|
|
Box
20
Folder
8
|
Hanging plots
|
|
|
Pardon Our French
: Broadway, 1950
|
|
|
Box
9
Folder
4
|
Clippings, 1950
|
|
|
Box
9
Folder
5
|
Photographs of unidentified productions
|
|
|
Box
9
Folder
6
|
Published sketches (Theatre Arts), 1934
|
|
|
Radio City Music Hall
|
|
|
General
|
|
|
Box
9
Folder
7
|
Miscellaneous clippings and sketches
|
|
|
Box
9
Folder
8
|
Notes
|
|
|
Box
9
Folder
9
|
Set photographs, miscellaneous
|
|
|
“Aces High,” 1936
|
|
|
Box
21
Folder
1
|
Sketches
|
|
|
“Angles Show,” 1935
|
|
|
Box
21
Folder
2
|
Sketches
|
|
|
Box
9
Folder
10
|
Photographs
|
|
|
“The Big Show”
|
|
|
Box
21
Folder
3
|
Sketches (may not be RCMH)
|
|
|
“The Big Time”
|
|
|
Box
9
Folder
11
|
Typed scenario by AJ, 1959
|
|
|
“Black and White Show,” 1936
|
|
|
Box
21
Folder
4
|
Sketches
|
|
|
Box
9
Folder
12
|
Photographs
|
|
|
“Bonanza”
|
|
|
Box
9
Folder
13
|
Typed notes, program, and technical information, 1959
|
|
|
Box
21
Folder
5
|
Blueprints
|
|
|
Christmas shows, 1953, 1955
|
|
|
Box
9
Folder
14
|
Notes, technical information, program, 1953, 1956
|
|
|
Sketches and blueprints
|
|
|
Box
21
Folder
6
|
1953
|
|
|
Box
22
Folder
1
|
1956
|
|
|
Easter show
|
|
|
Box
9
Folder
15
|
Notes, clippings, 1967
|
|
|
Box
22
Folder
2
|
Blueprint
|
|
|
“Gold Rush Show,” 1935
|
|
|
Box
9
Folder
16
|
Photograph
|
|
|
Box
22
Folder
3
|
Sketch
|
|
|
“Greenwich Village,” 1959
|
|
|
Box
9
Folder
17-18
|
Typed scenario by AJ
|
|
|
Box
9
Folder
17-18
|
Notes, color chart
|
|
|
Box
9
Folder
17-18
|
Picture research clippings
|
|
|
Box
22
Folder
4
|
Sketches
|
|
|
“Manhattan,” 1936
|
|
|
Box
9
Folder
19
|
Photographs
|
|
|
Box
22
Folder
5
|
Sketches
|
|
|
“Nome Street”
|
|
|
Box
22
Folder
6
|
Blueprints and sketches
|
|
|
“Sawdust and Spangles”
|
|
|
Box
9
Folder
20
|
Typed scenario by AJ, handwritten notes, clippings, 1959
|
|
|
Box
23
Folder
1
|
Sketches
|
|
|
“Sea Breezes”
|
|
|
Box
9
Folder
21
|
Typed scenario by AJ, notes, 1959
|
|
|
Revenge With Music
: New Amsterdam, 1934
|
|
|
Box
9
Folder
22
|
Playbills and clippings, 1934
|
|
|
Box
19
Folder
5
|
Sketches
|
|
|
Sawdust and Spangles (proposed television program)
|
|
|
Box
9
Folder
23
|
Typed scenario by G.R. Glenn, 1960
|
|
|
Box
9
Folder
24
|
Notes and clippings, 1961-1967
|
|
|
Showboat
: St. Louis Opera, 1952, and Jones Beach, 1956
|
|
|
Box
23
Folder
2
|
Blueprints, sketches, and light plots
|
|
|
Box
9
Folder
25
|
Clippings, 1957
|
|
|
Box
10
Folder
1
|
Typed script, 1952
|
|
|
Box
10
Folder
2
|
Program, 1952
|
|
|
Box
10
Folder
3
|
Photographs, 1952
|
|
|
Box
10
Folder
4
|
Notes, clippings, and playbill, 1956
|
|
|
Box
10
Folder
5
|
Contract, seating charts, address list, stills, programs, playbills, gelatin samples, undated
|
|
|
Box
10
Folder
6
|
Typed script, prop list, light plots, 1957
|
|
|
Shuffle Along
: Broadway, 1952
|
|
|
Box
10
Folder
7
|
Playbill, technical notes, financial statement, and agreement, 1952
|
|
|
Box
23
Folder
3
|
Blueprints of hanging plans
|
|
|
Sing Out Sweet Land
: International, 1944
|
|
|
Box
19
Folder
6
|
Sketches
|
|
|
Starlight Theatre-Kansas City
|
|
|
Box
10
Folder
8
|
Photographs for several productions
|
|
|
Stockade
: President, 1954
|
|
|
Box
10
Folder
9
|
Notes, 1954
|
|
|
Box
23
Folder
4
|
Blueprint
|
|
|
Three's A Crowd
: Selwyn, 1930
|
|
|
Box
10
Folder
10
|
Programs, clippings, 1930
|
|
|
“Turn Of The Century”
: Diamond Horseshoe nightclub
|
|
|
Box
10
Folder
11
|
Program, sheet music, clippings, 1938
|
|
|
Box
23
Folder
5
|
Unidentified sketches and plans
|
|
|
Union Pacific (ballet)
|
|
|
Box
10
Folder
12
|
Clippings, 1934
|
|
|
Waltzes From Vienna
: Alhambra, London, 1931
|
|
|
Box
10
Folder
13
|
Program and clippings, 1931
|
|
|
Washington, D.C. Festival, miscellaneous productions
|
|
|
Box
10
Folder
14
|
Programs, clippings, 1953
|
|
|
What Did We Do Wrong?
: Helen Hayes, 1967
|
|
|
Box
10
Folder
15
|
Playbills, production notes, clippings
|
|
|
Box
19
Folder
7
|
Sketches
|
|
|
Box
23
Folder
6
|
Blueprints and large sketches
|
|
|
You Never Know
: Winter Garden, 1938
|
|
|
Box
10
Folder
16
|
Program, playbills, sheet music and clippings
|
|
|
You Only Twinkle Once, 1946
|
|
|
Box
19
Folder
8
|
Sketch
|
|
|
The Ziegfeld Follies
: Winter Garden, 1934
|
|
|
Box
10
Folder
17
|
Playbills, clippings, 1934
|
|
|
Series: Trade Shows and Expositions
|
|
|
American Flotilla
|
|
|
Box
10
Folder
18
|
“Basic Folder”
|
|
|
Box
10
Folder
19
|
Brochure (New York and St. Louis), 1958
|
|
|
Box
10
Folder
20
|
Copyright, 1953-1964
|
|
|
Correspondence
|
|
|
Box
10
Folder
21-22
|
A-H
|
|
|
Box
11
Folder
1-8
|
I-Z
|
|
|
Correspondence and notes
|
|
|
Box
11
Folder
9
|
Atlantic City
|
|
|
Box
11
Folder
10
|
Baltimore
|
|
|
Box
11
Folder
11
|
Boston
|
|
|
Box
11
Folder
12
|
Chicago
|
|
|
Box
11
Folder
13
|
Cincinnati
|
|
|
Box
11
Folder
14
|
Illinois
|
|
|
Box
11
Folder
15
|
Kansas City
|
|
|
Box
11
Folder
16
|
Miami
|
|
|
Box
12
Folder
1
|
New Orleans
|
|
|
Box
12
Folder
2
|
New York
|
|
|
Box
12
Folder
3-4
|
Philadelphia
|
|
|
Box
12
Folder
5
|
Pittsburgh
|
|
|
Box
12
Folder
6
|
St. Louis
|
|
|
Box
12
Folder
7
|
San Diego
|
|
|
Box
12
Folder
8
|
San Francisco
|
|
|
Box
12
Folder
9
|
Texas
|
|
|
Box
12
Folder
10
|
“Discussion notes”
|
|
|
Box
12
Folder
11
|
Financial records
|
|
|
Box
12
Folder
12
|
Health Pavilion, correspondence
|
|
|
Box
12
Folder
13
|
Logs, 1958
|
|
|
Box
12
Folder
14
|
Personnel
|
|
|
Box
12
Folder
15
|
Proposals, 1964-1967
|
|
|
Box
12
Folder
16
|
Omitted material
|
|
|
Box
13
Folder
1
|
Research
|
|
|
Box
13
Folder
2
|
Showboat tour, notes
|
|
|
Box
23
Folder
7
|
Sketch of Illinois flotilla, 1966
|
|
|
Box
13
Folder
3
|
Technical notes
|
|
|
Box
4
Folder
9
|
“Aspen Project,” typed notes, 1963
|
|
|
Box
13
Folder
4
|
Bell Telephone Show (What's Poppin In Shoppin')
|
|
|
Programs, typed (annotated) script, notes, fabric samples, 1959
|
|
|
Chevrolet Show
|
|
|
Box
13
Folder
12
|
Production notes, 1954
|
|
|
Box
23
Folder
7A
|
Light plots
|
|
|
Chicago International Trade Fair
|
|
|
Box
13
Folder
6
|
“The Big Show,” notes, 1961
|
|
|
Box
13
Folder
7
|
Clippings
|
|
|
Box
13
Folder
8
|
Correspondence, 1961-1963
|
|
|
Box
13
Folder
9
|
Technical notes, 1963
|
|
|
Box
13
Folder
10
|
Lighting notes, 1963
|
|
|
Box
13
Folder
11
|
Picture research on airplanes
|
|
|
Box
13
Folder
5
|
Small sketches
|
|
|
Box
19
Folder
9
|
Sketches
|
|
|
Box
23
Folder
8
|
Sketches, light plots, and miscellaneous blueprints
|
|
|
Box
24
Folder
1-2
|
Sketches, light plots, and miscellaneous blueprints (continued)
|
|
|
Chrysler Show
|
|
|
Box
24
Folder
3
|
Blueprints
|
|
|
Box
13
Folder
13
|
Correspondence, 1957
|
|
|
Box
13
Folder
14
|
Notes, clippings, photographs, 1957
|
|
|
Box
13
Folder
15
|
Car movement diagrams (annotated), 1957
|
|
|
Box
13
Folder
16
|
Mimeo scripts (annotated) for Dodge car and truck, 1957
|
|
|
Box
14
Folder
1
|
Basic information manual (annotated), 1957
|
|
|
Lincoln Mercury Show
|
|
|
Box
14
Folder
2
|
Production notes, correspondence, 1965
|
|
|
National Retail Merchants Association
|
|
|
Box
24
Folder
5
|
Blueprints, 1958
|
|
|
New York World's Fair, 1964
|
|
|
Box
14
Folder
5
|
Beer Garden concept, 1964
|
|
|
Box
14
Folder
6
|
Chrysler
|
|
|
Box
24
Folder
4
|
Sketch
|
|
|
Box
14
Folder
7
|
Notes, 1964
|
|
|
Box
14
Folder
8
|
Research on Seattle World's Fair, 1958
|
|
|
Box
14
Folder
9
|
Rescue proposal for 1965
|
|
|
Box
14
Folder
10
|
Travelers Insurance Company pavilion, 1964
|
|
|
Disc 199A
|
“The Triumph of Man”
|
|
|
U.S. Mss 129AN
|
Packard Show
|
|
|
Box
24
Folder
6
|
Blueprints
|
|
|
Box
14
Folder
3
|
Notes, correspondence, 1954
|
|
|
Powerama (GM)
|
|
|
Box
24
Folder
7
|
Blueprints
|
|
|
Box
14
Folder
4
|
Notes, 1955
|
|
|
Series: Other Professional Work
|
|
|
Box
14
Folder
11
|
Amusement apparatus, correspondence, patents, 1929
|
|
|
Box
14
Folder
12
|
Cabinet or object cover patent, 1952
|
|
|
Box
14
Folder
13
|
Discotheque, correspondence, notes, and clippings
|
|
|
Box
14
Folder
14
|
Hempstead Theatre Development, 1925
|
|
|
Little Theatre
|
|
|
Box
14
Folder
15-16
|
Correspondence, 1937-1967
|
|
|
Box
14
Folder
17
|
Financial/legal business arrangements, estimates
|
|
|
Box
15
Folder
1
|
Rough model
|
|
|
Box
15
Folder
2
|
Patent information
|
|
|
Box
15
Folder
3
|
Research clippings and notes
|
|
|
Box
15
Folder
4
|
Research (including sample model kits)
|
|
|
Box
15
Folder
5
|
Script and photographs of model set
|
|
|
Box
15
Folder
6-9
|
Technical notes and information
|
|
|
Optorium
|
|
|
Box
15
Folder
10
|
General
|
|
|
Box
15
Folder
11
|
Proposal
|
|
|
Box
15
Folder
12
|
Research, clippings
|
|
|
Box
15
Folder
13
|
Technical notes and tent information
|
|
|
Box
15
Folder
14
|
“Void papers”
|
|
|
Box
15
Folder
15
|
Wilfred's clavilux
|
|
|
Box
16
Folder
1
|
Senso-Reader (reading device), correspondence, notes, 1953
|
|
|
Box
24
Folder
8
|
Showboats (including Cherokee Rose, 1952), Blueprints and sketches for unidentified showboats and floating circus project
|
|
|
Visi-O-Rama
|
|
|
Box
16
Folder
2-3
|
Correspondence and general information, 1967-1968
|
|
|
Box
16
Folder
4
|
Copyright information
|
|
|
Box
16
Folder
5
|
Miscellaneous material
|
|
|
Box
16
Folder
6
|
Posters, correspondence, clippings, 1967-1968
|
|
|
Box
18
|
Slide production materials
|
|
|
Box
16
Folder
7
|
Technical notes and plans, 1967
|
|
|
Series: Research Material
|
|
|
Box
16
Folder
8-10
|
Books and magazine notes
|
|
|
Box
16
Folder
11
|
Lighting equipment catalogues and data
|
|
|
Box
16
Folder
12
|
Methodology sample
|
|
|
Box
16
Folder
13
|
Notes regarding stage sizes and scenery shops
|
|
|
Box
16
Folder
14
|
Miscellaneous theatrical notes
|
|
|
Box
16
Folder
15
|
Theatrical supplies, catalogues, samples, and information
|
|
|
Box
17
Folder
1-2
|
Theatrical supplies (continued)
|
|
|
Series: Collected Material
|
|
|
Box
17
Folder
3
|
Circus scrapbook, 1923-1924
: Photocopy; original at Circus World Museum.
|
|
|
Box
17
Folder
3
|
Sam Saltzman collection of early twentieth century theatrical photographs
|
|
|
Box
17
Folder
3
|
Notes on acquisition and contents of collection
|
|
|
Lot A107
|
Photographs
|
|
|
