Theatre Design & Technology - May 1969 - 24

" TERNATIO AL EXHIBITION OF STAGE DESIG S.
Wendingen 9 and 10, Amsterdam, 1921. A handsome double issue of a Dutch avant-garde magazine
of art of the period "hich records lavishly the firs
large exhibition devoted to the work of Edward
Gordon Craig and Adolphe Appia and their wide influence upon scene design and play production ,n
Europe and America, shown in Amsterdam the winter
of 1921-22. Sheldon Cheney was in charge of the
American section which devoted mas of ItS space IO
'orman Bel-Geddes Divine Comedy project. Jones
contributed several designs. Articles by Gordon Craig,
Adolphe Appla, Leon Bakst, and others, diSCUSS
aesthetics and summarize the actl iues 0 the various
countries partIcipating. Kenneth l\lacgm\an summarized the progress of the new stagecraft In America
for the decade preceding the exhlbilion and cited
Jones' working arrangement with Arthur HopkIns as
the most opportune arrangement under the hit-andmiss method of producing on Broadway, the method
that stili exists today. Aller Amsterdam, the exhibit
moved on to London, then toured se eraf European
cities and finally arri\ed in e\\ York early III 1926.
Simonson, Lee, THEATRE ART.
e\\ York' W. \'
orton & Co., 1934. In 1934, the
luseum of
10dern Art presented in
ew York a large international exhibition of theatrical an, \·"hich was organized by Lee Simonson. Many European countries,
including the U.S.S.R_ participated. Simonson was in
charge of the American section and Jones contributed
several designs. This elaborate catalogue listed the
contributors and illustrated many of the Items. Critics
and designers from participating countries contributed
articles. Oliver Saylor wrote on American scene deSign
and Jones' IIlfluence is cited.
THREEDES~ ERSFORTHECONTE ~PORARYTHE~
TRE. Stage Designs of Three Harvard Graduates:
Robert Edmond Jones (Class of 1910). Donald Oen·
slager (Class of 1923). and Lee Simonson (Class of
1909). With a Foreword by William Van Lennep.
Cambridge, Massachusetts: Fogg Museum, 1950_ A
retrospective exhibition sponsored jointfy by the Har·
vard Theatre Collection and the Fogg i\ useum and
shown at the Fogg f\..1useum. Harvard University,
October 16- ovember 25, 1950. In his foreword
Van Lennep reviews the careers of the three artists
and asserts that it was Jones who was one of the
first "to help the American theatre come 0 age." A
short biographical note introduces the section devoted
to each artist.

Henry VIII: Death of Katherine

Since his death on Thanksglvlllg night of
1954, there have been several exhibitions of
the drawlllgs of Robert Edmond Jones that
were re rQspec ive and commemora ive In nalure, principally at the universities of New
Hampshire, Yale, Connecticut, Wisconsin, and
Texas. The most comprehensive retrospective
exhibition, however. was sl1o\·\,n first at the
Whitney Gallery of American Art in New York
in 1958, and then toured the United States.
ROBERT ED~'OI D JO ES' DESIG S FOR THE
luseum
THEATRE A Check lis. e" York: \Vhltne
of American Art, 1958. This exhlbi lon, the largest
and most SignifIcant retrospective of Jones art \\as
presented at the Whitney Galleries III f'\ew York from
February 26 through .A.pr" 20, 1958 and then It
toured the United States under the auspices of the
American Federation of Art. The committee was made
up of ·lary Hall Furber, Ralph Pendleton, and three
friends and colleagues of Jones. Lee Simonson, Jo
Mielziner, and Donald Oenslager.
The exhibition occuPied several second floor gal·
leries Including two small ones given 0 er to the
working drawings or Lute Song. Several of the giant
puppets Jones designed for Oedipus Rex were diSplayed and the designs for Shakespeare's King Henry
V III, an abandonded production Jones had designed
for Billy Rose, were shown for the first time. Instead
of an elaborate catalogue, a two-page check Iist was
available to viewers. The check list also served as a
herald forTHE THEATRE OF ROBERT EDMO D JONES,
\·.hich the Wesleyan University Press Issued simultan·
eously \"" ith he opening of the exhibition.

C. The Collections_
Robert Edmond Jones had a CUriOUS regard lor
his drawlllgs; he 10 ed to make them, he loved
to show them, and he loved to scatter them
among friends, hence his drawings are 10 the
hands of many persons and collections. During
his later life, when he was lecturing, he had
the habit of sending deSigns to the universities and colleges where he had fectured because, he said, he\\anted to be "represented."
Since hiS death, Ralph Pendle on has established at \Yesleyan U/ll erslty Library in
'" iddletown, Connecticut, an Index of the deSigns of Robert Edmond Jones, wherein Pendleton hopes to eventually list the location of
every drawing slill extant. The check list of
the \,Vhitney exhibit Indicates the whereabouts
of many of Jones' deSigns. A SllOrt and incomplete list of collections where significant
numbers of Jones may be found included:
The private collection of
City.

~1r. ~

ason Arvold,

'ew York

The private collection 0
Irs. Frank Gates, Bfackha\\k,
Colorado, Including sketches for the Central Cil\' Opera
Company productions.
The pm'ate collection of Mr. Donald Oenslager,
York City.

ew

The private collection of Mr. Robert Lynn Batts Tobin,
San Amonio, Texas, IIlciuding settings and COSlume
sketches or The Merchant of Venice project and
the complete set of drawings Jones did for CO Til E ITAL STAGECRAFT_
Theatre Collection, Harvard University Library, Cambridge, i\lassachusetts.
Seymour Theatre Collection,
Princeton, New Jersey.

Princeton University,

Theatre and Music Collection, Museum of the City of
ew York, including designs for Redemption, Mourning Becomes Electra, and the Max Gordon production
of othello (1937).
Museum of Modern Art,
ew York City, including
settings and costumes plates for Lute Song, and the
Margaret Webster production of Othello (1943).
Wesleyan University Library, Middleton, Connecticut,
including the complete set of designs for King Henry
VIII.



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1969

Contents
Theatre Design & Technology - May 1969 - 1
Theatre Design & Technology - May 1969 - 2
Theatre Design & Technology - May 1969 - 3
Theatre Design & Technology - May 1969 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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