Theatre Design & Technology - Winter 1980 - 23

were published as souvenirs of important social events, but as
time went on they began to be appreciated for their artistic
value. Many of these early private collections were only a
small portion of larger collections of architectural drawings
from which they could be separated only by noting their dramatic and imaginative use of architectural motifs. Until recently architectural drawings were considered "legitimate"
while theatrical prints and drawings were somehow inferior
except as they related to the social functions of the great royal
houses of Europe as, for example, Torelli's engravings of his
spectacles for the French court, or the master engraver
Callot's illustrations of theatrical production for the Court of
Tuscany.
A second type of collection of theatrical designs from this
early period was gathered in the hands of practicing theatre
designers who collected the works of their predecessors and
contemporaries as a kind of "source book" to be used as inspiration of their own work. Such a collection was the Janos
Scholz holdings (which formed the backbone of the Oenslager
collection) which was gathered by Giovanni Piancastelli from
the descendents of Roman and Bolognese designers who
used their collections as research materials for their own
work.
A third kind of collection developed almost by chance as
the major European theatres and opera houses retained costume and scenery designs commissioned by them as a record
of production. At first this formed a record of "what was in
stock" but as the years passed their practical value decreased; in the end they developed into major public holdings
recording the history of theatrical design. Excellent examples
of this type of collection are to be found in the archives of the
Paris Opera and La Scala.
With the emergence of theatrical history as a legitimate academic discipline, several American libraries and universities
have developed major collections of theatrical design. These
collections belong to research libraries and are largely historically oriented rather than based upon the esthetic value of the
objects. Some of these recent collections (e.g. the Performing
Arts Library of the City of New York, The Ohio State University
Theatre Collection and the Hoblitzelle Theatre Arts Library of
the University of Texas) have been developed through gifts
from private donors and through the purchase of private collections.
Aside from the already mentioned major and many minor
public collections of theatrical design, there exists today a
growing number of private collectors born of a love of the
theatre and a reverence for the work of the visual theatrical
artist. More interestingly, in the past several years (since my
connection with the Tobin Collection) I have come to realize
that there are numerous would-be collectors who are unsure
of how to begin or feel that such a collection is beyond their
financial reach.
The purchase of the first sketch by a would-be collector
brings with it a flush of personal gratification which reaches its
height upon haning it on a wall and displaying it to a friend.
This personal pleasure should be the foundation of all such
collecting and will grow as interest and knowledge of the visual arts of the theatre develop. The collection might begin
with the acquisition of a theatrical print found in a used book
shop, or through the purchase of a Metropolitan Opera Guild
print of a new design for the Opera. In any case the question
is, "does this design appeal to my esthetic sense," or "does it
please me?"
A knowledge of theatre and art history deepens the collector's perceptions of quality. An analysis of the design in question should examine its graphic excellence, use of the design
elements, its expressive power and historical value. Treating
the design in a more empirical way will aid. the collector in selecting designs of lasting artistic value. If you can afford the
purchase, no matter the price, the cost should not reflect the
value of the "art object" to you as a collector. Your taste and
Theatre Design & Technology

21



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1980

Contents
Theatre Design & Technology - Winter 1980 - 1
Theatre Design & Technology - Winter 1980 - 2
Theatre Design & Technology - Winter 1980 - 3
Theatre Design & Technology - Winter 1980 - Contents
Theatre Design & Technology - Winter 1980 - 5
Theatre Design & Technology - Winter 1980 - 6
Theatre Design & Technology - Winter 1980 - 7
Theatre Design & Technology - Winter 1980 - 8
Theatre Design & Technology - Winter 1980 - 9
Theatre Design & Technology - Winter 1980 - 10
Theatre Design & Technology - Winter 1980 - 11
Theatre Design & Technology - Winter 1980 - 12
Theatre Design & Technology - Winter 1980 - 13
Theatre Design & Technology - Winter 1980 - 14
Theatre Design & Technology - Winter 1980 - 15
Theatre Design & Technology - Winter 1980 - 16
Theatre Design & Technology - Winter 1980 - 17
Theatre Design & Technology - Winter 1980 - 18
Theatre Design & Technology - Winter 1980 - 19
Theatre Design & Technology - Winter 1980 - 20
Theatre Design & Technology - Winter 1980 - 21
Theatre Design & Technology - Winter 1980 - 22
Theatre Design & Technology - Winter 1980 - 23
Theatre Design & Technology - Winter 1980 - 24
Theatre Design & Technology - Winter 1980 - 25
Theatre Design & Technology - Winter 1980 - 26
Theatre Design & Technology - Winter 1980 - 27
Theatre Design & Technology - Winter 1980 - 28
Theatre Design & Technology - Winter 1980 - 29
Theatre Design & Technology - Winter 1980 - 30
Theatre Design & Technology - Winter 1980 - 31
Theatre Design & Technology - Winter 1980 - 32
Theatre Design & Technology - Winter 1980 - 33
Theatre Design & Technology - Winter 1980 - 34
Theatre Design & Technology - Winter 1980 - 35
Theatre Design & Technology - Winter 1980 - 36
Theatre Design & Technology - Winter 1980 - 37
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Theatre Design & Technology - Winter 1980 - 40
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Theatre Design & Technology - Winter 1980 - 44
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