Theatre Design & Technology - Winter 1980 - 24

Thinking of Buying?
While there are undoubtedly designs and prints to fit almost
anyone's budget, the big names fetch big prices. A November,
1978 sotheby Parke Bernet auction brought $900 for a Jo Mie/ziner pencil and water color design for A Tree Grows in Brooklyn. At their auction a year later a Leon Bakst "Oriental Decor"
went for $6,250, and a Bakst design for C1eopatre sold for
$19,000. The most recent Richard Stoddard Performing Arts
Books catalog offered three Ming Cho Lee sketches for The
Marriage of Figaro, matted and framed together, for $3000.

judgment render value to your collection. Donald Oenslager
bought his first design in 1923-a Bibiena drawing he found
for sixty cents.
Perhaps the most exciting and least expensive way to develop a collection is by concentrating on "contemporary" or
living designers. There are hundreds of talented and prolific
designers working in theatres all across the country. Generally designers have little regard for their work once the production is open and find it a great burden to store and catalogue their work. An approach to one of the younger
designers whom you admire will quite often be considered
flattering and meet with success. Several developmental
"roughs" or preliminary sketches in pen and ink, magic
marker or pencil can offer the collector a stunning beginning
and may be purchased for as little as twenty-five dollars each.
Proper matting and framing will give them the visual attention
they deserve. Be sure the designer signs each sketch and includes the date, name and place of production. At some future
time this may be important historically as well as financially.
With several hundred dollars you might consider purchasing a design by one of the better known designers who is
working for the regional theatre or Broadway. A face to face
discussion with a designer over money can be difficult and
embarrassing, particularly if you are not familiar with market
values. Good advice from a knowledgeable person can be invaluable and in most cases the ten to twenty percent charged
by an agent will be well worth the money. An agent will know
the market, where designs are available, and can buy for you
within your budget. Works of earlier designers, many of whom
are deceased, are to be found in the hands of heirs and, here
again, an agent can be of value in locating sources and transacting the sale.
Buying at an auction can be exciting and rewarding. Sotheby Parke Bernet of New York City holds one or two public
auctions each year made up of theatrical materials. An advance catalogue can be purchased by writing to them. A bid
form is included, along with estimates of the expected price
range of each item or lot. You may bid by mail by following the
"Advice to Bidders" section in the back of the catalogue. The
illustrated and documented catalogues can also be useful in
keeping track of current prices, which in the past year have
ranged from $50 to about $20,000.
Any collector with the opportunity to travel in Europe will
find it a rich source of both contemporary and historical materials. Galleries selling prints and drawings of all kinds are an
interesting and exciting market. One should beware of expending considerable amounts of money on a "find" without
documentation from the seller or without good advice. When
in question it might be wise to contact the local theatre museum (and there are many) for help in making a decision to
purchase. Contacting local designers can also be fruitful, but
an expert or agent can save time and money in the long run.
Each of the eastern European countries has very strict laws
regarding how an artist may sell his work and what can be exported. Take the time to contact a representative of the Ministry of Culture for help and advice. They will be most helpful
and it is certainly not worth getting either the artist or yourself
in trouble at the time of departure.
Entering the United States with prints or drawings in my ex22

Theatre Design & Technology

perience has been a very easy process. U. S. Customs allows
importation of paintings, drawings and prints (unbound) duty
free. Just keep bill of sales slips including the seller description at hand when going through customs. Should any problems be encountered, request to see the chief customs officer
and request that he check the regulations.
As your knowledge, taste and desire grow, you will discover that at least half of the fun is the hunt. Hours spent hunting through stacks of old prints will result, unexpectedly, in a
real "find" of significant artistic value. When this happens it
suddenly becomes worthwhile. But a word of caution must be
added.
As any collection grows, the collector will sooner or later
discover that the collection begins to own him; that is, the
owner realizes his responsibilities to the works of art. Proper
mounting and matting is a "must" as most commercial mat
boards contain acids which will in time destroy the paintings
or drawings. Hanging in direct fluorescent or sun light can
have a disastrous effect on color. Good advice can usually be
had from the conservator of the local museum, who (as a service) will consult on the proper methods of maintaining theatrical works of art.
The collector should also consider his responsibilities to
students, scholars and artists who would enjoy the collection.
Is the collection properly documented? Will it be made available, on loan, for exhibit and under what conditions? One further question should be answered by the collector: "What will
ultimately happen to the collection?" Sometimes the avid collector will die, leaving an important collection to friends or relatives who have no interest in things theatrical and, what is
worse, no knowledge of their historic or artistic value. Many
important small collections have been destroyed or lost as a
result of this kind of neglect. Any collector who finds joy in the
theatrical work of art should take precautions to insure that
his pleasure will be enjoyed in perpetuity.D

USITT
Conference

April 1-4, 1981
CLEVELAND
At The Stouffer's Inn
on the Square.

Conference Chairman:
William J. Byrnes
245 West College St.
Oberlin, Ohio 44{)74

USITT/Winler, 1980



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
Theatre Design & Technology - Winter 1980 - 38
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Theatre Design & Technology - Winter 1980 - 40
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Theatre Design & Technology - Winter 1980 - 44
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
http://www.nxtbookMEDIA.com