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("L'Ete." Costume by Umberta Brunelleschi. (see catalogue item no.36)


EXTRAVAGANZA!

Fantasy Scenes and Costumes from 100 Years of Variety Theatre, 1850 - 1950


THE UNIVERSITY OF CALGARY LIBRARIES
SPECIAL COLLECTIONS

Occasional Paper No. 7
The Nickle Arts Museum
The University of Calgary
April 7 - May 10, 1981

Sponsored by
The Department of Drama,
The Faculty of Fine Arts, and
The University Library,
Special Collections Division, of
The University of Calgary





Acknowledgement

I wish gratefully to acknowledge the invaluable assistance and support of the following persons in the preparation of the exhibition:
and for The University of Calgary:


Philip McCoy
Curator for the Exhibit

This Catalogue is Occasional Paper no. 7,1981, (ISBN: 0-88953-017-3) in the series published by The University of Calgary Libraries Special Collections Division.

Its publication has been made possible by the assistance of the Dean of the Faculty of Fine Arts, Alan Robertson.

THE PLAN OF THE EXHIBITION

Entrance to the exhibition is through the doorway marked "Folies- Bergere" in the silver and green drop-curtain recreated by Douglas McCullough from Freddy Wittop's design for a 1930's Folies-Bergere production. The orginal drawing is mounted on a wall near the doorway.

For EXTRAVAGANZA! the term "variety theatre" has been used loosely to mean theatrical performances which fall under the categories of revue, music hall, operetta, cabaret, musical comedy, pantomime, tab leaux vivant and parades.A few examples from opera, film, and straight theatre have been included where the style of design reflects variety theatre influences.

THE WALL OF THE FANTASY PARADE

Immediately to the left as one enters is a rendering, forty-eight feet long, by Charles Betout, of a comic parade celebrating all the elements of a gourmet feast. Titled "Bombance: Cortege Humoristique", the piece depicts every conceivable course of an elaborate meal from the aperitifs to the inevitable digestive medicines at the end. That the plan was conceived as a practical parade is proved by a schematic diagram for the drawing in the University Library collection showing that the event would require 52 women, 361 men, 84 children and 44 animals!

THE WALL OF FANTASTIC OCCUPATIONS

After the parade, stretching down the side wall of the exhibition area, is a group of designs illustrating various designers' conceptions of occu pational costume for variety theatre forms. In some cases such as the soldier costumes and the different versions of cowboys and cowgirls the silhouettes are authentic but the colour and decoration lift them into the fanciful world of the stage: the Greek warriors in pastel armour and the gladiator in a paisley loin cloth are good examples. In other drawings the occupations have been whimsically idealized: the vivan dieres of Betout, Wilhelm and Compte-Calix bear little resemblance to the grubby camp followers they represent, and Jenny Carre's "Femme de Chambre" is the epitome of all flirtatious maids, just as her fantasy on a Viennese officer is the perfect image of a dashing operetta soldier. The charm of some of these occupations lies in their rarity or quaint ness: who has seen an egg seller, a "fileuse", or a seller of mussels, except in the theatre? Completing the wall is a group of musicians and actors in their workaday dress: several of Maurice Sand's drawings illustrate 19th century additions to the commedia dell'arte genre; the Paris music hall comedian and the three musicians of Soudeikine clearly bear a family resemblance to the commedia dell'arte.

THE GALLERY OF THE NATIONS

Opposite the wall of Occupations on the outer wall of the centre corridor is the Gallery of Nations: fantasy costumes of different nationalities.Of chief interest are Brunelleschi's native characters from exotic lands--Cambodia, Morocco, Algeria, and India--and his three imaginative treatments of the American Indian. Jenny Carre contri butes three highly romanticised versions of "English" dress and Mo rain's "Russian Prince" is a study in decadence. Herman Rosse's "Shawl Curtain" adds an ethnic grace note.

BEDROOM SCENE FOR HELEN

In the far corner of the gallery is a recreation of part of Oliver Messel's famous 1932 all-white setting for the operetta Helen. White had long been considered an "impossible" colour for stage scenes. This recon struction was made by University Theatre Services under supervision of Tom Legg, Martin Herbert, and Douglas McCullough. A photograph of the original setting is mounted at the entrance.

THE GALLERY OF PURE FANTASIES

The remaining three walls of the central corridor are devoted to scenes and costumes representing pure flights of imagination. One section surveys briefly the history of the showgirl from the demure dance dresses for music hall performers by Shoubrac and Betout, through the cubist impressions of Ksanna, to the extravagant confections of Jose de Zamora where showgirls carry yards of beads and pull trains twenty feet long. Carre's late 1930's dancer in her "scanties" is paired with a chorusboy in pink and white polka-dots. Freddy Wittop's setting for the Folies-Bergere is an ideal world for the fantasies of "Marcelle" and James Reynolds, and the elegant gowns of Charles Le Maire recall the glittering dress worn to parties and nightclubs in the 1920's.

The showgirl is also well represented in a section dealing with allegor ies: here one finds actresses dressed as the four seasons, fire, rainbows and bells. Even character qualities such as "Hope", "Gaiety", and "L'insouciance" are given form. Sometimes allegories become more elaborate, as are seen in a section dominated by Joseph Urban's de signs for The Garden of Paradise and Wilheim's costumes for Le Voyage dans la Lune.

At time pure fantasy finds its best expression in masquerade, as illus trated in Betout's sequence for Sidonie Panache, or in travesty as shown in Percy Anderson's costumes for Monte Christo Junior and The Duchess of Dantzig.

THE GALLERY OF HISTORY

The whole of the right hand gallery is given to costumes and scenes in which designers have worked fantastic variations on historical themes and silhouettes. Beginning at the back wall are two more parades by Charles Betout, one representing Egypt and the other Ancient Greece. Whether these mardi gras processions were actually realized for the stage is, as yet, undiscovered, but they show how a designer's mind can marry fancy with authentic historical form.

After the Betout parades, the historical section jumps to the 18th century, a time when fashion was already extravagant; the day-dream elaborations in this group push that extravagance to its limit. Two figures in particular seem to have captured the imaginations of desig ners: Casanova and Madame Pompadour. Indeed, the whole of the reign of Louis XV is a fertile field for costume experimentation, ranging from the heightened realism of Betout to the extreme fancies of Mo rain. Brunelleschi's sophisticated Venetian woman is paired with Joseph Urban's dreamlike setting of Venice for the Ziegfeld Follies of 1921.

The 19th century group is dominated by the exquisite exhuberance of Brunelleschi's Second Empire revue costumes. This section concludes with two costumes for Charpentier's opera Louise, set in 1900.

The 20th century is represented by Ksanna's cubist couple and jenny Carre's burlesques on French political figures. Of particular curiosity is a suite of revue costumes for political figures of the 1930's including Adolph Hitler in a Tyrolean smock.

COSTUME FOR A REVUE IN THE STYLE OF LOUIS XV

In the middle of the Gallery of History is a recreation of one of the most elaborate of the costume designs from The University of Calgary collec tion. Constructed by costumer Olive Wilson under the supervision of designer Sheila Lee, this revue costume of Umberto Brunelleschi (ca. 1935) includes over fifty yards of material and too many artificial flowers to count.

ORIGINAL ERTE MODEL

On a pillar near the exit is Erte's model for Under the Sea in its own lighted box, loaned for the exhibition by The Theatre Museum, London.

A NOTE ON THE LIST OF EXHIBITS

Ideally each design in the exhibit would be identified by the full name of the designer with dates, the title of the production, the character shown in costume drawings, the act and scene of stage designs, the medium of the work, and the size. Unfortunately, since the Calgary collection is a relatively new one and since theatre drawings are often lacking these kinds of documentation, much of this basic research still remains to be done. Sadly, many theatre designers do not annotate and sign every piece of work in a suite of drawings. The problems of documentation are compounded by the scarcity of biographical in formation about many scene and costume designers whose reputa tions have vanished in the general ephemerality which characterzies theatre production.

One of the purposes of this exhibit is to interest students and scholars in the University of Calgary collection and in this area of theatre re search so that in future all such information will be readly available. In some cases I have made preliminary and conjectural identifications based on stylistic similarities, cryptic annotations on the drawings and tentative forays into secondary materials. In every case these conjec tures are marked with question signs. I apologize now for errors which future researchers may bring to light.

The identification of media is not always simple: the distinctions be tween transparent watercolour, opaque watercolour, gouache, and tempera have changed with varying stages of technical development. In this list "watercolour" refers to what appears to be transparent waterpaint; gouache refers generally to opaque watercolours and what are sometimes termed "poster paints" and designer colours. I have used the term "tempera" where there is documented reason for doing so. Modern terms such as case in and acrylic do not apply. I have also noted whether drawings are on paper, card, or board and I have assigned colour designations ranging through cream, manila, buff, tan, and grey.

P. McCoy

LIST OF THE EXHIBITS

The exhibits are arranged alphabetically by designer. Except where otherwise noted all designs are owned by The University of Calgary Library, Special Collections Division.



PERCY ANDERSON (1 852 - 1928)
"Leading English stage designer in the 1880 to 1928 period; collaborated with Sir Herbert Beerbohm Tree at Her Majesty's Theatre, 1898-1904; worked for the Gaiety Theatre, designed ballets at the Coliseum; Gilbert and Sullivan operas; The Quaker Girl, Chu Chin Chow, The Persian Princess, etc. Illustrated Costume: Fanciful, Historical, and Theatrical by Mrs. Aria (London: Macmillan and Co., 1906." From design exhibition catalogue notes by Charles Spencer, 1976.

1 . "The Eggseller, Act I." Man in exotic loose trousers and tunic, green cloak
and hat trimmed with curious wheel holding eggs. The Persian Princess, operetta
by Ivan Caryll, based on Sardou's Madame Sans Gene, Lyceum Theatre, London,
1903. Pencil and watercolour on cream paper. 17.8 x 25.4. Initialled, titled, and
annotated. Owner: Ouida Touche and Associates, Calgary.

2. "Papillon, Act I." Streetseller in white knee-trousers, blue and white
striped jacket and stockings, cloak, lavishlydecorated with ribbons. The Duchess
of Dantzig, Lyric Theatre, London, 1903, role played by Courtice Pounds. Pencil
and watercolour on cream board. 23.5 x 29.8. Unsigned, but labelled in Anderson's
hand.

3. Man in Spanish Costume. Knee-trousers, white shirt, elaborate cloak and
hat in grey, white, and red. The Count of Monte Christo Junior by Richard Henry,
Gaiety Theatre, London, 1886. Ink and watercolour on cream card. 15.2 x 22.2.
Unsigned, but labelled in Anderson's hand. Owner: private collector, Calgary.

4. Woman in Spanish Costume. Skirt, blouse, and cloak with staff in hand,
matching item no.3. Ink and watercolour on cream card. 15.2 x 22.2. Unsigned.
Owner: private collector, Calgary.

GEORGES BARBIER (1882 - 1932)
"Painter, designer, and illustrator. Became famous with two rare albums repre senting the dancers Nijinsky and Karsavina in the years 1913-1914. A prolific designer, he worked for a long time in the field of theatre design, cultivating an aptitude for vivid colour effects derived from the example of Bakst. He frequent ly contributed to important fashion publications." From Parisian Fashion, Vol. 1, (New York, Rizzoli, 1979) by Cristina Nuzzi.

5. "Casanova, Planche I." Man in green and pink dressing gown, tall white
turban with pink ribbon. For the play Casanova by Maurice Rostand (?).
Zincograph signed in the plateand dated 1918, hand coloured by the artist in
gouache. 17.8 x 22.9. Owner: private collector, Calgary.

ALEXANDRE BENOIS (1870 - 1960)
Russian designer, part-founder of the Ballets Russe, especially known for Pet rushka, 1911. The four designs cited below are initialled "AB" and their attibu tion to Benois is tentative, based upon the similarity of the intialled signature to known drawings from the 1930-1940 period which bear the same sign.

6. "Casanova, costume no. 2.' Man in mid 18th century suit, ochre
breeches, monochrome coat, brown cape. The rendering technique suggests
that this is a costume for a film. Pencil, watercolour on cream paper. 21.6x37.5.
Unsigned, but clearly part of a suite, others of which are titled, annotated, and
initialled.

7. "Casanova, costume no. 3." Man in mid 18th century suit, monochrome
trousers and waistcoat, green coat, tricorne hat, sword. Pencil and watercolour
on cream paper. 19 x 35.6. Initialled, titled, annotated.

8. "Lucienne." Street dress, style 1900, with swatches of green silk and white
lace attached. Louise, opera by Charpentier. Pencil on cream card. 32.4 x 49.5.
Initialled, titled, and annotated. Lucienne refers to an actress, not a character.

9. "Lucienne." Evening dress, style 1900, with swatches of red silk and white
lace attached. Louise, opera by Charpentier. Pencil on cream card. 32.4 x 45.9.
Initialled, titled, annotated.

CHARLES BETOUT (active ca. 1900 - 1939)
Costume designer for French opera, operetta, revue and film. Principal costume designer for the Comedie-Francaise from 1919 to ca. 1939. Especially notable for his careful attention to period research and detail; created large suites of designs for historical productions requiring hundreds of costumes.

10. Woman in Egyptian dress of gold, turquoise and deep blue with hawk
headdress; detail of dagger in upper right corner. Costume for Cleopatra,
ca.1910 (?). Pencil, watercolour, gold paint, and glitter on tan card. 24.8 x 32.4.
Unsigned but clearly part of Betout folio.

11. Woman in Spanish riding costume, tan, with orange scarf, hat with
tassel, shawl over shoulder, boots and spurs. ca. 1910 (?). Pencil, watercolour
and silver paint on eggshell board. 21 x 44.5. Signed.

12. "Merveilleuse.' Woman in pink gown with green and gold decoration,
matching shawl and headpiece, style ca. 1905. Pencil, gouache, gold paint and
glitter on tan card. 21.6 x 44.5. Signed.

13. Dancer in ankle-length dress, style 1830's, pink and green trimmed with
garlands of cherries and brown ribbon, feather headdress. Pencil, watercolour,
gouache, on buff paper. 21.6 x 29.8. Unsigned.

14. 'L'Anglaise." Woman in masquerade dress, blue ankle-length skirt,
orange waistcoat, admiral's hat with white plume, riding whip. Sidonie Panache,
(untraced production). Crayon and watercolour on cream paper. 16.5 x 31.8.
Titled in Betout's hand, unsigned but clearly part of Sidonie Panache suite.

15. "Seraphina: espagnola." Woman in masquerade, Spanish peasant dress,
face mask, mode 1842. Sidonie Panache. Pencil and watercolour on cream paper.
15.9 x 31.1. signed and titled.

16. "L'irlandaise." Girl in kilt-tike plaid skirt and bodice, knee-stockings,
admiral's hat with plumes. Sidonie Panache. Cravon, watercolour on cream
paper. 15.9 x 31.1. Unsigned, but titled in Betout;s hand.

17. Figures in masquerade or carnival costume, style ca. 1840. 21 male
figures in 4 drawings, dressed variously in commedia dell'arte style, animal
costumes, soldiers' uniforms, and national costumes. Sidonie Panache. Pencil,
crayon and watercolour on cream paper. Each of 4 sheets-- 31.8 x 16.5. Unsigned
but annotated and titled in Betout's hand.

18. "Rosalie." Vivandiere in red pantaloons with blue skirt and jacket
trimmed in red and yellow, with keg and shoulder strap; swatch of blue satin
attached. Sidonie Panache. Pencil,watercolour and gold paint on cream paper.
16.5 x 31.8. Initialled.

19. "George Sand." Woman in male attire, style 1840's, trousers, coat and
waistcoat in shades of lavender, hat in hand. Crayon, watercolour on grey
paper. 22.2 x 30.5. Signed and titled.

20. "Madeleine Biron, toilette de cour." Court dress, style Louis XV, in
lavender and white with salmon and white flowers. Crayon, watercolour,
gouache on cream paper. 31.1 x 47. Signed and titled.

21. "Madeleine Biron en nymphe." Court ballet dress, in green and laven-
der, style Louis XV, decorated with pink flowers on green lily pads. Pencil,
crayon, watercolour, gouache on cream paper. 31.1 x 47. Signed and titled.

22. "La Pompadour, toilette de cheval." Blue-grey riding dress, style Louis
XV, with silver trim. Crayon, watercolour and silver painton cream paper. 31.1 x
47. Signed and titled.

23. "La Pompadour en Bergere." Pink shepherdess dress, style Louis XVwith
cream lace overskirt, yellow hat trimmed with roses. Crayon and watercolour on
cream paper. 31.1 x 47. Signed and titled.

24. "La Pompadour, Grand Gala." Ball gown, style Louis XV, white skirt, gold
decoration, bodice and overskirt of gold and black in leopardskin pattern, trim
of orange roses. Crayon, watercolour, gold paint on cream paper. 31.1 x 47.
Signed and titled.

25. "Mme. d'Esprades, apres midi." Afternoon dress, style Louis XV, in
brown with cream, grey, and orange decorations, holding pekinese dog and
walking stick. Crayon, watercolour, gouache, silver paint on cream paper. 31.3 x
47. Signed and titled.

26. "Mme. d'Esprades, costume pour la voiture." Coaching dress, style
Louis XV, rose dress with purple mantle trimmed in grey fur. Crayon and
watercolour on cream paper. 31.3 x 47. Signed and titled.

27. "Mme. d'Esprades, Gala." Ball gown, style Louis XV, in green with silver
decoration and silver lace bodice, trim of roses. Crayon, watercolour, silver
paint on cream paper. 31.3 x 47. Signed and titled.

28. "Le Prestidigitateur." Fat conjuror in blue and green with decoration of
gold question marks, pagoda shoulder wings, matching hat. Pencil, waterco-
lour, gouache, gold paint on cream paper. 15.9 x 26. Unsigned, but titled and
annotated in Betout's hand.

29. "Bombance: Cortege Humoristique." Procession of figures represent-
ing courses in a French gourmet banquet. 32 panels in one panorama, 13.7
meters by 21.5 cm. (panel no. 31 missing). An attached scheme listing personnel
indicates the parade was actually performed, but the occasion is untraced.
Pencil, watercolour, gouache, metallic paint, glitter on cream board. Signed arid
labelled.

30. "L'tgypte des Pharaons: Cortege Triomphal." Procession of historical
and mythical figures from acient Egypt. Labelled by Betout as a "composition",
this parade may not have been concieved for actual stage presentation, but
rather as a resume of Betout's talents as a designer of historical costume. The
style of the rendering would place the work in the 1900-1910 period when
compared with other dated work by Betout. Pencil, ink, watercolour, gouache,
metallic paint on cream board. 12 panels, in one piece, 5.5 meters by 21 cm.
Signed and labelled.

31. "LaGrece Heroique." Procession of historical and mythical figures from
ancient Greece. Similar in style and format to item no. 30. Pencil, ink, waterco-
lour, gouache, metallic paint on cream board. 13 panels, in one piece, 5.9
meters by 21 cm. Signed and labelled. (The Calgary collection also includes a
parade for ancient Rome, not shown in the exhibition.)

BORIS BILINSKY (1907 - 1948)
"Born in Odessa, lived and worked in Paris as a leading designer for stage and cinema, including the film Metropolis, 1926. Collaborated with Nijinska and Massine. Opera productions include Russian and Ludmila by Glinka for the Paris Opera, 1930." From design exhibition catalogue notes by Charles Spencer, 1976.

32. "Casanova." Man in costume, style Louis XV, magenta coat with rust
flowers and grey leaves, cream waistcoat, deep blue knee-trousers. Labelled
"Casanova", this design may be for the film of the same title designed by Bilinsky
in 1927. Ink, gouache, silver paint on tan paper mounted on cream board. 31.1 x
45.7. Labelled in one hand; attributed in another.

33. Woman in gown, style Louis XV, deep purple with rust, silver and gold
flowers. Clearly a companion piece to the "Casanova" costume (no. 32). Ink,
gouache, and metallic paints on tan paper mounted on cream board. 30.5 x 45.
Attributed in unknown hand.

34. "Les Perles." Showgirl in grey, aquamarine and white, ropes of pearls
over grey sheer fabric with long train and giant feather attachment. Revue, ca.
1925 (?). Pencil, watercolour, raised gouache on cream paper. 31.1 x 41.3.
Attributed in unknown hand: attribution may be doubtful since the style is
atypical of Bilinsky's work.

UMBERTO BRUNELLESCHI (1879 - 1949)
"Painter, designer and book illustrator. After completing his studies in Florence, in 1900 he moved to Paris. In the years 1912-1914 he gained esteem as a book illustrator, and after having contributed to the leading fashion magazines of the time, he embarked on his successful career as a costume and set designer, pursued mostly in Paris (Ba-ta-clan, Les Folies-Bergere, Casino de Paris), but also in Italy (Teatro alla Scala), Germany, and America (Roxy Theatre in New York.)" Quoted from Parisian Fashion, Vol. 11, by Cristina Nuzzi, (Rizzoli: New York, 1980).

In her survey of Brunelleschi's work, Umberto Brunelleschi, (Rizzoli: New York, 1979), Cristina Nuzzi indicates that his paint medium was "tempera"; I have, therefore, labelled these designs as tempera throughout. The rendering style of the designs in the Calgary collection is very similarto that shown in Nuzzi's book for the years 1930-1940; it seems likely that most come from that period. None of the drawings are annotated with the names of the productions.

35. "La Printemps." Allegorical dress, style Louis XV, skirt showing blue sky
with birds and clouds, bodice and headdress decorated with birdnest and sprays
of pink flowers. Revue, ca. 1935 (?). Pencil, and tempera on cream card. 24.8 x
32.4. Signed.

36. "L'Ete." Allegorical costume, pink petal-skirt with green bodice, large
butterfly and sheaf of grain at waist, leaf-patterned stockings, hat of giant daisy
and poppy. Revue, ca. 1935 (?). Pencil and tempera on cream card. 24.8 x 32.4.
Signed.

37. "L'Autonne." Allegorical dress, gold and yellow tunic with black and
gold leaves, festooned with garlands of fruit, leafy headdress with bunches of
grapes, holding red lyre. Revue, ca. 1935 (?). Pencil, watercolour, tempera, gold
paint on cream card. 24.8 x 32.4. Signed.

38. "L'Hiver." Allegorical costume, silver dress with "snow" trim and over-
skirt, inset with windows, headdress of green branch laden with snow. Revue,
ca. 1935 (?). Pencil, tempera, silver paint on cream card. 24.8 x 32.4. Signed.

39. 'Le Feu." Dancer in allegorical dress, skirt of yellow, orange, and red
"flames", bodice trimmed in gold, flying ribbons in headdress and at wrists.
Revue or Ballet ca. 1935 (?). Pencil, watercolour, tempera, gold paint on cream
paper. 29.2 x 32.4. Signed.

40. Woman in pink gown with tiered skirt, silvertrim, black lace mantle, pink
flowered bonnet, style Second Empire. Revue, ca. 1935 (?). Pencil, watercolour,
tempera, silver paint on cream paper. 40.6 x 32.4. Signed.

41. Woman in elaborate ball gown, pink, silver, and blue, decorated with
flowers, blue feather fan, flower and lace headdress, labelled "1860". Revue, ca.
1935 (?). Pencil, watercolour, tempera, silver paint on cream card. 30.5 x 31.8.
Signed.

42. Woman in white dress with pattern of black birds, trimmed in red, pink
hat and plumes, red parasol, style labelled "1860". Revue, ca. 1935 (?). Pencil
with touches of colour in tempera on cream card. 25.4 x 34.9. Signed

43. Woman in turquoise dress with pink flowers, pink flowered hat, tur-
quoise plumes and pink parasol, labelled "Second Empire." Revue, ca. 1935 (?).
Pencil, watercolour, tempera on cream paper. 38.1 x3l.8. Signed.

44. "Venetienne." Woman in mid 18th century carnival dress and mantle,
white with grey, silver, and black flowers, black hat with white plumes. Revue,
ca. 1935, (?). Pencil, tempera, silver paint on cream paper. 29.8 x 27.3. Signed.
(reverse: light pencil sketch of man in a peasant costume.)

45. Woman in elaborate court dress, style Louis XV, pink, black, aquamarine,
with bunches and garlands of flowers, powdered wig decorated with flower
sprays. Revue, ca. 1935 (?). Pencil, watercolour, tempera on cream paper. 32.4 x
45. Signed.

46. East Indian woman in blue flowered trousers and pink bodicewith gold,
jeweled-encrusted breastplate, gold lace veil. Revue, ca. 1935 (?). Pencil, water-
colour, tempera, gold paint on cream paper. 24.8 x 35.6. Signed.

47. East Indian princess in gold trousers with green tunic and black overskirt,
all richly jeweled and decorated, turban and arm bands. Revue, ca. 1935 (?).
Pencil, tempera, gold paint on cream paper. 28.6 x 39.4. Signed.

48. East Indian prince in green flowered trousers, with sheer blue skirt, gold
belt and pink shirt all delicatedly flowered, turban with blue brush-feather,
sword. Revue, ca. 1935 (?). Pencil, tempera with raised detail, gold paint on
cream paper. 24.8 x 32.4. Signed.

49. "Algerienne." Woman in harem trousers and bodice of magenta and
white stripes with gold decorations, black tasseled belt, white net sleeves with
green trim, magenta hat. Revue, ca. 1935 (?). Pencil, tempera, gold paint on
cream paper. 24.8 x 32.4. Signed.

50. Black Berber chief in gold trousers with blue jacket, blue feather head-
dress on white turban, white cloak, maroon boots with silver inlay. Revue, ca.
1935 (?). Pencil, tempera, silver paint on cream paper. 24.8 x 32.4. Signed.

51. Moroccan with white beard in loose trouser and jacket of maroon and
blue trim, greycloak, long pipe in hand, red slippers, turban. Revue, ca. 1935 (?).
Pencil, tempera, silver paint on cream paper. 24.8 x 32.4. Signed.

52. Cambodian woman in black quilted trouser with magenta bodice and
skirt, gold and black decorations, gold pagoda headpiece. high-heeled gold
shoes. Revue, ca. 1935 (?). Pencil, raised tempera detail, gold paint on cream
paper. 24.8 x 32.4. Signed.

53. Cambodian princess in turquoise, white and silver, elaborate silver
winged panels at shoulders and hips. Revue, ca. 1935 (?). Pencil, tempera, silver
paint on cream paper. 24.8 x 32.4. Signed.

54. "Peau Rouge lndien." Warrior in plaid tunic, shield of blue and black
with decoration of a white hand, elaborate headdress with rust, yellow and
green feathers, body paint. Revue, ca. 1935 (?). Pencil, tempera gold paint on
cream paper. 28.6 x 38.7. Signed.

55. American Indian girl seated, gold breastplate and shield, skirt of red and
white stripes with grey animal-tail fringe, hairdressing of green and black feath-
ers, body paint, blue javelin. Revue, ca. 1935 (?). Pencil, tempera, gold paint on
cream paper. 28.6 x 38.7. Signed.

56. "Peau Rouge." Indian man in yellow cloak over green and white tunic
with black fur fringe and brown animal tails, feathered headdress in yellow and
green, blue and yellow sandals. Revue, ca. 1935 (?). Pencil and tempera on cream
paper. 28.6 x 38.7. Signed.

57. "Russe." Woman in Russian peasant dress, black and green skirt with
pink, blue, and white flowers, gold leaves, gold bodice and sleeve, white
blouse, headscarf and apron. Revue, ca. 1935 (?). Pencil and tempera on cream
paper. 24.8 x 32.4. Signed

58. "Gladiateur." Man in gold armour and face mask with rose body-cloth
decorated in blue and green flowers, spike in hand. Revue, ca. 1930 (?). Pencil,
tempera, gold paint on cream card. 19.7 x 31.1. Signed.

GLADYS CALTHROP (b. early 20th cent.)
Began working as scene and costume designer in 1925, has been especially associated with the works of Noel Coward.

59. "Girl no. 2 of The Merry Wives of Windsor." Woman in lavender hoop-
skirt and jacket with white and black trim, pink flowered bonnet. Sigh No More,
revue by Noel Coward, 1945, costume for song --
"The Merry Wives of Windsor"
"We're the Merry Wives of Windsor,
And if good luck comes our way
We shall all be merry Widows
One fine day."
Pencil, watercolour on cream paper with purple swatch attached. 38.1 x 51.4.
Signed, titled, annotated and dated.

JENNY CARRE
Parisian painter and theatrical designer, daughter of actor and playwright Albert Carre and singer Marguerite Giraud Carre (married 1901), she would appear to have become active as a designer of revue costumes ca. 1930. In 1932 she designed the setting for Le Roi Bossu by her father at the Opera Comique.

60. "Officier Viennois Fantaisie." Man in blue trousers and white uniform
jacket with blue and silver trim. Pencil, gouache, and silver paint on cream
paper. 32.4 x 50.1. This, and all other designs in the Carre section are unsigned,
but bear an authoritative attribution in an unknown hand.

61. Man in motorcycle policeman's uniform, with blue jacket, white jodh-
purs, boots, gauntlets and cap. Pencil and gouache on tan paper. 32.4 x 48.3
Attributed.

62. "Cowboy." Man in red, white, and blue cowboy outfit, with lasso and
silver belt buckle. Costume for early post-war revue (?). Pencil, gouache and
silver paint on grey paper. 32.4 x 49.5. Attributed.

63. Cowgirl in blue dress and boots with red hat, scarf and trim. Early
post-war revue (?). Pencil, and gouache on grey paper. 32.4 x 49.5. Attributed.

64. "Femme Chambre." Girl with red hair in brief maid'scostume,whiteand
gold, with gold and orange feather duster. Revue. Pencil, gouache, gold paint
on cream paper. 26.7 x 37.5. Labelled in one hand, attributed in another.

65. Watergirl in red, white, and blue peasant dress. Pencil and gouache on
buff paper with swatch of blue satin attached. 24.1 x 31.8. Attributed.

66. "Vendeuse." Salesgirl in rust long dress with white trim. Pencil,
gouache, on tan paper. 31.1 x 47. Labelled in one hand,attributed in another.

67. Girl in flowered blue and white skirt, polka-dot blouse, apron, carrying
basket of mussels or oysters. Pencil and gouache on tan paper. 31.1 x 47.
Attributed.

68. Captain in the style of the Commedia dell'Arte. Peascod doublet, large
ruffs, and feathered hat. Pencil, gouache, and gold paint on grey paper. 32.4 x
49.5. Attributed.

69. Harlequin in multi-colour triangles with white ruff and cuffs, black hat
and mask, gold trim. Pencil, gouache and gold paint on grey paper. 32.4 x 49.5.
Attributed.

70. "Turque." Woman in red and white harem costume with hat and veil.
Pencil, gouache and silver paint on tan paper. 23.5 x 31.8. Attributed, and
annotated.

71. English girl with white parasol in white lace dress with British tri-coloured
sash and trim of red, white, and blue flowers. Pencil, gouache, on tan paper.
31.1 x 47.6. Labelled in one hand, attributed in another.

72. "L'Ambassade d'Angleterre." Woman in white ball gown with hat and
silver sash. Pencil, gouache, and silver paint on tan paper. 31.1 x 47.6. Attributed
in one hand, titled in another.

73. "L'Ambassade d'Angleterre." Guardsman in red, black, silver and white
uniform. Pencil, gouache, and silver paint on tan paper. 31.1 x45.7. Titled in one
hand, attributed in another.

74. "L'insouciance." Girl in white flounced dress with trim of pink flowers
and blue butterflies. Pencil and gouache on manilla paper. 32.4 x 45.7. Titled in
one hand, attributed in another.

75. "La Jalousie." Orange-haired man in grey striped trousers and black
tailcoat with orange trim. Pencil and gouache on manila paper. 32.4 x 50.1.
Annotated and attributed.

76. "L'Espoir." Man with green hair in green tailcoat and trousers. Pencil and
gouache on manila paper. 32.4 x 50.1. Annotated and attributed.

77. "La Gaite." Man in pink suit with blue tie and pink party hat. Pencil,
gouache on manila paper. 32.4 x 50.1. Annotated and attributed.

78. "Oiseau." Girl in white bird costume with black beak headdress: also
back view. Pencil, gouache and silver paint onbuff paper.32.4x49.5. Annotated
and attributed.

79. "Poisson." Girl in mermaid costumem of blue, green, and white scales,
starfish bodice. Pencil, gouache on cream paper. 32.4 x 49.5. Annotated and
attributed.

80. Chorus girl in pink blouse and scant dancing shorts with white and silver
trim. Pencil, gouache, and silver paint on tan paper. 31.8 x 49.5. Attributed.

81. Chorus boy in white suit and cap with pink and white polka-dot shirt,
neck scarf. Pencil and gouache on tan paper. 32.4 x 49.5. Annotated and attri-
buted.

82. "Le Prince Auriole." Man in pink dinner jacket and trousers with short
silver lined cape and hat. Pencil, gouache and silver paint on cream paper. 32.4 x
49.5. Annotated and attributed.

83. "L'Enchanteur Blum." Man in blue suit with wizard's robe and conical
hat, holding wand with six point star. Pencil, gouache, silver paint on cream
paper. 32.4 x 49.5. Annotated and attributed.

84. Man in grey suit with black cloak, white ruff at neck, top hat, spats,
holding book. Clearly part of a suite including nos. 82 and 83. Pencil, and
gouache on cream paper. 32.4 x 49.5. Annotated and attributed.

85. Eight male figures in varying shades of green. Apparently representing
politicians from different countries as one figure is clearly Hitler, in a Tyrolean
smock; another is an Englishmen in yachting costume. Political revue, ca. 1935
(?). Pencil, gouache on cream paper. 50.1 x 32.4. Much marked and annotated,
attributed.

FRANCOIS CLAUDIUS COMPTE-CALIX
Nos. 86-96 "Les travestissments elegants," Paris, (journal) Les modes parisiennes, 1864. 11 of the original 15 fantasy costumes. Lithographs, engraved by Geoffroy, Ferdinand, Monnin, Carrache, Millin, coloured by hand. Each print 24.1 x 32.4. Owner: private collector, Calgary

The exhibition includes the following titles:

86. Eve.
87. Pompadour
88. Vivandiere
89. Mercure.
90. Bouquetiere
91. La Fileuse
92. Fantaisie Louis XVI
93. L'Hiver
94. Fantaisie Espagnole
95. Le Mai
96. La Cloche

KSANNA
No information concerning this costume dseigner has yet been uncovered. The Calgary collection contains about 20 drawings bearing the name, sometimes with a variant spelling "Kssana." Most of the designs show the strong influence of Bakst or of the Cubists, but all appear to be meant for revues or cabaret performances.

97. Woman in cubistic dress, style ca. 1920, in pink, blue, and gold, bare
breasts and angular gold hat with blue feather, black fan. Gouache on cream
paper. 31.8 x 48.9. Signed and labelled "Mme. Gabaroche."

98. "Gabaroche Cubiste." Man with monocle and cane in cubistic black
tailcoat and trousers with blue ribbon cummerbund and red bow tie, top hat,
spats. Pencil and gouache on cream paper. 31.8 x 48.9. Signed and labelled.
99. Woman in cubistic gown, panniered in Louis XV style, aquamarine,
purple and gold, large hat and cubistic earrings, bare breasts. Pencil and
gouache on cream paper. 30.5 x 47.6. Attributed, clearlv by the hand of nos.
97,98.

100. Animal trainer in pink tunic with black and gold coat and trousers, whip
in hand, hat with blue feathers. Gouache and gold glitter on cream paper. 27.9 x
39.4. Attributed.

101. Dancer in lavender and white petal-dress, one breast bare, headdress
one large rose, aquamarine leaves at ears and wrists. Gouache on cream paper.
31.8 x 49.5. Attributed.

102. Greek warrior in silver and black armour with pink cape, skirt, and
feathered helmet. Ink, gouache, and silver paint on cream paper. 22.2 x 32.4.
Attributed.

103. Greek warrior in silver and black armour with pink cape, skirt, and
feathered helmet. Ink, gouache, and silver paint on cream paper. 22.2 x 32.4.
Attributed. Designs 102 and 103 show some stylistic variations and the attribu-
tions may be doubtful.

CHARLES LE MAIRE (active 1920 - 1962)
"Charles Le Maire lavished feathers, beads and chiffon on countless stars and ladies of the chorus. ('They were all beautiful when I got through with them'.) He designed for the Scandals and the Vanities, but Ziegfeld was his favorite produc- er. He eventually became chief designer for Twentieth Century Fox, winning an Oscar for All About Eve." From The World of Flo Ziegfeld (New York: Praeger Pub. 1974) by Randolph Carter

104. Woman in flowered negligee and pajamas, lime green with flower
decoration. Greenwich Village Follies, 1926. Pencil and watercolour on tan card.
36.8 x 49.5. Unsigned. Owner: Billy Rose Theatre Collection, The New York
Public Library at Lincoln Centre, Astor, Lenox and Tilden Foundations.

105. Showgirl in dance dress with tutu, red, orange and purple, ribbon trim,
cloche hat with red plumes, many bracelets. Greenwich Village Follies, 1926,
labelled "Pit Pat." Pencil, watercolour, silver paint on tan card. 36.1 x 50.1.
Signed, dated, annotated. Owner: Billy Rose Theatre Collection, The New York
Public Library at Lincoln Centre, Astor, Lenox and Tilden Foundations.

106. Woman in magenta wrapper with black fur trim, giant sleeves and train,
"Elizabethan headdress." Greenwich Village Follies, 1926. Pencil, ink, waterco-
lour, and gold paint on tan card. 36.1 x 50.1. Unsigned. Owner: Billy Rose
Theatre Collection, The NewYork Public Library at Lincoln Centre, Astor, Lenox
and Tilden Foundations.

MARCELLE
About 12 designs for revue costumes in the Calgary collection are attributed to this unknown designer. All bear signs of being by the same hand.

107. Showgirl in short dress, orange, silver and black, panniers of black and
orange poppies at waist with silver triangles hanging, headdress with tall pop-
pies, long triangle earrings. ca. 1925 (?). Pencil, gouache, watercolour and silver
paint on cream paper. 22.2 x 36.8. Attributed.

108. Showgirl in silver, orange, and black, with ribbon-rutt tutu and neck-
piece, matching hat with orange pom-pom; also side view. ca. 1925 (?). Pencil,
gouache, silver paint on cream paper. 27.3 x 34.3. Attributed.

109. Showgirl in brief costume of silver beads with green feathers, matching
headdress and wrist pieces. ca.1925 (?). Pencil, watercolour, silver paint on
cream paper. 21.6 x 31.1. Attributed.

110. Dancer in tango costume, orange, yellow, with green trim and silver
fringe. Orange flower at waist and matching headdress. ca. 1925 (?). Pencil,
watercolour, silver paint, and glitter on cream paper. 21.6 x 34.9. Attributed.

A. MORAIN
Untraced Paris costume designer; several drawings in the Calgary collection are signed and dated late 1920's.

111. Woman dressed as a man in elaborate court dress, style Louis XIV, gold
knee-breeches, silver stockings, coat with wide skirt in blue and gold, purple
and gold cloak lined with ermine, surmounted bv giant sun, tall wig. Revue,
1926. Pencil, watercolour and metallic paint on cream paper. 30.5 x 40.6
(irregular). Signed and dated.

112. "Prince Russe." Woman in loose silver trousers, tunic of black, red, and
green, matching hat. Revue, 1927. Pencil, gouache, and silver paint on manila
paper. 26 x 36.8, Signed and dated.

113. Woman in court gown, period Louis XV, blue skirt with green brocade
overskirt, swags of roses, trimmed in black ribbon. Revue, 1926. Pencil, waterco-
lour, gouache, and metallic paints on cream paper. 23.5 x 38.1. Signed and
dated.

114. Cowgirl in tan chaps and fringed jacket with pink and blue trim, match-
ing hat, black belt. Revue, 1926. Pencil, watercolour, gouache on cream paper.
24.8 x 38.1 (irregular). Signed and dated.

115. Woman in exotic East Indian costume, black trousers, with purple and
gold trim, green bodice, long sheer cloak, snake turban with green plume,
holding bird. Revue, 1926. Pencil,watercolour, gouache, metallic paints on
cream paper. 24.8 x 38.1 (irregular). Signed and dated.

JAMES REYNOLDS (1891 - 1957)
Irish designer, discovered by Murray Anderson for his Greenwich Village Follies, also designed for Ziegfeld, and later for the legitimate stage, known in addition for his imaginative book illustrations. Owner: Billy Rose Theatre Collection, The New York Public Library at Lincoln Centre, Astor, Lenox and Tilden Founda tions.

116. "May Day." Green allegorical dress decorated with spring flowers,
yellow hat, green gauntlets with parti-coloured ribbons. Greenwich Village
Follies, 1920, Finale. Pencil and watercolour on cream paper. 35.6 x 50.2. Initial-
led, titled, annotated.

117. "The 4th of July--Independance Day." Showgirl in allegorical costume,
red, white, and blue with silver, headdress represents shooting stars and fire-
works, shoulder attachment of draped banners and tassels. Greenwich Village
Follies, 1920, Finale. Pencil, watercolour, and silver paint on cream paper. 35.6 x
50.2. Initialled, and titled.

118. "Labour Day." Allegorical dress in white with aquamarine trim, carrying
lunch basket with gingham table cloth, black and aqua shawl, tools in hand, giant
straw hat. Greenwich Village Follies, 1920, Finale. Pencil, watercolour, gouache
on cream paper. 35.6 x 50.8. Initialled and titled.

119. "Labour Day." Showgirl in allegorical dress of purple and red, skirt of
red brick design, headdress and shoulder piece representing architectural
model, pocket with mortar trowels. Rejected costume design for Greenwich
Village Follies, 1920. Pencil, watercolour, silver paint on cream paper. 35.6 x 50.2.
Unsigned, titled and annotated.

120. Alternate headdress for "Labour Day", item no. 119. Annotation:
"painted white taffeta, starched, painted as stone, frosted with mica." Pencil on
cream paper. 35.6 x 50.2. Unsigned, annotated.

HERMAN ROSSE
"Oscar winner for King of Jazz, 1930, whose style was sharply contemporary and shot with brilliant colours, also designed many notable Broadway productions including The Swan, Casanova, and The Emperor Jones." From The World of Flo Ziegfeld (New York: Praeger Pub., 1974) by Randolph Carter.

121. "Shawl Curtain." Drop curtain in grey, black, rose, and rust. Greenwich
Village Follies, 1924 (?). Charcoal, and gouache on cream paper. 72.4 x 55.9.
Signed. Owner: Billy Rose Theatre Collection, The New York Public Library at
Lincoln Centre, Astor, Lenox and Tilden Foundations.

MAURICE SAND
Six colour plates representing 19th century adaptations and refinements of traditional Commedia dell'Arte characters. From a modern edition of 40 col oured plates (Bologna: Casa Editrice Capitol, (n.d.), limited edition of 1000, these platesfrom copy no. 633) reproducedfromtheengravingsof A. Manceau, drawn from designs of Maurice Sand in his Masques et Bouffons, (Paris: A. Levy Fils, 1862). Owner: private collector, Calgary.

The following characters are shown in the exhibition:

122. "Polliciniella, 1800."
123. "Pierrot, 1846."
124. "Leandre, 1850."
125. "Arlequine, 1855."
126. "Gianduja, 1858."
127. "Stenterello,1859."

SHOUBRAC
Untraced Paris designer, probablv active at the turn of the century.

128. Woman in dancing dress for a Paris music hall production, ca. 1900
White polka-dots with orange trim. Ink, gouache, and silver paint on tan paper.
24.8 x 31.8. Signed

SERGE SOUDEIKINE (1882 - 1946)
"Russian designer known for his decor for the ballet La Tragedie de SalomLs for Diaghilev's Ballet Russe, 1913, later collaborated with the Chauve-Souris, de signed a production of Gershwin's Porgy and Bess in 1935." From a design exhibition catalogue by Charles Spencer, 1976.

129. Fat Musician, playing lute, red beard and glasses, red trousers, white
fencing shirt, black cape. Pencil and gouache on cream paper. 23.5 x 31.8.
Signed.

130. Tall Musician with mustache in black trousers with bows at knees, white
fencing shirt, red cloak, stovepipe hat, carrying guitar over back. Pencil,
gouache on cream paper. 23.5 x 31.8. Signed.

131. Musician with guitar on his back, in black trousers, white fencing shirt,
white ruff, red cloak. Pencil, gouache on cream paper. 23.5 x 31.8. Signed

ERNST STERN (1876 - 1954)
In 1907 began his famous collaboration with Max Reinhardt in Berlin, after 1921 worked almost exclusively on operas and operettas, especially in England and the U.S. from 1934 onwards, his autobiography My Life My Stage published 1951.

132. "Tanagra, Grecian Ballet." Dancer in grecian dress of ancient style,
yellow, aquamarine and gold. Helen, operetta based on Offenbach, produced
bv Max Reinhardt. (?). Crayon, and watercolour on cream paper. 29.2 x 46.4.
Signed and titled.

UNKNOWN

133. Man in style of Louis XV, black breeches and coat with turquoise trim,
holding black hat, powdered wig. Labelled "Theatre Montparnasse." Pencil and
gouache on manila tissue. 26 x 40.6.

134. Poster of Paris music hall, Ambassadeurs, Champs-Elyses,"Libert".
Dandy in red and green plaid suit, white shirt with red hearts, hat, monocle,
freckled face, walking stick. 1895. 57.5 x 74.9. Owner: private collector, Calgary.

135. Girl dressed as pantomime boy, knee-trousers, tunic, stocking cap in
yellow, blue and white, swatches of material attached. Indecipherable signa-
ture, dated 1918. 15.2 x 20. Owner: private collector, Calgary.

JOSEPH URBAN (1872 - 1933)
Viennese-born U.S. stage designer and architect. One of the leading designers of the "New Stagecraft" generation with R.E. Jones, Lee Simonson, and Norman Bel Geddes. Worked for the Metropolitan Opera, designed for Ziegfeld revues and musical comedies. Built the Ziegfeld Theatre in New York, 1927..

136. "Cactus Curtain." Curtain of green, gold, white, and lavender cacti on
deep yellow background. Rio Rita musical comedy by Bolton, Thompson,
McCarthy, and Tierney, Ziegfeld Theatre, New York, 1927. Labelled "Whoopee
curtain, not used." Watercolour, gouache, and gold paint on cream board. 33.7
x 23.5. Unsigned. Owner: Library for Rare Books and Manuscripts, Columbia
University New York.

137. "Venetian Scene." Scene showing view from inside circular salon
across the Grand Canal to Palladio's Church of the Salute. Ziegfeld Follies, 1921.
Pencil, watercolour, gouache, on cream card. 20.3 x 17.8 arched top. Initialed
and dated. Owner: Library of Rare Books and Manuscripts, Columbia University
New York.

138. "Swan Curtain." 6 crested swans flying against blue sky with blue trees
in silhouette on horizon. Ziegfeld Follies, 1919. Pencil, watercolour, gouache on
cream board. 19 x 19. Unsigned. Owner: Library for Rae Books and Manuscripts,
Columbia University, New York.

139 - 147. 9 designs by Urban for The Garden of Paradise, a play by Edward
Seldon, 1914. It was this production that convinced Florenz Ziegfeld of Urban's
suitability as a designer for the Follies. Items 139 - 144 are owned by the Library of
Rare Books and Manuscripts, Columbia University. Items 145 -147 are owned by
Billy Rose Theatre Collection, The New York Public Library at Lincoln Centre,
Astor, Lenox and Tilden Foundations.

139. "Glade Scene." Man and woman on knoll at edge of lake, framed in
foliage and wisteria. Labelled "Never used." Watercolour and gouache on
cream board. 32.4 x 20.3. Signed.

140. "Under the Sea Scene." Giant gold squid in grey-green watery deep.
Pencil, watercolour, gouache, and gold paint on buff card, mounted on cream
board. 29.8 x 24.1. Unsigned.

141. Old woman in red checked skirt and gold blouse. Gouache and pencil
on cream tissue mounted on cream card. 5.7 x 8.3. Unsigned.

142. Cave man in grey cloth, red hair and beard, boots, club. Pencil and
gouache on cream tissue mounted on cream card. 8.3 x 14. Unsigned.

143. Small monster, spiky red hair on short body with giant red hands. Pencil
and gouache on cream tissue mounted on cream card. 5.7 x 10.8. Unsigned.

144. 4 chests. Drawings of property pieces: red chest, blue and silver chest,
black and purple chest, round gold cassette. Pencil,watercolour, silver paint on
cream paper mounted on buff card. 12.7 x 20.3. Unsigned, but titled and
annotated in Urban's hand.

145. Woman, 2 fish, and snake or eel. Woman in 2 views, white dress with
green and gold geometric trim, blue melon headdress with plume; also shown
in voluminous purple and green cape. Silver eel or serpent. Gold and rust fish.
Pencil, watercolour, gouache, gold paint on cream card. 22.9 x 30.5. Initialled
and titled.

146. "Marietta, Armida, and lsotta." 3 women in white flowing dresses with
flowers, on knoll covered with flowers. Labelled 'Holy Island Scene." Pencil,
watercolour on cream card. 19 x 26.7 Initialled, titled.

147. "The Emperor of Crabs." Animal costume in green, salmon, and gold,
accompanied by 3 fish-like creatures holding gold and green canopy. Pencil,
watercolour, gold paint on cream card. 19 x 26.7. Initialled and titled.

VILPELLE
Untraced costume designer, Paris, ca. 1925

148. Woman in Persian costume showing Poiret influence, silver trousers,
turquoise tunic decorated in white and pink with greyfur trim, matching turban.
Pencil, watercolour, gouache, silver paint, and glitter on cream paper. 20.6 x
33.7. Attributed.

C.WILHELM (William John Charles Pilcher) (1856 - 1925)
"Leading English designer of ballet costumes in the late 19th century and early 20th century. First professional work for Drury Lane, 1877, where he designed pantomimes until 1897. Best known for his ballet costumes for The Empire Theatre, London, for Adeline Genee and other music hall artists. Other theatric al contributions include Gilbert and Sullivan operas, 1882-1898; Peter Pan 1906; The Arcadians 1909. Wrote "Art in Ballet" for The Magazine of Art, 1895. From design exhibition catalogue notes by Charles Spencer, 1976.

149. "Cosmos." Man in long gold brocade tunic with purple trim and head-
piece, decorated with crescent moons, holding gold staff. Le Voyage dans la
Lune, Her Majesty's Theatre, London, 1883. Ink, watercolour and gold paint on
tan card. 19 x 22.8 Signed, dated, and titled. Owner: Metropolitan Toronto
Library, Theatre Department.

150. "Cosmos Palace Guard." Man in aquamarine leotard with silver-grey
metallic pendants hanging from arms and waist, upstanding collar of silver
points, elaborate helmet, staff in hand.Le Voyage dans la Lune, Her Majesty's
Theatre, London, 1883. Ink, watercolour, metallic paint on tan card. 18 x 22.8.
Signed, dated, titled. Owner: Metropolitan Toronto Library, Theatre
Department.

151. "Focus." Man in late 18th century suit, dark blue knee-trousers and
waistcoat, aquamarine coat with dark blue trim, periwig, red cloth and feather
duster in hand. LeVoyagedans la Lune, Her Majesty's Theatre, London, 1883. Ink,
watercolouron tan card. 14 x 22.8. Signed, dated, and titled. Owner: Metropoli-
tan Toronto Library, Theatre Department.

152. "Homo. The Lunar Ministry." Man in blue robe decorated in new
moons and stars with aquamarine overtunic and large hat in new moon shape,
starred boots.Le Voyage dans la Lune, Her Majesty's Theatre, London, 1883. Ink,
watercolour and gold paint on tan card. 19 x 22.9. Signed, dated, and titled.
Owner: Metropolitan Toronto Library, Theatre Department.

153. "Instructor, Lunar Ministry." Man in Egyptian costume of pink, white
and gold with headdress, geometric and leaf designs with greek key border. Le
Voyage dans la Lune, Her Majesty's Theatre, London, 1883. Ink, watercolour,
gold paint on tan card. 19 x 22.7. Signed, dated and titled. Owner: Metropolitan
Toronto Library, Theatre Department.

154. Juggler. Man in blue leotard with decoration of gold triangles, sun, and
moon faces, light blue sash, large turban with yellow and blue feathers, juggling
balls and knives. Princess lda and the Sorcerer, Savoy Theatre, or Chilperic, Empire
Theatre, or Whittington and his Cat, Drury Lane, 1884. Ink, watercolour, and gold
paint on tan paper. mounted on cream card. 13.4 x 21.6. Initialed and dated.
Owner: Metropolitan Toronto Library, Theatre Department.

155. Sorcerer in white skirt with green overtunic decorated in the four
playing-card suits, hat with green devil's tail, black and green cape, wand in
hand. Rothomago (?), Alhambra Theatre, London, or Bluebeard, Drury Lane,
1879. lnk,and watercolour on tan card. 16.5 x 21.7. Signed and dated. Owner:
Metropolitan Toronto Library, Theatre Department.

156. "Repudiation." Woman in knee-length black tunic with gold and red
snake decoration, gold bat wings, green and black insect headdress with red
antennae, holding staff decorated with snake and bearing banner "repudia-
tion.' Rothomago (?), Alhambra Theatre, London, 1879, or lack and the Beanstalk,
Drury Lane. Ink, watercolour, gouache, gold paint on tan card. 16.5 x 22.9.
Signed and dated. Owner: Metropolitan Toronto Library, Theatre Department.

157. Sorcerer in black and red tunic with cape, decorated with mice, an owl
and a bat, headpiece with two long red feathers, cat on shoulder, broom in
hand. Rothomago, Alhambra Theatre, London, 1879 (?). Ink, watercolour,
gouche, gold paint on tan card. 15 x 22. Signed. Owner: Metropolitan Toronto
Library, Theatre Department.

158. "Adeline Genee." CostL-me for the dancer dressed as a vivandiere in
red, white, and blue stripes with gold trim, small keg atwaist, cap. A Day in Paris,
ballet, EmpireTheatre, 1908. Ink, watercolour, gold paint on cream board. 16.5 x
22.9. Signed, dated titled, inscribed.

159. Dancer in allegorical costume representing the art of painting, lavender
and white dress, bodice constructed of paint tubes and ribbons, hat in shape of
palette with brushes. A Day in Paris, ballet, Empire Theatre, London, 1908. Ink,
watercolour, silver paint on cream board. 19 x 24. Signed and dated, titled

160. "Pierrette." Dancer in black fluted skirt with paillettes on bodice and
torso in rainbow colours, matching hat and fan. Labelled "S. Ballet Pierrettes,
Round the Town Again." Ink, watercolour, gouache on cream board. 13.3 x 21.6.
Signed and titled. Items 158 - 160 are all costumes for Adeline Genee.

FREDDY WITTOP
"Dutch-born designer, active in Paris especially in the 1920's and 1930's for the Folies-Bergere and music hall. Contributed to the London productions of Hello Dolly, 1961, and The Great Waltz, 1970." From notes for a design exhibition catalogue, by Charles Spencer, 1976.

161. Scene-drop forthe Folies-Bergere. Giant hand and arm pointing toward
Folies door on wall of silver blocks with green mortar. Folies-BergL-re c. 1933 (?).
Gouache, glitter, collage, on silver paper mounted on cream card. 32.4 x 25.4.
Unsigned.

162. Scene design, black trees with white and black foliage, pillars with
showgirls in green and pink. Folies-Bergere. Gouache on cream paper. 52 x 38.1.
Signed.

JOST DE ZAMORA (chiefly active 1910 - 1930)
"Spanish-born designer, worked with Paul Poiret and later French revues. Contributed to La Gazettedu Ron Ton. Exhibited Galerie Leveaque, 1913. " From a note by Charles Spencer in a design exhibition catalogue, London, 1976.

163. Showgirl in exotic beaded gown of silver and brown with four long
trains and giant headpiece. Revue (?), 1927. Gouache and silver paint on tex-
tured cream board. 30.5 x 46.4. Signed and dated '27.

164. Dancer in orchid costume. Giant purple petals with green beaded
bodice and tights, lavender and green striped cap with large petal headdress.
Revue (?), 1927. Pencil, watercolour, silver paint on cream board. 30.5 x 47.
Signed and dated, 1927.

165. "Costume de cour Louis XV." Court gown with approx. ten-foot train in
white, pink, silver, and gold, with sprays of blue flowers and large feathered hat
in green and pink. Revue, ca. 1927 (?). Pencil, gouache, metallic paint on cream
board. 30.5 x 47. Signed and titled.

166. "Costume de mariee Louis XV." Wedding dress in white, gold and
silver. Revue, ca. 1927 (?). Pencil and metallic paint on cream board. 30.5 x 45.7.
Signed and titled.

RECONSTRUCTIONS

167. Folies-BergL-re drop by Freddy Wittop, Repainted by Douglas McCui-
lough of The Department of Drama, The University of Calgary. (see item 161.)

168. Portion of setting from Oliver Messel's design for the operetta Helen,
London, 1930, constructed by Tom Legg, Martin Herbert, painted by Douglas
McCullough of The University of Calgary. A photograph of the actual set is
found at the entrance of the exhibit.

169. Costume designed by Umberto Brunelleschi (see item 45) recon-
structed by Olive Wilson and by Sheila Lee, of the Department of Drama, The
University of Calgary.

LATE ADDITIONS TO THE LIST OF EXHIBITS



LOUIS CURTI
170. "Peggy's Second Wedding Dress." Woman in short pink and blue
lingerie, white veil, carrying lilies. Peggy Ann, Act 11, 'The Yacht." Pencil, ink,
watercolour, gouache, on cream paper mounted on cream board. 20 x 27.
Signed, titled, and annotated. Owner: Theatre Museum, London.

171. "Saleslady." Girl in pink dress, deep neckline formed by a pair of
scissors, trim of green measuring tape, white mob cap with pink ribbon. Peggy
Ann, Act 1, "The Store." Pencil, ink, watercolour, gouache, metallic paint on
cream paper mounted on cream board. 20 x 27. Signed, titled, annotated.
Owner: Theatre Museum, London.

172. "Customer." Woman in fantasybluetailcoatwith ermine-trimmedtails,
over gold fringed short skirt, blue hat with regal crown. Peggy Ann, Act 1, "The
Store." Pencil, ink, watercolour, gouache, metallic paint on cream paper
mounted on cream board. 20 x 27. Signed, titled, annotated. Owner: Theatre
Museum, London.

ERTE. (Romain de Tirtoff) (1892 - )
Born in Russia, lives in Paris. 1913 worked with Paul Poiret and designed cos- tumes for Mata Hari. 1915, first fashion designs. 1916, music hall designs for Mistinguett and Gaby Deslys. 1917-1930, designs for Folies-Bergere George White's Scandals, and The Ziegfeld Follies. 1925, year in Hollywood under con- tract to M.G.M. 1933 - 1952, designs for Bal Tabarin, Paris. 1964 - 65 designs for the Latin Quarter, New York. Has also designed for opera and television.

173. "Prince Assad." Dancer in gold tights with torn sections, decorated with
bloodlike jewels, silver torso with pearls, arm pieces with long strands of pearls,
matching headdress. A Thousand and One Nights, Revue, Ba-ta-clan Theatre,
Paris, 1917, costume for 'Danse de Fouet." Pencil, ink, watercolour, gouache,
metallic paints on cream card. 16 x 24. Signed. Owner: Theatre Museum,
London.

174. "Under the Sea." Two small models of stage settings in black box with
its own light source. Model 1: aquatic ballet in pool surrounded by girls riding
giant seahorses. Model 2: under sea forest with girls waving blue cloth. Con-
structed of stiff paper, card, and transparent gel; painted in gouache and
metallic paint. Model 1: 20cm x9cm x 10cm. Model 2: 20cm x 7cm x4cm. Owner:
Theatre Museum, London.

OLIVER MESSEL (1904 - 1978)
Began his career designing for Cochran's revues, 1921 -1931. Later designed for ballet, opera, film and legitimate theatre.

175. "Pantalone." Man in fantastic version of commedia dell'arte costume,
green doublet, yellow knee hose, patterned stockings, beard and wig of blue.
The Cochran Revue, London Pavillion, 1931, costume for Melville Cooper in
ballet 'Scaramouche." Pencil and watercolour on cream paper. 23 x 38. Signed,
dated, and titled. Owner: Theatre Museum, London.

176. Scottish Dancer in yellow kilt with white flower pattern, lavender jacket,
plaid sash, matching hat. The Cochran Revue, (?) 1927. Pencil and watercolour
on cream board. 26 x 38. Signed, dated, and annotated. Owner: Theatre
Museum, London.

177. Scottish Dancer in flesh trews and maroon jacket, trimmed in yellow
with plaid sash. Cochran Revue, (?) 1927. Pencilandwatercolouroncreamboard.
26 x 37. Signed, dated, and annotated. Owner: Theatre Museum, London.

UNKNOWN
178. "Cordelia." Showgirl in brief costume constructed of two horseshoes
and red, black and green cord, gold cape. Windmill Theatre, 1938. Pencil, ink,
watercolour, gouache on cream paper. 24 x 37. Unsigned, titled. Owner:
Theatre Museum, London.

JOSEPH URBAN (see page 18)

179 - 183. 2 drop curtains and 3 scenes for Showboat, musical comedy by
Jerome Kern and Oscar Hammerstein 11, Ziegfeld Theatre, New York, 1927.
These 5 drawings are owned by The Library for Rare Books and Manuscripts,
Columbia University, New York.

179. Curtain, labelled "Not Used." Steamboat towing another craft on yel-
low river against yellow sky with silver moon and stars, all framed in ornate
pattern of red, green, and silver. Watercolour and silver paint on brown board.
26 x 16.5. Unsigned

180. Show curtain. Showboat in gold, towing another craft on yellow river,
framed in magnolias of orange, yellow and red. Pencil and watercolour. 23.5 x
14.5. Unsigned.

181. "Act 1, Scene 3, Saloon." Exterior of "Joe's Bar" in "French Quarter"
street scene painted in shades of lavender and cream with green accents. Ink
and watercolour. 19 x 12. Unsigned.

182. "Cabaret, Scene A." Interior showing stage and several tables and
chairs. Proscenium painted in giant carnival figures and trees, 3 clowns on scene
drop, balloons, all in orange, yellow, and other carnival colours. Pencil and
watercolour. 19 x 11.5. Unsigned.

183. "Cabaret, Scene B." Different version of "A", ground plan altered with
asymmetric arrangement of arches and darker colours. Pencil and watercolour.
19 x 11.5. Unsigned.

("La Printemps." Costume by Umberto Brunelleschi. (item no. 35)

ABOUT THE COLLECTION

The theatrical scene and costume design collection of The University of Calgary Libraries, Special Collections Division, comprises about 1200 items ranging in period from 1860 to 1979. The core of the collection is a large group of costume designs by Charles Betout, designer for the Com6die Francaise in the 1920 to 1940 period. Betout's work is particularly interest- ing for his meticulous research into historical dress, especially that of the 1 7th through the 1 9th centuries. Included are several complete suites of costume drawings for massive historical film and opera projects.

Another major section of the collection consists of drawings for French music hall and revue of the 1920 to 1945 period: this group contains numerous examples of the work of Umberto Brunelleschi, Jenny Carre, Boris Bilinsky, loss de Zamora and others whose careers are less well- known. Many items of this group are still undocumented and provide fertile areas of research for students of theatrical costume design.

Since 1976 Special Collections, in collaboration with the Department of Drama, has embarked on a slow but steady acquisition programme to build a selective collection of fine examples of stage and costume design from 1850 to the present. This collection now includes works by Percy Anderson, C. Wilhelm, George Harris, Natalia Gontcharova, Alexandre Benois, Boris Anisfeld, Ernst Stern, Aubery Hammond, Cecil Beaton, Oliver Messel, Pavel Tchelitchew and others for the pre-I 960 period. Contemporary designers are also represented: e.g. Nicholas Georgiadis, John Bury, Barry Kay, Ralph Koltai, Georges Wakhevitch and Yolanda Sonnabend. The aim of this collection is to provide, primarily for teaching purposes, varied examples of design style and rendering technique. In future it is hoped that examples of leading Canadian and American designers may be added and that gaps in the representation of English and Continental Designers may be filled. Periodic exhibitions are also planned.


This catalogue prepared and written by Philip McCoy.
Printed by Universi ty Printing Services, The University of Calgary, 1981.
Web version by Robyn Herrington, 1995

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