Arch Lauterer

Finding a Place for Hanya Holm http://www.jstor.org/stable/1568013?seq=1

Citation:
"Finding a Place for Hanya Holm"
Claudia Gitelman
Dance Chronicle, Vol. 23, No. 1 (2000), pp. 49-71
Published by: Taylor & Francis, Ltd.
Stable URL: http://www.jstor.org/stable/1568013

Roy Harris was a composer who collaborated with Holm at Colorado College in 1941. Lauterer joined them in 1942.

Frontiers the Life and Times of Bonnie Bird
Kar Bell-Kanner

W. H. Crain:
An Inventory of His Costume and Scenic Design Collection at the Harry Ransom Humanities Research Center

http://research.hrc.utexas.edu:8080/hrcxtf/view?docId=ead/00150.xml&query=Lauterer&query-join=and&hit.rank=5#6

Lauterer, Arch. Slides showing scenic designs
Box
b 1.9 Letter to the World, 1940; Punch and Judy, Tur[an]dot, Princess of China, 1941; Death and Entrances, 1943; Electra, 1944?; The Winter's Tale, 1945; Six Characters in Search of an Author, 1946

LD drawing by Arch Lauterer for Martha Graham's Immediate Tragedy, 1937
http://www.probelog.com/pratt102/

Mary Wigman's Letters to Hanya Holm
By Mary Wigman, Claudia Gitelman, Hedwig Müller, Marianne Forster
p. 67

W. H. Crain:An Inventory of His Costume and Scenic Design Collection at the Harry Ransom Humanities Research Center
University of Texas at Austin
2000

http://www.lib.utexas.edu/taro/uthrc/00150.xml

Text converted and initial EAD tagging provided by Apex Data Services, April 2001

Finding aid written in English

Descriptive Summary

W. H. Crain Costume and Scenic Design Collection
Original inventory: 4 document boxes, 32 oversize boxes, 301 oversize folders (16.8 linear feet);
Addition: 1 document box, 1 oversize box, 3 oversize folders (0.84 linear)

Harry Ransom Humanities Research Center
University of Texas at Austin
Crain, W. H.,
1917-1988

The bulk of the W. H. Crain Costume and Scenic Design Collection, ca. 1650-1993, consists of original renderings of costumes and scenic design for various types of performances. Though the work of French, British, and Russian artists is present, the emphasis is firmly on twentieth-century American designers. Notable artists include Edward Gordon Craig, Léon Bakst, Alexandre Benois, Percy Anderson, Lemuel Ayers, Cecil Beaton, Attilio Comelli, Archie Gunn, James Henderson, Houghton, Robert Edmond Jones, Charles Karl, William Henry Mathews, Sidney H. Sime, Ernest Stern, and Dolly Tree.

The bulk of the W. H. Crain Costume and Scenic Design Collection, ca.1650-1993, consists of original renderings of costume and scenic designs for plays, operas, ballets, revues, and films, augmented by works of art on paper, costumes, prints, and other material. The collection is arranged in four series: I. Artists, ca. 1650-1993 (33.5 boxes, 280 oversize folders), II. French Music-Hall, ca. 1920-55 (0.5 box, 16 oversize folders), III. Toy Theater Prints, ca. 1830-50, nd (1.5 boxes, 4 oversize folders), and IV. Sources, 1851-ca. 1960 (0.5 box, 1 oversize folder). Within each series, material is arranged alphabetically by name of artist or production title, or chronologically as appropriate. In addition to providing a description of the contents and the location of each folder in the collection, the Item List includes supplemental information for all of the renderings and other works of art in Series I and II, viz. the artist's name, the number of items, and an indication of the media used. Series I can be accessed by title of work via the Index of Production Titles following the Item List.

Represented in the Artists series are over eighty costume and scenic designers ranging from the Bibienas in the seventeenth century to Jo Mielziner. Though the work of French, British, and Russian artists is present, the emphasis is firmly on twentieth-century American designers. The series is divided into two sub series: A. Renderings, ca. 1650-1993, and B. Other Materials, 1819-1979. Both sub series are arranged alphabetically by name of artist, then chronologically, with unidentified artists placed at the end. Sub series A contains over 850 study sketches and preliminary and final renderings executed in a variety of media for productions staged in the United States and Europe. Included are woodcuts by Edward Gordon Craig; renderings by Léon Bakst and Alexandre Benois for Serge Diaghilev's Ballets Russe; Mielziner sketches covering nearly his entire career, including work done while an apprentice to Robert Edmond Jones; a large group of Luigi Bartezago renderings, presumably for productions staged at La Scala; several sketches by the Constructivists Aleksandra Exter and Boris Aronson; and a number of costume designs for the Ziegfeld Follies by James Reynolds. Also included are a small number of original sketches attributed to the seventeenth- and eighteenth-century artists Jean Bérain, Fabrizio Galliari, Pietro Gottardo Gonzaga, and members of the Bibiena family. Though many artists are
represented by a few items, the series includes at least ten sketches for Percy Anderson, Lemuel Ayers, Cecil Beaton, Attilio Comelli, Archie Gunn, James
Henderson, Houghton, Robert Edmond Jones, Charles Karl, William Henry Mathews, Sidney H. Sime, Ernest Stern, and Dolly Tree. Item-level descriptions of Ernest Stern's renderings for White Horse Inn are available in an earlier finding aid in the Reading Room.

Sub series B contains materials that relate to specific artists but which are not renderings. Included here are ephemera, reproductions of renderings, works of art on paper, such as Edward Gordon Craig's non-theatrical woodcuts, and other formats. Notable items are costumes by Bakst and Nicholas Roerich for Ballet Russe productions of Narcisse and Le sacre du printemps; an Edward Gordon Craig set model; nearly seventy slides of Arch Lauterer designs; a portfolio of
material pertaining to Edward Gorey's sets and costumes for Dracula; scrapbooks containing small renderings by R. Bööcke, Jo Mielziner, and Georgii A. Pozhedaev; a small number of letters by Benois and his daughter Anna Tcherkess of to Elizabeth Hudson and Antonina Fedorovna; and prints showing the work of the eighteenth- and nineteenth-century artists Giuseppe Bibiena, Alfonso Parigi, and Alessandro Sanquirico.

Letter to the World Review
Time Magazine
August 26, 940
http://www.time.com/time/magazine/article/0,9171,764476,00.html

Last week hundreds of these dancing intellectuals gathered in Bennington, Vt. to attend the annual Bennington Festival, No. 1 U. S. summer dance event. Climax of the festival was a brand-new Graham ballet, Letter to the World, danced by 16 Grahamites. For it U. S. Composer Hunter Johnson had written a substantial, lengthy musical score; U. S. Scenic Designer Arch Lauterer had built an unprecedented stage load of secret panels, revolving doors and trick modernistic lighting effects.

A CATALOG: THE ROBERT L. B. TOBIN COLLECTION OF ORIGINAL SCENE DESIGNS, 1900-1940 by JAMES G. CUNNINGHAM, B.F.A., M.A.
A DISSERTATION IN FINE ARTS
Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy

LAUTERER, ARCH.
1905-1957.
With little formal art training, Lauterer began his career at the Cleveiand Playhouse in 1926. After studying in Europe, he began his teaching career at Bennington College in 1913. There he designed for Martha Graham and others. In 1935, he moved to Sarah Lawrence College when Graham joined their
faculty. He designed several of Graham's pieces, such as Panorama. He later taught at Milis Coliege in Oakiand, Caiifornia.

Records regarding Arch Lauterer's Seminars including: Notes on Arch Lauterer's Seminars; a printed pamphlet 'A Theatre for Bennington - Notes on a Project by the Designer' by Arch Lauterer

http://www.dartington.org/archive/display/T/ADR/3A/D