Donald and Mary Oenslager Gallery
The
NEW YORK CITY BALLET AT LINCOLN CENTER 1964-
Award letter from the
Ford Foundation, December 6, 1963, of the historic grant to New York City
Ballet, and selection of press releases December 16, 1963, February 1, 1964 and
April 6, 1964 that document company’s subsequent move to New York State Theater
in the new Lincoln Center for the Performing Arts.
Morton Baum, Records of
the New York City Center
Carbon impressions on
onionskin and mimeograph copies, 8 ½ in. x 11 in.
Gift of Lester Baum
George Balanchine, Igor
Stravinsky and dancers of New York City Ballet in Lincoln Center Plaza, in a
photograph to publicize the company’s eleven-week tour of Europe and the Middle
East, summer 1965.
Photograph by Martha
Swope
Gelatin-silver print, 8
in. x 10 in.
Two performance
photographs of George Balanchine’s The Four Temperaments, New York City
Ballet.
Merrill Ashley and Sean
Lavery, ca. 1979.
Photographer unidentified
Susan Hendl and Tracy
Bennett, ca. 1973.
Photograph
by Steven Caras
Set design for the 1964
revival of George Balanchine’s Ballet Imperial.
Drawing by Rouben
Ter-Arutunian
Ink and watercolor, 9 in.
x 12 ¼ in.
Gift of Lincoln Kirstein
New York City Ballet in
the 1964 revival of Ballet Imperial, music Tchaikovsky’s Piano concert
no. 2 in G major, scenery by Rouben Ter-Arutunian, costumes by Barbara
Karinska.
Photograph by Martha
Swope
Gelatin-silver print, 11
in. x 14 in.
Melissa Hayden and André
Prokovsky with the dancers of New York City Ballet in The Nutcracker,
1964.
Photograph by Martha
Swope
Gelatin-silver print, 11
in. x 14 in.
Design models for three
scenes of The Nutcracker:
Transformation scene,
with the tree
Kingdom of the Sweets
Designs and model
constructions by Rouben Ter-Arutunian
Colored and metallic
paper, ink, gouache in Plexiglas boxes, 25 in. x 31 ½ in. x 27 ¾ in.
Barbara Karinska
Costume designs for Act
One of The Nutcracker, 1964.
Pencil, ink, watercolor
and fabric samples, 22 in. x 28 in.
Gift of Lincoln Kirstein
New York City Ballet
Two souvenir programs for
The Nutcracker and ticket stubs for six seats
Offset lithography, 12
in. x 9 in., and letterpress, 2 in. x 1 ½ in.
The Nutcracker, costume design by Barbara Karinska, dress for a
female dancer in the party scene.
The Nutcracker, costume design by Barbara Karinska, dress for a
young girl in the party scene, original 1954 production.
George Balanchine
partners Suzanne Farrell in his Don Quixote, music by Nicolas Nabokov,
scenic and costume design by Esteban Francés, New York City Ballet, May 28,
1965.
Photograph by Fred Fehl
Exhibition enlargement 3
ft. 4 in. x 5 ft.
George Balanchine
rehearses with Suzanne Farrell for his Don Quixote.
Photograph by Martha
Swope
Gelatin-silver print, 10
in. x 7 in.
Courtesy of New York City
Ballet Archives, Ballet Society Collection
Michael Arshansky, George
Balanchine and Shaun O’Brien in rehearsal for Don Quixote.
Photograph by Martha
Swope
Exhibition enlargement on
masonite, 10 in. x 6-3/8 in.
Michael Arshansky and
George Balanchine in rehearsal for Don Quixote.
Photograph by Martha Swope
Exhibition enlargement on
masonite, 10 in. x 6-3/8 in.
Suzanne Farrell in George
Balanchine’s Don Quixote.
Photograph by Martha
Swope
Gelatin-silver print, 10
in. x 8 in.
George Balanchine
rehearses Judith Fugate for the scene in the village square, Act One of his Don
Quixote.
Photograph by Martha
Swope
Gelatin-silver print, 10
in. x 7 ½ in.
George Balanchine’s Don
Quixote, end of Scene I, when the Don leaves his beloved books and home to
embark on a life of chivalry, New York City Ballet, 1965.
Photograph by Martha
Swope
Gelatin-silver print, 8
in. x 10 in.
Richard Rapp in the role
of Don Quixote and Deni Lamont as Sancho Panza, in George Balanchine’s Don
Quixote, New York City Ballet, 1965.
Photograph by Martha
Swope
Gelatin-silver print, 10
in. x 7 ½ in.
New
York City Ballet
Poster for Don Quixote
Drawing by Gustav Doré,
design by Karl Leabo
Offset lithography, 22
in. x 14 in.
The three movements of
George Balanchine’s Jewels, music by Gabriel Fauré, Igor Stravinsky and
Peter Ilich Tchaikovsky, scenic designs by Peter Harvey, costumes by Barbara
Karinska, New York City Ballet, 1967.
Violette Verdy and Conrad
Ludlow in Emeralds.
Patricia McBride and
Edward Villella in Rudies.
Suzanne Farrell and
Jacques d’Amboise in Diamonds.
Photographs by Martha
Swope
Three gelatin-silver
prints, 8 in. x 10 in.
New
York City Ballet
Design
by Donn Matus
Offset lithography, 36 ½
in. x 17 in.
Man’s tunic, designed by
Barbara Karinska, for the Rubies section of Jewels.
Suzanne Farrell partnered
by Arthur Mitchell in George Balanchine’s Slaughter on Tenth Avenue,
music by Richard Rodgers arranged by Hershy Kay, scenery by Jo Mielziner,
costumes by Irene Sharaff, New York City Ballet, 1968. The ballet is an arrangement of Balanchine’s
choreography for the 1936 Broadway musical, On Your Toes.
Photograph by Martha
Swope
Gelatin-silver print, 10
in. x 8 in.
Michael Steel between
Suzanne Farrell and Arthur Mitchell in Slaughter on Tenth Avenue, New
York City Balllet, 1968.
Photograph by Fred Fehl
Gelatin-silver print,
8-1/8 in. x 10 in.
Harlequinade, costume design by Rouben Ter-Arutunian, worn by
one of the child harlequins. Patricia
McBride and Edward Villella are shown in the photograph of the ballet,
1965. Photograph by Martha Swope.
New York City Ballet
Design
by Donn Matus
Silkscreen on gold foil
board, 26 in. x 14 in.
The greatest music is
never far from dancing.
Edward Villella leaping
in the George Balanchine-Jerome Robbins Pulcinella, New York City
Ballet, Stravinsky Festival, 1972.
Photograph by Martha
Swope
Gelatin-silver print,
7-7/8 in. x 9 ¾ in.
George Balanchine, Edward
Villella and Jerome Robbins in rehearsal for the Balanchine-Robbins
collaborative ballet Pulcinella, music by Igor Stravinsky, scenic and
costume designs by Eugene Berman, New York City Ballet, Stravinsky Festival,
1972.
Photograph by Martha
Swope
Gelatin-silver print,
9-7/8 in. x 8 in.
Eugene Berman
Designs for Pulcinella,
drawn on a page of Stravinsky’s musical score.
Drawing photographed by
Martha Swope
Gelatin-silver print, 9 ¼
in. x 6 ¾ in.
Jerome Robbins and George
Balanchine at the dress rehearsal for their Pulcinella, New York City
Ballet, Stravinsky Festival, 1972.
Photograph by Martha
Swope
Gelatin-silver print,
10-1/8 in. x 8 in.
George Balanchine with
Kay Mazzo and Peter Martins in rehearsal for his Duo Concertant, music
by Igor Stravinsky, New York City Ballet, Stravinsky Festival, 1972.
Photograph by Martha
Swope
Gelatin-silver print, 8
in x 10 in.
Peter Martins in Apollo,
New York City Ballet, Stravinsky Festival, 1972.
Photograph by Martha
Swope
Gelatin-silver print, 9 ½
in. x 7 ½ in.
Dancers of New York City
Ballet and the School of American Ballet in Act Three of Coppélia,
choreography by George Balanchine and Alexandra Danilova after Marius Petipa,
music by Leo Delibes, scenic and costume designs by Rouben Ter-Arutunian, New
York City Ballet, 1974.
Photograph by Paul Kolnik
Laser print, 10 ¾ in. x
17 in.
Design for the cart in Coppélia.
Drawing by George
Balanchine
Pencil, 14 in. x 17 in.
Rouben
Ter-Arutunian Collection, Dance Division
Patricia McBride and
Helgi Tomasson in Coppélia.
Photograph by Martha
Swope
Gelatin-silver print, 10
in. x 7 in.
Patricia McBride and
Helgi Tomasson in Coppélia.
Photograph by Ted Leyson
Gelatin-silver print, 9 ¾
in. x 7 ½ in.
Patricia McBride and
Shaun O’Brien in Coppélia.
Photograph by Martha
Swope
Gelatin-silver print, 10
in. x 8-1/8 in.
Students from the School
of American Ballet in Coppélia.
Two photographs by Martha
Swope
Gelatin-silver prints, 8
in. x 10 in.
Dancers of New York City
Ballet and the School of American Ballet in Act Three of Coppélia.
Photograph by Martha
Swope
Gelatin-silver print,
6-7/8 in. x 9-7/8 in.
Coppélia, costume design by Rouben Ter-Arutunian, dress
for a student of the School of American Ballet in the performance by New York
City Ballet.
New York City Ballet
Poster for the Ravel
Festival, 1975
Portrait
by Vincent Topazio, design by Keith Sheridan
Offset lithography, 26
in. x 14 in.
George Balanchine’s Le
Tombeau de Couperin, music by Maurice Ravel, New York City Ballet, Ravel
Festival, 1975. Wilhelmina Frankfurt and
Susan Hendl are the dancers whose faces are visible.
Photograph by Martha
Swope
Gelatin-silver print, 7 ½
in. x 9 ¾ in.
Suzanne Farrell and Peter
Martins in George Balanchine’s Chaconne, music by Christoph Willibald
Gluck from the opera Orphée et Euridice, New York City Ballet, 1976.
Photograph by Martha
Swope
Gelatin-silver print,
7-7/8 in. x 10 in.
I don’t have a past. I have a continuous present.
The past is part of
the present, just as the future is.
We exist in time.
Kay Mazzo and Ib Andersen
in Davidsbundlertänze, music by Robert Schumann, scenic and costume
design by Rouben Ter-Arutunian, New York City Ballet, 1980.
Photograph by Steven
Caras
Gelatin-silver print, 9 ¾
in. x 7-1/8 in.
Sara Leland with Ib
Andersen and, in the foreground, Heather Watts with Peter Martins in Davidsbundlertänze.
Photograph by Steven
Caras
Gelatin-silver print, 7 ¾
in. x 10 in.
Set model for Davidsbundlertänze.
Design and model
construction by Rouben Ter-Arutunian
Tulle, glitter, paper,
and gouache, 24 ¾ in. x 30 ½ in.
George Balanchine,
foreground, at the dress rehearsal of his Davidsbundlertänze with
Heather Watts, Peter Martins and Suzanne Farrell, New York City Ballet, 1980.
Photograph by Paul Kolnik
Laser print, 10 ¾ in. x
17 in.
George Balanchine and
Mikhail Baryshnikov in rehearsal for Orpheus, 1979.
Photograph by Costas
Gelatin-silver print, 8
in. x 10 in.
Peter Martins in Orpheus,
ca. 1979.
Photograph by Paul Kolnik
Gelatin-silver print, 8
in. x 10 in.
George Balanchine and
Christopher Byars in rehearsal for the telecast of L’Enfant et les
Sortilèges, music by Maurice Ravel, scenic and costume design by Kermit
Love, New York City Ballet on WNET/Thirteen, Dance in America, May 25, 1981.
Photograph uncredited
Gelatin-silver print,
10-1/8 in. x 7 ¼ in.
George Balanchine and
Christopher Byars in rehearsal for L’Enfant et les Sortilèges.
Photograph
by Don Perdue
Gelatin-silver print, 10
in. x 8 in.
Symphony no. 6 –
Pathétique, choreography by
Jerome Robbins and George Balanchine, the fourth movement, Adagio Lamentoso,
by George Balanchine, music by Tchaikovsky, costumes by Rouben Ter-Arutunian
and Kermit Love, New York City Ballet, Tchaikovsky Festival, June 1981.
Photograph by Paul Kolnik
New York City Ballet
continues international touring, produces festivals and special events such as
the Diamond Project, and performs two New York seasons at the New York State
Theater each year, maintaining the heritage of ballets by George Balanchine and
Jerome Robbins with the creation of new works.
The vitrine contains a
selection of performance programs and souvenir programs:
New York City Ballet on
tour in Russia, 1972
New York City Ballet, Hommage
à Ravel 1875-1975
New York City Ballet at
Tivoli, Copenhagen, Denmark, 1978
New York City Ballet,
Tchaikovsky Festival, Annual Spring Gala, June 4, 1981. The festival featured a new production of
George Balanchine’s Mozartiana, and commissioned works by John Taras,
Jacques d’Amboise and Jerome Robbins.
New York City Ballet,
Stravinsky Centennial Celebration, June 10-18, 1982
New York City Ballet
souvenir program, 1983, open to text about the previous year’s Stravinsky
celebration.
New
York City Ballet souvenir program, 1984, with Peter Boal on the cover
Pointe
shoes signed by Merrill Ashley, Karin von Aroldingen and Patricia McBride