Papers of Peter Snow, designer of the first production of Waiting for Godot in English, directed by Peter Hall and opening at the Arts Theatre, London, on 3 August 1955, comprising a black crayon and watercolour drawing of the set showing the tree and rushes on the mound in silhouette against a blue sky (signed "Peter Snow"), two pencil face studies in black crayon over pencil, one captioned "Peter Bull. Pozzo" the other uncaptioned (seemingly of Peter Woodthorpe as Estragon), a typed letter signed by Peter Hall to Snow, from the Arts Theatre on 23 May 1955 ("...Here is the script of 'Waiting for Godot', which I would definitely like you to design for an opening on 3rd August, if you are interested in doing it. I won't say anything about the play because it is one of those plays which is heartily liked or heartily disliked. I hope to hear from you..."), a mimeographed script of the play, inscribed "Peter Snow c/o Arts Theatre Great Newport St London W.C.2", marked up in ballpoint (as noted on the cover) "to conform with American version", a program for its continued run at the Criterion, a copy of the Faber edition and a set of four mounted photographs by Houston Rogers of Sloane Street of Peter Woodthorpe as Estragon, Timothy Bateson as Lucky, Peter Bull as Pozzo, and Estragon with Lucky by the tree (as reproduced on the dust-wrapper of the Faber first edition), signed in pencil by the photographer and with his studio stamp on the reverse of the mounts; together with letters to Snow, mostly from later in his career, by playwrights, designers, actors, dancers, film-producers and others, including Terence Rattigan ("...your letter... I assure you, in all truth and honesty, gave me more pleasure than any other that I've had about Ross -- and I've been blessed with quite a few. I was particularly thrilled by your observation that the play exists in its own right, irrespective of the real existence of Lawrence, as a study in anguish..."), Harold Pinter ("...I don't actually anticipate having another play in London for some time. It's got to be written first..."), Tony Harrison, Derek Jarman (who studied under Snow), George Devine, Peter Wright, John Piper, Peter Hall (further letters), Anton Dolan, Laurence Olivier, Vivien Leigh, David Putnam (despairing for the future of the film industry), Jonathan Miller (experiencing "a curious sense of extra-terrestrial weightlessness"), Judi Dench (series), and others; plus a quantity of programs, a copy of Beckett's From an Abandoned Work (Faber, 1958), an Anouilh play-script and other ephemera, some dust-staining, creasing, scuffing and other minor signs of wear, the Rogers photographs with display pin-holes, the set drawing 55 x 30 mm, the head studies of Pozzo and Estragon on leaves extracted from a spiral pad, 80 x 75 mm, the Rogers photographs overall 300 x 240 mm, c.1954-1995