J. "Wild Bill" Donovan. In the course of his career, Mielziner won seven Tony Awards and was nominated for another five. He also won the Drama Desk Award for Outstanding Set Design. His influence extended outside of the theatre. He was acquainted with the American artist Edward Hopper, who is said to have modeled his well-known painting Early Sunday Morning (1930) after Mielziner's set for Elmer Rice's play Street Scene, produced in 1929. Mielziner designed the theater at Wake Forest University and co-designed the Vivian Beaumont Theater at Lincoln Center with architect Eero Saarinen. He designed the setting for the Vatican Pavilion's showing of Michelangelo's Pietà at the 1964 New York World's Fair. He resided for many years at The Dakota and can be seen working in his studio in an exterior shot in the film Rosemary's Baby. He died on March 15, 1976, in a New York taxicab four days before his 75th birthday. He was rushing between meetings for The Baker's Wife, a musical for which he was designing. Personal life Mielziner was of both Jewish and Christian ancestries, though he converted to Roman Catholicism under the influence of Bishop Fulton J. Sheen. He was married three times, all of which were tumultuous, though only two ended in divorce. His first wife, Marya Mannes, a literary critic he married in 1926, was unfaithful to him. Annie Laurie Jacques, an actress and Mielziner's second wife whom he married in 1932, had substance abuse problems. Though, as a Roman Catholic, he could not divorce his third wife, actress Jean MacIntyre, their relationship ended due to Mielziner's relationship with Sheen's private secretary. Mielziner and MacIntyre married in 1938, and were long-since separated at the time of death in 1976, despite still being legally married. Legacy His scenic designs for the original production of Arthur Miller's Death of a Salesman were re-created for the 2012 Broadway revival starring Philip Seymour Hoffman, Andrew Garfield and Linda Emond. Director Mike Nichols said he felt he needed Mielziner's original set because it was "intimately connected with the way the play developed." He went on to say he has never seen anything "near as good in any of the productions of 'Salesman' because it's everything and nothing." References Further reading Henderson, Mary C. Mielziner: Master of Modern Stage Design, Back Stage Books (2001), 320 pages, External links Jo Mielziner designs and technical drawings, 1924-1976 held by