Sale 2673B September 20, 2013 Boston

Transcription

The Robert
Bunting
Dance
Collection
Sale 2673B
September 20, 2013
Boston
The Robert
Bunting
Dance
Collection
Specialists
Robin S.R. Starr
Kathy Wong
Elizabeth C. Haff
Michelle Lamunière
Department Director
508.970.3259
508.970.3297
508.970.3258
508.970.3264
Department Inquiries: 508.970.3206
Auction Information
Auction 2673B
Preview
Absentee Bidding
Friday, September 20
2PM
immediately followed
by Fine Paintings &
Sculpture; preceded
by Fine Prints &
Photography at 10AM
Wednesday, September 18
12 to 5PM
T: 617.874.4318
F: 617.350.5429
Thursday, September 19
12 to 8PM
There will be no preview
day of sale
63 Park Plaza
Boston, MA
General Inquiries:
617.350.5400
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Table of Contents
1
Auction & Specialist Information
2
Web Site & Online Bidding
4
Glossary of Terms
5
Provenance
6
Lots 301–455
105
Artist Index
106
Conditions of Sale
107
Absentee Bid Form
108
Company Directors & Specialty Departments
109
Administrative Staff & Client Services
110
Map & Driving Directions
111
Catalog Subscription Form
Please Note: All lots sold subject to our Conditions of Sale.
Please refer to page 106 of this catalog for the full terms and conditions governing your purchase.
Copyright © Skinner, Inc. 2013
All rights reserved
MA/Lic. #2304
Glossary of Terms
All items in this catalogue are described according to the following table of terminology.
Please note that all statements in this catalogue as to Authorship, Period, and Origin,
are qualified statements subject to the Conditions of Sale.
Authorship will be described in the following ways:
John Joseph Enneking
In our judgment, the work is by the artist.
Attributed to John Joseph Enneking
In our judgment, the work may be ascribed to the artist on the basis of style, but leaves some
question as to actual authorship.
School of John Joseph Enneking
In our judgment, a work of an unknown follower executed in the style of the artist and
contemporary in period.
Manner of John Joseph Enneking
In our judgment, a work executed in the style of the artist by an unknown hand and probably from
a later period.
After John Joseph Enneking
In our judgment, an intended copy of the work of the artist.
American School, 19th Century
In our judgment, the work of an unknown hand that can only be identified as to period and
culture.
Other terms:
Bears signature
In our judgment, the signature not of the artist. This term is generally used separately, or together
with a description of the work as “attributed to,” “school of,” “manner of,” or “after” the artist.
Measurements are given as height x width and refer to the size of the support unless otherwise
indicated.
6
The Robert Bunting Dance Collection
For Robert Bunting, it all started with a performance of The Nutcracker—not just any
Nutcracker, but the great George Balanchine’s staging of the Tschaikovsky classic for
the New York City Ballet. The spark lit by that performance ignited a life-long passion for
ballet that widened to encompass the vast universe of both classic and modern dance—
and the magnificent collection of dance art and memorabilia now known as The Robert
Bunting Dance Collection.
As a young medical student and intern in New York in the 1970s, Dr. Bunting was
exposed to the explosion of creativity within the dance world at that time, attending
performances not only by his beloved New York City Ballet, but also by American Ballet
Theatre, Martha Graham, Paul Taylor and Merce Cunningham, as well as international
visitors like London’s Royal Ballet and Moscow’s Bolshoi Ballet—a list that continued
to widen over the years to include Roland Petit’s Ballets de Paris, The Stuttgart Ballet,
The Royal Danish Ballet, the Kirov. The work represented the genius of Massine, Lifar,
Nijinska, Ted Shawn and Ruth St. Denis, Anthony Tudor, Frederic Ashton, Twyla Tharp,
Alvin Ailey, and Bunting’s personal favorite, Jerome Robbins.
The astonishing accomplishments of those companies and artists are the heart of The
Robert Bunting Dance Collection as we see it before us today. Not just memorabilia of
performances past, the documentation “gives us the most direct, tangible connection
to the work of these artists at the time of their creation,” says Dr. Bunting, most visibly
in the decors and costumes commissioned by the choreographers sensitive to their
unique visions: Bakst, Benois, Gontcharova, Bérard, Messel, Fini, Tchelitchew, Berman,
Ter-Arutunian. “Of course, some designs I treasure as souvenirs of performances I saw,”
he continues: “Looking at Rouben Ter-Aruntunian’s dazzling costume design, I can
still feel the delight that rippled through the audience as Edward Villella leapt onto the
stage in Harlequinade. But even more importantly they’re evocations of performances
I never could have seen.” The splendor of The Sleeping Beauty in Bakst’s design for
the costume of the Marchioness. The sophisticated elegance of Bérard’s decor for Les
Forains. The remarkable fluidity and grace of Isadora Duncan’s movement as captured
by Abraham Walkowitz. It has enriched the life of Robert Bunting; now he is passing the
legacy on to us.
301
Cris Alexander (American, 1920-2012)
Portrait of Martha Graham as Medea in
Cave of Heart, 1946
Dedicated and autographed “For...Todd/with
gratitude and/affection/Martha Graham” within
the composition l.c.
Gelatin silver print, 13 1/4 x 10 1/4 in. (33.7 x
26.0 cm), framed.
Condition: Minor printing flaws, minor
indentations to the emulsion u.r., minor
rippling, not examined out of frame.
301
N.B. The lure of New York City loomed
large in Alexander’s formative years. Born
in the Midwest as Allen Smith, Alexander
adopted the stage name of Christopher (‘Cris’)
Alexander in his teens, which spoke to his
ambition for fame and fortune.1 Upon arriving
in New York in 1938, he attended the Feagin
School of Dramatic Art and studied at the
American Ballet School. While he began his
career as a Broadway actor in the 1940s, he
is perhaps best remembered for his work as
portrait photographer of friends in his milieu,
including Martha Graham, Vivien Leigh, Andy
Warhol, and Gloria Vanderbilt. In his later
years, he was the official photographer for
the New York City Ballet company, and from
1980 to 1986 was a senior photographer for
Warhol’s magazine, Interview.2
1. Douglas Martin, “Cris Alexander, Actor and Photographer, Dies at
92,” The New York Times, March 24, 2012.
2. Tom Vallance, “Cris Alexander: Actor who made his Broadway Debut
in ‘On the Town,’” The Independent, April 24, 2012.
$400-600
302
Costume Design for Anna Pavlova
Unsigned, inscribed “Madame Anna Pavlova/
deep flesh, crepe de chine, silver, gold +
turquoise” in pencil u.r. and l.c.
Gouache and graphite on Bristol board or
similar, 14 1/4 x 7 1/2 in. (36.2 x 19.0 cm),
unframed.
Condition: Restored tear to u.l. quadrant,
tape-hinged to backing mat.
$200-250
302
8
Additional information and photos at www.skinnerinc.com
303
303
Two Framed Autographed Photographs:
Fred Astaire and Ginger Rogers from Shall
We Dance, c. 1937, and Gene Kelly from
Singing in the Rain
Astaire/Rogers gelatin silver print, sight size 8
5/8 x 6 7/8 in. (22.3 x 17.3 cm), in a trompe
l’oeil mat; Kelly chromogenic print on Kodak
paper, 14 x 11 in. (35.5 x 27.9 cm).
Condition: Kelly with printing imperfections,
hinged to window mat in two places, Astaire/
Rogers not examined out of frame.
$200-250
Online bidding at www.skinnerinc.com
9
304
304
Boris Anisfeld (Russian, 1878-1973)
Costume for Sadko
Signed in Cyrillic u.r., numbered and inscribed
“N 14/...” u.l.
Gouache on paper, 17 3/4 x 13 in. (45.3 x
33.0 cm), unframed.
Condition: Minor tear, break to u.r. corner,
loss to l.r. corner, stain to l.l. edge, toning.
10
N.B. The Undersea Kingdom (Au Royaume
Sous-marine), opera-ballet, scene 6 of the
opera Sadko by Rimsky-Korsakov, with
choreography by Michel Fokine, sets and
costumes by Boris Anisfeld, premiered by
Diaghilev’s Ballets Russes, May 13, 1911, at
the Teatro Constanzi, Rome, and later in Paris,
June 6, 1911, at the Théâtre du Châtelet.
$3,000-5,000
305
305
Michael Annals (Canadian, 1938-1990)
Set Design for Shadowplay
Signed and dated “Michael Annals Jan 67”
l.r., inscribed “Royal Opera House – Covent
Garden/The Royal Ballet - ‘Shadow Play’/
Anthony Tudor” l.l., identified on a handwritten
label affixed to the reverse.
Gouache and metallic pigment on paper, 22
1/2 x 30 3/4 in. (57.0 x 78.0 cm), unmatted,
unframed.
Condition: Crease or repaired tear u.c.,
toning, mild soiling, mounted to paperboard
support.
N.B. Shadowplay, with choreography by
Anthony Tudor and with the libretto based on
Rudyard Kipling’s The Jungle Book, premiered
with the Royal Ballet at the Royal Opera
House, Covent Garden, January 25, 1967.
$100-150
306
Horace Armistead (American, 1898-1980)
306
Costume Design for Son in Far Harbour,
1948
Signed and dated “H Armistead 1948” l.r.,
inscribed “DARK HARBOUR/SON” u.l. and
u.r., and with construction notes within the
composition, United Scenic Artists stamp l.r.,
fabric swatches affixed to the reverse.
Gouache, ink, and ink wash on illustration
board, 22 x 15 in. (55.9 x 38.1 cm), unframed.
Condition: Minor losses, bent corners.
$200-300
11
307
307
Léon Bakst (Russian, 1866-1924)
Costume Design for the Marchioness
(Hunting) in THE SLEEPING BEAUTY, 1921
Signed and dated “Leon Bakst 1921” l.r.,
identified on labels (see below) affixed to the
backing.
Gouache with gold and pencil on paper, 11
7/16 x 9 in. (29.0 x 22.8 cm), framed.
Condition: Not examined out of frame.
12
Literature: Léon Bakst, André Levinson, and
Pablo Picasso, The Designs of Léon Bakst for
the Sleeping Princess: A Ballet in Five Acts
After Perrault, Music by Tchaikovsky (New
York: Charles Scribner’s Sons, 1923), Plate II,
p. 23.
Exhibitions: Leon Bakst, Davis & Long
Company, New York, February 2 to 26, 1977,
cat. no. 68; Bakst, McNay Art Institute, San
Antonio, Texas, March 15 to April 17, 1977,
cat no. 68.
$10,000-15,000
308
308
Léon Bakst (Russian, 1866-1924)
Costume Design for Papillons: Une Dame
Signed and dated “Bakst/1912” c.r., inscribed
“Papillons” u.r.
Pencil and gouache on laid paper, 10 5/8 x 8
1/8 in. (27.0 x 20.6 cm), framed.
Condition: Surface imperfections in area of
the skirt, acid burn, scattered pinpoint foxing,
tape-hinged to the backing mat at the top
edge of the reverse.
Provenance: Through the collection of Lady
Eleanor Campbell-Orde, London.
Exhibitions: Ballets Russes de Diaghilew,
1909 à 1929, Exposition Organisée par
Serge Lifar, Avril-Mai 1939, Musée des arts
décoratifs, Pavillion de Marsan, Palais du
Louvre, no. 38.; The Diaghilev Exhibition from
the Edinburgh Festival, 1954, catalog edited
by Richard Buckle, Edinburgh and London
(Forbes House), Gallery IV, cat. no. 116, p. 17.
N.B. Papillons was a pantomime ballet in one
act with libretto and choreography by Michel
Fokine, set to music by Robert Schumann,
with sets by Mstislav Dobujinsky and
costumes by Léon Bakst.
$3,000-5,000
Literature: Illustrated in the souvenir catalog,
Serge de Diaghileff’s Ballet Russe
(Metropolitan Ballet Company, Inc., New
York, 1916), (unpaginated); Ballets Russes de
Diaghilew, 1909 à 1929, Exposition Organisée
par Serge Lifar, Avril-Mai 1939 (Paris: Musée
des arts décoratifs, 1939), no. 38, p. 14.
13
309
After Léon Bakst (Russian, 1866-1924)
309
310
Parody of Nijinsky in L’après-midi d’un
faune [The Afternoon of a Faun]
Bears inscription and date “BOOKST 13-” l.r.
and “Leon Bakst 1913” on the reverse.
Gouache and graphite on paper, sheet size 12
x 9 5/8 in. (30.5 x 24.4 cm), framed.
Condition: Minor soiling.
N.B. The sitter is thought to be the British bon
vivant, Napier George Henry Sturt, the 3rd
Baron Alington (1896-1940), who was known
more colloquially as Napier, Lord Alington, or
“Naps” as he was called by his onetime beau,
Tallulah Bankhead.
$200-400
310
Randy Barceló (Cuban/American, 19461994)
Costume Design for Judith Jamison as
Bessie Smith in The Mooche, Alvin Ailey
Dance Company, 1975
Signed and dated “barcelo 75©” l.r., identified
in pencil u.l. and u.r., with a United Scenic
Artists stamp l.r.
Gouache, watercolor and graphite on paper,
sight size 15 x 12 in. (38.1 x 30.5 cm), framed.
N.B. The Mooche was a collaboration with
Duke Ellington featuring Judith Jamison,
artistic director emerita for the Alvin Ailey
American Dance Theater. The costume
designed by Barceló became a part of the
permanent collection of the Smithsonian’s
National Museum of American History in 2010.
$200-300
14
311
311
312
Costume Design for Judith Jamison in
Spells
Signed and dated “BARCELO 82” l.r.,
inscribed “Alvin Ailey/Spells” u.l. and “Judith
Jamison” u.r.
Watercolor with airbrush and metallic pigment,
13 3/8 x 8 7/16 in. (34.0 x 21.5 cm), matted,
unframed.
Condition: Subtle handing creases, affixed
to window mat at intervals along the reverse,
staining to the reverse.
$200-300
312
Costume Design for Kevin McKenzie as a
Cowboy in Piece d’Occasion, at The Paris
Opera Ballet and American Ballet Theatre
Gala, 1986
Signed and dated “barcelo 86” l.r.,
autographed by McKenzie and inscribed
“BALLET THEATER/PARIS OPERA/GALA/
KEVIN MCKENZIE” within the composition.
x 7 in. (25.4 x 17.8 cm), matted, unframed.
Condition: Taped to window mat.
N.B. The Paris Opera Ballet and the American
Ballet Theatre co-sponsored a benefit gala on
July 8, 1986, which included performances
directed by both Rudolf Nureyev and Mikhail
Baryshnikov. Bob Bowyer choreographed
the comedic sketch, Piece d’Occasion which
was a mock ballet competition between a
French and American team where the “Gallic
side drank champagne and drew a baguette
from a scabbard” and the “Yankee side got
tied up in a lariat.”1 Each team appropriated
the other’s choreography and turned Monique
Loudières of the Paris Opera Ballet into the
Statue of Liberty.2
1. Anna Kisselgoff, “Dance: French-American Gala at Met,” The New
York Times, July 10, 1986.
2. Ibid.
$200-300
15
313
314
313
Costume Design for Martine van Hamel as
a Majorette in Piece d’Occasion, at The
Paris Opera Ballet and American Ballet
Theatre Gala, 1986
Signed and dated “barcelo 86” l.r., titled at top
edge, autographed by Martine van Hamel l.l.
Gouache and pencil on paper, 10 x 7 in. (25.4
x 17.8 cm), matted, unframed.
Condition: Affixed to window mat with tape at
intervals around the reverse.
$200-300
16
314
Betty Palash Barrett (American, d. 2001)
Martha Graham
Unsigned.
Bronze with a brown patina, height 10 1/2 in.
(26.7 cm), on a black metal plinth.
Condition: Surface dust and dirt.
N.B. The sculpture captures in bronze
Barbara Morgan’s iconic 1940 image of
Martha Graham in the ballet Letter to the
World.
$1,500-2,000
315
Betty Palash Barrett (American, d. 2001)
Dancer with a Swirling Skirt (Martha
Graham)
Stamped “Betty Barrett ‘73 1” in the bronze
along the skirt hem in the back.
Bronze with a copper patina, height 12 3/8 in.
(31.5 cm), on a black metal plinth.
Condition: Areas of oxidation to the patina,
surface dust and dirt.
N.B. Artist Betty Palash Barrett was the
wife of Herbert Barrett, a noted advisor
and manager in the classical music and
performance field, who managed the careers
of major musicians and musical groups of the
modern era.
$1,500-2,000
315
17
316
316
Sir Cecil Beaton, C.B.E. (British, 1904-1980)
317
André Beaurepaire (French, b. 1924)
Costume Design for Les Illuminations
Signed “Beaton” l.c., inscribed “Tobias...
ILLUMINATIONS...Being BEAUTEOUS...R-” in
pencil and pen l.l., l.c., and l.r.
Ink, watercolor, and gouache on paper, sight
size 13 x 16 in. (33.0 x 40.6 cm), framed
(without glass).
Condition: Minor tear l.r., minor toning.
Set Design for the Carnival Scene from La
Belle au Bois Dormant [La Belle Endormie],
1953
Unsigned, inscribed “Pour Peter Daubeny
avec reconnaissance!/14 Décembre1953”
in pencil l.c., inscribed “La Belle au Bois
dormant” and “Cora, danseuse de corde”
within the composition.
Mixed media on paper, 10 5/8 x 15 in. (26.8 x
38.0 cm), unmatted, unframed.
Condition: Subtle rippling, reverse with
a pencil sketch of the skyline of Paris,
cellophane tape remnants to the edges of the
reverse.
Provenance: Sotheby’s New York, European
and American Paintings, Drawings and
Sculpture including Ballet and Theater Arts,
June 28, 2000, Sale 7501, Lot 207.
$1,000-1,500
18
Literature: Richard Buckle, Modern Ballet
Design (London: Charles Black, 1955), p. 20
(ill.).
N.B. In 1953 André Beaurepaire collaborated
with French choreographer Roland Petit
(1924-2011) to design the costumes and
sets for La Belle Endormie for the Ballet des
Champs-Elysées. The ballet, with music by
Henri Dutilleux (1916-2013), starred Leslie
Caron and was presented at the Stoll Theater
in London. Breaking from the traditional fairy
tale, Petit’s Sleeping Beauty was a lady in a
fairground booth who was tipped out of bed if
a ball was accurately thrown. (Buckle, p. 21.)
The work at hand is dedicated to Sir Peter
Lauderdale Daubeny (1921-1975), a Germanborn British theatre impresario.
$500-700
317
318
318
André Beaurepaire (French, b. 1924)
Set Design for Ciné-Bijou, c. 1953
Signed “Beaurepaire” l.l.
Pastel on black paper, sight size 12 1/4 x
16 3/4 in. (31.1 x 42.6 cm), in a NewcombMacklin Co., Chicago, frame.
N.B. Choreographer Roland Petit founded
Les Ballets de Paris dance company in 1948,
after departing Les Ballets des ChampsElysées. Petit created Ciné-Bijou, a jazzinspired ballet with original music composed
by Pierre Petit, for the 1953 Paris season.
$500-700
319-320
No lots.
19
321
321
Alexandre Nikolaevich Benois (Russian,
1870-1960)
Two Costume Designs: Armide and Rene
de Beaugency from La Pavillon d’Armide,
1909
Both signed “Alexandre Benois” in pencil l.l.,
both inscribed “Le Pavillon d’Armide Version
de Paris...” within the composition u.l.
Gouache, ink, and graphite on paper, sight
sizes 11 1/4 x 8 3/4 in. (28.6 x 22.2 cm),
framed.
Condition: Subtle rippling.
Provenance: Collection of Nina Tikanova
(dancer in Bronislava Nijinska’s company),
probably acquired from Natalia Goncharova
or Mikhail Larionov); private Massachusetts
collection.
N.B. An undated copy of an appraisal from
Golden Legend, Inc., accompanies the lot.
$2,500-3,500
20
322
322
1870-1960)
Costume Design for Les Tyroliennes, Act
II of Le baiser de la fée [The Fairy’s Kiss]
1928
Signed and dated “Alexandre/Benois/1928”
in pencil l.r., inscribed “No. 3 Le Baiser
de/le Fee/2e acte/Les tyroliennes...” with
construction notes in pencil within the
composition.
Watercolor and graphite on laid paper, sheet
size 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm),
unframed.
Condition: Mat burn, tape hinged to backing
sheet, trimmed sheet, tape residue to the
reverse.
$2,000-3,000
21
323
323
1870-1960)
Set Design for Act IV of Le Baiser de la Fée
Signed “Alexandre Benois...” l.l., inscribed and
dated “...Baiser...IV Tableau. 1928” in pencil l.r.
and “BACK/DROP BAISEE [sic] DE LA FEE...”
in ballpoint pen on the reverse.
Watercolor and ink on paperboard, 9 7/8 x 14
3/8 in. (25.0 x 36.4 cm), unmatted, unframed.
Condition: Subtle soiling.
Provenance: Sotheby’s London, The Russian
Sale, December 19, 1996, Sale LN 6721, Lot
190.
N.B. This was created for the Ballet le Opéra
de Paris’s 1928 performance of Stravinsky’s
Le Baiser de la Fée.
$5,000-7,000
22
324
324
1870-1960)
Set Design for Act I of Diane de Poitiers,
1933
Signed, dated, and inscribed “Alexandre
Benois 1933./Diane de Poitiers (...Rubenstein).
Act I.” in pencil on the reverse.
Gouache, watercolor, and ink on paper,
sheet size 6 1/4 x 9 1/2 in. (15.9 x 24.1 cm),
unframed.
Condition: Glued to silk-covered backing mat
at u.l. and u.r. corners.
$2,000-3,000
23
325
326
325
1870-1960)
Costume Design for Jeune Seigneur in
Diane de Poitiers, 1933
Initialed “AB.” in pencil l.r., inscribed “Diane...
Jeune Seigneur de le cour de Diane...”
with construction notes in pencil within the
composition and “M. Mobilia...” in ink on the
reverse.
Gouache and graphite on paper, 12 1/4 x 9 in.
(31.1 x 22.9 cm), unframed.
Condition: Masking tape hinged to the
window mat, tape residue to the reverse.
$2,000-3,000
326
1870-1960)
Costume Design for a Villager from Le Lac
des Cygnes, 1946
Initialed and dated “A.B./1946” l.l., ballet
identified u.l., inscribed “N 13/Villageois” u.r.
Ink and watercolor over pencil on laid paper,
9 5/8 x 6 1/2 in. (24.5 x 16.5 cm), unmatted,
unframed.
Condition: Left and right sides with uneven
edges, minor loss to sheet at left center edge.
$1,500-2,000
24
327
Nikolai Alexandrovich Benois (Russian,
1901-1988)
Design for Chandelier for Tschaikovsky
Suite No. 3, Theme and Variations Finale
Unsigned, inscribed in pencil with fabrication
instructions flanking the drawing.
Graphite with gold pigment on paper, sight
size 19 x 13 in. (48.5 x 33.0 cm), framed.
Condition: Rippling, scattered foxing, not
examined out of frame.
Provenance: Attributed to the collection
of Karin von Aroldingen, New York, in a
handwritten note attached to the frame.
327
N.B. In 1947, Ballet Theatre (now American
Ballet Theatre) commissioned George
Balanchine to choreograph Theme and
Variations, based upon the final movement of
Tschaikovsky’s Suite No. 3 in G Major, Op. 55.
The New York City Ballet website provides the
following commentary: “In 1970, Balanchine
decided to choreograph Tschaikovsky’s entire
suite for New York City Ballet, incorporating
Theme and Variations as the ballet’s fourth
and final movement with only minor revisions.
The scenery and costumes were designed by
Nicolas Benois, son of Alexandre Benois, the
designer of many early ballets commissioned
by Diaghilev, with the first three movements
danced in a softly lit ballroom, which
transforms for the grandeur of the ballet’s
final movement.”1 The ballet premiered in
December 1970, at the New York State
Theater at Lincoln Center. In an online video
excerpt from the ballet on the NYC Ballet Web
site, one can catch a glimpse of the bottom of
Benois’s chandelier in the center of the set.
1. https://www.nycballet.com/ballets/t/tschaikovsky-suite-no-3.aspx
(accessed 7/23/13).
$800-1,200
328
1901-1988)
Costume Design for the Mother of Fleurde-Lis from Esmeralda, 1954
Signed and dated “NBenoit/54” l.r., titled
at the upper corners, inscribed “...Roma
Duncan...” on the reverse of the mount.
Ink and watercolor on paper, 13 7/8 x 9 1/4
in. (35.3 x 23.6 cm), affixed to a paperboard
support, unframed.
Condition: Loss/tear at u.c., tear to u.r.
corner, small tears at edges of sheet, subtle
rippling, toning, mounting creases at left side,
tack holes at corners.
N.B. London Festival Ballet, 1954.
$1,500-2,500
328
25
329
329
1901-1988)
N.B. London Festival Ballet, 1954.
$1,500-2,500
Costume Design for the Father of Fleur-deLis from Esmeralda, 1954
Signed and dated “NBenois/54” l.r., titled at
the upper corners, titled and inscribed “...
Peter White...” on the reverse of the mount.
Ink and watercolor on paper, 14 x 9 3/8 in.
(35.3 x 23.8 cm), mounted to a paperboard
support, unframed.
Condition: Small tear l.c., toning, rippling,
handling and mounting creases, tack holes to
corners.
26
330
Christian Bérard, called Bébé (French,
1902-1949)
330
Oedipus und die Sphinx, A Sketch for a
Mural in the Apartment of Jean Cocteau
Signed “C. Bérard” l.l., identified on a label
affixed to the back of the mat.
Graphite on paper, 11 1/2 x 14 1/4 in. (29.2 x
36.2 cm), matted, unframed.
Condition: Stain to c.r. edge, soiling and
toning primarily to edges, trimmed irregularly
along the left side.
Provenance: Swann Galleries, Thursday,
September 14, 2006, 19th Century & 20th
Century Prints & Drawings, Lot 417.
N.B. Although the sketch was originally
intended for a mural in Jean Cocteau’s
apartment, the design was used in 1948 for
La Rencontre (Oedipus et le Sphynx), a ballet
in one act choreographed by David Lichine,
with scenery by Boris Koncho and music by
Henri Sauget.
Bérard’s mural for Cocteau’s apartment is
illustrated in Boris Kochno’s book, Christian
Bérard (New York: Panache Press, 1988), p.
147.
$1,200-1,800
331
1902-1949)
Three Costume Studies on a Single Sheet
Stamped “Bérard” l.r., inscribed “Berard” and
“D. Fernandy (Fontenla)” on the reverse.
Gouache and ink on paper, 16 x 11 7/8 in.
(40.5 x 30.0 cm), unmatted, unframed.
Condition: Small tear at c.r. edge, tack holes
to u.r. corner, numbered “29” at u.r. corner
(now erased), handling creases, foxing, toning,
tape remnants at three corners of the reverse.
$500-700
331
27
331A
1902-1949)
Costume and Set Designs for L’Occasion,
c. 1942/A Double-sided Work
Unsigned, inscribed “LJ...” l.r., inscribed
“Projet de costume + projet decor” on the
frame reverse.
Ink and gouache on spiral-bound paper, sheet
size 14 3/4 x 10 3/4 in. (37.5 x 27.3 cm),
framed.
Condition: Spiral edge, minor handling
creases.
Provenance: Piasa Paris, Bibliothèque Louis
Jouvet Souvenirs et objets personnels,
Succession Lisa Jouvet, April 1, 2005, Lot 28.
Literature: Bibliothèque Louis Jouvet
Souvenirs et objets personnels, Succession
Lisa Jouvet (Paris: Piasa, 2005), Lot 28 (illus.).
N.B. L’Occasion was directed by Louis Jouvet
and presented on June 6, 1942, in Rio de
Janeiro.
$700-900
331B
1902-1949)
331A
La Belle Endormie/Set Design for Les
Forains, 1945
Signed “Bérard” l.r., identified on a label from
Galerie Lucie Weill, Paris, and with a label from
Newcomb-Macklin Co., Chicago, affixed to
the backing.
Gouache on paper, sight size 15 x 18 1/2 in.
(38.1 x 47.0 cm), framed.
N.B. French “étoile” ballerina Nina Vyroubova
danced with Roland Petit’s Les Ballets des
Champs-Elysées, and later with the Paris
Opera Ballet. Petit created the role of La Belle
endormie for her in Les Forains.
$1,000-1,500
331B
28
332
332
Eugene Gustavovitch Berman (Russian/
American, 1899-1972)
Set Design for Devil’s Holiday
Initialed and dated “E.B. 1939” l.r., inscribed
“Le Bal. (Le diable s’amuse)” l.l.
Watercolor and ink on paper, 10 5/8 x 15 3/8
in. (27.0 x 49.5 cm), unframed.
Condition: Small tear l.c., sheet affixed at
intervals to backing mat.
N.B. Devil’s Holiday (Le diable s’amuse) was
choreographed by Frederick Ashton for the
Ballet Russe de Monte Carlo in 1939, at the
invitation of the company’s director Léonide
Massine. With the London ballet season
cancelled due to the outbreak of World War
II, the ballet premiered instead in New York at
the Metropolitan Opera House on October 26,
1939. The ballet featured music by Vincenzo
Tommasini on themes by Paganini and decor
by Eugene Berman.
$800-1,200
333
Costume Design for Capulet Boys in
Romeo and Juliet
Initialed and dated “19 E.B 43” within the
composition l.c., inscribed “16 Romeo
and Juliet/Capulet boys mourning capes/
variations” within composition, with a label
from Goodspeed’s Book Shop, Inc., Boston,
affixed to the backing.
Gouache, ink, and ink wash on paper, sheet
size 12 1/4 x 9 3/4 in. (31.1 x 24.8 cm),
framed.
Condition: Trimmed sheet, tack holes, minor
toning.
$600-800
333
29
334
Costume Design for a Courtesan in Romeo
and Juliet
Initialed “19 E.B. 45” l.r., inscribed “15
Pavane?/Romeo and Juliet/Courtesan” within
the composition u.l. and u.r., indistinct stamp
within the composition l.l.
Ink, watercolor, and wash on paper, sight size
12 1/8 x 9 in. (30.8 x 22.9 cm), framed.
Condition: Subtle rippling, minor toning, not
N.B. This costume was designed for
a performance by the Ballet Theater,
choreographed by Antony Tudor.
$600-800
335
Set Design for Act II of Giselle/A Doublesided En Grisaille and Color Composition
Both sides initialed and dated “19 EB 46”
within the composition u.c., en grisaille side
inscribed “Duplicate of the final version of the
backdrop for the IInd Act of ‘Giselle.’ Ballet
Theater. July 1946” within the composition
u.c., color side with The Condé Nast
Publications, Inc., copyright stamp within the
composition u.l.
Watercolor, ink, and ink wash on paper, sheet
size 12 x 21 in. (30.5 x 53.3 cm), framed (one
side under glass).
Condition: Rippling, minor abrasions.
334
Provenance: Sotheby’s New York, Arcade,
Modern and Contemporary Paintings,
Drawings and Sculptures, September 29,
1993, Sale 1445, Lot 84.
$1,000-1,500
335
30
336
Costume Design for Pulcinella
Initialed and dated “E.B./1972” within the
composition l.c., identified in an inscription on
the verso.
Watercolor with gouache and ink on paper,
8 3/4 x 6 1/8 in. (22.2 x 15.4 cm), unmatted,
unframed.
Condition: Minor cockling.
N.B. This design was made for the New
York City Ballet production of Pulcinella,
choreographed by George Balanchine and
Jerome Robbins for the Stravinsky Festival,
1972.
$800-1,200
337
Costume Design Studies for Giselle
Initialed “E.B” l.r., inscribed “Giselle” u.r., with a
United Scenic Artists stamp l.r.
Ink on paper, sight size 12 x 9 1/8 in. (30.5 x
23.2 cm), unframed.
Condition: Foxing, minor handling creases.
336
N.B. The present work was created for the
American Ballet Theatre’s second production
of Giselle for their 1946-47 season. Berman
created both the costumes and scenery, and it
was choreographed by Dimitri Romanoff.
$600-800
337
31
338
32
339
338
Boris Bilinsky (Russian, 1900-1948)
339
Boris Bilinsky (Russian, 1900-1948)
Costume Design for La Princesse Cygne,
1932
Signed and dated “Boris Bilinsky 32” in pencil
l.l., inscribed “Princesse Cygne...” with color
notes on the reverse.
x 12 3/8 in. (48.3 x 31.4 cm), unframed.
Condition: Minor tears, minor handling
creases, minor soiling.
Set Design for La Princesse Cygne
Signed “B. Bilinsky.” l.l., inscribed in Cyrillic
within the composition u.c., identified on a
label affixed to the frame backing.
Gouache on paperboard, 19 1/8 x 25 in. (49.0
x 63.6 cm), framed.
Condition: Wear to edges of sheet, abrasions
and tape and glue residue on the reverse.
N.B. Nikolai Rimsky-Korsakov’s ballet La
Princesse Cygne was produced by Bronislava
Nijinska at the Théâtre National de l’Opéra
Comique, Paris 1932.
$7,000-9,000
N.B. According to the label on the frame
backing, the ballet La Princesse Cygne, with
choreography by Bronislava Nijinska, was
produced at the Nijinska Théâtre de la Danse
in 1934.
$4,000-6,000
33
340
Corrado Cagli (Italian, 1910-1976)
Program Cover Study for Ballet Russe de
Monte Carlo
Signed “Cagli” l.r.
Gouache on paper, sight size 11 1/2 x 8 3/4
in. (29.2 x 22.2 cm), framed.
Condition: Tears, craquelure.
Provenance: Through The Norman Crider
Gallery, New York.
N.B. The present work relates to the souvenir
program cover for the 1946-47 season.
$300-500
341
Jules Chéret (French, 1836-1932)
Folies-Bergère/La Loïe Fuller, 1893
Signed “JChéret” within the matrix c.r.,
inscribed “...IMP. CHAIX (Ateliers Chéret) 20,
Rue Bergère, Paris” l.r.
Color lithograph on paper, 47 7/8 x 34 3/8 in.
(121.6 x 87.1 cm), framed.
Condition: Creased down the center on
horizontal and vertical axes, losses to edges
of sheet, repaired tears to margins, toning,
sheet backed with a secondary support, not
$1,000-1,500
340
342
Jean Cocteau (French, 1889-1963)
Advertising Poster: Ballet Russe, Soirée
du 19 Avril 1911, Théâtre de Monte-Carlo
(Nijinsky in Spectre de la Rose)
Signed “-Jean/Cocteau.” within the matrix
l.l., published by Eugène Verneau and Henri
Chachoin, Paris.
Color lithograph on paper, sight size 36 x 22
3/4 in. (91.2 x 57.8 cm), framed.
Condition: Toning, creases, abrasions,
rippling, not examined out of frame.
N.B. In a description of a similar poster
in the collection of the Victoria and Albert
Museum, the entry explains that, “the young
French poet and artist Jean Cocteau was
dazzled by the Ballets Russes and its star
dancer, Nijinsky, when they appeared in
Paris in 1909. Cocteau wrote of Nijinsky’s
animal grace: with his ‘slender young torso
contrasting with overdeveloped thighs, he
is like some Florentine, vigorous beyond
anything human, and feline to a disquieting
degree’.” For the 1911 Ballets Russes season
Cocteau designed two posters of the same
size, the other depicting the ballerina Tamara
Karsavina as the young girl in Mikhail Fokine’s
ballet Le Spectre de la Rose” (Lot 343).1
1. http://collections.vam.ac.uk/item/O75904/ballets-russes-postercocteau-jean/ (accessed 7/23/13)
$8,000-12,000
341
34
342
35
343
36
344
343
Jean Cocteau (French, 1889-1963)
344
Merce Cunningham (American, 1919-2009)
Advertising Poster: Ballet Russe, Soirée
du 19 Avril 1911, Théâtre de Monte-Carlo
(Karsavina in Spectre de la Rose)
Signed “-Jean/Cocteau.” within the matrix
l.r., published by Eugène Verneau and Henri
Chachoin, Paris.
Color lithograph on paper, sight size 36 x 22
3/4 in. (91.2 x 57.8 cm), framed.
Condition: Toning, creases, abrasions, not
$8,000-12,000
Suite by Chance, Movement Chart Slow
Phrases from III A-B-C-D-E and V C, 1952
Unsigned, identified on a label from Margarete
Roeder Gallery, New York, on the frame
backing and accompanied by a Certificate of
Authenticity signed by Merce Cunningham.
Ballpoint pen on paper, 7 3/8 x 6 7/8 in. (18.7
x 17.4 cm), framed.
N.B. Suite by Chance is a dance in four
movements, with music by Christian Wolff
(for magnetic tape) and costumes by Remy
Charlip. It was first performed in a private
studio in the winter of 1951. Its public
premiere was at the Festival of Contemporary
Arts, University of Illinois at Urbana in March
1953. In a description from the Margarete
Roeder Gallery that accompanies the lot, the
text explains that all elements of the dance
were arrived at by chance manipulation of
selected materials. Cunningham employed
this method to encourage the maximum play
of possibilities, beyond the ordinary range of
the choreographer’s imagination and memory.
The drawing at hand is a chart indicating the
entrances and exits from the third movement.
$1,000-1,500
37
345
346
345
Two Merce Cunningham and Dance
Company Posters:
After Morris Graves (American, 1910-2001),
Waning Moon, #2, autographed in pen by
Merce Cunningham l.l., Morris Graves l.c.,
and John Cage l.r.; After Jasper Johns
(American, b. 1930), Target and Four
Faces, unsigned, inscribed “© 1968 JASPER
JOHNS” within the matrix beneath pasted text
and “MERCE CUNNINGHAM” in ballpoint pen
in a later hand on the reverse.
Both offset lithographs on paper, sheet sizes
to 35 x 23 in. (88.9 x 58.4 cm), Graves framed
(without glass), Johns unframed.
Condition: Graves with minor handling
creases, Johns with creases.
$100-200
346
After Merce Cunningham (American, 19192009)
Selected Drawings and Dance Notations/
An Exhibition Announcement from
Margarete Roeder Gallery, New York, 2009
Reproduction signature.
Color offset lithograph postcard, 7 x 5 in. (17.7
x 12.2 cm), unframed.
Condition: Minor crease to l.l. corner, irregular
surface at u.l. corner, scattered surface
imperfections.
$100-150
38
347
348
347
Robert Davison (American, b. 1922)
348
Set Design for Les petits riens, 1942
Signed “Robert Davison” in ballpoint pen l.r.,
also signed and dated “Robert Davison 1116-42.” in pen on the reverse, inscribed “Les
Petits Riens” in pencil on the backing.
x 12 in. (22.9 x 30.5 cm), framed.
Condition: Tape-hinged to backing sheet.
Costume Design for Carmelita Maracci in
Les Arabesques
Inscribed, signed, and dated “...The ‘Corps
de Ballet’ (the Mad Girl at rt.). Carmalita [sic]
Maracci/Robert Davison 11-20-42” in ink on
the reverse.
Gouache and ink on paper, 9 x 12 in. (22.9 x
30.5 cm), unframed.
Condition: Tape-hinged to window mat.
$300-500
N.B. Ruth Page first choreographed Les
petits riens at Her Majesty’s Theatre, Montreal,
Canada, in 1946.
$300-500
39
349
350
349
350
Set Design for Les Arabesques
Signed “Robert Davison” on the reverse, titled
“Arabesque” in pencil on the back of the mat.
Gouache on paper, 9 1/2 x 12 1/2 in. (24.0 x
32.0 cm), unframed.
Condition: Creases to l.l. corner, small tear to
c.r. edge, minor craquelure.
$300-500
Set Design for Strange Interlude
Signed “Robert Davison” l.r., inscribed
“Strange Interlude” on the back of the mat.
Gouache on paper, sight size 9 3/8 x 12 1/2
Condition: Minor crease or abrasion to u.r.
edge.
$300-500
40
351
351
André Delfau (French, 1914-2000)
Set Design for Chantier, c. 1961
Signed “Delfau” l.r.
49.0 cm), unframed.
Condition: Tape-hinged to paper support.
Literature: Donald Oenslager, Stage Design:
Four Centuries of Scenic Innovation (New
York: Viking Press, 1975), pp. 213-14.
N.B. It has been said that André Delfau
approached scenic design with the unfettered
freedom of a painter. Chantier, a project
for the Marquis de Cuevas Ballet, with
choreography by Ruth Page, exemplified this
approach. Previously Delfau had created many
successful designs both for the de Cuevas
company and for the Ruth Page Chicago
Opera Ballet. However, upon the death of the
Marquis Jorge de Cuevas in 1961, his dance
company was dissolved, leaving the Chantier
ballet unrealized.
$400-600
41
352
André Derain (French, 1880-1954)
Costume Design for the Lupercalian Priest
in Fastes, c. 1933
Unsigned.
Ink on paper, 8 1/4 x 5 1/4 in. (21.0 x 13.5
cm), unmatted, unframed.
Condition: Small tear to top edge, toning,
affixed at upper corners to Mylar sheet, with
three thumbnail sketches of stage sets on the
reverse.
Literature: Les Ballets 1933, Brighton
(England): Royal Pavilion, Art Gallery &
Museums, 1987 (exhibition catalog, ill. p. 67).
352
N.B. Fastes, Les Ballets 1933, book,
scenery, and costumes by André Derain,
choreographer George Balanchine, music,
Henri Sauguet, world premiere: 10 June 1933,
Les Ballets 1933, Théâtre des ChampsÉlysées, Paris.
The ballet Fastes, celebrating an ancient
Roman festival, was conceived and designed
by André Derain for Les Ballets 1933. It is
said that Derain was inspired by the detail
of Etruscan tomb decoration and the hot,
luminous air of the Mediterranean.1 The
costume design at hand shows the priest
wearing a mask depicting the three ages of
man. The costume included a white loincloth
and a garnet red belt and wristbands, as
reported in Vogue Paris, July 1933.2
1. http://www.brighton-hove-rpml.org.uk/HistoryAndCollections/
collectionsthemes/performancegallery/people/Pages/lesballets.aspx
2. Les Ballets 1933 (Brighton, England: The Royal Pavilion Art Gallery &
Museums, 1987), p. 66.
$2,000-3,000
42
353
353
Mstislav Valerianovich Dobuzhinski
(Russian/Lithuanian, 1875-1957)
Set Design for Mademoiselle Angot
Signed and dated “MDobujinsky/1942” l.r.,
titled “Mademoiselle Angot” l.l.
Gouache and pencil on paper, sight size 6 1/4
x 10 3/8 in. (16.0 x 26.5 cm), framed.
Condition: Toning, not examined out of frame.
N.B. The ballet Mademoiselle Angot made
its world premiere with the American Ballet
Theatre in October 1943 at the Metropolitan
Opera House. Based on the operetta La
Fille de Madame Angot by Charles Lecocq,
the ballet was choreographed by Léonide
Massine, with scenery and costumes by
Mstislav Dobujinsky.
$4,000-6,000
43
355
354
354
355
Costume Design for Le Sauvage Variante
from Mademoiselle Angot, 1943
Monogrammed and dated “MD 1943” in
pencil l.r., inscribed “Mlle Angot...Le Sauvage/
VARIANTE...” in pencil within the composition,
French export stamp and inscription “Mstislav
Dobouzhinsky/Mlle. Angot-Masquerade/N51/
Le Sauvage, 1943” in ballpoint pen on the
reverse.
Gouache and graphite on wove paper, 15 x 10
Condition: Tape-hinged to backing mat.
$2,000-3,000
Costume Design for Le Sauvage Variante in
Mademoiselle Angot, 1943
Monogrammed, dated, and inscribed “MD
1943/Windham” in pencil l.r., inscribed
“Mlle Angot III/mascarade...le sauvage
variante” in pencil u.l. and u.r., and “Mstislav
Dobouzhinsky/Mlle. Angot-Masquerade/Le
Sauvage, 1943/N32” in ballpoint pen and
pencil on the reverse.
Gouache and graphite on wove paper, 15 x 10
Condition: Toning, tape-hinged to backing
mat.
$2,000-3,000
44
356
356
Costume for the Headmistress in
Graduation Ball
Signed and dated “MDobujinsky/1944” in ink
l.r., titled in pencil in the upper corners.
Mixed media on paper, 13 3/4 x 9 3/4 in. (35.0
x 24.8 cm), framed.
Condition: Toning, creasing, sheet affixed to
window mat with brown paper tape on the
reverse.
Provenance: Sotheby’s London, The Russian
Sale, July 17, 1996, Sale LN634T, Lot 239.
N.B. This costume design is from the
American Ballet Theatre production of
Graduation Ball, with choreography and
libretto by David Lichine, scenery and
costumes by Mstislav Dobujinsky, and
with music by Johann Strauss arranged
and orchestrated by Antal Dorati. The ABT
production premiered at the St. Denis Theatre,
Montreal, Canada, October 26, 1944.
$2,500-3,500
45
357
357
Eugene Borisovich Dunkel (Russian/
Set Design for Aurora’s Wedding in The
Sleeping Beauty, 1939
Unsigned, identified on a label and with
stamps from the artist and United Scenic
Artists on the reverse.
Oil and ink on paperboard, 12 x 20 in. (30.5 x
50.8 cm), framed.
Condition: Minor surface grime.
358
Collection of Dance-related Souvenir
Programs and Ephemera, including Ballet
Russe programs spanning 1916 to 1929,
and vintage programs from Martha Graham,
Roland Petit, Les Ballets Américains, Ballets
Suédois (Léger cover), Pavlova, and the New
York City Ballet.
$1,000-1,500
N.B. The present work was created for
the Ballet Russe de Monte Carlo, 1939-40
Season, performed at the 51st Street Theatre
in New York City.
$2,000-3,000
46
359
Eleven Boxes of Dance Ephemera,
Programs, and Souvenir Books, including
a program from Académie Nationale de
Musique et de Danse, 1936, annotated with
three pencil drawings attributed to Alexandre
Benois; memorabilia from Ruth St. Denis and
Ted Shawn (c. 1920-1949); Ballet Russe de
Monte Carlo (1930s-40s); European dance
companies (1940-60s); and modern dance
companies including Alvin Ailey, Eric Hawkins,
Paul Taylor, Dance Theater of Harlem,
Harkness, Ruth Page, and The Chicago Opera
Ballet.
$1,500-2,000
358
359
47
360
360
Romain de Tirtoff, called Erté (Russian/
French, 1892-1990)
Set Design for Pin-up Girls Revue
Signed “Erté” l.c., stamped “Erté/Romain de
Tirtoff” and inscribed in ink “N 8675/Pin-up
Girls/Décor” on the reverse.
Condition: Multiple handling creases with
pigment losses to the front, creases to
corners, minor staining to front, staining and
remnants of old hinges to reverse, two binding
holes at top center of sheet.
Provenance: Swann Galleries, Performing Art,
March 19, 1998, Sale 1785, Lot 198 (1 of 2).
$1,500-2,500
361
Romain de Tirtoff, called Erté (Russian/
French, 1892-1990)
Costume Design for La Star in Pin-Up Girls
Revue
Signed “Erté” in gouache l.r., stamped and
inscribed “ERTÉ/ROMAIN DE TIRTOFF/
Composition originale/N. 5445/La Star/(3e
entrée)” on the reverse.
Gouache, graphite, and ink on loose-leaf
paper, sheet size 14 5/8 x 10 5/8 in. (37.2 x
27.0 cm), unframed.
Condition: Tape-hinged to window mat,
subtle rippling.
361
48
Provenance: Swann Galleries, Performing Art,
March 19, 1998, Sale 1785, Lot 198 (1 of 2).
$1,500-2,500
362
363
362
Benjamin Joseph Falk (American, 18531925)
Two Works: Portrait of Loïe Fuller as a
Butterfly, 1901, and Loïe Fuller in Celestial
Gown for La Nuit, 1896
Butterfly inscribed “25/COPYRIGHT 1901/
BY FALK NY” within the negative l.l. and “Loie
Fuller” in pencil on the mount, autographed or
inscribed “Loie Fuller” in pen l.c., embossed
“THE FALK STUDIO” and “THE WALDORFASTORIA N.Y.” with Falk Studio insignia on
the mount; Celestial inscribed “COPYRIGHT
1896/BY B.J.FALK. N.Y./13” within the
negative l.l., stamped “...APR 6, 1896...” l.c.,
inscribed “Falk, N.Y.” in pen on the mount
reverse.
Butterfly gelatin silver print, Celestial albumen
silver print, sheet sizes to 11 5/8 x 7 in. (29.5
x 17.8 cm), both unframed, both mounted to
paperboard.
Condition: Butterfly with mirroring, sulphiding,
scattered abrasions, wear to mount; Celestial
with crack to the emulsion l.r., inscribed “K7”
in pencil u.r., trimmed bottom edge.
$500-700
363
Peter Farmer (British, b. 1941)
Costume Design for a Female Dancer in
Meadowlark, 1968
Signed and dated “P Farmer 68” l.r., inscribed
“MEADOW LARK/FESTIVAL BALLET” u.l.
Oil stick, gouache, and graphite on paper, 20
1/2 x 13 in. (52.1 x 33.0 cm), unframed.
Condition: Masking taped to window mat.
Exhibitions: Charles Spencer, The Musical
Stage, Radlett Art Centre, Hertfordshire, May
1988, no. 11.
N.B. Farmer created this work for the London
Festival Ballet’s production of Eliot Feld’s ballet
Meadowlark, first performed in England on
December 9, 1968.
$600-800
49
364
365
366
364
Leonor Fini (Argentine, 1908-1996)
365
François Ganeau (French, 1912-1983)
Set Design
Signed “Leonor Fini” l.r.
Gouache and ink on illustration board, 14 1/2
x 19 3/8 in. (36.8 x 49.2 cm), unframed.
Condition: Wear to corners, minor abrasions,
break to illustration board u.c.
$1,000-1,500
Costume Design for Two Ballerinas
Unsigned, inscribed “ce tableau m’a été ofert
[sic] par Francois Ganeau” in pen on the
reverse.
Gouache and ink wash on illustration board,
sight size 15 5/8 x 19 7/8 in. (39.7 x 50.5 cm),
framed.
Condition: Minor foxing.
$300-500
50
366
Arnold Genthe (American, 1869-1942)
Three Studies of Isadora Duncan, c. 1916
One stamped “ISADORA DUNCAN/
Management/FREDERICK H. TOYE/105
W. 40th St., N.Y. ...COPYRIGHT 1916 BY
ARNOLD GENTHE, N.Y....” on the reverse,
inscribed “Isadora Duncan 1916”, “A.
Duncan’s Photo/Isadora Duncan in...Ave Maria
Schubert/1916 Photo by Arnold Genthe/N.Y.”
and “Isadora Duncan/Anna Duncan” in blue
ballpoint pen, on the reverse.
Gelatin silver prints, sizes to 8 7/8 x 6 in. (22.5
x 15.2 cm), within a common mat and frame.
Condition: Localized silver-mirroring, fine
abrasions, minor break to the emulsion.
Literature: Arnold Genthe, Isadora Duncan:
Twenty-four Studies (New York: Arno Press,
Inc,. 1980), plates 13, 16, 17 (different printing
illustrated).
$500-700
367
Attributed to Natalia Sergeevna
Goncharova (Russian, 1881-1962)
Costume Design for Liturgie: The
Annunciation (The Virgin and Gabriel)
Signed, inscribed, and dated “N.
Gontcharova/Lausanne - Ouchy 915” l.r.
Ink and pencil on paperboard, 18 1/8 x 22 1/2
in. (46.0 x 57.0 cm), framed.
Condition: Toning, subtle staining and foxing,
sheet taped to window mat with archival tape.
N.B. Liturgie, a ballet based on the life of
Christ, was conceived by Diaghilev while he
was in Switzerland after the outbreak of World
War I. Choreographed by Léonide Massine,
the ballet was rehearsed but eventually
abandoned due to complications with the
score.
$10,000-15,000
367
51
369
368
368
Natalia Sergeevna Goncharova (Russian,
1881-1962)
Costume Design for Une Paysanne Russe
in Les Noces, c. 1923
Signed “N. Goncharova” in pencil u.l.,
identified on labels from The Waddington
Galleries, London, Musées de Strasbourg, and
Galleria del’ Levante, Milan, (see below) affixed
to the backing.
Watercolor and graphite on paper, sight size
18 1/2 x 12 in. (47.0 x 30.5 cm), framed.
Condition: Toning, acid burn.
Provenance: Sotheby & Co., London,
Catalogue principally of DIAGHILEV BALLET
MATERIAL: Decor and Costume Designs,
Portraits and Posters, Including works by
Bakst, Benois, Soudeikine, Gontcharova,
Picasso, Derain, Larionov, Léger, Matisse, July
18, 1968, Lot 111; Mr. Cecil Bernstein, Esq.,
The Waddington Galleries, London; Sotheby’s
London, The Russian Sale, May 26, 2004,
Sale L04110, Lot 219.
Literature: Henning Rischbieter and Wolfgang
Storch, Bühne und bildende Kunst im XX
Jahrhundert, Maler und Bildhauer arbeiten
für das Theater (Hannover, Friedrich Verlag,
1968), p. 278; Les ballets russes de Serge
de Diaghilev, 1909-1929 (Strasbourg: Ville de
Strasbourg, 1969), p. 199.
Exhibitions: Musées de Strasbourg, Les
ballets russes de Serge de Diaghilev: 19091929, May 15 to September 15, 1969, no.
382.
$3,000-5,000
52
370 © Barbara Morgan, The Barbara Morgan Archive.
369
Natalia Sergeevna Goncharova (Russian,
1881-1962)
Costume Design for a Spanish Dancer with
a Large Flowered Mantilla and Floral Dress
in España, 1916
Signed “N. Gontcharova” in pencil u.r.
Graphite on joined paper, sheet size 21 7/8 x
10 1/2 in. (53.3 x 26.7 cm), unframed.
Condition: Mounted to laid paper.
Provenance: Acquired from the artist; private
collection, Paris; Julian Barran Ltd., London.
Literature: Natalia Gontcharova and The
Russian Ballet (London: Julian Barran, Ltd.,
1997), no. 26 (illus.).
Exhibitions: Julian Barran Gallery, London,
Natalia Gontcharova and The Russian Ballet,
June 11 to August 8, 1997, no. 26.
N.B. The present work was drawn for an
unrealized Ballets Russes production.
$2,000-3,000
370
Seventeen Photographs of Martha Graham:
Barbara Morgan (American, 19001992), Frontier, No. 3, c. 1935, unsigned,
gelatin silver print; Carl Van Vechten
(American, 1880-1964), Martha Graham as
Clytemnestra, Bertram Ross as Orestes,
1961, blindstamped “PHOTOGRAPH BY/
CARL VAN VECHTEN” l.r., photographer’s
stamp and inscription “Martha Graham as
Clytemnestra with Bertram Ross as Orestes
in Graham’s ‘Clytemnestra’, 1961...X.55.6/
June 27, 1961” in pen on the reverse, gelatin
silver print; Martha Swope (American, b.
1933), Nine Scenes and Portraits of Martha
Graham or Martha Graham and Dance
Company, two signed “SWOPE” in pen l.l.
and autographed by Graham in ballpoint pen
l.l., seven stamped “PHOTOGRAPH(S) BY
MARTHA SWOPE, NEW YORK CITY” on the
reverse, one inscribed “PHOTO BY MARTHA
SWOPE” within the negative l.l., one inscribed
“PHOTO BY MARTHA SWOPE” within the
negative l.l., one stamped “NEW YORK CITY
BALLET” and inscribed “EPISODES (Part I)...”
on the reverse, stamped “NEW YORK CITY
BALLET” and inscribed “EPISODES (Part
I)...” on the reverse, one inscribed “...Secular
Games ‘62 premiere...,” two inscribed
“...Phaedra ‘62...,” two inscribed “...Look at
Lightning ‘62...,” and two inscribed
“...MARTHA GRAHAM...” in ballpoint pen on
the reverse, gelatin silver prints; American
School, 20th Century, Portrait of Martha
Graham in Appalachian Spring, c. 1940s,
inscribed “MOSS PHOTO, N.Y.” within the
margins; American School, 20th Century,
Two Portraits of Martha Graham, unsigned,
platinum prints; American School, 20th
Century, Five Portraits of Martha Graham
and Martha Graham and Dance Company,
unsigned, gelatin silver prints.
Sizes to 11 1/4 x 14 in. (28.6 x 35.6 cm), all
unframed.
Condition: Minor handling creases, Frontier
with abrasions and cracks to the emulsion,
loss to corner, glue residue verso; Appalachian
with tack holes, loss, and small puncture to
corners, tape residue verso.
$800-1,200
53
371
372
371
Halston [Roy Halston Frowick] (American,
1932-1990)
Costume Design for a Soldier from
Clytemnestra, Martha Graham, 1978
Unsigned.
Watercolor, metallic paint, and pencil on laid
paper, 6 1/2 x 4 1/2 in. (16.5 x 11.4 cm),
unmatted, unframed.
Condition: Handling creases.
$300-500
54
372
Hein Heckroth (German, 1901-1970)
Costume Design, c. 1929
Initialed “H” l.l., inscribed and dated “...
Envoyer...Heckroth/1929” in pencil on the
mount.
Mixed media on laid paper, sheet size 17 1/2
x 6 3/4 in. (44.5 x 17.0 cm), mounted to a
paperboard support.
Condition: Tear to support extending 3/4
inches into the drawing at u.l. edge, nicks and
wear to edges of sheet, toning, rippling.
$250-350
373
373
Costume Design for Rush Hour, 1940
Signed and dated “Hein Heckroth 1940” in
pencil l.r.
Watercolor and graphite on illustration
board, 21 1/2 x 14 7/8 in. (54.6 x 37.8 cm),
unframed.
Condition: Minor handling smudges.
N.B. The present work was a costume design
for a ballet choreographed by Sigurd Leeder of
the Jooss-Leeder School of Dance, Dartington
Hall, Devon, England.
$300-500
374
374
Costume Design for Rush Hour
Signed and dated “Hein Heckroth 1940” in
pencil l.r.
Watercolor and graphite on illustration
board, 21 1/2 x 14 7/8 in. (54.6 x 37.8 cm),
unframed.
$300-500
55
375
376
375
Malvina Cornell Hoffman (American, 18871966)
376
Malvina Cornell Hoffman (American, 18871966)
La Gavotte/A Figure of Anna Pavlova
Signed and dated “© 1915 MALVINA
HOFFMAN” on the base, inscribed “RBW
INC.” on the edge of the base.
Bronze with green patina, height 14 3/4 in.
(37.4 cm), presented on a low plinth.
Condition: Possibly a later casting.
Bust of a Faun, Possibly Nijinsky
Signed “Malvina Hoffman” on the figure’s
back.
Bronze with deep brown patina, ht.7 1/2 in.
(19.2cm), presented on a black metal plinth.
Condition: Minor soiling/dust to interstices.
$1,500-2,000
Provenance: Acquired by the present owner
from the FAR Gallery, New York, New York,
June 24, 1980, formerly in the collections
of the California Palace of the Legion of
Honor, Cleveland Museum of Art, and the
Metropolitan Museum of Art (wax).
N.B. From FAR invoice: “Edition: 28; lifetime,
23; posthumous casts, 5. This example one of
five posthumous casts.”
$4,000-6,000
56
377
377
Jean Hugo (French, 1894-1984)
Set Design for Le Cent Baisers, c. 1935
Signed “Jean Hugo” l.r., inscribed “No. 2” in
Condition: Minor staining and foxing to the
reverse.
Provenance: Estate of Eleonore, Lady
Campbell-Orde, acquired by the present
owner from Marina Henderson, London,
August 19, 1989.
N.B. Les Cent Baisers, Ballet Russe de Monte
Carlo (Colonel W. De Basil’s Ballets Russes),
choreography by Bronislava Nijinska, music by
Frédéric Alfred d’Erlanger.
$1,000-1,500
378
After Valentine J. Hugo (French, 1887–1968)
Ballerina En Pointe
Inscribed “from the painting by- Valentine J.
Hugo” within the matrix l.r.
Chromolithograph, 58 3/4 x 39 5/8 in. (149.2 x
100.7 cm), unframed.
Condition: Linen backed, restored creases/
tears.
$300-500
378
57
379
Joan Junyer (Spanish, 1904-1994)
Program Cover Design for The Cuckold’s
Fair, Ballet Russe de Monte Carlo
Signed and dated “Joan Junyer 43” l.l.,
inscribed and signed “La Romeria de los
Cornudos/de Federico Ga. Lorca/Joan
Junyer” in pencil on the reverse.
Gouache and pencil on paperboard, 12
3/4 x 9 3/4 in. (32.6 x 24.8 c m), unmatted,
unframed.
Condition: Minor staining, glue residue to
reverse.
N.B. The Cuckold’s Fair, choreographer:
Pilar Lopez, music: Bustavo Pittalouga, Ballet
Russe de Monte Carlo, 1943.
$300-500
380
Lindsay Kemp (British, b. 1938)
379
Costume Design for Maurice, Probably
Maurice Béjart
Signed and inscribed “LINDSAY KEMP...”
on the reverse, inscribed “MAURICE/circular
cloak/silk pink/orange/pink stocking/pink
chamois jock strap” within the composition.
Mixed media (gouache, charcoal, and pastel)
on paper, sheet size 16 1/2 x 11 3/4 in. (41.9
x 29.8 cm), unframed.
Condition: Tacked to backing card at u.l. and
u.r. corners.
N.B. Kemp, who trained with German
Expressionist dancer Hilde Holger and French
mime Marcel Marceau, formed his own dance
company in the 1960s, where he worked
with avant-garde performance-artists-turnedmusicians David Bowie and Kate Bush.
$150-200
380
58
381
Tom Keogh (American, 1922-1980)
Costume and Set Design for Le Portrait
du Don Quichotte, 1947/A Double-sided
Composition
Inscribed, signed, and dated “LE PORTRAIT
DU DON QUICHOTTE/KEOGH 47” in ink
within the composition, also inscribed “...Ballet
des Champs-Elysees/Dec 1947” in ballpoint
pen on the reverse.
Gouache and ink on red wove paper, sheet
size 9 7/8 x 12 3/4 in. (25.1 x 32.3 cm),
unframed.
Condition: Taped to window mat.
$800-1,200
382
381
Les Ballets de Paris de Roland Petit
Signed, inscribed, and dated “Keogh Paris
‘55” l.r.
Watercolor, ink, and graphite on paper, 16 1/2
x 20 1/4 in. (41.9 x 51.4 cm), framed.
$800-1,200
382
59
383
Female Costume Design for Les Belles
Damnées, 1955
Inscribed, signed, and dated “Les Belles
Damnees/Keogh/55” within the composition,
inscribed “Les Belles/Damnees/Dec ‘55” in
ballpoint pen on the reverse.
Gouache and ink on Ingres laid paper, sheet
size 19 x 15 in. (48.3 x 38.1 cm), unframed.
Condition: Tape residue verso, minor toning,
minor tears to edges, minor handling creases.
Provenance: Parmenia Migel Ekstrom (19081989), New York.
N.B. We wish to thank Hermine Chivian-Cobb
for her kind assistance with cataloging the lot.
$600-800
384
Set Design for Les Belles Damnées, 1955
Inscribed and signed “Les Belles Damnees/
Decor/Keogh” within the composition,
inscribed “...Roland Petit Dec 55...” in
ballpoint pen and pencil and “CEK-81...Les
Belles Damnées KEOGH” on a label on the
reverse.
Gouache, ink, ink wash, and graphite on
Ingres laid paper, sheet size 18 1/4 x 24 1/2
Condition: Handling creases, tape residue
verso, minor toning, minor tears to edges.
383
$1,000-1,500
384
60
385
385
Male Costume Design for Les Belles
Damnées, 1955
Signed and inscribed “Keogh Les Belles
Damnees” within the composition, inscribed
“LES BELLES DAMNEES/Roland Petit/Ballet
de Paris/Dec ‘55...” in ballpoint pen on the
reverse.
Gouache and ink on Ingres laid paper,
sheet size 19 x 14 3/4 in. (48.3 x 37.5 cm),
unframed.
Condition: Tape residue verso, minor toning.
$600-800
61
386
387
386
Harald Kreutzberg (German, 1902-1968)
387
Two Prints of Ballerinas En Pointe:
Costume Design for Menuet by Mozart,
designed and worn by Harald Kreutzberg
Signed and dated “Harald/Kreutzberg/1933”
l.r., titled l.l., identified on a label affixed to the
back of the mat.
Pencil with watercolor and ink on paper, 15 x
11 1/4 in. (38.1 x 28.6 cm), unframed.
Condition: Subtle toning, sheet with
perforated left edge, laid down on mat board
support.
Richard James Lane (British, 1800-1872),
After Alfred Edward Chalon (British, 17801860), Mademoiselle Taglioni, inscribed “...
London Published June 1831 by J. Dickinson
New Bond Street” within the composition
l.c.; and Jules Rigo (French, 1810-1892),
Carlotta Grisi, inscribed “Lith. J. Rigo et
Cie...” within the matrix l.c.
Both lithographs (Taglioni hand-colored), sheet
sizes to 14 1/2 x 10 1/8 in. (36.8 x 25.7 cm),
both unframed.
Condition: Minor soiling.
Provenance: Sotheby’s New York,
Wednesday, December 9, 1998, Dance,
Theater and Opera: Costume and Designs,
Books, Prints and Photographs, Lot 15.
N.B. Harald Kreutzberg was both the
choreographer and principal dancer in Menuet
by Mozart, which he performed independently
with Yvonne Georgi and later with Ruth
Page. For much of his career, Kreutzberg
was a soloist. Retiring from the stage in
1959, Kreutzberg continued to choreograph
and taught at his school of dance in Bern,
Switzerland.
$600-800
62
N.B. Mademoiselle Marie Taglioni, depicted
as Flore in Didelot’s Zéphire et Flore at King’s
Theatre, London, in 1830, was the first ballet
dancer to develop dancing en pointe as an
expression of grace and style. The present
work is one of the earliest representations of a
dancer “sur la pointe.”
$300-500
388
Mikhail Larionov (French/Russian, 18811964)
Costume for the Cock from Renard
Signed and dated “M. Larionov/920” l.l.,
inscribed “Coq/Renard” u.l., monogrammed
“M.L.” u.r.
Pencil on paper, sight size 11 3/4 x 7 3/4 in.
(29.7 x 19.6 cm), framed.
Condition: Handling creases, mild soiling, not
N.B. Renard, a one-act chamber operaballet by Igor Stravinsky, was written in 1916,
with text based on Russian folk tales. The
ballet’s full title was The Fable of the Vixen,
the Cock, the Cat and the Ram, and it was
described as a burlesque for the stage with
singing and music. The first performance of
the original production by Diaghilev’s Ballets
Russes was on May 18, 1922 at the Théâtre
National de l’Opéra, Paris, with choreography
by Bronislava Nijinska, and with set and
costumes by Mikhail Larionov. Renard was
the first complete ballet choreographed by
Nijinska for the Ballets Russes.
$3,000-5,000
388
63
389
Paul-René Larthe (French, fl. 1930s-1940s)
Costume Design for Prêtresses Oasis
d’Ammon (Act II) from Alexandre Le Grand,
c. 1937
Signed “Paul R. Larthe” in pencil u.l.,
inscribed “Pretresses Oasis d’Ammon (A.II)
ALEXANDRE LE GRAND.” in pencil u.l. and
u.r., also inscribed “...Larthe, Paul...” in pencil
in a later hand on the reverse.
Gouache, watercolor, graphite, applied and
tooled gold foil on green laid paper.
Condition: Tack holes, deckled top and
bottom edges.
389
Provenance: Sotheby’s London, February 11,
1995, Lot 399 (1 of 4); George Glazer Gallery,
New York.
N.B. Alexander le Grand premiered with the
Paris Opera Ballet on June 21, 1937, and was
choreographed by Serge Lifar.
$2,000-3,000
64
390
Fernand (Joseph Henri) Léger (French,
1881-1955)
Two Costume Designs from David
Triomphant: Le percepteur, 1937, and
Enfants, 1936
Both unsigned and titled in pencil within the
composition l.c.; Percepteur inscribed “David
Triomphant étude/G.308-18/G.A.-18 24,5 x
20” and Enfants inscribed “David Triomphant
étude/24,5 x 20/G.A-2/G308-2” in pen on the
reverse, Enfants identified on a label and with
Sotheby’s labels affixed to the backing.
Graphite and gouache on paper, sheet sizes
to 9 3/4 x 7 7/8 in. (24.8 x 20.0 cm), both
framed.
Condition: Transparent and paper tape hinged
to window mat, old transparent tape residue,
minor toning, creases to margins, Percepteur
with folded right and bottom margins.
Provenance: Sotheby’s London, Impressionist
and Modern Art and Ceramics: including Set
and Costume Designs by Fernand Léger from
the Collection of Pierre Cardin, October 21,
1998, Sale LN8643, Lot 217.
$2,000-3,000
390
65
391
391
Portfolio of Eighteen Dance-related Letters
and Memorabilia (1931-1971)
Including Letters from Léonide Massine,
Michel Fokine, Ted Shawn, Mary Wigman,
and a Signed Photo of Loïe Fuller
Various sizes and shapes, in a portfolio
measuring 15 x 11 in.
Condition: Some with toning, most good.
$200-300
392
Sol LeWitt (American, 1928-2007)
Avery Fisher Hall, Lincoln Center for the
Performing Arts, September 20, 1973, after
Arcs, Circles & Grids, 1972
Unsigned, inscribed “Sol LeWitt
Commissioned by Lincoln Center for the
Performing Arts for List Art Posters-Lincoln
Center” within the matrix l.r.
Silkscreen on paper, sheet size 81 3/4 x 40 in.
(207.6 x 101.6 cm), unframed.
Condition: Linen-backed, minor rubs/wear to
image, minor soiling.
$200-400
392
66
393
Santo Loquasto (American, b. 1944)
Costume Design for a Female Imperial from
Push Comes to Shove, 1975
Signed and dated “Loquasto ‘75” l.r., titled
and inscribed around the margins and with
fabric swatches stapled to right margin.
Watercolor and pencil on paper, 11 x 6 5/8 in.
Condition: Subtle handing creases and minor
soiling, glue residue to top and bottom edges
of the reverse.
N.B. For the American Ballet Theatre, Push
Comes to Shove, choreography by Twyla
Tharp, world premiere: Uris Theatre, New
York, January 9, 1976.
The lot is accompanied by a signed 8 x 10-in.
black-and-white photograph of Twyla Tharp
by Kenn Duncan (American, 1928-1986),
identified on a label from the Twyla Tharp
Foundation affixed to the reverse.
$200-300
394
Kermit Love (American, 1916-2008)
Two Designs for the Shepherdess from
L’Enfant et les Sortilèges
One signed and dated “Kermit Love/1980” l.r.,
the other unsigned.
Watercolor and pencil on paper, 14 x 8 1/2 in.
(35.2 x 21.5 cm), one matted, both unframed.
Condition: Soiling to edges, one with minor
foxing.
393
Provenance: From the collection of Boris
Kochno, acquired by Laurence-Anne François,
then to the present owner.
N.B. Kermit Love, perhaps best known as
the creator of Sesame Street characters Big
Bird and Mr. Snuffleupagus, also worked with
many renowned choreographers, including
collaborating with George Balanchine for over
forty years. In the 1970s Love created sets
and costumes for Balanchine’s L’Enfant et les
Sortilèges (The Spellbound Child), a one-act
opera that tells the tale of a bratty boy who
tears up his house and tortures his cat and
squirrel, but is then taught lessons by objects
that come to life. Kermit Love also created
costumes and settings for the 1981 television
production of the opera.
$200-300
394
67
395
396
395
E. Charle(s) Lucas (French, 19th/20th
Century)
396
Julius Lumsden (American, 20th/21st
Century)
Advertising Poster: Folies Bergère, La Loïe
Fuller
Inscribed “e charle lucas” within the matrix,
published by F. Appel, Paris.
Lithograph on paper, 57 3/4 x 38 in. (146.8 x
Condition: Creases with breaks to paper
surface, abrasions, losses primarily to edges,
retouch, minor staining to margin, bearing a
République Française stamp for 20 centimes
at u.l., mounted to a linen support.
$500-700
Costume Design for Thou Swell
Inscribed and signed “’Thou Swell’ NYCB
[New York City Ballet] Julius Lumsden” in
pencil l.l. and l.r.
Graphite, ink, and watercolor on paper, sight
size 17 x 11 1/2 in. (43.2 x 29.2 cm), framed.
$100-200
68
397
397
Charles Maurin (French, 1856-1914)
Portrait of Loïe Fuller
Signed “Maurin” l.r.
Pastel and charcoal on paper, 24 3/8 x 15 1/2
in. (62.0 x 39.3 cm), matted, unframed.
Condition: Small tears and nicks to the sides
of the sheet.
$5,000-7,000
69
398
398
Oliver Hilary Sambourne Messel (British,
1904-1978)
Costume Design for The Sleeping Beauty,
Act I, c. 1976
Signed “Oliver Messel” in pencil l.r.
Gouache, watercolor, and graphite on paper,
sheet size 19 7/8 x 15 in. (50.5 x 38.1 cm),
unframed.
Condition: Taped to window sheet, minor
handling creases.
70
N.B. Messel created set and costume
designs for the American Ballet Theatre’s first
full-length production of The Sleeping Beauty
at the Metropolitan Opera House, New York,
on June 16, 1976, with choreography by Mary
Skeaping from the original of Marius Petipa
and the staging of Nicholas Sergeyev.
$2,500-3,500
399
399
Jo Mielziner (American, 1901-1976)
Five Costume Designs from Shadow of the
Wind, c. 1948
Unsigned, ballet identified in a letter from
Richard Stoddard, Performing Arts Books,
New York.
Pencil and colored pencil on tracing paper,
sheet sizes 11 x 9 3/4 in. (29.8 x 23.0 cm),
unmatted, unframed.
Condition: Fragile, three with tears, one with
loss to u.r. corner, all with creasing.
N.B. American Ballet Theatre, choreography
by Anthony Tudor, scenery, costumes, and
lighting by Jo Mielziner, premiere: New
York Metropolitan Opera House, April 14,
1948. The above referenced letter from
Richard Stoddard, dated October 5, 1992,
accompanies the lot.
$1,500-2,000
71
400
Barbara Morgan (American, 1900-1992)
Martha Graham-Lamentation-(Double
Image), 1935, a later printing.
Signed and inscribed “Barbara Morgan-1935”
in pencil on the mat l.r., signed, inscribed,
and stamped “...Barbara Morgan...
Archivally Printed-1976/B.B.M./COPYRIGHT
PHOTO...120 High Point Road/Scarsdale,
New York...BARBARA MORGAN...” on the
backing.
Gelatin silver print, 10 1/4 x 13 1/2 in. (26.0 x
34.3 cm), matted, framed.
$600-800
401
Barbara Morgan (American, 1900-1992)
Martha Graham, American Document
(“Puritan Love Duet” with Erick Hawkins),
1938
Stamped “...BARBARA MORGAN/HIGH
POINT ROAD/SCARSDALE, NEW YORK,
U.S.A.” and inscribed “Martha Graham...
American Document/episode-Puritan Love
Duet” in pencil on the reverse.
Gelatin silver print, sheet size 9 1/2 x 7 1/2 in.
Condition: Minor handling creases.
$500-700
72
402
403
402
403
Portrait of Martha Graham
Unsigned.
Gelatin silver print, sight size 10 1/2 x 8 in.
(26.7 x 20.3 cm), framed.
Condition: Minor pencil retouch to Graham’s
face.
$200-300
Advertising Poster: Mummenschanz is not
part of the King Tut exhibit!
Unsigned, with information from the Bijou
Theatre (New York) l.c.
Color lithograph on paper, 81 1/2 x 41 1/2
in. (207.0 x 105.4 cm) in two joined sections,
unmatted, unframed.
Condition: Creases, scattered abrasions,
sheet is in two separate sections, joined and
mounted to a linen support.
$500-700
73
404
404
Jean de Paléologue, called Pal (American,
1855-1942)
405
Raoul Henri Pène Du Bois (American, 19121985)
Advertising Poster: Alcazar d’Été, La Belle
Otero
Signed “Pal” within the matrix, published by
Caby & Chardin, Paris.
Lithograph on paper, 54 7/8 x 39 in. (139.3 x
Condition: Creasing, bearing a République
Française stamp for 20 centimes at u.c.,
mounted to a linen support.
$400-600
Set Design for Haydn Concerto
Signed “Raoul Pène du Bois” l.l., inscribed
“N.Y. Dec. 1967” l.r.
Ink and gouache on paper, 10 1/2 x 14 1/2 in.
Condition: Scattered minor foxing, subtle
rippling, acid burn to outermost edges of
sheet on front and reverse.
Provenance: Sotheby’s New York, Dance,
Theater & Opera: Costume and Designs,
Books, Prints and Photographs, Wednesday,
December 9, 1998, Lot 220.
N.B. New York City Ballet, 1968,
choreography by John Taras, music by Haydn.
$2,000-3,000
74
406
Eight Dance and Ballet Photographs:
Including Willard van Dyke (American,
1906-1986), Performance by the Hanya
Holm School of Dance, signed “Willard Van
Dyke” in pencil on the mount l.r., inscribed
“HANYA HOLM” in ballpoint pen on the mount
reverse; George Platt Lynes (American,
1907-1955), Four Works: Three Scenes
from Picnic at Tintagel, 1952, and Jerome
Robbins in Balanchine’s Tyl Ulenspiegel,
1952, each with photographer’s stamp, two
inscribed “Picnic at Tintagel/ballet by Frederick
Ashton/photo March 1952” and “Jerome
Robbins...” in pen and pencil on the reverse;
Leo Salkin (American, 1913-1993), Three
Works: Portraits of John Kriza, Kenneth
Johnson, and Barbara Weisberger, each
signed “leo salkin” in pencil on the mount l.r.,
with the photographer’s stamp and identified
on the reverse.
All gelatin silver prints, sheet sizes to 13 5/8 x
10 1/2 in. (34.6 x 26.7 cm), all unframed.
Condition: Losses to mounts.
$400-600
407
Twenty-five Dance and Ballet Photographs:
Including Eugene Hutchinson (American,
1880-1957), Anna Pavlova in Profile,
photographer’s stamp on the reverse;
James Abbé (American, 1883-1973), Anna
Pavlova, Théatre des Champs Élysées,
Paris, 1927, stamped “PHOTOGRAPH BY /
ABBE, PARIS.” on the reverse; Continental
School, 20th Century, Five Portraits of Anna
Pavlova, three stamped “Anna Pavlowa/The
Incomparable...” on the reverse, one inscribed
“Anna Pavlowa in ‘Don Quixote’ Spanish
Ballet” in pencil on the reverse, one inscribed
“Becker & Maas, Berlin W.9. phot” within the
negative l.l.; Gordon Anthony (British, 19021989), Portrait of a Woman, photographer’s
stamp on the reverse; Carl van Vechten
(American, 1880-1964), Portrait of Vicente
Escudero and Portrait of Nora Kaye, the
former inscribed “photograph by Carl Van
Vechten/February 1, 1933/IIc:13-” in red pen,
the later with photographer’s blindstamp l.l.
and stamp on the reverse; Marcus Blechman
(American, 1922-2010), Portrait of Serge
Soudeikine, signed “MBlechman” in pencil
l.l.; Terry Stevenson (American, 20th/21st
Century), Portrait of Merce Cunningham
with Monitors, c. 1981, dedicated and
autographed “To Lee...with very best wishes
Merce Cunningham” in ink l.c.; Jack Mitchell
(American, 20th/21st Century), Portrait
of Jerome Robbins, c. 1965, inscribed
“© JACK MITCHELL” within the negative,
autographed “Jerome Robbins” in felt-tip pen
l.r.; Emil Otto Hoppé (British, 1878-1972),
Portrait of a Dancer in Orientalist Costume,
signed “E.O.Hoppé” in pen l.r., inscribed
“MILLAIS HOUSE./SOUTH KENSINGTON.”
on the mount l.l.; Herman Mishkin (Russian/
American, 1870-1948), Portrait of Dancer
Mira Nirska, inscribed “MISHKIN N.Y.” within
the negative l.r., inscribed “Mira Nirska...”
in pen on the reverse; Boris Lipnitzky
(Ukrainian/Russian, 1897-1971), Three
Portraits of Dancer Olga Spessivtseva,
two signed “LIPTNITZKI/PARIS” in ink l.r.,
each stamped “STUDIO LIPTNITZKI...”
and inscribed “...Spessivtzeva...” in pencil
on the reverse; Maurice Seymour Studio
(Russian/American, c. 1900-1993),
Portrait of Paul Haakon, inscribed “Maurice
Seymour/CHICAGO” within the negative l.l.,
autographed “Sincerely Paul Haakon/1936”
in pen l.r.; American School, 20th Century,
Snake Charmer, dedicated, signed, and
inscribed “With the best greetings Harald &
Lulu/Pal...Chicago 36” in pen l.r.; Nickolas
Muray (Hungarian/American, 18921965), Portrait of Doris Humphrey and
La Argentina (Antonia Merce), both with
photographer’s stamp and inscribed in
pencil on the reverse; Edwin F. Townsend
(American, 1879-1948), Ruth St. Denis
and Ted Shawn, signed “-Townsend-/N-Y-” l.r., photographer’s stamp on the
reverse; American School, 20th Century,
Portrait of Ted Shawn in Invocation to the
Thunderbird, 1919, and Portrait of Ruth
St. Denis and Ted Shawn at a Fountain,
unsigned.
Mostly gelatin silver prints; sheet sizes to 13
1/2 x 10 3/4 in. (34.3 x 27.3 cm), all unframed.
Condition: Handling creases, wear to corners;
Abbé and Hoppé with mirroring, Argentina
with retouch.
$500-700
405
406
407
75
408
Thirty-three Dance and Ballet Photographs:
Mostly Portraits of Dancers from the
American Ballet Theatre, Diaghilev’s Ballet
Russes, Ballet Russe de Monte Carlo,
José Limón Dance Company, and New
York City Ballet, including one dedicated
and autographed “With best wishes...Erick
Hawkins,” and an autograph by George
Balanchine.
Mostly gelatin silver prints, sheet sizes to 11 x
14 in. (27.9 x 35.6 cm), all unframed.
Condition: Handling creases.
$200-300
409
Teddy Piaz (French, 20th Century)
Serge Lifar, c. 1929
Inscribed “Teddy PIAZ/PARIS” and “creation
de CHAMPROSAY-editeur” within the matrix
l.r. and l.l., respectively.
Chromolithograph, 63 x 47 in. (100.7 x 119.4
cm), unframed.
Condition: Mended tear, tears to edges,
handling creases.
$200-400
408
409
76
410
410
Georges de Pogédaïeff (Russian, 18971971)
Ballets Russes
Signed “Georges A de Pogédaïeff” l.l., titled
within the image.
Watercolor with gouache and pencil on paper,
sight size 22 11/16 x 15 in. (57.5 x 38.0 cm),
framed.
Condition: Minute losses to lettering, not
N.B. This poster maquette is for the Ballets
Russes de Monte Carlo.
$10,000-15,000
77
411
Seven Modern Dance Posters, Mostly Ted
Shawn and Martha Graham:
Major Felten (American 1904-1978), Shawn
and His Dancers, 1931, inscribed “MAJOR
FELTEN” within the matrix l.r., lithograph after
a wood engraving; Constantin Alajalov
(Russian/American, 1900-1987), Ted
Shawn and His Men Dancers, c. 1935,
inscribed “aLadjaLov” within the matrix c.r.,
text within the composition, lithograph and
halftone screen on paper; Rose Cecil O’Neill
(American, 1874-1944), Ruth St. Denis with
Ted Shawn and the Denishawn Dancers,
c. 1923, inscribed “O’Neill” within the matrix
l.l. and l.r., photolithograph on paper; Four
Martha Graham Dance Company and
The Joyce Trisler Danscompany offset
lithographs, Trisler dedicated “To Bob
Bunting...Sincerely Klarna Pinska 1976” in
ballpoint pen u.l.; sheet sizes to sheet size 37
x 39 in. (94.0 x 99.1 cm), all unframed.
Condition: Felten with creases, paper backed,
Alajalov with tear to u.r quadrant; O’Neill with
punctures, creases, soiling; the rest with minor
handling creases and abrasions to edges.
$200-300
411
412
Five Vintage Dance and Ballet Posters:
Danish School, 20th Century, Hallo
Argentina/Poster for Down Argentine Way,
c. 1946, signed and inscribed “E. STRAND
46” within the matrix u.r. and “KJAERHANSEN & HOLM” within the matrix l.c.;
After Georges Wakhevitch (French, 19071984), THÉATRE DES CHAMPS-ÉLYSÉES
MAI-1950 BALLETS AMÉRICAINS DE
RUTH PAGE ET BENTLEY STONE, signed
and dated “WAKEVITCH 50” within the
matrix l.l.; British School, 20th Century,
Léonide Massine, inscribed “DESIGNED
AND PRODUCED BY COLMAN, PRENTIS
& VARLEY, LTD.” within the matrix l.r.;
Lorenzo Homar (Puerto Rican, 19132004), BALLETS DE SAN JUAN MARIA
TALLCHIEF Y FRANK OHMAN, signed
“Homar” in pencil and within the matrix l.r.,
numbered “6/30” in pencil l.l., Argentina,
Américains and Massine color lithographs on
paper, Maria silkscreen on paper; Program
Poster from the New York City Ballet
Performance at the Biennale di Venezia,
XVI Festivale Internazionale di Musica
Contemporanea, 1953; sheet sizes to 33 1/4
x 24 in. (84.5 x 61.0 cm); one framed, four
unframed.
Condition: Argentine with folding creases,
puncture to l.r. quadrant, tack holes to
corners, Américains linen-backed, Massine
with folding creases, minor losses to top edge;
Maria with toning, subtle rippling.
$200-400
412
78
413
413
Italian School, 20th Century
Advertising Poster: The American
National Ballet Theatre at the Esposizione
Internazionale Agricoltura, 1953
Signed in the matrix “fratini/Studio Favalli” c.r.,
published by Vecchioni & Guadagno, Rome,
June 1953.
Offset lithograph on paper, 77 1/2 x 54 in.
Condition: Staining, repaired tears, toning, in
two parts joined in the middle and mounted to
a linen support.
$500-700
414
Fourteen Dance and Theater Posters:
Including an Autographed Bill T. Jones/
Arnie Zane Dance Company Tenth
Anniversary Poster, Two Posters from
Robert Wilson/American Repertory Theater
Productions, Three from the Dance Theatre
of Harlem, and one from the Rothschild
Collection of Russian Ballets by Diaghilev
(Harvard Theatre Collection).
Sizes to 47 1/2 x 33 1/4 in. (120.7 x 84.5 cm),
all unmatted and unframed.
Condition: Many with subtle handling creases,
Giselle with tears to margins.
$250-350
414
79
415
416
415
Seventeen Miscellaneous Posters from the
New York City Ballet and American Ballet
Theatre, c. 1980-2000:
Twelve NYC Ballet Posters, including A
Festival of Jerome Robbins’ Ballets signed
by Jerome Robbins, four 1988, American
Music Festival posters with contemporary art
reproductions, and a 2001 poster featuring
Helen Frankenthaler’s Solar Imp; Five ABT
Posters, including a performance at the
Vienna Staatsoper.
Sizes to 47 x 33 in. (119.4 x 83.8 cm),
unmatted, unframed.
Condition: Many with subtle handing creases,
some with minor corner creases, mostly good.
$250-350
417
80
418
416
Studio of Daniel Rabel (French, 1578-1637)
417
Elba Louisa Riffle (American, 1905-1980)
Costume Design for a Gentleman
Unsigned, inscribed in French within the
composition.
Ink and watercolor on paper, sheet size 12 3/4
x 8 in. (32.4 x 20.3 cm), framed.
Condition: Subtle rippling, staining and foxing,
backed to sheet.
Portrait of Ted Shawn
Signed and dated “Elba Riffle/26” l.r.
Watercolor and pencil on paper, sight size 17
5/8 x 13 in. (44.7 x 33.0 cm), framed.
$100-200
Provenance: Wheelock Whitney, New York.
Literature: Margaret M. McGowan, The Court
Ballet of Louis XIII: A Collection of Working
Designs for Costumes, 1615-33 (London:
Victoria and Albert Museum, 1986), no. 120
(color illus.).
The present work is from one of the earliest
series of dance costumes known.
$200-250
418
Nicholas Konstantinovich Roerich
(Russian, 1874-1947)
Scene with Three Figures in Costume from
La Sacre du Printemps
Initialed l.l., identified on a label from Cordier
& Ekstrom, Inc., New York, affixed to the
backing.
Gouache and ink on illustration board, sight
size 16 1/8 x 15 in. (40.9 x 38.1 cm), framed.
Condition: Losses, tears, toning.
Provenance: Cordier & Ekstrom, New York.
Exhibitions: Cordier & Ekstrom, Nicholas
Roerich, Decors and Costumes for Diaghilev’s
Ballets Russes and Russian Operas,
November to December 1974, illus. no. 4.
$4,000-6,000
81
419
419
Pierre Roy (French, 1880-1950)
Set Design for Le Lion Amoureux
Stamped “Pierre ROY” l.l., inscribed “No 97”
on the u.r. corner of the reverse.
Ink, pencil, and watercolor on paper, 12 3/4 x
19 3/4 in. (32.5 x 50.1 cm), matted, unframed.
Condition: Vertical center fold crease, tear
or abrasion to l.c., creases to lower corners,
sheet with ragged top edge, affixed with tape
to window mat.
N.B. Pierre Roy designed the sets for Le Lion
Amoureux, presented during the 5th Season
of Col. W. de Basil’s Ballets Russes de Monte
Carlo at the Royal Opera House, Covent
Garden, London, 1937.
$300-500
420
Pierre Roy (French, 1880-1950)
Costume Study for Le Lion Amoureux
Unsigned.
Pencil on cream laid paper, overall sheet size
12 7/8 x 16 in. (32.8 x 40.4 cm), unmatted,
unframed.
Condition: Sheet folded in half with drawing
centered on the right half, small tear to u.r.
edge, crease to u.l. corner, scattered foxing,
handling creases, mild soiling.
420
82
N.B. Le Lion Amoureux, Ballet Russe de
Monte Carlo, Choreographer: David Lichine;
Music: Karol Rathaus; Premiere: 1937, Covent
Garden, London.
$100-150
421
421
Russian School, 20th Century
Set Design for Anitra’s Dance for Henrik
Ibsen’s Peer Gynt, Act IV
Unsigned, inscribed “ANITRA’S DANCE-GRIEG” l.l.
Ink and gouache on paper, sheet size 11 3/8 x
8 1/2 in. (28.9 x 21.6 cm), framed.
Condition: Subtle rippling, toning, not
$200-250
422
Lomonosov Porcelain Manufactory, After
Elena Yanson-Manizer (Russian, 18901971)
Figure of Galina Ulanova
Red printed factory mark.
White glazed porcelain, height 16 1/2 in. (42.0
cm).
Condition: Very minor surface grime to
interstices.
$2,000-3,000
422
83
423
Albert Rutherston (British, 1881-1953)
Costume Design No. 1 for Flore in Réveil
de Flore, as performed by Pavlova, 1914
Signed and dated “Albert R. 1914” l.r., titled
u.r., with fabrication notes to lower corners.
Watercolor and pencil on paper, 14 x 10 in.
Condition: Horizontal tear across sheet at
upper third, 2-in. tear to l.c., scattered paper
losses to background, glue staining at top
and u.l. edges, toning, wear to edges, sheet
tacked down to supporting paper at top and
u.l.
N.B. From the ballet Réveil de Flore,
choreographers Marius Petipa/Anna Pavlova,
Palace Theater, London, 1914. This ballet was
a favorite with the ballerinas of the Imperial
St. Petersburg stage, among them Anna
Pavlova, who included an abridgement of the
work in her company’s repertory. An appraisal
by Golden Legend, Inc. of Los Angeles,
California, states that the English premiere
of this work, on October 12, 1914, was a
fundraising effort for the Red Cross World War
I relief and was attended by Queen Alexandra.
$100-200
424
David Salle (American, b. 1952)
American Ballet Theatre Poster,
Autographed by Mikhail Baryshnikov and
David Salle, c. 1986
Inscribed “Design: David Salle/Anthony McCall
Associates, New York” within the matrix u.r.
Offset lithograph on paper, sight size 23 5/8 x
32 3/4 in. (60.0 x 83.3 cm), framed.
423
N.B. The poster’s image shows costume
sketches by David Salle for The Mollino Room,
choreography by Karole Armitage, and bears
a portrait sketch of Baryshnikov in the center.
$100-150
424
84
425
Yvonne Sassinot De Nesle (French, b. 1937)
Costume Design for Phaéton in Les Plaisirs
de l’Île enchantée for the Film Vatel, c. 2000
Signed “YSassinot de Nestle” l.r., inscribed
“VATEL...Roland Joffé...Cocher du Char du
Soleil...” within the matrix l.c.
Color pencil on black paper, sheet size 16 1/2
x 11 5/8 in. (41.9 x 29.5 cm), unframed.
Condition: Minor handling creases.
425
N.B. Period reproduction costumes for Les
Plaisirs de l’Île enchantée as they might have
been worn by King Louis XIV’s court ballet
were among those designed by De Nesle for
the film Vatel, based on the life of 17th century
French chef François Vatel.
$150-200
426
Toer van Schayk (Dutch, b. 1936)
Costume Design for Monument for a Dead
Boy, 1966
Signed, dated, and inscribed “DE SCHOOL
JONGENS/Toer van Schayk ‘66/Like jellyfish
on a beach, they soil the horizon” in pen l.r.,
also inscribed “Freddie doet het met Lena” u.l.
Ink and ink wash on paper, sheet size 17 1/8 x
20 in. (43.5 x 50.8 cm), unframed.
Condition: Mounted to Bristol board or similar,
trimmed composition, toning, mat burn.
N.B. Dutch choreographer Rudi van Dantzig
created the groundbreaking 1965 ballet
Monument for a Dead Boy, which portrayed
a young man struggling with his gay identity.
Van Schayk, van Dantzig’s longtime partner,
served as choreographer, dancer, set
designer, and muse. The work premiered with
the Dutch National Ballet, and was performed
internationally by many other companies,
including American Ballet Theatre and the
Boston Ballet.
$400-600
426
85
427
427
Irene Sharaff (American, 1910-1993)
Sheet with Four Costume Designs for Mata
Hari, c. 1967
Titled and signed “Mata Hari/Sharaff” l.c.,
inscribed “M.H./Ballet” u.l.
Gouache and ink on paper, sight size 14 1/2 x
21 1/2 in. (36.8 x 54.6 cm), framed.
Condition: Toning, not examined out of frame.
N.B. Producer David Merrick’s musical
Mata Hari, with choreography by Jack
Cole, directed by Vincente Minelli, scenery
and lighting by Jo Mielziner, costumes by
Irene Sharaff, had a disastrous opening at
the National Theater in Washington, D.C.,
November 18, 1967. It closed before ever
reaching New York.
$2,000-3,000
86
428
428
Costume Design for La Noce
Signed and inscribed “Sharaff...Fumé...La
Noce” in pen l.r.
Gouache and ink on Arches MBM paper,
sheet size 15 x 11 in. (38.1 x 27.9 cm),
unframed.
Condition: Tack holes to corners.
$1,000-1,500
87
429
429
Costume Design for Violette Verdy in Le
Printemps
Signed and dated “Sharaff 72.” l.r., identified in
an inscription on the reverse.
Gouache, watercolor, and ink on paper, 14 7/8
x 11 in. (37.8 x 28.0 cm), unmatted, unframed.
Condition: Handling creases, mild soiling,
cluster of small tack holes to u.c., toning and
glue residue to reverse.
88
N.B. Le Printemps is a ballet made for the
New York City Ballet by Lorca Massine, set to
Debussy’s eponymous music from 1887. The
premiere took place on January 13, 1972, at
the New York State Theater, Lincoln Center.
$1,000-1,500
430
430
Sergei Yurievich Soudeikine (Russian,
1883-1946)
Costume Design for Tatiana Riabouchinska
as a Florentine Beauty in Paganini, Scene
II, 1939
Fragmentary signature “Soud...” l.r., inscribed
in Cyrillic within the composition, also
inscribed on the reverse.
Gouache, ink, and graphite on vellum, sheet
size 11 11/16 x 9 15/16 in. (29.7 x 25.2 cm),
unframed.
Condition: Trimmed sheet, handling creases,
tack holes.
Provenance: Collection of Tatiana
Riabouchinska (Russian, 1917-2000).
N.B. Soudeikine designed the set and
costumes for the ballet Paganini, which was a
collaboration between choreographer Michel
Fokine and composer Sergei Rachmaninoff in
1939. It was created for Colonel Wassily De
Basil’s Ballet Russe de Monte Carlo, and set
to Rachmaninoff’s 1934 work Rhapsody on a
Theme of Paganini. The present work depicts
Riabouchinska’s scene II solo.
$800-1,200
89
431
432
431
Eleven Photographs of Ruth St. Denis
(American, 1879-1968)
Views of the dancer in: The Yogi (two views);
Light of Asia (1917); Cobra (1906-07),
photograph by Alfred Ellis & Walery (act. 18991918); Radha, inscribed “To Mr. Clarkson from
Ruth St. Denis” l.c.; Egypt photograph with
cropped signature by Lou Goodale Bigelow
(American, 1884-1968) l.r.; The Bronze Palace
from Julnar of the Sea with the Denishawn
Dancers, photograph by Adair Bros.;
Miriam, Sister of Moses signed and dated
“Macgregor/1919” in pencil l.r.; unknown role
with Ted Shawn, photograph by Nickolas
Muray (American, 1892-1965), autographed
by both dancers; two photos in unknown
roles, by White Studio, New York.
Various shapes and sizes to 14 x 11 in. (35.5
x 28.0 cm), some mounted to cardboard
supports, all unframed.
Condition: Some with toning, handling
creases, creases to corners, losses to
cardboard mounts, Egypt with losses to u.l.
and l.l. corners.
432
Poster: Ruth St. Denis as Kuan Yin
Published by the H.C. Miner Litho Company,
New York.
Color lithograph on paper, 77 1/4 x 39 3/8 in.
Condition: Creases from old folds, losses to
margins top and bottom, retouch, scattered
abrasions, sheet in two pieces joined at center
and mounted to linen support.
$300-500
N.B. The lot is accompanied by an LP
record Ruth St. Denis in a “Poetic Biography,”
produced by William Skipper, The American
Creative Artist’s Colony.
$300-500
90
433
433
Théophile Alexandre Steinlen (French/
Swiss, 1859-1923)
Le Rêve, 1890
Published by Imprimerie Gillot, Paris (Bargiel &
Zagrodzki, 10; Crauzat, 529).
Inscribed “GILLOT, GRAV. IMP.” and “Steinlen”
within the matrix l.l. and l.r.
Color lithograph on paper, sheet size 35 x 25
Condition: Linen-backed, restored tears to
right margin, minor foxing.
N.B. The present work depicts Act I of Léon
Gastinel’s ballet The Dream, which was based
on a Japanese legend.
$400-600
91
434
Hugh Stevenson (British, 1910-1956)
434
Costume Design for Neptune the MysticThe Woman in The Planets, c. 1934
Signed “Hugh Stevenson” l.r., titled u.r.,
inscribed “chiffon” l.r.
Watercolor on paper, 30 x 21 1/2 in. (76.0 x
Condition: Mended tears, small loss to l.l.
corner, creasing, rippling, soiling.
N.B. The ballet The Planets, based on music
by Gustav Holst, was choreographed by
Anthony Tudor for the Ballet Club of London in
1934. The part of the woman in Neptune the
Mystic was danced by Kyra Nijinsky.
$1,200-1,800
435
Hugh Stevenson (British, 1910-1956)
Costume Design for Anthony Tudor as
Neptune in The Planets, c. 1934
Unsigned, inscribed “Neptune/Anthony” u.r.
and “green tale [sic]/scales on tunic” u.l.,
identified in a pencil inscription on the reverse.
Pencil and watercolor on paper, 8 7/8 x 6 3/16
in. (22.5 x 15.5 cm), unmatted, unframed.
Condition: Toning, soiling to edges, handling
creases, tape stains from old hinges at top of
reverse.
N.B. This design was created for The Planets,
choreographed by Anthony Tudor and
produced by the Ballet Club of London, 1934,
based on the orchestral suite by Gustav Holst.
The choreographer himself danced the role of
Neptune.
$1,000-1,500
435
92
436
436
Soichi Sunami (Japanese/American, 18851971)
Portrait of Martha Graham in Ekstasis, c.
1933
Blindstamped “SOICHI SUNAMI” l.r.,
dedicated and autographed “To Fred
Harris/Martha Graham” in pen l.l.,
photographer’s stamp “...SOICHI SUNAMI/
PHOTOGRAPHER/10 E. 15th ST., NEW
YORK” on the reverse.
Gelatin silver print, sheet size 7 3/8 x 9 1/4 in.
Condition: Minor creases to corners, minor
skinning with glue residue to the reverse.
$700-900
437
After Soichi Sunami (Japanese/American,
1885-1971)
Ruth St. Denis
Inscribed in the matrix “Photo by Soichi
Sunami” and “Hegeman Print, N.Y.” l.r.
Lithograph on paper, sight size 39 x 26 in.
(99.5 x 66.0 cm), framed.
Condition: Printing imperfections, not
N.B. The poster is based on a 1929
photograph by Soichi Sunami.
$100-120
437
93
438
438
Eve Swinstead-Smith (British, 20th
Century)
Costume Designs for Enigma Variations,
1940/A Double-sided Composition
Unsigned, with construction annotations within
the composition.
x 9 1/2 in. (30.5 x 24.1 cm), framed.
Condition: Tear to u.l. corner, tape-hinged to
window mat, toning.
$200-300
94
439
439
Pavel Tchelitchew (Russian/American,
1898-1957)
Group of Dancers in a Scene from
L’Errante, 1935
Signed and dated “P Tchelitchew/NY 35” l.l.,
identified on a label on the frame backing.
Gouache and ink on paper, sight size 14 1/2 x
19 5/8 in. (36.8 x 50.0 cm), framed.
Condition: Repaired tear or crease to l.l.
quadrant, minor surface losses at corners, not
The School of American Ballet in early 1934
as well as a touring company, The American
Ballet, in 1935. Errante was staged again
by Balanchine in 1935 for The American
Ballet Ensemble at the Metropolitan Opera
Company. The ballet retained the ethereal
look of the original production, with some
figures interpreted as shadows or “phantoms
of the storm.”1
1. Les Ballets 1933 (Brighton, England: The Royal Pavilion Art Gallery &
Museums, 1987), p. 70.
$1,500-2,000
N.B. The ballet L’Errante, or The
Wanderer, with music by Franz Schubert
(Wanderer-Fantasie, transcribed by Franz
Liszt), orchestration by Charles Koechlin,
choreography by George Balanchine, scenery
and costumes by Pavel Tchelitchew, had its
world premier in Paris with Les Ballets 1933,
Théâtre des Champs-Élysées, June 10, 1933.
Later that year Balanchine came to New
York at the invitation of Lincoln Kirstein and
together they founded
95
440
440
1898-1957)
Costume Designs for Saint Francis
(Noblissima Visione), 1938
Unsigned, construction notes inscribed within
the composition.
Gouache, watercolor, and graphite on
illustration board, 15 x 20 1/2 in. (38.1 x 52.1
cm), unframed.
$1,500-2,500
441
1898-1957)
441
Set Design for Saint Francis (Noblissima
Visione), 1938
Signed and dated “P. Tchelitchew 1938” l.r.,
inscribed “St. Francis I acts.” l.l., identified on
a label from Michael Rosenfeld Gallery, New
York, affixed to the backing.
Tempera and graphite on paper, 16 1/2 x 24
in. (41.9 x 61.0 cm), framed.
Condition: Small ink splatters and water
stains, minor losses, craquelure, minor
abrasions.
Provenance: Collection of Mr. Oliver Smith
gifted to Mr. Richard D’Arcy, New York;
Michael Rosenfeld Gallery, New York.
N.B. A copy of the purchase invoice from
Michael Rosenfeld Gallery, dated September
6, 1995, accompanies the lot.
$2,000-3,000
96
442
1898-1957)
Costume Design for The Prince in Violin
Concerto, 1942
Inscribed “III partie Mozart le Prince” u.c.,
numbered “12” l.r., identified on a label from
Michael Rosenfeld Gallery, New York, on the
frame backing.
Gouache and pencil on paper, 14 x 7 1/2 in.
(35.6 x 19.1 cm), in a double-sided frame.
Condition: Not examined out of frame, a
separate sheet of sketches with notes on
costume materials is included at the back of
the double-sided frame.
Provenance: Acquired by the present owner
on May 11, 1993 from Michael Rosenfeld
Gallery, New York, from the exhibition Pavel
Tchelitchew: Nature Transformed.
Literature: Pavel Tchelitchew: Nature
Transformed, Michael Rosenfeld Gallery,
New York, April 3–May 29, 1993, (exhibition
catalog), illus. p. 28.
N.B. Set to Mozart’s Violin Concerto No.
5 (K. 219), the ballet Violin Concerto was
choreographed by George Balanchine in 1942
for the Ballet of the Teatro Colón in Buenos
Aires.
According to Donald Windham in his 1942
monograph, Tchelitchew, published in Dance
Index, Vol. III, nos. 1, 2, January to February
1944, Concerto was one of two ballets (the
other being Apollon Musagete) for which
Tchelitchew created the decor before he
“retired from the theater” and began a new
direction in painting.
442
We wish to thank Erik LaPrade for his kind
assistance with cataloging the lot.
$1,000-1,500
443
Rouben Ter-Arutunian (American, 19201992)
Set Design for Ballet Imperial, 1964
Initialed and dated “R. 1964” in ballpoint pen
and titled and signed “Ballet Imperial R. TerAr...” l.r.
Ballpoint pen on paper, 10 x 13 1/4 in. (25.5 x
Condition: Glue stains to corners, affixed to a
mounting sheet at each corner.
N.B. Ballet Imperial was choreographed by
George Balanchine for the New York City
Ballet in 1964.
$1,000-1,500
443
97
444
Costume Design for Edward Villella in
Harlequinade, 1965
Signed and inscribed “R./Edward Villella/...N.Y.
City Ballet. R. Ter A... 1965” l.c.
Watercolor on paper, 13 x 9 in. (33.2 x 22.8
cm), unmatted, unframed.
Condition: Subtle rippling and handling
creases, unpressed creases to l.l. and u.r.
corners, glue stains in corners of reverse
which bleed through to the front.
Drawings and Sculpture, February 24, 1994,
Sale 1459, Lot 148 (1 of 2).
444
N.B. Harlequinade, Ballet in Two Acts (1965):
music by Riccardo Drigo, choreography by
George Balanchine, scenery and costumes by
Rouben Ter-Arutunian. Les millions d’Arlequin
was originally created by the choreographer
Marius Petipa and the composer Riccardo
Drigo for the Imperial Ballet of St. Petersburg,
Russia, in 1900. George Balanchine staged
an important revival of the work in honor of
its 65th anniversary for the New York City
Ballet, premiering February 4, 1965, under the
title Harlequinade. The leading dancers were
Patricia McBride as Columbine, Edward Villella
as Harlequin, Suki Schorer as Pierrette, and
Deni Lamont as Pierrot.
$1,000-1,500
98
445
445
Pierrot/A Costume Design for
Harlequinade, 1965
Inscribed, dated and signed “...”Harlequinade”
N.Y. City Ballet 1965/ R. Ter-Arutunian.” l.c.
Ink and ink wash on paper, sheet size 12 3/8 x
6 7/8 in. (31.4 x 17.5 cm), framed.
Condition: Taped at corners to backing sheet.
Drawings and Sculpture, February 24, 1994,
Sale 1459, Lot 148 (1 of 2).
$800-1,200
446
Costume Design for Peter Martins in
Concerto in G
Signed and inscribed “R./’Concerto in G’/New
York City Ballet, Homage à Ravel/1975/R. TerAru.../For Genia/with love, Rouben.” l.c.
Mixed media on paper, sight size 14 x 6 1/2
in. (35.5 x 16.5 cm), framed.
Condition: Subtle rippling, toning, glue stain
l.r. corner, not examined out of frame.
N.B. The ballet Concerto in G debuted May
15, 1975, at the New York City Ballet Ravel
Festival at the New York State Theater at
Lincoln Center. With choreography by Jerome
Robbins to music by Maurice Ravel, the ballet
featured dancers Peter Martins and Suzanne
Farrell. The ballet was subsequently retitled In
G Major.
$300-500
446
99
447
Marcel Vertès (Hungarian/French, 18951961)
Costume Design for Michel Fokine’s
Bluebeard, Ballet Theater, 1941
Signed “Vertes” in pencil l.l.
Gouache, ink, silver metallic paint, and
graphite on illustration board, 12 1/8 x 9 in.
(30.8 x 22.9 cm), framed.
Condition: Toning, small losses to corners,
minor rubs/abrasions, small indentation l.c.
$300-500
448
Marcel Vertès (Hungarian, 1895-1961)
Set Design for La belle Hélène, c. 1941
Signed “Vertès” u.r., inscribed “La Belle
Hélène” l.l., inscribed “... de Sao Paulo” in
Gouache and ink on paperboard, 19 1/4 x 23
3/4 in. (48.9 x 60.3 cm), unframed.
Condition: Losses to corners, minor
abrasions.
$3,000-5,000
447
448
100
449
449
Marcel Vertès (French, 1895-1961)
Set for the Bedroom in La Belle Hélène
Unsigned.
Gouache and watercolor on paper, 19 x 24
5/8 in. (48.0 x 62.7 cm), unframed.
Condition: Minor craquelure, toning, tapehinged to window mat at top edge of the
reverse.
Provenance: Marina Henderson.
N.B. David Lichine choreographed La Belle
Hélène for the Paris Opera Ballet in 1955.
$3,000-5,000
101
450
450
Abraham Walkowitz (American, 1878-1965)
Two Studies of Isadora Duncan
Both signed “A. Walkowitz” in pen l.r.
Watercolor and ink on paper, sight sizes 6 3/4
x 2 1/2 in. (17.1 x 6.4 cm), within a common
mat and frame.
Condition: Toning, mat burn.
N.B. A handwritten letter from Isadora
Duncan is framed with the lot.
$1,000-1,500
451
Abraham Walkowitz (American, 1878-1965)
Sketch of Isadora Duncan
Signed “A. Walkowitz” l.c.
Watercolor, ink, and charcoal on paper, 13 x 8
5/8 in. (33.0 x 21.5 cm), framed.
Condition: Crease to l.r. corner, subtle mat
burn, taped to window mat along all four
edges of the reverse.
$800-1,200
451
102
452
452
Andy Warhol (American, 1928-1987)
Literature: II.125, Feldman & Schellmann.
Merce Cunningham I, 1974
Signed and numbered “Andy Warhol 98/100”
in pencil on the reverse.
Color screenprint, 30 x 20 in. (76.2 x 50.8
cm), framed.
Condition: Subtle rippling, creasing, areas of
thinning to the paper, with an unknown mark
to the top of the reverse, hinged to back mat
at top edge of the reverse.
N.B. Published by Castelli Graphics
and Multiples, Inc., New York, as part of
the portfolio, Cunningham I, containing
works by seven artists, sold to benefit the
Merce Cunningham Dance Company. The
screenprint at hand, printed by Alexander
Heinrici, is based on a photograph by Richard
Rutledge.
$800-1,200
103
453
453
Miles White (American, 1914-2000)
Costume Design for Child- Fall River
Legend
Signed “Miles White” l.l., titled l.r., with a label
from Giraffics Gallery, East Hampton, New
York, on the frame backing.
Ink and watercolor on paper, sight size 11 3/8
x 7 3/4 in. (29.0 x 19.7 cm), framed.
Condition: Subtle rippling, not examined out
of frame.
N.B. As the name suggests, Fall River Legend
was based on the life of Lizzie Borden.
Choreographed by Agnes de Mille, the ballet
premiered at The American Ballet Theatre
on April 22, 1948, featuring an original score
by Morton Gould, lighting design by Jean
Rosenthal, and scenic design by Oliver Smith.
$600-800
104
454
Sixteen Photographs of Mary Wigman
(German, 1886-1973)
Fifteen Photographs by Charlotte Rudolph
(German, 1896-1983) and One Autographed
Photograph by Albert Renger-Patzsch
(German, 1897-1966)
Rudolph photographs with embossed stamp
“CH.RUDOLPH/DRESDEN” l.l. or l.r., some
stamped and/or annotated in pencil on
the reverse, Renger-Patzsch photograph
dedicated “To Miss Cassidy/Mary Wigman”
u.l., stamped “RENGER-FOTO D.W.B./
ESSEN, GOETHESTR. 41” on the reverse.
Black-and-white photographs, sizes to 8 3/4 x
6 3/4 in. (22.2 x 17.1 cm), unframed.
Condition: Subtle toning, soiling, handling
creases.
N.B. The lot is accompanied by nine pieces of
ephemera relating to Mary Wigman.
$800-1,200
455
Robert Wilson (American, b. 1941)
The CIVIL warS, Act V, Scene C, 1982
Signed and dated “Robert W... ‘82” in pencil
l.r., identified on a label from Paula Cooper
Gallery, New York, affixed to the backing.
Graphite on paper, sight size 7 1/4 x 21 1/2 in.
(18.4 x 54.6 cm), framed.
Drawings and Sculptures, June 7, 1996, Sale
1545, Lot 343.
$800-1,200
End of The Bunting Collection
454
455
105
106
Artist Index
Abbé, James ...........................................407
Adair Bros. ..............................................431
Alajalov, Constantin .................................411
Alexander, Cris ........................................301
American School, 20th Century .......302, 303
...................................... 370, 403, 407, 432
Anisfeld, Boris .........................................304
Annals, Michael .......................................305
Anthony, Gordon .....................................407
Armistead, Horace ..................................306
Bakst, Léon .....................................307, 308
Bakst, Léon (After) ...................................309
Barceló, Randy ................................ 310-313
Barrett, Betty Palash .......................314, 315
Beaton, Cecil ...........................................316
Beaurepaire, André .........................317, 318
Benois, Alexandre Nikolaevich ......... 321-326
Benois, Nikolai Alexandrovich .......... 327-329
Bérard, Christian, called Bébé .......330-331B
Berman, Eugene Gustavovitch ........ 332-337
Bigelow, Lou Goodale .............................431
Bilinsky, Boris ..................................338, 339
Blechman, Marcus ..................................407
British School, 20th Century ....................412
Cagli, Corrado .........................................340
Chalon, Alfred Edward (After) ..................387
Chéret, Jules ...........................................341
Cocteau, Jean .................................342, 343
Continental School, 20th Century ............407
Cunningham, Merce ................................344
Cunningham, Merce (After) ......................346
Cunningham, Merce, and
Dance Company .....................................345
Danish School, 20th Century ...................412
Davison, Robert .............................. 347-350
Delfau, André ..........................................351
Derain, André ..........................................352
Dobuzhinski, Mstislav Valerianovich .353-356
Dunkel, Eugene Borisovich ......................357
Ellis, Alfred & Walery ................................431
Erté .................................................360, 361
Falk, Benjamin Joseph ............................362
Farmer, Peter ..........................................363
Felten, Major ...........................................411
Fini, Leonor .............................................364
Frowick, Roy Halston ..............................371
Ganeau, François ....................................365
Genthe, Arnold ........................................366
Goncharova, Natalia Sergeevna ......368, 369
Goncharova, Natalia Sergeevna (After) ....367
Halston [Roy Halston Frowick] .................371
Heckroth, Hein ................................ 372-374
Hoffman, Malvina Cornell .................375, 376
Homar, Lorenzo ......................................412
Hoppé, Emil Otto ....................................407
Hugo, Jean .............................................377
Hugo, Valentine J. (After) .........................378
Hutchinson, Eugene ................................407
Italian School, 20th Century ....................413
Junyer, Joan ...........................................379
Kemp, Lindsay ........................................380
Keogh, Tom .................................... 381-385
Kreutzberg, Harald ..................................386
Lane, Richard James ..............................387
Larionov, Mikhail ......................................388
Larthe, Paul-René ...................................389
Léger, Fernand (Joseph Henri) ................390
LeWitt, Sol ...............................................392
Lomonosov Porcelain Manufactory .........422
Loquasto, Santo ......................................393
Love, Kermit ............................................394
Lucas, E. Charle(s) ..................................395
Lumsden, Julius ......................................396
Lynes, George Platt .................................406
Van Dyke, Willard ....................................406
Van Vechten, Carl ...........................370, 407
Vertès, Marcel ................................. 447-449
Walkowitz, Abraham ........................450, 451
Warhol, Andy ...........................................452
White Studio ............................................431
White, Miles .............................................453
Wilson, Robert .........................................455
Yanson-Manizer, Elena (After) ..................422
Ephemera–Photographs ..................303, 370
........................................ 406-408, 431, 454
Ephemera–Posters ..... 345, 403, 411-415, 432
Ephemera–Programs, Souvenir Books, and
Memorabilia .................... 346, 358, 359, 391
Maurin, Charles .......................................397
Messel, Oliver Hilary Sambourne .............398
Mielziner, Jo ............................................399
Mishkin, Herman .....................................407
Mitchell, Jack ..........................................407
Morgan, Barbara .................... 370, 400, 401
Morgan, Barbara (Attributed to) ...............402
Moss Photo .............................................370
Muray, Nickolas ...............................407, 431
O’Neill, Rose Cecil ...................................411
Paléologue, Jean de, called Pal ...............404
Piaz, Teddy .............................................409
Pogedaieff, Georges de ...........................410
Pène Du Bois, Raoul Henri ......................405
Rabel, Daniel (Studio of) ..........................416
Renger-Patzsch, Albert ...........................454
Riffle, Elba Louisa ....................................417
Roerich, Nicholas Konstantinovich ..........418
Roy, Pierre ......................................419, 420
Rudolph, Charlotte ..................................454
Russian School, 20th Century .................421
Rutherston, Albert ...................................423
Salkin, Leo ..............................................406
Salle, David .............................................424
Sassinot De Nesle, Yvonne .....................425
Schayk, Toer van ....................................426
Seymour Studio, Maurice ........................407
Sharaff, Irene ................................... 427-429
Soudeikine, Sergei Yurievich ...................430
Steinlen, Théophile Alexandre ..................433
Stevenson, Hugh .............................434, 435
Stevenson, Terry .....................................407
Sunami, Soichi ........................................436
Sunami, Soichi (After) ..............................437
Swinstead-Smith, Eve .............................438
Swope, Martha ........................................370
Tchelitchew, Pavel ........................... 439-442
Ter-Arutunian, Rouben .................... 443-446
de Tirtoff, Romain ............................360, 361
Townsend, Edwin F. ................................407
107
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1. Some of the lots in this sale are offered subject to a reserve. The reserve is a confidential minimum price agreed upon by the consignor and Skinner, Inc. below
which the lot will not be sold. In most cases, the reserve will be set below the estimated range, but in no case will it exceed the estimates listed. A representative of
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106
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110
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111
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Take 93-N to Exit 20 for I-90 W toward Worcester. Follow signs for Chinatown/South Station. Bear left at the fork to continue towards Kneeland
Street. Turn left onto Kneeland Street. Kneeland Street becomes Stuart Street. Turn right onto Charles Street South. Turn left onto Park Plaza.
Skinner is at 63 Park Plaza, one block up on the right.
From Logan Airport:
Take the Ted Williams Tunnel. Take Exit 25 toward South Boston and bear left at the fork in the ramp. Bear right onto B St. Turn left onto
Northern Ave which becomes Seaport Blvd. Turn left onto Surface Rd. Turn right onto Kneeland Street which becomes Stuart Street. Turn right
onto Charles Street South. Turn left onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.
From the North:
Take I-93 South towards Boston. Take exit 26 towards Storrow Drive. Merge onto MA-28 South via the ramp on the left. Turn left onto
Beacon Street. Turn right onto Arlington Street. Turn left onto Boylston Street. Turn right onto Hadassah Way. Skinner is on the right at 63
Park Plaza.
112
Catalog Subscription Form
Prices effective July 1, 2010. Catalog subscription price includes quarterly brochure.
Subscription effective one year from date processed. No refunds for previous subscriptions. Renewal notice will be sent one month prior to expiration.
Subscriptions do not include Discovery, Estates, and other special sales. Post-auction prices are available online at www.skinnerinc.com
Please check the appropriate boxes:
U.S./Canada
Quarterly Brochure
No charge
Foreign (payable in U.S. dollars only)
No charge
(Included with catalog subscription)
American Furniture & Decorative Arts $120
$143
European Furniture & Decorative Arts
$120
$143
American & European Works of Art $120 $143
Fine Jewelry $120 $143
20th Century Design $60 $73
Asian Works of Art $60 $73
Fine Oriental Rugs & Carpets
$18 $25
American Indian & Ethnographic Art
$60 $73
Fine Books & Manuscripts
$30 $36
Fine Ceramics $60 Fine Musical Instruments $60 $73
Science, Technology & Clocks
$60 $73
Fine Wines $60 $73
All Above Departments $750 $915
Subtotal
MA residents 6.25% sales tax
Total
MasterCard/VISA #
$73
Exp. Date
Signature
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email address
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Tel: (
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Please enclose payment with subscription form and mail or fax to:
Skinner, Inc., Subscription Department, 274 Cedar Hill Street, Marlborough, MA 01752 508.970.3100
Upcoming Auction
American & European Works of Art
Xue Song (Chinese, b. 1965), Numbers 0-9, 2002/A Nine-Part Composition
Oil on canvas, each 16 1/8 x 12 1/8 in. (41.0 x 30.8 cm), in a common frame.
February 7, 2014, Boston, MA
Consignment Deadline: November 15th, 2013
For more information, please contact the American & European Works of Art department
at 508.970.3206, or email paintings@skinnerinc.com or prints@skinnerinc.com

Sale 2673B September 20, 2013 Boston

Transcription

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