the rober t bunting dance collection - skinner,...

Sale 2673B September 20, 2013 Boston

The Robert Bunting Dance Collection

View all lots online at www.skinnerinc.com

cover: 307; frontispiece: 449; back cover: 410

Robin S.R. StarrDepartment Director508.970.3259

Kathy Wong508.970.3297

Elizabeth C. Haff508.970.3258

Specialists

Department Inquiries: 508.970.3206

Auction Information

Auction 2673B Friday, September 202PMimmediately followed by Fine Paintings & Sculpture; preceded by Fine Prints & Photography at 10AM

63 Park PlazaBoston, MA

Absentee Bidding

T: 617.874.4318F: 617.350.5429

General Inquiries: 617.350.5400

SkinnerLive!: skinnerinc.com

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Wednesday, September 1812 to 5PM

Thursday, September 1912 to 8PM There will be no preview day of sale

Michelle Lamunière508.970.3264

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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

6

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 EnnekingIn our judgment, the work is by the artist.

Attributed to John Joseph EnnekingIn 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 EnnekingIn our judgment, a work of an unknown follower executed in the style of the artist and contemporary in period.

Manner of John Joseph EnnekingIn our judgment, a work executed in the style of the artist by an unknown hand and probably from a later period.

After John Joseph EnnekingIn our judgment, an intended copy of the work of the artist.

American School, 19th CenturyIn our judgment, the work of an unknown hand that can only be identified as to period and culture.

Other terms:

Bears SignatureIn 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.

Glossary of Terms


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.

301Cris Alexander (American, 1920-2012)

Portrait of Martha Graham as Medea in Cave of Heart, 1946Dedicated 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.

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

302American School, 20th Century

Costume Design for Anna PavlovaUnsigned, 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

8 Additional information and photos at www.skinnerinc.com

301

302

9Online bidding at www.skinnerinc.com


Two Framed Autographed Photographs: Fred Astaire and Ginger Rogers from Shall We Dance, c. 1937, and Gene Kelly from Singing in the RainAstaire/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

303

304Boris Anisfeld (Russian, 1878-1973)

Costume for SadkoSigned 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.

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


304

305Michael Annals (Canadian, 1938-1990)

Set Design for ShadowplaySigned 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

306Horace Armistead (American, 1898-1980)

Costume Design for Son in Far Harbour, 1948Signed 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


306

305

307Léon Bakst (Russian, 1866-1924)

Costume Design for the Marchioness (Hunting) in THE SLEEPING BEAUTY, 1921Signed 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.

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


307

308Léon Bakst (Russian, 1866-1924)

Costume Design for Papillons: Une DameSigned 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. 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.

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


308

309After Léon Bakst (Russian, 1866-1924)

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

310Randy Barceló (Cuban/American, 1946-1994)

Costume Design for Judith Jamison as Bessie Smith in The Mooche, Alvin Ailey Dance Company, 1975Signed 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.Condition: Not examined out of frame.

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


309

310


Costume Design for Judith Jamison in SpellsSigned 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


Costume Design for Kevin McKenzie as a Cowboy in Piece d’Occasion, at The Paris Opera Ballet and American Ballet Theatre Gala, 1986Signed and dated “barcelo 86” l.r., autographed by McKenzie and inscribed “BALLET THEATER/PARIS OPERA/GALA/KEVIN MCKENZIE” within the composition.Gouache and graphite on paper, sheet size 10 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


311

312


Costume Design for Martine van Hamel as a Majorette in Piece d’Occasion, at The Paris Opera Ballet and American Ballet Theatre Gala, 1986Signed 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

314Betty Palash Barrett (American, d. 2001)

Martha GrahamUnsigned.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


313 314

315Betty 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

316Sir Cecil Beaton, C.B.E. (British, 1904-1980)

Costume Design for Les IlluminationsSigned “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.

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

317André Beaurepaire (French, b. 1924)

Set Design for the Carnival Scene from La Belle au Bois Dormant [La Belle Endormie], 1953Unsigned, 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.

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 German-born British theatre impresario.$500-700


316

318André Beaurepaire (French, b. 1924)

Set Design for Ciné-Bijou, c. 1953Signed “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 Newcomb-Macklin Co., Chicago, frame.Condition: Not examined out of frame.

N.B. Choreographer Roland Petit founded Les Ballets de Paris dance company in 1948, after departing Les Ballets des Champs-Elysées. Petit created Ciné-Bijou, a jazz-inspired ballet with original music composed by Pierre Petit, for the 1953 Paris season.$500-700

319-320No lots.


317

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321Alexandre Nikolaevich Benois (Russian, 1870-1960)

Two Costume Designs: Armide and Rene de Beaugency from La Pavillon d’Armide, 1909Both 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

321



Costume Design for Les Tyroliennes, Act II of Le baiser de la fée [The Fairy’s Kiss] 1928Signed 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

322



Set Design for Act IV of Le Baiser de la FéeSigned “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

323



Set Design for Act I of Diane de Poitiers, 1933Signed, 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

324



Costume Design for Jeune Seigneur in Diane de Poitiers, 1933Initialed “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


Costume Design for a Villager from Le Lac des Cygnes, 1946Initialed 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

326

325


327Nikolai 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.

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


Costume Design for the Mother of Fleur-de-Lis from Esmeralda, 1954Signed 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

327



Costume Design for the Father of Fleur-de-Lis from Esmeralda, 1954Signed 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.

N.B. London Festival Ballet, 1954.$1,500-2,500

329


330Christian Bérard, called Bébé (French, 1902-1949)

Oedipus und die Sphinx, A Sketch for a Mural in the Apartment of Jean CocteauSigned “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

331Christian Bérard, called Bébé (French, 1902-1949)

Three Costume Studies on a Single SheetStamped “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

330

331AChristian Bérard, called Bébé (French, 1902-1949)

Costume and Set Designs for L’Occasion, c. 1942/A Double-sided WorkUnsigned, 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

331BChristian Bérard, called Bébé (French, 1902-1949)

La Belle Endormie/Set Design for Les Forains, 1945Signed “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.Condition: Not examined out of frame.

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

331A

332Eugene Gustavovitch Berman (Russian/American, 1899-1972)

Set Design for Devil’s HolidayInitialed 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


Costume Design for Capulet Boys in Romeo and JulietInitialed 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

332


Costume Design for a Courtesan in Romeo and JulietInitialed “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 examined out of frame.

N.B. This costume was designed for a performance by the Ballet Theater, choreographed by Antony Tudor.$600-800


Set Design for Act II of Giselle/A Double-sided En Grisaille and Color CompositionBoth 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.

Provenance: Sotheby’s New York, Arcade, Modern and Contemporary Paintings, Drawings and Sculptures, September 29, 1993, Sale 1445, Lot 84.$1,000-1,500


334

335


Costume Design for PulcinellaInitialed 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


Costume Design Studies for GiselleInitialed “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.

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


336

337


338

338Boris Bilinsky (Russian, 1900-1948)

Costume Design for La Princesse Cygne, 1932Signed and dated “Boris Bilinsky 32” in pencil l.l., inscribed “Princesse Cygne...” with color notes on the reverse.Gouache and graphite on paper, sheet size 19 x 12 3/8 in. (48.3 x 31.4 cm), unframed.Condition: Minor tears, minor handling creases, minor soiling.

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

339Boris Bilinsky (Russian, 1900-1948)

Set Design for La Princesse CygneSigned “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. 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


339

340Corrado Cagli (Italian, 1910-1976)

Program Cover Study for Ballet Russe de Monte CarloSigned “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

341Jules Chéret (French, 1836-1932)

Folies-Bergère/La Loïe Fuller, 1893Signed “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 examined out of frame.$1,000-1,500

342Jean 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-poster-cocteau-jean/ (accessed 7/23/13)

$8,000-12,000


340

341


342


343

343Jean Cocteau (French, 1889-1963)

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 examined out of frame.$8,000-12,000

344Merce Cunningham (American, 1919-2009)

Suite by Chance, Movement Chart Slow Phrases from III A-B-C-D-E and V C, 1952Unsigned, 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.Condition: Not examined out of frame.

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


344

345Two 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

346After Merce Cunningham (American, 1919-2009)

Selected Drawings and Dance Notations/An Exhibition Announcement from Margarete Roeder Gallery, New York, 2009Reproduction 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


346

345

347Robert Davison (American, b. 1922)

Set Design for Les petits riens, 1942Signed “Robert Davison” in ballpoint pen l.r., also signed and dated “Robert Davison 11-16-42.” in pen on the reverse, inscribed “Les Petits Riens” in pencil on the backing. Gouache and graphite on paper, sheet size 9 x 12 in. (22.9 x 30.5 cm), framed.Condition: Tape-hinged to backing sheet.

N.B. Ruth Page first choreographed Les petits riens at Her Majesty’s Theatre, Montreal, Canada, in 1946.$300-500


Costume Design for Carmelita Maracci in Les ArabesquesInscribed, 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


348

347


Set Design for Les ArabesquesSigned “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 InterludeSigned “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 in. (23.5 x 31.8 cm), unframed.Condition: Minor crease or abrasion to u.r. edge.$300-500


349

350

351André Delfau (French, 1914-2000)

Set Design for Chantier, c. 1961Signed “Delfau” l.r.Gouache on paper, 15 1/8 x 19 1/4 in. (38.5 x 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


351

352André Derain (French, 1880-1954)

Costume Design for the Lupercalian Priest in Fastes, c. 1933Unsigned.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).

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 Champs-Élysées, 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


352

353Mstislav Valerianovich Dobuzhinski (Russian/Lithuanian, 1875-1957)

Set Design for Mademoiselle AngotSigned 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


353


Costume Design for Le Sauvage Variante from Mademoiselle Angot, 1943Monogrammed 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 in. (38.1 x 25.4 cm), unframed.Condition: Tape-hinged to backing mat.$2,000-3,000


Costume Design for Le Sauvage Variante in Mademoiselle Angot, 1943Monogrammed, 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 in. (38.1 x 25.4 cm), unframed.Condition: Toning, tape-hinged to backing mat.$2,000-3,000


355354


Costume for the Headmistress in Graduation BallSigned 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


356

357Eugene Borisovich Dunkel (Russian/American, 1890-1972)

Set Design for Aurora’s Wedding in The Sleeping Beauty, 1939Unsigned, 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.

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

358Collection 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

359Eleven 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


357


359

358

360Romain de Tirtoff, called Erté (Russian/French, 1892-1990)

Set Design for Pin-up Girls RevueSigned “Erté” l.c., stamped “Erté/Romain de Tirtoff” and inscribed in ink “N 8675/Pin-up Girls/Décor” on the reverse.Gouache on paper, 10 3/8 x 14 3/4 in. (26.2 x 37.5 cm), unmatted, unframed.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

361Romain de Tirtoff, called Erté (Russian/French, 1892-1990)

Costume Design for La Star in Pin-Up Girls RevueSigned “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.

Provenance: Swann Galleries, Performing Art, March 19, 1998, Sale 1785, Lot 198 (1 of 2).$1,500-2,500


360

361

362Benjamin Joseph Falk (American, 1853-1925)

Two Works: Portrait of Loïe Fuller as a Butterfly, 1901, and Loïe Fuller in Celestial Gown for La Nuit, 1896Butterfly 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 WALDORF-ASTORIA 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

363Peter Farmer (British, b. 1941)

Costume Design for a Female Dancer in Meadowlark, 1968Signed 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


363362

364Leonor Fini (Argentine, 1908-1996)

Set DesignSigned “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

365François Ganeau (French, 1912-1983)

Costume Design for Two BallerinasUnsigned, 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


365

364

366

366Arnold Genthe (American, 1869-1942)

Three Studies of Isadora Duncan, c. 1916One 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

367Attributed 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

368Natalia Sergeevna Goncharova (Russian, 1881-1962)

Costume Design for Une Paysanne Russe in Les Noces, c. 1923Signed “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: 1909-1929, May 15 to September 15, 1969, no. 382.$3,000-5,000


369368

369Natalia Sergeevna Goncharova (Russian, 1881-1962)

Costume Design for a Spanish Dancer with a Large Flowered Mantilla and Floral Dress in España, 1916Signed “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

370Seventeen Photographs of Martha Graham: Barbara Morgan (American, 1900-1992), 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


370 © Barbara Morgan, The Barbara Morgan Archive.

371Halston [Roy Halston Frowick] (American, 1932-1990)

Costume Design for a Soldier from Clytemnestra, Martha Graham, 1978Unsigned.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

372Hein Heckroth (German, 1901-1970)

Costume Design, c. 1929Initialed “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


372

371


Costume Design for Rush Hour, 1940Signed 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


Costume Design for Rush HourSigned 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.$300-500


374

373

375Malvina Cornell Hoffman (American, 1887-1966)

La Gavotte/A Figure of Anna PavlovaSigned 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.

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

376Malvina Cornell Hoffman (American, 1887-1966)

Bust of a Faun, Possibly NijinskySigned “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


376375

377Jean Hugo (French, 1894-1984)

Set Design for Le Cent Baisers, c. 1935Signed “Jean Hugo” l.r., inscribed “No. 2” in pencil on the reverse.Gouache on paper, 4 7/8 x 7 7/8 in. (12.4 x 20.0 cm), unmatted, unframed.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

378After Valentine J. Hugo (French, 1887–1968)

Ballerina En PointeInscribed “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

377

379Joan Junyer (Spanish, 1904-1994)

Program Cover Design for The Cuckold’s Fair, Ballet Russe de Monte CarloSigned 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

380Lindsay Kemp (British, b. 1938)

Costume Design for Maurice, Probably Maurice BéjartSigned 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-turned-musicians David Bowie and Kate Bush.$150-200


380

379

381Tom Keogh (American, 1922-1980)

Costume and Set Design for Le Portrait du Don Quichotte, 1947/A Double-sided CompositionInscribed, 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


Les Ballets de Paris de Roland PetitSigned, 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.Condition: Not examined out of frame.$800-1,200


382

381


Female Costume Design for Les Belles Damnées, 1955Inscribed, 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 (1908-1989), New York.

N.B. We wish to thank Hermine Chivian-Cobb for her kind assistance with cataloging the lot.$600-800


Set Design for Les Belles Damnées, 1955Inscribed 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 in. (46.4 x 62.2 cm), unframed.Condition: Handling creases, tape residue verso, minor toning, minor tears to edges.


N.B. We wish to thank Hermine Chivian-Cobb for her kind assistance with cataloging the lot.$1,000-1,500


384

383


Male Costume Design for Les Belles Damnées, 1955Signed 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.


N.B. We wish to thank Hermine Chivian-Cobb for her kind assistance with cataloging the lot.$600-800


385

386Harald Kreutzberg (German, 1902-1968)

Costume Design for Menuet by Mozart, designed and worn by Harald KreutzbergSigned 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.

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

387Two Prints of Ballerinas En Pointe:

Richard James Lane (British, 1800-1872), After Alfred Edward Chalon (British, 1780-1860), 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.

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

388Mikhail Larionov (French/Russian, 1881-1964)

Costume for the Cock from RenardSigned 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 examined out of frame.

N.B. Renard, a one-act chamber opera-ballet 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


387386


388

389Paul-René Larthe (French, fl. 1930s-1940s)

Costume Design for Prêtresses Oasis d’Ammon (Act II) from Alexandre Le Grand, c. 1937Signed “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.

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


389

390Fernand (Joseph Henri) Léger (French, 1881-1955)

Two Costume Designs from David Triomphant: Le percepteur, 1937, and Enfants, 1936Both 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

391Portfolio 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 FullerVarious sizes and shapes, in a portfolio measuring 15 x 11 in.Condition: Some with toning, most good.$200-300

392Sol LeWitt (American, 1928-2007)

Avery Fisher Hall, Lincoln Center for the Performing Arts, September 20, 1973, after Arcs, Circles & Grids, 1972Unsigned, 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

391

393Santo Loquasto (American, b. 1944)

Costume Design for a Female Imperial from Push Comes to Shove, 1975Signed 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. (27.9 x 16.8 cm), unframed.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

394Kermit Love (American, 1916-2008)

Two Designs for the Shepherdess from L’Enfant et les SortilègesOne 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.

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

393

395E. Charle(s) Lucas (French, 19th/20th Century)

Advertising Poster: Folies Bergère, La Loïe FullerInscribed “e charle lucas” within the matrix, published by F. Appel, Paris.Lithograph on paper, 57 3/4 x 38 in. (146.8 x 96.5 cm), unmatted, unframed.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

396Julius Lumsden (American, 20th/21st Century)

Costume Design for Thou SwellInscribed 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.Condition: Not examined out of frame.$100-200


396395

397Charles Maurin (French, 1856-1914)

Portrait of Loïe FullerSigned “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


397

398Oliver Hilary Sambourne Messel (British, 1904-1978)

Costume Design for The Sleeping Beauty, Act I, c. 1976Signed “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.

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


398

399Jo Mielziner (American, 1901-1976)

Five Costume Designs from Shadow of the Wind, c. 1948Unsigned, 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


399

400Barbara 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.Condition: Not examined out of frame. $600-800

401Barbara Morgan (American, 1900-1992)

Martha Graham, American Document (“Puritan Love Duet” with Erick Hawkins), 1938Stamped “...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. (24.1 x 19.1 cm), unframed.Condition: Minor handling creases.$500-700





Portrait of Martha GrahamUnsigned.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


403

402

404Jean de Paléologue, called Pal (American, 1855-1942)

Advertising Poster: Alcazar d’Été, La Belle OteroSigned “Pal” within the matrix, published by Caby & Chardin, Paris.Lithograph on paper, 54 7/8 x 39 in. (139.3 x 99.0 cm), unmatted, unframed.Condition: Creasing, bearing a République Française stamp for 20 centimes at u.c., mounted to a linen support.$400-600

405Raoul Henri Pène Du Bois (American, 1912-1985)

Set Design for Haydn ConcertoSigned “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. (26.5 x 36.9 cm), unmatted, unframed.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

406Eight 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


404

407Twenty-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, 1902-1989), 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, 1892-1965), 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 75Online bidding at www.skinnerinc.com

407

406

405

408Thirty-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

409Teddy Piaz (French, 20th Century)

Serge Lifar, c. 1929Inscribed “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


409

408

410Georges de Pogédaïeff (Russian, 1897-1971)

Ballets RussesSigned “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 examined out of frame.

N.B. This poster maquette is for the Ballets Russes de Monte Carlo.$10,000-15,000


410

411Seven 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

412Five 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 “KJAER-HANSEN & HOLM” within the matrix l.c.; After Georges Wakhevitch (French, 1907-1984), 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, 1913-2004), 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

411

413Italian School, 20th Century

Advertising Poster: The American National Ballet Theatre at the Esposizione Internazionale Agricoltura, 1953Signed 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. (196.9 x 137.2 cm), unmatted, unframed.Condition: Staining, repaired tears, toning, in two parts joined in the middle and mounted to a linen support.$500-700

414Fourteen 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

79Online bidding at www.skinnerinc.com414

413

415Seventeen 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


415

416

417

416Studio of Daniel Rabel (French, 1578-1637)

Costume Design for a GentlemanUnsigned, 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.

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.).

N.B. We wish to thank Hermine Chivian-Cobb for her kind assistance with cataloging the lot.

The present work is from one of the earliest series of dance costumes known.$200-250

417Elba Louisa Riffle (American, 1905-1980)

Portrait of Ted ShawnSigned 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.Condition: Not examined out of frame.$100-200

418Nicholas Konstantinovich Roerich (Russian, 1874-1947)

Scene with Three Figures in Costume from La Sacre du PrintempsInitialed 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.

N.B. We wish to thank Hermine Chivian-Cobb for her kind assistance with cataloging the lot.$4,000-6,000


418

419Pierre Roy (French, 1880-1950)

Set Design for Le Lion AmoureuxStamped “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

420Pierre Roy (French, 1880-1950)

Costume Study for Le Lion AmoureuxUnsigned.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.

N.B. Le Lion Amoureux, Ballet Russe de Monte Carlo, Choreographer: David Lichine; Music: Karol Rathaus; Premiere: 1937, Covent Garden, London.$100-150


420

419

421Russian School, 20th Century

Set Design for Anitra’s Dance for Henrik Ibsen’s Peer Gynt, Act IVUnsigned, 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 examined out of frame.$200-250

422Lomonosov Porcelain Manufactory, After Elena Yanson-Manizer (Russian, 1890-1971)

Figure of Galina UlanovaRed 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

421

423Albert Rutherston (British, 1881-1953)

Costume Design No. 1 for Flore in Réveil de Flore, as performed by Pavlova, 1914Signed 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. (36.0 x 25.5 cm), unmatted, unframed.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

424David Salle (American, b. 1952)

American Ballet Theatre Poster, Autographed by Mikhail Baryshnikov and David Salle, c. 1986Inscribed “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.Condition: Not examined out of frame.

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

423

425Yvonne Sassinot De Nesle (French, b. 1937)

Costume Design for Phaéton in Les Plaisirs de l’Île enchantée for the Film Vatel, c. 2000Signed “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.

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

426Toer van Schayk (Dutch, b. 1936)

Costume Design for Monument for a Dead Boy, 1966Signed, 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

425

427Irene Sharaff (American, 1910-1993)

Sheet with Four Costume Designs for Mata Hari, c. 1967Titled 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


427


Costume Design for La NoceSigned 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


428


Costume Design for Violette Verdy in Le PrintempsSigned 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.

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


429

430Sergei Yurievich Soudeikine (Russian, 1883-1946)

Costume Design for Tatiana Riabouchinska as a Florentine Beauty in Paganini, Scene II, 1939Fragmentary 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


430

431Eleven 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. 1899-1918); 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.

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


Poster: Ruth St. Denis as Kuan YinPublished by the H.C. Miner Litho Company, New York.Color lithograph on paper, 77 1/4 x 39 3/8 in. (196.2 x 99.4 cm), unmatted, unframed.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


432

431

433Théophile Alexandre Steinlen (French/Swiss, 1859-1923)

Le Rêve, 1890Published 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 in. (88.9 x 63.5 cm), unframed.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


433

434Hugh Stevenson (British, 1910-1956)

Costume Design for Neptune the Mystic-The Woman in The Planets, c. 1934Signed “Hugh Stevenson” l.r., titled u.r., inscribed “chiffon” l.r.Watercolor on paper, 30 x 21 1/2 in. (76.0 x 54.5 cm), unmatted, unframed.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

435Hugh Stevenson (British, 1910-1956)

Costume Design for Anthony Tudor as Neptune in The Planets, c. 1934Unsigned, 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

434

436Soichi Sunami (Japanese/American, 1885-1971)

Portrait of Martha Graham in Ekstasis, c. 1933Blindstamped “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. (18.7 x 23.5 cm), unframed.Condition: Minor creases to corners, minor skinning with glue residue to the reverse.$700-900

437After Soichi Sunami (Japanese/American, 1885-1971)

Ruth St. DenisInscribed 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 examined out of frame.

N.B. The poster is based on a 1929 photograph by Soichi Sunami.$100-120


437

436

438Eve Swinstead-Smith (British, 20th Century)

Costume Designs for Enigma Variations, 1940/A Double-sided CompositionUnsigned, with construction annotations within the composition.Gouache and graphite on paper, sheet size 12 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


438

439Pavel Tchelitchew (Russian/American, 1898-1957)

Group of Dancers in a Scene from L’Errante, 1935Signed 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 examined out of frame.

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

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


439


Costume Designs for Saint Francis (Noblissima Visione), 1938Unsigned, 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.Condition: Minor handling smudges. $1,500-2,500


Set Design for Saint Francis (Noblissima Visione), 1938Signed 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


441

440


Costume Design for The Prince in Violin Concerto, 1942Inscribed “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. We wish to thank Erik LaPrade for his kind assistance with cataloging the lot.$1,000-1,500

443Rouben Ter-Arutunian (American, 1920-1992)

Set Design for Ballet Imperial, 1964Initialed and dated “R. 1964” in ballpoint pen and titled and signed “Ballet Imperial R. Ter-Ar...” l.r.Ballpoint pen on paper, 10 x 13 1/4 in. (25.5 x 33.7 cm), unmatted, unframed.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

97Online bidding at www.skinnerinc.com443

442


Costume Design for Edward Villella in Harlequinade, 1965Signed 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.

Provenance: Sotheby’s New York, Arcade, Modern and Contemporary Paintings, Drawings and Sculpture, February 24, 1994, Sale 1459, Lot 148 (1 of 2).

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


444


Pierrot/A Costume Design for Harlequinade, 1965Inscribed, 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.

Provenance: Sotheby’s New York, Arcade, Modern and Contemporary Paintings, Drawings and Sculpture, February 24, 1994, Sale 1459, Lot 148 (1 of 2).$800-1,200


Costume Design for Peter Martins in Concerto in GSigned and inscribed “R./’Concerto in G’/New York City Ballet, Homage à Ravel/1975/R. Ter-Aru.../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

445

447Marcel Vertès (Hungarian/French, 1895-1961)

Costume Design for Michel Fokine’s Bluebeard, Ballet Theater, 1941Signed “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

448Marcel Vertès (Hungarian, 1895-1961)

Set Design for La belle Hélène, c. 1941Signed “Vertès” u.r., inscribed “La Belle Hélène” l.l., inscribed “... de Sao Paulo” in pencil on the reverse.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


448

447

449Marcel Vertès (French, 1895-1961)

Set for the Bedroom in La Belle HélèneUnsigned.Gouache and watercolor on paper, 19 x 24 5/8 in. (48.0 x 62.7 cm), unframed.Condition: Minor craquelure, toning, tape-hinged 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


449

450Abraham Walkowitz (American, 1878-1965)

Two Studies of Isadora DuncanBoth 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

451Abraham Walkowitz (American, 1878-1965)

Sketch of Isadora DuncanSigned “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

450

452Andy Warhol (American, 1928-1987)

Merce Cunningham I, 1974Signed 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.

Literature: II.125, Feldman & Schellmann.

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


452

453Miles White (American, 1914-2000)

Costume Design for Child- Fall River LegendSigned “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

454Sixteen 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

455Robert Wilson (American, b. 1941)

The CIVIL warS, Act V, Scene C, 1982Signed 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.Condition: Not examined out of frame.

Provenance: Sotheby’s New York, Arcade, Modern and Contemporary Paintings, Drawings and Sculptures, June 7, 1996, Sale 1545, Lot 343.$800-1,200

End of The Bunting Collection


453


455

454

107

Abbé, James ..........................................407Adair Bros. .............................................431Alajalov, Constantin ................................411Alexander, Cris .......................................301American School, 20th Century ......302, 303...................................... 370, 403, 407, 432Anisfeld, Boris ........................................304Annals, Michael ......................................305Anthony, Gordon ....................................407Armistead, Horace .................................306

Bakst, Léon ....................................307, 308Bakst, Léon (After) ..................................309Barceló, Randy ............................... 310-313Barrett, Betty Palash ......................314, 315Beaton, Cecil ..........................................316Beaurepaire, André ........................317, 318Benois, Alexandre Nikolaevich ........ 321-326Benois, Nikolai Alexandrovich ......... 327-329Bérard, Christian, called Bébé ......330-331BBerman, Eugene Gustavovitch ....... 332-337Bigelow, Lou Goodale ............................431Bilinsky, Boris .................................338, 339Blechman, Marcus .................................407British School, 20th Century ...................412

Cagli, Corrado ........................................340Chalon, Alfred Edward (After) .................387Chéret, Jules ..........................................341Cocteau, Jean ................................342, 343Continental School, 20th Century ...........407Cunningham, Merce ...............................344Cunningham, Merce (After) .....................346Cunningham, Merce, and Dance Company ....................................345

Danish School, 20th Century ..................412Davison, Robert ............................. 347-350Delfau, André .........................................351Derain, André .........................................352Dobuzhinski, Mstislav Valerianovich 353-356Dunkel, Eugene Borisovich .....................357

Ellis, Alfred & Walery ...............................431Erté ................................................360, 361

Falk, Benjamin Joseph ...........................362Farmer, Peter .........................................363Felten, Major ..........................................411Fini, Leonor ............................................364Frowick, Roy Halston .............................371

Ganeau, François ...................................365Genthe, Arnold .......................................366Goncharova, Natalia Sergeevna .....368, 369Goncharova, Natalia Sergeevna (After) ...367

Halston [Roy Halston Frowick] ................371Heckroth, Hein ............................... 372-374Hoffman, Malvina Cornell ................375, 376Homar, Lorenzo .....................................412Hoppé, Emil Otto ...................................407Hugo, Jean ............................................377Hugo, Valentine J. (After) ........................378Hutchinson, Eugene ...............................407

Italian School, 20th Century ...................413

Junyer, Joan ..........................................379

Kemp, Lindsay .......................................380Keogh, Tom ................................... 381-385Kreutzberg, Harald .................................386

Lane, Richard James .............................387Larionov, Mikhail .....................................388Larthe, Paul-René ..................................389Léger, Fernand (Joseph Henri) ...............390LeWitt, Sol ..............................................392Lomonosov Porcelain Manufactory ........422Loquasto, Santo .....................................393Love, Kermit ...........................................394Lucas, E. Charle(s) .................................395Lumsden, Julius .....................................396Lynes, George Platt ................................406

Maurin, Charles ......................................397Messel, Oliver Hilary Sambourne ............398Mielziner, Jo ...........................................399Mishkin, Herman ....................................407Mitchell, Jack .........................................407Morgan, Barbara ................... 370, 400, 401Morgan, Barbara (Attributed to) ..............402Moss Photo ............................................370Muray, Nickolas ..............................407, 431

O’Neill, Rose Cecil ..................................411

Paléologue, Jean de, called Pal ..............404Piaz, Teddy ............................................409Pogedaieff, Georges de ..........................410Pène Du Bois, Raoul Henri .....................405

Rabel, Daniel (Studio of) .........................416Renger-Patzsch, Albert ..........................454Riffle, Elba Louisa ...................................417Roerich, Nicholas Konstantinovich .........418Roy, Pierre .....................................419, 420Rudolph, Charlotte .................................454Russian School, 20th Century ................421Rutherston, Albert ..................................423

Salkin, Leo .............................................406Salle, David ............................................424Sassinot De Nesle, Yvonne ....................425Schayk, Toer van ...................................426Seymour Studio, Maurice .......................407Sharaff, Irene .................................. 427-429Soudeikine, Sergei Yurievich ..................430Steinlen, Théophile Alexandre .................433Stevenson, Hugh ............................434, 435Stevenson, Terry ....................................407Sunami, Soichi .......................................436Sunami, Soichi (After) .............................437Swinstead-Smith, Eve ............................438Swope, Martha .......................................370

Tchelitchew, Pavel .......................... 439-442Ter-Arutunian, Rouben ................... 443-446de Tirtoff, Romain ...........................360, 361Townsend, Edwin F. ...............................407

Van Dyke, Willard ...................................406Van Vechten, Carl ..........................370, 407Vertès, Marcel ................................ 447-449

Walkowitz, Abraham .......................450, 451Warhol, Andy ..........................................452White Studio ...........................................431White, Miles ............................................453Wilson, Robert ........................................455

Yanson-Manizer, Elena (After) .................422

Ephemera–Photographs .................303, 370........................................ 406-408, 431, 454Ephemera–Posters .... 345, 403, 411-415, 432Ephemera–Programs, Souvenir Books, and Memorabilia ................... 346, 358, 359, 391

Artist Index

106

Conditions of Sale1. 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 Skinner, Inc. will execute such reserves by bidding for the consignor. In any event and whether or not a lot is subject to a reserve, the auctioneer may reject any bid or raise not commensurate with the value of such lot.

2. All property is sold “as is,” and neither the auctioneer nor any consignor makes any warranties or representation of any kind or nature with respect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, of description, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement made at the sale, or in the bill of sale, or invoice or elsewhere shall be deemed such a warranty of representation or an assumption of liability.

3. Except as provided in paragraph 1 above, the highest bidder as determined by the auctioneer shall be the purchaser. In the case of a disputed bid, the auctioneer shall have sole discretion in determining the purchaser and may also, at his or her election, withdraw the lot or reoffer the lot for sale. The auctioneer shall have sole discretion to refuse any bid, or refuse to acknowledge any bidder. Any bidder that plans on spending in excess of $100,000 should make arrangements with the accounting department at least five (5) days in advance of the sale, as a deposit may be required to participate.

4. All merchandise purchased must be paid for and removed from the premises the day of the auction. Skinner Inc. may impose, and the purchaser agrees to pay, a monthly interest charge of 1.5% of the purchase price of any lot or item lot not paid for within thirty-five (35) days of the date of sale.

Skinner, Inc. shall have no liability for any damage or loss to property left on its premises for more than three (3) days from the date of sale. If any property has not been removed within three (3) days from the date of sale, at the option of Skinner, Inc. (a) Skinner Inc., may impose, and the purchaser agrees to pay, a monthly storage charge of 1.5% of the purchase price of any lot or portion of a lot not removed within the three days, and/or (b) Skinner Inc. may place the merchandise in a subsequent auction, without Reserve, to be sold to the highest bidder, and after deducting the standard commission and any additional charges that may apply, remit the proceeds to the purchaser.

5. Skinner accepts cash or check for payment. Personal checks will be acceptable only if credit has been established with Skinner, Inc. or if a bank authorization has been received guaranteeing a personal check. Skinner, Inc. reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Skinner, Inc. a handling charge of $25.00 for any check dishonored by the drawee. Please contact Accounting for additional payment methods. Skinner does not accept payment by credit card for merchandise purchases.

6. If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Skinner Inc. may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale and applying any payments made by the purchaser to the damages caused by the purchaser’s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has breached any of its obligations, including its obligation to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale.

7. In no event will the liability of Skinner, Inc. to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item.

8. Shipping is the responsibility of the purchaser. Upon request, our staff will provide the list of shippers who deliver to destinations within the United States and overseas. Some property that is sold at auction can be subject to laws governing export from the U.S., such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute cancellation or delay in payment for the total purchase price of these lots.

9. All purchases are subject to the Massachusetts 6.25% sales tax unless the purchaser possesses a Massachusetts sales tax exemption number. Exemption numbers from other states are accepted in Massachusetts if presented with a business card or letterhead. Dealers, museums, and other qualifying parties can apply for a Massachusetts exemption number prior to the auction by contacting the Massachusetts Department of Corporations and Taxation at 100 Cambridge Street in Boston.

10. Except for property purchased via On-line Auctions, a premium equal to 20% of the final bid price up to and including $500,000, plus 12% of the final bid over $500,000, will be applied to each lot sold, to be paid by the Buyer as part of the purchase price. The buyer’s premium on property purchased via On-line Auctions will be in an amount up to 23% of the final bid price.

11. Bidding on any item indicates your acceptance of these terms and all other terms printed within, posted, and announced at the time of sale whether bidding in person, through a representative, by phone, by Internet, or other absentee bid.

12. Skinner, Inc. and its consignors make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold. Skinner, Inc. expressly reserves the right to reproduce any image of the lots sold in this catalog. The copyright in all images, illustrations and written material produced by or for Skinner, Inc. relating to a lot, including the contents of this catalog, is, and shall remain at all times, the property of Skinner, Inc. and shall not be used by the purchaser, nor by anyone else, without our prior written consent.

13. These conditions of sale shall be governed by the laws of the Commonwealth of Massachusetts (excluding the laws applicable to conflicts or choice of law). The buyer/bidder agrees that any suit for the enforcement of this agreement may be brought, and any action against Skinner in connection with the transactions contemplated by this agreement shall be brought, in the courts of the Commonwealth of Massachusetts or any federal court sitting therein. The bidder/buyer consents to the nonexclusive jurisdiction of such courts and waives objections that it may now or hereafter have to the venue of any such suit.

Revised December 17, 2012

Name (Please Print) Business Name

Address check if change in address

City State Zip Code

Phone # Alternate # email

Sale Title Sale Date

I wish to place the following bids in the sale listed above. I understand that Skinner, Inc. will execute bids as a convenience, and will not be held responsible for any errors or failure to execute bids. I understand that my bids are executed and accepted as per Conditions of Sale as printed in the catalog of this sale.

Absentee Bid Form

Marlborough Boston Phone Fax Mail Person Employee:

FOR OFFICE USE

Lot # Description Bid Price

Signature (Required) Date

63 Park PlazaBoston, MA 02116617.350.5400Fax 617.350.5429

274 Cedar Hill StreetMarlborough, MA 01752508.970.3000Fax 508.970.3100 www.skinnerinc.com

First Time Bidder? YES NO Customer #

Bid confirmation via email? YES NO

110

63 Park PlazaBoston, MA 02116617.350.5400Fax 617.350.5429

274 Cedar Hill StreetMarlborough, MA 01752508.970.3000Fax 508.970.3100

www.skinnerinc.com

Board of Directors

Administration

Expert Departments

Chairman of the Board - Nancy R. SkinnerRichard AlbrightJohn DeightonBarnet FainStephen L. FletcherKaren M. KeaneAndrew Payne

President/Chief Executive Officer - Karen M. Keane

Chief Financial Officer - Don Kelly

Executive Vice President - Stephen L. Fletcher

Vice Presidents - Eric Jones, Marie Keep, Gloria Lieberman, Carol McCaffrey, Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr

20th Century Design - Jane D. PrentissAssistant: Shannon M. Ames

American & European Paintings & Prints - Robin S.R. StarrAssistants: Kathy Wong, Elizabeth C. Haff, Michelle Lamunière

American Furniture & Decorative Arts - Stephen L. FletcherDeputy Director: Chris Barber; Assistants: Karen Langberg, Kelli Lucas Stewart

American Indian & Ethnographic Art - Douglas Deihl

Antique Motor Vehicles - Jane D. Prentiss

Asian Works of Art - Judith DowlingAssistants: Karen Mak, Suhyung Kim

Books & Manuscripts - Devon Gray

Bottles, Flasks & Early Glass - Stephen L. Fletcher

Ceramics - Stuart G. Slavid

Clocks, Watches & Scientific Instruments - Robert C. CheneyAssistant: Jonathan Dowling

Couture - Anne Fallon

Discovery Auctions - Anne FallonAssistants: Melissa Riebe, Kyle Johnson

European Furniture & Decorative Arts - Stuart G. SlavidAssistants: Leah Kingman, Stephanie Opolski

Fine Wines - Marie KeepAssistant: Michael J. Moser

Historic Arms & Militaria - Joel Bohy

Jewelry - Victoria BratbergAssistant: John Colasacco

Judaica - Kerry Shrives

Musical Instruments - Director Pro Tem: Jill ArbetterAssistant: Horst Kloss

Oriental Rugs & Carpets - Director Pro Tem: Erika Jorjorian

Silver - Stuart G. Slavid

Toys & Dolls - Anne Fallon

Auctioneers - LaGina Austin, Chris Barber, Robert C. Cheney,John Colasacco, Stephen L. Fletcher, Karen M. Keane, Marie C. Keep,Gloria Lieberman, Jessica R. Lincoln, Kerry Shrives, Stuart G. Slavid,Robin S.R. Starr, Laura V. Sweeney

111

Marlborough: Warehouse Manager - Fred Trottier, 508.970.3261

Boston: Property Distribution Manager - Jessica R. Lincoln, 617.874.4308

Auction Coordinator - Benjamin Evans, 617.874.4329

Marlborough: Accounts Receivable - Denise Johnson, 508.970.3269

Accounts Payable, Consignment - Kathleen Hayes, 508.970.3268

Accounts Payable, Trade - Kevin Rota, 508.970.3283

Marlborough: Jessica Turner, 508.970.3240

Appraisal & Auction Services - LaGina Austin, Christine E. Finn, Rachel Kingsley,Ava Pandiani

Advertising Production - Pamela Van de Houten

Boston Gallery Director - Laura V. SweeneyAssistant Gallery Director: Paige Lewellyn

Catalog Production - Pamela Van de Houten, Kristina Harrison

Consignment Services - Patricia Walker King, Carol Zeigler, Kealyn Garner

Customer Relations - Carol McCaffrey

Institutional Relations - L. Emerson Tuttle

Human Resources - Carol McCaffrey

Information Technology & Internet Auctions - Kerry ShrivesAssistants: Timothy Shaughnessey, Melissa Riebe

Managing Director - Marie C. Keep

Marketing & Public Relations - Kate de Bethune, Kathryn Gargolinski, Jessica Turner

Photographers - Stanley P. Bystrowski, Jeffrey R. Antkowiak, John Cornelius

Receptionists - Marlborough: Katie Fitzgerald

Boston: Sarah L. Collins

Staff Portraits - Cheryl Richards Photography

Transportation - Eric Jones

Service Departments

Exhibitions & Property Distribution

Finance Department

Subscriptions

112

Directions to Skinner’s Boston Gallery/63 Park Plaza, Boston, MA 02116617.350.5400

From the West:Take the Massachusetts Turnpike to the Prudential/Copley exit located in the Prudential tunnel. Once on the exit ramp, stay in the right hand lane and follow the signs for Copley. The ramp exits onto Stuart Street. Drive straight through five sets of lights and take a left onto Charles Street South. Take your first left off of Charles St. South onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.

From the South: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.

Name Business Name

Mailing Address

City State Zip

email address Tel: ( )

Quarterly Brochure No charge 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 $73

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

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

Please check the appropriate boxes: U.S./Canada Foreign (payable in U.S. dollars only)

Catalog Subscription FormPrices 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

MasterCard/VISA # Exp. Date

Signature Check enclosed

Xue Song (Chinese, b. 1965), Numbers 0-9, 2002/A Nine-Part CompositionOil on canvas, each 16 1/8 x 12 1/8 in. (41.0 x 30.8 cm), in a common frame.

Upcoming Auction

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 [email protected] or [email protected]

American & European Works of Art

the rober t bunting dance collection - skinner,...

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