The Robert Bunting Dance Collection | Skinner Auction 2673B

The Robert Bunting Dance Collection Sale 2673B

September 20, 2013

Boston

The Robert Bunting Dance Collection

Specialists

Robin S.R. Starr

Kathy Wong

Elizabeth C. Haff

Michelle Lamunière

Department Director 508.970.3259

508.970.3297

508.970.3258

508.970.3264

Department Inquiries: 508.970.3206

Auction Information Auction 2673B

Preview

Absentee Bidding

Friday, September 20 2PM immediately followed

by Fine Paintings & Sculpture; preceded

by Fine Prints & Photography at 10AM

Wednesday, September 18 12 to 5PM

T: 617.874.4318 F: 617.350.5429

Thursday, September 19 12 to 8PM There will be no preview day of sale

63 Park Plaza Boston, MA

General Inquiries: 617.350.5400 SkinnerLive!: skinnerinc.com

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Table of Contents 1

Auction & Specialist Information

2

Web Site & Online Bidding

4

Glossary of Terms

5

Provenance

6

Lots 301–455

105

Artist Index

106

Conditions of Sale

107

Absentee Bid Form

108

Company Directors & Specialty Departments

109

Administrative Staff & Client Services

110

Map & Driving Directions

111

Catalog Subscription Form

Please Note: All lots sold subject to our Conditions of Sale.

Please refer to page 106 of this catalog for the full terms and conditions governing your purchase.

Copyright © Skinner, Inc. 2013 All rights reserved MA/Lic. #2304

Glossary of Terms All items in this catalogue are described according to the following table of terminology.

Please note that all statements in this catalogue as to Authorship, Period, and Origin, are qualified statements subject to the Conditions of Sale.

Authorship will be described in the following ways: John Joseph Enneking In our judgment, the work is by the artist.

Attributed to John Joseph Enneking In our judgment, the work may be ascribed to the artist on the basis of style, but leaves some question as to actual authorship.

School of John Joseph Enneking In our judgment, a work of an unknown follower executed in the style of the artist and contemporary in period.

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

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

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

Other terms: Bears signature In our judgment, the signature not of the artist. This term is generally used separately, or together with a description of the work as “attributed to,” “school of,” “manner of,” or “after” the artist.

Measurements are given as height x width and refer to the size of the support unless otherwise indicated.

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The Robert Bunting Dance Collection For Robert Bunting, it all started with a performance of The Nutcracker—not just any Nutcracker, but the great George Balanchine’s staging of the Tschaikovsky classic for the New York City Ballet. The spark lit by that performance ignited a life-long passion for ballet that widened to encompass the vast universe of both classic and modern dance— and the magnificent collection of dance art and memorabilia now known as The Robert Bunting Dance Collection.

As a young medical student and intern in New York in the 1970s, Dr. Bunting was exposed to the explosion of creativity within the dance world at that time, attending performances not only by his beloved New York City Ballet, but also by American Ballet Theatre, Martha Graham, Paul Taylor and Merce Cunningham, as well as international visitors like London’s Royal Ballet and Moscow’s Bolshoi Ballet—a list that continued to widen over the years to include Roland Petit’s Ballets de Paris, The Stuttgart Ballet, The Royal Danish Ballet, the Kirov. The work represented the genius of Massine, Lifar, Nijinska, Ted Shawn and Ruth St. Denis, Anthony Tudor, Frederic Ashton, Twyla Tharp, Alvin Ailey, and Bunting’s personal favorite, Jerome Robbins.

The astonishing accomplishments of those companies and artists are the heart of The Robert Bunting Dance Collection as we see it before us today. Not just memorabilia of performances past, the documentation “gives us the most direct, tangible connection to the work of these artists at the time of their creation,” says Dr. Bunting, most visibly in the decors and costumes commissioned by the choreographers sensitive to their unique visions: Bakst, Benois, Gontcharova, Bérard, Messel, Fini, Tchelitchew, Berman, Ter-Arutunian. “Of course, some designs I treasure as souvenirs of performances I saw,” he continues: “Looking at Rouben Ter-Aruntunian’s dazzling costume design, I can still feel the delight that rippled through the audience as Edward Villella leapt onto the stage in Harlequinade. But even more importantly they’re evocations of performances I never could have seen.” The splendor of The Sleeping Beauty in Bakst’s design for the costume of the Marchioness. The sophisticated elegance of Bérard’s decor for Les Forains. The remarkable fluidity and grace of Isadora Duncan’s movement as captured

by Abraham Walkowitz. It has enriched the life of Robert Bunting; now he is passing the legacy on to us.

301 Cris Alexander (American, 1920-2012) Portrait of Martha Graham as Medea in Cave of Heart, 1946 Dedicated and autographed “For...Todd/with gratitude and/affection/Martha Graham” within the composition l.c.

Gelatin silver print, 13 1/4 x 10 1/4 in. (33.7 x 26.0 cm), framed.

Condition: Minor printing flaws, minor indentations to the emulsion u.r., minor rippling, not examined out of frame.

301

N.B. The lure of New York City loomed large in Alexander’s formative years. Born in the Midwest as Allen Smith, Alexander adopted the stage name of Christopher (‘Cris’) Alexander in his teens, which spoke to his ambition for fame and fortune.1 Upon arriving in New York in 1938, he attended the Feagin School of Dramatic Art and studied at the American Ballet School. While he began his career as a Broadway actor in the 1940s, he is perhaps best remembered for his work as portrait photographer of friends in his milieu, including Martha Graham, Vivien Leigh, Andy Warhol, and Gloria Vanderbilt. In his later years, he was the official photographer for the New York City Ballet company, and from 1980 to 1986 was a senior photographer for Warhol’s magazine, Interview.2 1. Douglas Martin, “Cris Alexander, Actor and Photographer, Dies at 92,” The New York Times, March 24, 2012.

2. Tom Vallance, “Cris Alexander: Actor who made his Broadway Debut in ‘On the Town,’” The Independent, April 24, 2012.

$400-600 302 American School, 20th Century Costume Design for Anna Pavlova Unsigned, inscribed “Madame Anna Pavlova/ deep flesh, crepe de chine, silver, gold + turquoise” in pencil u.r. and l.c.

Gouache and graphite on Bristol board or similar, 14 1/4 x 7 1/2 in. (36.2 x 19.0 cm), unframed.

Condition: Restored tear to u.l. quadrant, tape-hinged to backing mat. $200-250

302

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303 American School, 20th Century Two Framed Autographed Photographs: Fred Astaire and Ginger Rogers from Shall We Dance, c. 1937, and Gene Kelly from Singing in the Rain Astaire/Rogers gelatin silver print, sight size 8 5/8 x 6 7/8 in. (22.3 x 17.3 cm), in a trompe l’oeil mat; Kelly chromogenic print on Kodak paper, 14 x 11 in. (35.5 x 27.9 cm).

Condition: Kelly with printing imperfections, hinged to window mat in two places, Astaire/ Rogers not examined out of frame. $200-250

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304 Boris Anisfeld (Russian, 1878-1973) Costume for Sadko Signed in Cyrillic u.r., numbered and inscribed “N 14/...” u.l.

Gouache on paper, 17 3/4 x 13 in. (45.3 x 33.0 cm), unframed.

Condition: Minor tear, break to u.r. corner, loss to l.r. corner, stain to l.l. edge, toning.

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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

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305 Michael Annals (Canadian, 1938-1990) Set Design for Shadowplay Signed and dated “Michael Annals Jan 67” l.r., inscribed “Royal Opera House – Covent Garden/The Royal Ballet - ‘Shadow Play’/ Anthony Tudor” l.l., identified on a handwritten label affixed to the reverse.

Gouache and metallic pigment on paper, 22 1/2 x 30 3/4 in. (57.0 x 78.0 cm), unmatted, unframed.

Condition: Crease or repaired tear u.c., toning, mild soiling, mounted to paperboard support.

N.B. Shadowplay, with choreography by Anthony Tudor and with the libretto based on Rudyard Kipling’s The Jungle Book, premiered with the Royal Ballet at the Royal Opera House, Covent Garden, January 25, 1967. $100-150 306 Horace Armistead (American, 1898-1980)

306

Costume Design for Son in Far Harbour, 1948 Signed and dated “H Armistead 1948” l.r., inscribed “DARK HARBOUR/SON” u.l. and u.r., and with construction notes within the composition, United Scenic Artists stamp l.r., fabric swatches affixed to the reverse.

Gouache, ink, and ink wash on illustration board, 22 x 15 in. (55.9 x 38.1 cm), unframed.

Condition: Minor losses, bent corners. $200-300

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307

307 Léon Bakst (Russian, 1866-1924) Costume Design for the Marchioness (Hunting) in THE SLEEPING BEAUTY, 1921 Signed and dated “Leon Bakst 1921” l.r., identified on labels (see below) affixed to the backing.

Gouache with gold and pencil on paper, 11 7/16 x 9 in. (29.0 x 22.8 cm), framed.

Condition: Not examined out of frame.

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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

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308 Léon Bakst (Russian, 1866-1924) Costume Design for Papillons: Une Dame Signed and dated “Bakst/1912” c.r., inscribed “Papillons” u.r.

Pencil and gouache on laid paper, 10 5/8 x 8 1/8 in. (27.0 x 20.6 cm), framed.

Condition: Surface imperfections in area of the skirt, acid burn, scattered pinpoint foxing, tape-hinged to the backing mat at the top edge of the reverse.

Provenance: Through the collection of Lady Eleanor Campbell-Orde, London.

Exhibitions: Ballets Russes de Diaghilew, 1909 à 1929, Exposition Organisée par Serge Lifar, Avril-Mai 1939, Musée des arts décoratifs, Pavillion de Marsan, Palais du Louvre, no. 38.; The Diaghilev Exhibition from the Edinburgh Festival, 1954, catalog edited

by Richard Buckle, Edinburgh and London (Forbes House), Gallery IV, cat. no. 116, p. 17.

N.B. Papillons was a pantomime ballet in one act with libretto and choreography by Michel Fokine, set to music by Robert Schumann, with sets by Mstislav Dobujinsky and costumes by Léon Bakst. $3,000-5,000

Literature: Illustrated in the souvenir catalog, Serge de Diaghileff’s Ballet Russe (Metropolitan Ballet Company, Inc., New York, 1916), (unpaginated); Ballets Russes de Diaghilew, 1909 à 1929, Exposition Organisée par Serge Lifar, Avril-Mai 1939 (Paris: Musée des arts décoratifs, 1939), no. 38, p. 14.

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309 After Léon Bakst (Russian, 1866-1924)

309

310

Parody of Nijinsky in L’après-midi d’un faune [The Afternoon of a Faun] Bears inscription and date “BOOKST 13-” l.r. and “Leon Bakst 1913” on the reverse.

Gouache and graphite on paper, sheet size 12 x 9 5/8 in. (30.5 x 24.4 cm), framed.

Condition: Minor soiling.

N.B. The sitter is thought to be the British bon vivant, Napier George Henry Sturt, the 3rd Baron Alington (1896-1940), who was known more colloquially as Napier, Lord Alington, or “Naps” as he was called by his onetime beau, Tallulah Bankhead. $200-400 310 Randy Barceló (Cuban/American, 19461994) Costume Design for Judith Jamison as Bessie Smith in The Mooche, Alvin Ailey Dance Company, 1975 Signed and dated “barcelo 75©” l.r., identified in pencil u.l. and u.r., with a United Scenic Artists stamp l.r.

Gouache, watercolor and graphite on paper, sight size 15 x 12 in. (38.1 x 30.5 cm), framed.

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

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311 Randy Barceló (Cuban/American, 19461994)

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312

Costume Design for Judith Jamison in Spells Signed and dated “BARCELO 82” l.r., inscribed “Alvin Ailey/Spells” u.l. and “Judith Jamison” u.r.

Watercolor with airbrush and metallic pigment, 13 3/8 x 8 7/16 in. (34.0 x 21.5 cm), matted, unframed.

Condition: Subtle handing creases, affixed to window mat at intervals along the reverse, staining to the reverse. $200-300 312 Randy Barceló (Cuban/American, 19461994) Costume Design for Kevin McKenzie as a Cowboy in Piece d’Occasion, at The Paris Opera Ballet and American Ballet Theatre Gala, 1986 Signed and dated “barcelo 86” l.r., autographed by McKenzie and inscribed “BALLET THEATER/PARIS OPERA/GALA/ KEVIN MCKENZIE” within the composition.

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

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313 Randy Barceló (Cuban/American, 19461994) Costume Design for Martine van Hamel as a Majorette in Piece d’Occasion, at The Paris Opera Ballet and American Ballet Theatre Gala, 1986 Signed and dated “barcelo 86” l.r., titled at top edge, autographed by Martine van Hamel l.l.

Gouache and pencil on paper, 10 x 7 in. (25.4 x 17.8 cm), matted, unframed.

Condition: Affixed to window mat with tape at intervals around the reverse. $200-300

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314 Betty Palash Barrett (American, d. 2001) Martha Graham Unsigned.

Bronze with a brown patina, height 10 1/2 in.

(26.7 cm), on a black metal plinth.

Condition: Surface dust and dirt.

N.B. The sculpture captures in bronze Barbara Morgan’s iconic 1940 image of Martha Graham in the ballet Letter to the World. $1,500-2,000

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315 Betty Palash Barrett (American, d. 2001) Dancer with a Swirling Skirt (Martha Graham) Stamped “Betty Barrett ‘73 1” in the bronze along the skirt hem in the back.

Bronze with a copper patina, height 12 3/8 in.

(31.5 cm), on a black metal plinth.

Condition: Areas of oxidation to the patina, surface dust and dirt.

N.B. Artist Betty Palash Barrett was the wife of Herbert Barrett, a noted advisor and manager in the classical music and performance field, who managed the careers of major musicians and musical groups of the modern era. $1,500-2,000

315

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316

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

317 André Beaurepaire (French, b. 1924)

Costume Design for Les Illuminations Signed “Beaton” l.c., inscribed “Tobias...

ILLUMINATIONS...Being BEAUTEOUS...R-” in pencil and pen l.l., l.c., and l.r.

Ink, watercolor, and gouache on paper, sight size 13 x 16 in. (33.0 x 40.6 cm), framed (without glass).

Condition: Minor tear l.r., minor toning.

Set Design for the Carnival Scene from La Belle au Bois Dormant [La Belle Endormie], 1953 Unsigned, inscribed “Pour Peter Daubeny avec reconnaissance!/14 Décembre1953” in pencil l.c., inscribed “La Belle au Bois dormant” and “Cora, danseuse de corde” within the composition.

Mixed media on paper, 10 5/8 x 15 in. (26.8 x 38.0 cm), unmatted, unframed.

Condition: Subtle rippling, reverse with a pencil sketch of the skyline of Paris, cellophane tape remnants to the edges of the reverse.

Provenance: Sotheby’s New York, European and American Paintings, Drawings and Sculpture including Ballet and Theater Arts, June 28, 2000, Sale 7501, Lot 207. $1,000-1,500

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Literature: Richard Buckle, Modern Ballet Design (London: Charles Black, 1955), p. 20 (ill.).

N.B. In 1953 André Beaurepaire collaborated with French choreographer Roland Petit (1924-2011) to design the costumes and sets for La Belle Endormie for the Ballet des Champs-Elysées. The ballet, with music by Henri Dutilleux (1916-2013), starred Leslie Caron and was presented at the Stoll Theater in London. Breaking from the traditional fairy tale, Petit’s Sleeping Beauty was a lady in a fairground booth who was tipped out of bed if a ball was accurately thrown. (Buckle, p. 21.)

The work at hand is dedicated to Sir Peter Lauderdale Daubeny (1921-1975), a Germanborn British theatre impresario. $500-700

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318 André Beaurepaire (French, b. 1924) Set Design for Ciné-Bijou, c. 1953 Signed “Beaurepaire” l.l.

Pastel on black paper, sight size 12 1/4 x 16 3/4 in. (31.1 x 42.6 cm), in a NewcombMacklin Co., Chicago, frame.

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 ChampsElysées. Petit created Ciné-Bijou, a jazzinspired ballet with original music composed

by Pierre Petit, for the 1953 Paris season. $500-700 319-320 No lots.

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321 Alexandre Nikolaevich Benois (Russian, 1870-1960) Two Costume Designs: Armide and Rene de Beaugency from La Pavillon d’Armide, 1909 Both signed “Alexandre Benois” in pencil l.l., both inscribed “Le Pavillon d’Armide Version de Paris...” within the composition u.l.

Gouache, ink, and graphite on paper, sight sizes 11 1/4 x 8 3/4 in. (28.6 x 22.2 cm), framed.

Condition: Subtle rippling.

Provenance: Collection of Nina Tikanova (dancer in Bronislava Nijinska’s company), probably acquired from Natalia Goncharova or Mikhail Larionov); private Massachusetts collection.

N.B. An undated copy of an appraisal from Golden Legend, Inc., accompanies the lot. $2,500-3,500

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322 Alexandre Nikolaevich Benois (Russian, 1870-1960) Costume Design for Les Tyroliennes, Act II of Le baiser de la fée [The Fairy’s Kiss] 1928 Signed and dated “Alexandre/Benois/1928” in pencil l.r., inscribed “No. 3 Le Baiser de/le Fee/2e acte/Les tyroliennes...” with construction notes in pencil within the composition.

Watercolor and graphite on laid paper, sheet size 12 1/4 x 9 1/2 in. (31.1 x 24.1 cm), unframed.

Condition: Mat burn, tape hinged to backing sheet, trimmed sheet, tape residue to the reverse. $2,000-3,000

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323 Alexandre Nikolaevich Benois (Russian, 1870-1960) Set Design for Act IV of Le Baiser de la Fée Signed “Alexandre Benois...” l.l., inscribed and dated “...Baiser...IV Tableau. 1928” in pencil l.r. and “BACK/DROP BAISEE [sic] DE LA FEE...” in ballpoint pen on the reverse.

Watercolor and ink on paperboard, 9 7/8 x 14 3/8 in. (25.0 x 36.4 cm), unmatted, unframed.

Condition: Subtle soiling.

Provenance: Sotheby’s London, The Russian Sale, December 19, 1996, Sale LN 6721, Lot 190.

N.B. This was created for the Ballet le Opéra de Paris’s 1928 performance of Stravinsky’s Le Baiser de la Fée. $5,000-7,000

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324 Alexandre Nikolaevich Benois (Russian, 1870-1960) Set Design for Act I of Diane de Poitiers, 1933 Signed, dated, and inscribed “Alexandre Benois 1933./Diane de Poitiers (...Rubenstein).

Act I.� in pencil on the reverse.

Gouache, watercolor, and ink on paper, sheet size 6 1/4 x 9 1/2 in. (15.9 x 24.1 cm), unframed.

Condition: Glued to silk-covered backing mat at u.l. and u.r. corners. $2,000-3,000

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326

325 Alexandre Nikolaevich Benois (Russian, 1870-1960) Costume Design for Jeune Seigneur in Diane de Poitiers, 1933 Initialed “AB.” in pencil l.r., inscribed “Diane...

Jeune Seigneur de le cour de Diane...” with construction notes in pencil within the composition and “M. Mobilia...” in ink on the reverse.

Gouache and graphite on paper, 12 1/4 x 9 in.

(31.1 x 22.9 cm), unframed.

Condition: Masking tape hinged to the window mat, tape residue to the reverse. $2,000-3,000 326 Alexandre Nikolaevich Benois (Russian, 1870-1960) Costume Design for a Villager from Le Lac des Cygnes, 1946 Initialed and dated “A.B./1946” l.l., ballet identified u.l., inscribed “N 13/Villageois” u.r.

Ink and watercolor over pencil on laid paper, 9 5/8 x 6 1/2 in. (24.5 x 16.5 cm), unmatted, unframed.

Condition: Left and right sides with uneven edges, minor loss to sheet at left center edge. $1,500-2,000

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327 Nikolai Alexandrovich Benois (Russian, 1901-1988) Design for Chandelier for Tschaikovsky Suite No. 3, Theme and Variations Finale Unsigned, inscribed in pencil with fabrication instructions flanking the drawing.

Graphite with gold pigment on paper, sight size 19 x 13 in. (48.5 x 33.0 cm), framed.

Condition: Rippling, scattered foxing, not examined out of frame.

Provenance: Attributed to the collection of Karin von Aroldingen, New York, in a handwritten note attached to the frame.

327

N.B. In 1947, Ballet Theatre (now American Ballet Theatre) commissioned George Balanchine to choreograph Theme and Variations, based upon the final movement of Tschaikovsky’s Suite No. 3 in G Major, Op. 55.

The New York City Ballet website provides the following commentary: “In 1970, Balanchine decided to choreograph Tschaikovsky’s entire suite for New York City Ballet, incorporating Theme and Variations as the ballet’s fourth and final movement with only minor revisions.

The scenery and costumes were designed by Nicolas Benois, son of Alexandre Benois, the designer of many early ballets commissioned

by Diaghilev, with the first three movements danced in a softly lit ballroom, which transforms for the grandeur of the ballet’s final movement.”1 The ballet premiered in December 1970, at the New York State Theater at Lincoln Center. In an online video excerpt from the ballet on the NYC Ballet Web site, one can catch a glimpse of the bottom of Benois’s chandelier in the center of the set.

1. https://www.nycballet.com/ballets/t/tschaikovsky-suite-no-3.aspx (accessed 7/23/13).

$800-1,200 328 Nikolai Alexandrovich Benois (Russian, 1901-1988) Costume Design for the Mother of Fleurde-Lis from Esmeralda, 1954 Signed and dated “NBenoit/54” l.r., titled at the upper corners, inscribed “...Roma Duncan...” on the reverse of the mount.

Ink and watercolor on paper, 13 7/8 x 9 1/4 in. (35.3 x 23.6 cm), affixed to a paperboard support, unframed.

Condition: Loss/tear at u.c., tear to u.r. corner, small tears at edges of sheet, subtle rippling, toning, mounting creases at left side, tack holes at corners.

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

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329 Nikolai Alexandrovich Benois (Russian, 1901-1988)

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

Costume Design for the Father of Fleur-deLis from Esmeralda, 1954 Signed and dated “NBenois/54” l.r., titled at the upper corners, titled and inscribed “...

Peter White...” on the reverse of the mount.

Ink and watercolor on paper, 14 x 9 3/8 in.

(35.3 x 23.8 cm), mounted to a paperboard support, unframed.

Condition: Small tear l.c., toning, rippling, handling and mounting creases, tack holes to corners.

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

330

Oedipus und die Sphinx, A Sketch for a Mural in the Apartment of Jean Cocteau Signed “C. Bérard” l.l., identified on a label affixed to the back of the mat.

Graphite on paper, 11 1/2 x 14 1/4 in. (29.2 x 36.2 cm), matted, unframed.

Condition: Stain to c.r. edge, soiling and toning primarily to edges, trimmed irregularly along the left side.

Provenance: Swann Galleries, Thursday, September 14, 2006, 19th Century & 20th Century Prints & Drawings, Lot 417.

N.B. Although the sketch was originally intended for a mural in Jean Cocteau’s apartment, the design was used in 1948 for La Rencontre (Oedipus et le Sphynx), a ballet in one act choreographed by David Lichine, with scenery by Boris Koncho and music by Henri Sauget.

Bérard’s mural for Cocteau’s apartment is illustrated in Boris Kochno’s book, Christian Bérard (New York: Panache Press, 1988), p.

147. $1,200-1,800 331 Christian Bérard, called Bébé (French, 1902-1949) Three Costume Studies on a Single Sheet Stamped “Bérard” l.r., inscribed “Berard” and “D. Fernandy (Fontenla)” on the reverse.

Gouache and ink on paper, 16 x 11 7/8 in.

(40.5 x 30.0 cm), unmatted, unframed.

Condition: Small tear at c.r. edge, tack holes to u.r. corner, numbered “29” at u.r. corner (now erased), handling creases, foxing, toning, tape remnants at three corners of the reverse. $500-700

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331A Christian Bérard, called Bébé (French, 1902-1949) Costume and Set Designs for L’Occasion, c. 1942/A Double-sided Work Unsigned, inscribed “LJ...” l.r., inscribed “Projet de costume + projet decor” on the frame reverse.

Ink and gouache on spiral-bound paper, sheet size 14 3/4 x 10 3/4 in. (37.5 x 27.3 cm), framed.

Condition: Spiral edge, minor handling creases.

Provenance: Piasa Paris, Bibliothèque Louis Jouvet Souvenirs et objets personnels, Succession Lisa Jouvet, April 1, 2005, Lot 28.

Literature: Bibliothèque Louis Jouvet Souvenirs et objets personnels, Succession Lisa Jouvet (Paris: Piasa, 2005), Lot 28 (illus.).

N.B. L’Occasion was directed by Louis Jouvet and presented on June 6, 1942, in Rio de Janeiro. $700-900 331B Christian Bérard, called Bébé (French, 1902-1949)

331A

La Belle Endormie/Set Design for Les Forains, 1945 Signed “Bérard” l.r., identified on a label from Galerie Lucie Weill, Paris, and with a label from Newcomb-Macklin Co., Chicago, affixed to the backing.

Gouache on paper, sight size 15 x 18 1/2 in.

(38.1 x 47.0 cm), framed.

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

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332

332 Eugene Gustavovitch Berman (Russian/ American, 1899-1972) Set Design for Devil’s Holiday Initialed and dated “E.B. 1939” l.r., inscribed “Le Bal. (Le diable s’amuse)” l.l.

Watercolor and ink on paper, 10 5/8 x 15 3/8 in. (27.0 x 49.5 cm), unframed.

Condition: Small tear l.c., sheet affixed at intervals to backing mat.

N.B. Devil’s Holiday (Le diable s’amuse) was choreographed by Frederick Ashton for the Ballet Russe de Monte Carlo in 1939, at the invitation of the company’s director Léonide Massine. With the London ballet season cancelled due to the outbreak of World War II, the ballet premiered instead in New York at the Metropolitan Opera House on October 26, 1939. The ballet featured music by Vincenzo Tommasini on themes by Paganini and decor

by Eugene Berman. $800-1,200 333 Eugene Gustavovitch Berman (Russian/ American, 1899-1972) Costume Design for Capulet Boys in Romeo and Juliet Initialed and dated “19 E.B 43” within the composition l.c., inscribed “16 Romeo and Juliet/Capulet boys mourning capes/ variations” within composition, with a label from Goodspeed’s Book Shop, Inc., Boston, affixed to the backing.

Gouache, ink, and ink wash on paper, sheet size 12 1/4 x 9 3/4 in. (31.1 x 24.8 cm), framed.

Condition: Trimmed sheet, tack holes, minor toning. $600-800

333

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334 Eugene Gustavovitch Berman (Russian/ American, 1899-1972) Costume Design for a Courtesan in Romeo and Juliet Initialed “19 E.B. 45” l.r., inscribed “15 Pavane?/Romeo and Juliet/Courtesan” within the composition u.l. and u.r., indistinct stamp within the composition l.l.

Ink, watercolor, and wash on paper, sight size 12 1/8 x 9 in. (30.8 x 22.9 cm), framed.

Condition: Subtle rippling, minor toning, not examined out of frame.

N.B. This costume was designed for a performance by the Ballet Theater, choreographed by Antony Tudor. $600-800 335 Eugene Gustavovitch Berman (Russian/ American, 1899-1972) Set Design for Act II of Giselle/A Doublesided En Grisaille and Color Composition Both sides initialed and dated “19 EB 46” within the composition u.c., en grisaille side inscribed “Duplicate of the final version of the backdrop for the IInd Act of ‘Giselle.’ Ballet Theater. July 1946” within the composition u.c., color side with The Condé Nast Publications, Inc., copyright stamp within the composition u.l.

Watercolor, ink, and ink wash on paper, sheet size 12 x 21 in. (30.5 x 53.3 cm), framed (one side under glass).

Condition: Rippling, minor abrasions.

334

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

335

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336 Eugene Gustavovitch Berman (Russian/ American, 1899-1972) Costume Design for Pulcinella Initialed and dated “E.B./1972” within the composition l.c., identified in an inscription on the verso.

Watercolor with gouache and ink on paper, 8 3/4 x 6 1/8 in. (22.2 x 15.4 cm), unmatted, unframed.

Condition: Minor cockling.

N.B. This design was made for the New York City Ballet production of Pulcinella, choreographed by George Balanchine and Jerome Robbins for the Stravinsky Festival, 1972. $800-1,200 337 Eugene Gustavovitch Berman (Russian/ American, 1899-1972) Costume Design Studies for Giselle Initialed “E.B” l.r., inscribed “Giselle” u.r., with a United Scenic Artists stamp l.r.

Ink on paper, sight size 12 x 9 1/8 in. (30.5 x 23.2 cm), unframed.

Condition: Foxing, minor handling creases.

336

N.B. The present work was created for the American Ballet Theatre’s second production of Giselle for their 1946-47 season. Berman created both the costumes and scenery, and it was choreographed by Dimitri Romanoff. $600-800

337

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338

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339

338 Boris Bilinsky (Russian, 1900-1948)

339 Boris Bilinsky (Russian, 1900-1948)

Costume Design for La Princesse Cygne, 1932 Signed and dated “Boris Bilinsky 32” in pencil l.l., inscribed “Princesse Cygne...” with color notes on the reverse.

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.

Set Design for La Princesse Cygne Signed “B. Bilinsky.” l.l., inscribed in Cyrillic within the composition u.c., identified on a label affixed to the frame backing.

Gouache on paperboard, 19 1/8 x 25 in. (49.0 x 63.6 cm), framed.

Condition: Wear to edges of sheet, abrasions and tape and glue residue on the reverse.

N.B. Nikolai Rimsky-Korsakov’s ballet La Princesse Cygne was produced by Bronislava Nijinska at the Théâtre National de l’Opéra Comique, Paris 1932. $7,000-9,000

N.B. According to the label on the frame backing, the ballet La Princesse Cygne, with choreography by Bronislava Nijinska, was produced at the Nijinska Théâtre de la Danse in 1934. $4,000-6,000

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340 Corrado Cagli (Italian, 1910-1976) Program Cover Study for Ballet Russe de Monte Carlo Signed “Cagli” l.r.

Gouache on paper, sight size 11 1/2 x 8 3/4 in. (29.2 x 22.2 cm), framed.

Condition: Tears, craquelure.

Provenance: Through The Norman Crider Gallery, New York.

N.B. The present work relates to the souvenir program cover for the 1946-47 season. $300-500 341 Jules Chéret (French, 1836-1932) Folies-Bergère/La Loïe Fuller, 1893 Signed “JChéret” within the matrix c.r., inscribed “...IMP. CHAIX (Ateliers Chéret) 20, Rue Bergère, Paris” l.r.

Color lithograph on paper, 47 7/8 x 34 3/8 in.

(121.6 x 87.1 cm), framed.

Condition: Creased down the center on horizontal and vertical axes, losses to edges of sheet, repaired tears to margins, toning, sheet backed with a secondary support, not examined out of frame. $1,000-1,500

340

342 Jean Cocteau (French, 1889-1963) Advertising Poster: Ballet Russe, Soirée du 19 Avril 1911, Théâtre de Monte-Carlo (Nijinsky in Spectre de la Rose) Signed “-Jean/Cocteau.” within the matrix l.l., published by Eugène Verneau and Henri Chachoin, Paris.

Color lithograph on paper, sight size 36 x 22 3/4 in. (91.2 x 57.8 cm), framed.

Condition: Toning, creases, abrasions, rippling, not examined out of frame.

N.B. In a description of a similar poster in the collection of the Victoria and Albert Museum, the entry explains that, “the young French poet and artist Jean Cocteau was dazzled by the Ballets Russes and its star dancer, Nijinsky, when they appeared in Paris in 1909. Cocteau wrote of Nijinsky’s animal grace: with his ‘slender young torso contrasting with overdeveloped thighs, he is like some Florentine, vigorous beyond anything human, and feline to a disquieting degree’.” For the 1911 Ballets Russes season Cocteau designed two posters of the same size, the other depicting the ballerina Tamara Karsavina as the young girl in Mikhail Fokine’s ballet Le Spectre de la Rose” (Lot 343).1 1. http://collections.vam.ac.uk/item/O75904/ballets-russes-postercocteau-jean/ (accessed 7/23/13)

$8,000-12,000 341

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342

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343

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344

343 Jean Cocteau (French, 1889-1963)

344 Merce Cunningham (American, 1919-2009)

Advertising Poster: Ballet Russe, Soirée du 19 Avril 1911, Théâtre de Monte-Carlo (Karsavina in Spectre de la Rose) Signed “-Jean/Cocteau.” within the matrix l.r., published by Eugène Verneau and Henri Chachoin, Paris.

Color lithograph on paper, sight size 36 x 22 3/4 in. (91.2 x 57.8 cm), framed.

Condition: Toning, creases, abrasions, not examined out of frame. $8,000-12,000

Suite by Chance, Movement Chart Slow Phrases from III A-B-C-D-E and V C, 1952 Unsigned, identified on a label from Margarete Roeder Gallery, New York, on the frame backing and accompanied by a Certificate of Authenticity signed by Merce Cunningham.

Ballpoint pen on paper, 7 3/8 x 6 7/8 in. (18.7 x 17.4 cm), framed.

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

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345

346

345 Two Merce Cunningham and Dance Company Posters: After Morris Graves (American, 1910-2001), Waning Moon, #2, autographed in pen by Merce Cunningham l.l., Morris Graves l.c., and John Cage l.r.; After Jasper Johns (American, b. 1930), Target and Four Faces, unsigned, inscribed “© 1968 JASPER JOHNS” within the matrix beneath pasted text and “MERCE CUNNINGHAM” in ballpoint pen in a later hand on the reverse.

Both offset lithographs on paper, sheet sizes to 35 x 23 in. (88.9 x 58.4 cm), Graves framed (without glass), Johns unframed.

Condition: Graves with minor handling creases, Johns with creases. $100-200 346 After Merce Cunningham (American, 19192009) Selected Drawings and Dance Notations/ An Exhibition Announcement from Margarete Roeder Gallery, New York, 2009 Reproduction signature.

Color offset lithograph postcard, 7 x 5 in. (17.7 x 12.2 cm), unframed.

Condition: Minor crease to l.l. corner, irregular surface at u.l. corner, scattered surface imperfections. $100-150

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347

348

347 Robert Davison (American, b. 1922)

348 Robert Davison (American, b. 1922)

Set Design for Les petits riens, 1942 Signed “Robert Davison” in ballpoint pen l.r., also signed and dated “Robert Davison 1116-42.” in pen on the reverse, inscribed “Les Petits Riens” in pencil on the backing.

Gouache and graphite on paper, sheet size 9 x 12 in. (22.9 x 30.5 cm), framed.

Condition: Tape-hinged to backing sheet.

Costume Design for Carmelita Maracci in Les Arabesques Inscribed, signed, and dated “...The ‘Corps de Ballet’ (the Mad Girl at rt.). Carmalita [sic] Maracci/Robert Davison 11-20-42” in ink on the reverse.

Gouache and ink on paper, 9 x 12 in. (22.9 x 30.5 cm), unframed.

Condition: Tape-hinged to window mat. $300-500

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

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349

350

349 Robert Davison (American, b. 1922)

350 Robert Davison (American, b. 1922)

Set Design for Les Arabesques Signed “Robert Davison” on the reverse, titled “Arabesque” in pencil on the back of the mat.

Gouache on paper, 9 1/2 x 12 1/2 in. (24.0 x 32.0 cm), unframed.

Condition: Creases to l.l. corner, small tear to c.r. edge, minor craquelure. $300-500

Set Design for Strange Interlude Signed “Robert Davison” l.r., inscribed “Strange Interlude” on the back of the mat.

Gouache on paper, sight size 9 3/8 x 12 1/2 in. (23.5 x 31.8 cm), unframed.

Condition: Minor crease or abrasion to u.r. edge. $300-500

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351

351 André Delfau (French, 1914-2000) Set Design for Chantier, c. 1961 Signed “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

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352 André Derain (French, 1880-1954) Costume Design for the Lupercalian Priest in Fastes, c. 1933 Unsigned.

Ink on paper, 8 1/4 x 5 1/4 in. (21.0 x 13.5 cm), unmatted, unframed.

Condition: Small tear to top edge, toning, affixed at upper corners to Mylar sheet, with three thumbnail sketches of stage sets on the reverse.

Literature: Les Ballets 1933, Brighton (England): Royal Pavilion, Art Gallery & Museums, 1987 (exhibition catalog, ill. p. 67).

352

N.B. Fastes, Les Ballets 1933, book, scenery, and costumes by André Derain, choreographer George Balanchine, music, Henri Sauguet, world premiere: 10 June 1933, Les Ballets 1933, Théâtre des ChampsÉlysées, Paris.

The ballet Fastes, celebrating an ancient Roman festival, was conceived and designed

by André Derain for Les Ballets 1933. It is said that Derain was inspired by the detail of Etruscan tomb decoration and the hot, luminous air of the Mediterranean.1 The costume design at hand shows the priest wearing a mask depicting the three ages of man. The costume included a white loincloth and a garnet red belt and wristbands, as reported in Vogue Paris, July 1933.2 1. http://www.brighton-hove-rpml.org.uk/HistoryAndCollections/ collectionsthemes/performancegallery/people/Pages/lesballets.aspx 2. Les Ballets 1933 (Brighton, England: The Royal Pavilion Art Gallery & Museums, 1987), p. 66.

$2,000-3,000

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353

353 Mstislav Valerianovich Dobuzhinski (Russian/Lithuanian, 1875-1957) Set Design for Mademoiselle Angot Signed and dated “MDobujinsky/1942” l.r., titled “Mademoiselle Angot” l.l.

Gouache and pencil on paper, sight size 6 1/4 x 10 3/8 in. (16.0 x 26.5 cm), framed.

Condition: Toning, not examined out of frame.

N.B. The ballet Mademoiselle Angot made its world premiere with the American Ballet Theatre in October 1943 at the Metropolitan Opera House. Based on the operetta La Fille de Madame Angot by Charles Lecocq, the ballet was choreographed by Léonide Massine, with scenery and costumes by Mstislav Dobujinsky. $4,000-6,000

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355

354

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

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

Costume Design for Le Sauvage Variante from Mademoiselle Angot, 1943 Monogrammed and dated “MD 1943” in pencil l.r., inscribed “Mlle Angot...Le Sauvage/ VARIANTE...” in pencil within the composition, French export stamp and inscription “Mstislav Dobouzhinsky/Mlle. Angot-Masquerade/N51/ Le Sauvage, 1943” in ballpoint pen on the reverse.

Gouache and graphite on wove paper, 15 x 10 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, 1943 Monogrammed, dated, and inscribed “MD 1943/Windham” in pencil l.r., inscribed “Mlle Angot III/mascarade...le sauvage variante” in pencil u.l. and u.r., and “Mstislav Dobouzhinsky/Mlle. Angot-Masquerade/Le Sauvage, 1943/N32” in ballpoint pen and pencil on the reverse.

Gouache and graphite on wove paper, 15 x 10 in. (38.1 x 25.4 cm), unframed.

Condition: Toning, tape-hinged to backing mat. $2,000-3,000

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356

356 Mstislav Valerianovich Dobuzhinski (Russian/Lithuanian, 1875-1957) Costume for the Headmistress in Graduation Ball Signed and dated “MDobujinsky/1944” in ink l.r., titled in pencil in the upper corners.

Mixed media on paper, 13 3/4 x 9 3/4 in. (35.0 x 24.8 cm), framed.

Condition: Toning, creasing, sheet affixed to window mat with brown paper tape on the reverse.

Provenance: Sotheby’s London, The Russian Sale, July 17, 1996, Sale LN634T, Lot 239.

N.B. This costume design is from the American Ballet Theatre production of Graduation Ball, with choreography and libretto by David Lichine, scenery and costumes by Mstislav Dobujinsky, and with music by Johann Strauss arranged and orchestrated by Antal Dorati. The ABT production premiered at the St. Denis Theatre, Montreal, Canada, October 26, 1944. $2,500-3,500

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357

357 Eugene Borisovich Dunkel (Russian/ American, 1890-1972) Set Design for Aurora’s Wedding in The Sleeping Beauty, 1939 Unsigned, identified on a label and with stamps from the artist and United Scenic Artists on the reverse.

Oil and ink on paperboard, 12 x 20 in. (30.5 x 50.8 cm), framed.

Condition: Minor surface grime.

358 Collection of Dance-related Souvenir Programs and Ephemera, including Ballet Russe programs spanning 1916 to 1929, and vintage programs from Martha Graham, Roland Petit, Les Ballets Américains, Ballets Suédois (Léger cover), Pavlova, and the New York City Ballet. $1,000-1,500

N.B. The present work was created for the Ballet Russe de Monte Carlo, 1939-40 Season, performed at the 51st Street Theatre in New York City. $2,000-3,000

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359 Eleven Boxes of Dance Ephemera, Programs, and Souvenir Books, including a program from Académie Nationale de Musique et de Danse, 1936, annotated with three pencil drawings attributed to Alexandre Benois; memorabilia from Ruth St. Denis and Ted Shawn (c. 1920-1949); Ballet Russe de Monte Carlo (1930s-40s); European dance companies (1940-60s); and modern dance companies including Alvin Ailey, Eric Hawkins, Paul Taylor, Dance Theater of Harlem, Harkness, Ruth Page, and The Chicago Opera Ballet. $1,500-2,000

358

359

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360

360 Romain de Tirtoff, called Erté (Russian/ French, 1892-1990) Set Design for Pin-up Girls Revue Signed “Erté” l.c., stamped “Erté/Romain de Tirtoff” and inscribed in ink “N 8675/Pin-up Girls/Décor” on the reverse.

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). $1,500-2,500 361 Romain de Tirtoff, called Erté (Russian/ French, 1892-1990) Costume Design for La Star in Pin-Up Girls Revue Signed “Erté” in gouache l.r., stamped and inscribed “ERTÉ/ROMAIN DE TIRTOFF/ Composition originale/N. 5445/La Star/(3e entrée)” on the reverse.

Gouache, graphite, and ink on loose-leaf paper, sheet size 14 5/8 x 10 5/8 in. (37.2 x 27.0 cm), unframed.

Condition: Tape-hinged to window mat, subtle rippling.

361

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

362

363

362 Benjamin Joseph Falk (American, 18531925) Two Works: Portrait of Loïe Fuller as a Butterfly, 1901, and Loïe Fuller in Celestial Gown for La Nuit, 1896 Butterfly inscribed “25/COPYRIGHT 1901/

BY FALK NY” within the negative l.l. and “Loie Fuller” in pencil on the mount, autographed or inscribed “Loie Fuller” in pen l.c., embossed “THE FALK STUDIO” and “THE WALDORFASTORIA N.Y.” with Falk Studio insignia on the mount; Celestial inscribed “COPYRIGHT 1896/BY B.J.FALK. N.Y./13” within the negative l.l., stamped “...APR 6, 1896...” l.c., inscribed “Falk, N.Y.” in pen on the mount reverse.

Butterfly gelatin silver print, Celestial albumen silver print, sheet sizes to 11 5/8 x 7 in. (29.5 x 17.8 cm), both unframed, both mounted to paperboard.

Condition: Butterfly with mirroring, sulphiding, scattered abrasions, wear to mount; Celestial with crack to the emulsion l.r., inscribed “K7” in pencil u.r., trimmed bottom edge. $500-700

363 Peter Farmer (British, b. 1941) Costume Design for a Female Dancer in Meadowlark, 1968 Signed and dated “P Farmer 68” l.r., inscribed “MEADOW LARK/FESTIVAL BALLET” u.l.

Oil stick, gouache, and graphite on paper, 20 1/2 x 13 in. (52.1 x 33.0 cm), unframed.

Condition: Masking taped to window mat.

Exhibitions: Charles Spencer, The Musical Stage, Radlett Art Centre, Hertfordshire, May 1988, no. 11.

N.B. Farmer created this work for the London Festival Ballet’s production of Eliot Feld’s ballet Meadowlark, first performed in England on December 9, 1968. $600-800

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364

365

366

364 Leonor Fini (Argentine, 1908-1996)

365 François Ganeau (French, 1912-1983)

Set Design Signed “Leonor Fini” l.r.

Gouache and ink on illustration board, 14 1/2 x 19 3/8 in. (36.8 x 49.2 cm), unframed.

Condition: Wear to corners, minor abrasions, break to illustration board u.c. $1,000-1,500

Costume Design for Two Ballerinas Unsigned, inscribed “ce tableau m’a été ofert [sic] par Francois Ganeau” in pen on the reverse.

Gouache and ink wash on illustration board, sight size 15 5/8 x 19 7/8 in. (39.7 x 50.5 cm), framed.

Condition: Minor foxing. $300-500

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366 Arnold Genthe (American, 1869-1942) Three Studies of Isadora Duncan, c. 1916 One stamped “ISADORA DUNCAN/ Management/FREDERICK H. TOYE/105 W. 40th St., N.Y. ...COPYRIGHT 1916 BY ARNOLD GENTHE, N.Y....” on the reverse, inscribed “Isadora Duncan 1916”, “A. Duncan’s Photo/Isadora Duncan in...Ave Maria Schubert/1916 Photo by Arnold Genthe/N.Y.” and “Isadora Duncan/Anna Duncan” in blue ballpoint pen, on the reverse.

Gelatin silver prints, sizes to 8 7/8 x 6 in. (22.5 x 15.2 cm), within a common mat and frame.

Condition: Localized silver-mirroring, fine abrasions, minor break to the emulsion.

Literature: Arnold Genthe, Isadora Duncan: Twenty-four Studies (New York: Arno Press, Inc,. 1980), plates 13, 16, 17 (different printing illustrated). $500-700

367 Attributed to Natalia Sergeevna Goncharova (Russian, 1881-1962) Costume Design for Liturgie: The Annunciation (The Virgin and Gabriel) Signed, inscribed, and dated “N. Gontcharova/Lausanne - Ouchy 915” l.r.

Ink and pencil on paperboard, 18 1/8 x 22 1/2 in. (46.0 x 57.0 cm), framed.

Condition: Toning, subtle staining and foxing, sheet taped to window mat with archival tape.

N.B. Liturgie, a ballet based on the life of Christ, was conceived by Diaghilev while he was in Switzerland after the outbreak of World War I. Choreographed by Léonide Massine, the ballet was rehearsed but eventually abandoned due to complications with the score. $10,000-15,000

367

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369

368

368 Natalia Sergeevna Goncharova (Russian, 1881-1962) Costume Design for Une Paysanne Russe in Les Noces, c. 1923 Signed “N. Goncharova” in pencil u.l., identified on labels from The Waddington Galleries, London, Musées de Strasbourg, and Galleria del’ Levante, Milan, (see below) affixed to the backing.

Watercolor and graphite on paper, sight size 18 1/2 x 12 in. (47.0 x 30.5 cm), framed.

Condition: Toning, acid burn.

Provenance: Sotheby & Co., London, Catalogue principally of DIAGHILEV BALLET MATERIAL: Decor and Costume Designs, Portraits and Posters, Including works by Bakst, Benois, Soudeikine, Gontcharova, Picasso, Derain, Larionov, Léger, Matisse, July 18, 1968, Lot 111; Mr. Cecil Bernstein, Esq., The Waddington Galleries, London; Sotheby’s London, The Russian Sale, May 26, 2004, Sale L04110, Lot 219.

Literature: Henning Rischbieter and Wolfgang Storch, Bühne und bildende Kunst im XX Jahrhundert, Maler und Bildhauer arbeiten für das Theater (Hannover, Friedrich Verlag, 1968), p. 278; Les ballets russes de Serge de Diaghilev, 1909-1929 (Strasbourg: Ville de Strasbourg, 1969), p. 199.

Exhibitions: Musées de Strasbourg, Les ballets russes de Serge de Diaghilev: 19091929, May 15 to September 15, 1969, no.

382. $3,000-5,000

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370 © Barbara Morgan, The Barbara Morgan Archive.

369 Natalia Sergeevna Goncharova (Russian, 1881-1962) Costume Design for a Spanish Dancer with a Large Flowered Mantilla and Floral Dress in España, 1916 Signed “N. Gontcharova” in pencil u.r.

Graphite on joined paper, sheet size 21 7/8 x 10 1/2 in. (53.3 x 26.7 cm), unframed.

Condition: Mounted to laid paper.

Provenance: Acquired from the artist; private collection, Paris; Julian Barran Ltd., London.

Literature: Natalia Gontcharova and The Russian Ballet (London: Julian Barran, Ltd., 1997), no. 26 (illus.).

Exhibitions: Julian Barran Gallery, London, Natalia Gontcharova and The Russian Ballet, June 11 to August 8, 1997, no. 26.

N.B. The present work was drawn for an unrealized Ballets Russes production. $2,000-3,000

370 Seventeen Photographs of Martha Graham: Barbara Morgan (American, 19001992), Frontier, No. 3, c. 1935, unsigned, gelatin silver print; Carl Van Vechten (American, 1880-1964), Martha Graham as Clytemnestra, Bertram Ross as Orestes, 1961, blindstamped “PHOTOGRAPH BY/ CARL VAN VECHTEN” l.r., photographer’s stamp and inscription “Martha Graham as Clytemnestra with Bertram Ross as Orestes in Graham’s ‘Clytemnestra’, 1961...X.55.6/ June 27, 1961” in pen on the reverse, gelatin silver print; Martha Swope (American, b.

1933), Nine Scenes and Portraits of Martha Graham or Martha Graham and Dance Company, two signed “SWOPE” in pen l.l. and autographed by Graham in ballpoint pen l.l., seven stamped “PHOTOGRAPH(S) BY MARTHA SWOPE, NEW YORK CITY” on the reverse, one inscribed “PHOTO BY MARTHA SWOPE” within the negative l.l., one inscribed “PHOTO BY MARTHA SWOPE” within the negative l.l., one stamped “NEW YORK CITY BALLET” and inscribed “EPISODES (Part I)...”

on the reverse, stamped “NEW YORK CITY BALLET” and inscribed “EPISODES (Part I)...” on the reverse, one inscribed “...Secular Games ‘62 premiere...,” two inscribed “...Phaedra ‘62...,” two inscribed “...Look at Lightning ‘62...,” and two inscribed “...MARTHA GRAHAM...” in ballpoint pen on the reverse, gelatin silver prints; American School, 20th Century, Portrait of Martha Graham in Appalachian Spring, c. 1940s, inscribed “MOSS PHOTO, N.Y.” within the margins; American School, 20th Century, Two Portraits of Martha Graham, unsigned, platinum prints; American School, 20th Century, Five Portraits of Martha Graham and Martha Graham and Dance Company, unsigned, gelatin silver prints.

Sizes to 11 1/4 x 14 in. (28.6 x 35.6 cm), all unframed.

Condition: Minor handling creases, Frontier with abrasions and cracks to the emulsion, loss to corner, glue residue verso; Appalachian with tack holes, loss, and small puncture to corners, tape residue verso. $800-1,200

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371 372

371 Halston [Roy Halston Frowick] (American, 1932-1990) Costume Design for a Soldier from Clytemnestra, Martha Graham, 1978 Unsigned.

Watercolor, metallic paint, and pencil on laid paper, 6 1/2 x 4 1/2 in. (16.5 x 11.4 cm), unmatted, unframed.

Condition: Handling creases. $300-500

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372 Hein Heckroth (German, 1901-1970) Costume Design, c. 1929 Initialed “H” l.l., inscribed and dated “...

Envoyer...Heckroth/1929” in pencil on the mount.

Mixed media on laid paper, sheet size 17 1/2 x 6 3/4 in. (44.5 x 17.0 cm), mounted to a paperboard support.

Condition: Tear to support extending 3/4 inches into the drawing at u.l. edge, nicks and wear to edges of sheet, toning, rippling. $250-350

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373

373 Hein Heckroth (German, 1901-1970) Costume Design for Rush Hour, 1940 Signed and dated “Hein Heckroth 1940” in pencil l.r.

Watercolor and graphite on illustration board, 21 1/2 x 14 7/8 in. (54.6 x 37.8 cm), unframed.

Condition: Minor handling smudges.

N.B. The present work was a costume design for a ballet choreographed by Sigurd Leeder of the Jooss-Leeder School of Dance, Dartington Hall, Devon, England. $300-500 374 Hein Heckroth (German, 1901-1970)

374

Costume Design for Rush Hour Signed and dated “Hein Heckroth 1940” in pencil l.r.

Watercolor and graphite on illustration board, 21 1/2 x 14 7/8 in. (54.6 x 37.8 cm), unframed.

Condition: Minor handling smudges. $300-500

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375

376

375 Malvina Cornell Hoffman (American, 18871966)

376 Malvina Cornell Hoffman (American, 18871966)

La Gavotte/A Figure of Anna Pavlova Signed and dated “© 1915 MALVINA HOFFMAN” on the base, inscribed “RBW INC.” on the edge of the base.

Bronze with green patina, height 14 3/4 in.

(37.4 cm), presented on a low plinth.

Condition: Possibly a later casting.

Bust of a Faun, Possibly Nijinsky Signed “Malvina Hoffman” on the figure’s back.

Bronze with deep brown patina, ht.7 1/2 in.

(19.2cm), presented on a black metal plinth.

Condition: Minor soiling/dust to interstices. $1,500-2,000

Provenance: Acquired by the present owner from the FAR Gallery, New York, New York, June 24, 1980, formerly in the collections of the California Palace of the Legion of Honor, Cleveland Museum of Art, and the Metropolitan Museum of Art (wax).

N.B. From FAR invoice: “Edition: 28; lifetime, 23; posthumous casts, 5. This example one of five posthumous casts.” $4,000-6,000

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377

377 Jean Hugo (French, 1894-1984) Set Design for Le Cent Baisers, c. 1935 Signed “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. $1,000-1,500 378 After Valentine J. Hugo (French, 1887–1968) Ballerina En Pointe Inscribed “from the painting by- Valentine J. Hugo” within the matrix l.r.

Chromolithograph, 58 3/4 x 39 5/8 in. (149.2 x 100.7 cm), unframed.

Condition: Linen backed, restored creases/ tears. $300-500

378

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379 Joan Junyer (Spanish, 1904-1994) Program Cover Design for The Cuckold’s Fair, Ballet Russe de Monte Carlo Signed and dated “Joan Junyer 43” l.l., inscribed and signed “La Romeria de los Cornudos/de Federico Ga. Lorca/Joan Junyer” in pencil on the reverse.

Gouache and pencil on paperboard, 12 3/4 x 9 3/4 in. (32.6 x 24.8 c m), unmatted, unframed.

Condition: Minor staining, glue residue to reverse.

N.B. The Cuckold’s Fair, choreographer: Pilar Lopez, music: Bustavo Pittalouga, Ballet Russe de Monte Carlo, 1943. $300-500 380 Lindsay Kemp (British, b. 1938)

379

Costume Design for Maurice, Probably Maurice Béjart Signed and inscribed “LINDSAY KEMP...” on the reverse, inscribed “MAURICE/circular cloak/silk pink/orange/pink stocking/pink chamois jock strap” within the composition.

Mixed media (gouache, charcoal, and pastel) on paper, sheet size 16 1/2 x 11 3/4 in. (41.9 x 29.8 cm), unframed.

Condition: Tacked to backing card at u.l. and u.r. corners.

N.B. Kemp, who trained with German Expressionist dancer Hilde Holger and French mime Marcel Marceau, formed his own dance company in the 1960s, where he worked with avant-garde performance-artists-turnedmusicians David Bowie and Kate Bush. $150-200

380

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381 Tom Keogh (American, 1922-1980) Costume and Set Design for Le Portrait du Don Quichotte, 1947/A Double-sided Composition Inscribed, signed, and dated “LE PORTRAIT DU DON QUICHOTTE/KEOGH 47” in ink within the composition, also inscribed “...Ballet des Champs-Elysees/Dec 1947” in ballpoint pen on the reverse.

Gouache and ink on red wove paper, sheet size 9 7/8 x 12 3/4 in. (25.1 x 32.3 cm), unframed.

Condition: Taped to window mat. $800-1,200 382 Tom Keogh (American, 1922-1980)

381

Les Ballets de Paris de Roland Petit Signed, inscribed, and dated “Keogh Paris ‘55” l.r.

Watercolor, ink, and graphite on paper, 16 1/2 x 20 1/4 in. (41.9 x 51.4 cm), framed.

Condition: Not examined out of frame. $800-1,200

382

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383 Tom Keogh (American, 1922-1980) Female Costume Design for Les Belles Damnées, 1955 Inscribed, signed, and dated “Les Belles Damnees/Keogh/55” within the composition, inscribed “Les Belles/Damnees/Dec ‘55” in ballpoint pen on the reverse.

Gouache and ink on Ingres laid paper, sheet size 19 x 15 in. (48.3 x 38.1 cm), unframed.

Condition: Tape residue verso, minor toning, minor tears to edges, minor handling creases.

Provenance: Parmenia Migel Ekstrom (19081989), New York.

N.B. We wish to thank Hermine Chivian-Cobb for her kind assistance with cataloging the lot. $600-800 384 Tom Keogh (American, 1922-1980) Set Design for Les Belles Damnées, 1955 Inscribed and signed “Les Belles Damnees/ Decor/Keogh” within the composition, inscribed “...Roland Petit Dec 55...” in ballpoint pen and pencil and “CEK-81...Les Belles Damnées KEOGH” on a label on the reverse.

Gouache, ink, ink wash, and graphite on Ingres laid paper, sheet size 18 1/4 x 24 1/2 in. (46.4 x 62.2 cm), unframed.

Condition: Handling creases, tape residue verso, minor toning, minor tears to edges.

Provenance: Parmenia Migel Ekstrom (19081989), New York.

383

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

384

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385

385 Tom Keogh (American, 1922-1980) Male Costume Design for Les Belles Damnées, 1955 Signed and inscribed “Keogh Les Belles Damnees” within the composition, inscribed “LES BELLES DAMNEES/Roland Petit/Ballet de Paris/Dec ‘55...” in ballpoint pen on the reverse.

Gouache and ink on Ingres laid paper, sheet size 19 x 14 3/4 in. (48.3 x 37.5 cm), unframed.

Condition: Tape residue verso, minor toning.

Provenance: Parmenia Migel Ekstrom (19081989), New York.

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

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386

387

386 Harald Kreutzberg (German, 1902-1968)

387 Two Prints of Ballerinas En Pointe:

Costume Design for Menuet by Mozart, designed and worn by Harald Kreutzberg Signed and dated “Harald/Kreutzberg/1933” l.r., titled l.l., identified on a label affixed to the back of the mat.

Pencil with watercolor and ink on paper, 15 x 11 1/4 in. (38.1 x 28.6 cm), unframed.

Condition: Subtle toning, sheet with perforated left edge, laid down on mat board support.

Richard James Lane (British, 1800-1872), After Alfred Edward Chalon (British, 17801860), Mademoiselle Taglioni, inscribed “...

London Published June 1831 by J. Dickinson New Bond Street” within the composition l.c.; and Jules Rigo (French, 1810-1892), Carlotta Grisi, inscribed “Lith. J. Rigo et Cie...” within the matrix l.c.

Both lithographs (Taglioni hand-colored), sheet sizes to 14 1/2 x 10 1/8 in. (36.8 x 25.7 cm), both unframed.

Condition: Minor soiling.

Provenance: Sotheby’s New York, Wednesday, December 9, 1998, Dance, Theater and Opera: Costume and Designs, Books, Prints and Photographs, Lot 15.

N.B. Harald Kreutzberg was both the choreographer and principal dancer in Menuet

by Mozart, which he performed independently with Yvonne Georgi and later with Ruth Page. For much of his career, Kreutzberg was a soloist. Retiring from the stage in 1959, Kreutzberg continued to choreograph and taught at his school of dance in Bern, Switzerland. $600-800

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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

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388 Mikhail Larionov (French/Russian, 18811964) Costume for the Cock from Renard Signed and dated “M. Larionov/920” l.l., inscribed “Coq/Renard” u.l., monogrammed “M.L.” u.r.

Pencil on paper, sight size 11 3/4 x 7 3/4 in.

(29.7 x 19.6 cm), framed.

Condition: Handling creases, mild soiling, not examined out of frame.

N.B. Renard, a one-act chamber operaballet by Igor Stravinsky, was written in 1916, with text based on Russian folk tales. The ballet’s full title was The Fable of the Vixen, the Cock, the Cat and the Ram, and it was described as a burlesque for the stage with singing and music. The first performance of the original production by Diaghilev’s Ballets Russes was on May 18, 1922 at the Théâtre National de l’Opéra, Paris, with choreography

by Bronislava Nijinska, and with set and costumes by Mikhail Larionov. Renard was the first complete ballet choreographed by Nijinska for the Ballets Russes. $3,000-5,000

388

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389 Paul-René Larthe (French, fl. 1930s-1940s) Costume Design for Prêtresses Oasis d’Ammon (Act II) from Alexandre Le Grand, c. 1937 Signed “Paul R. Larthe” in pencil u.l., inscribed “Pretresses Oasis d’Ammon (A.II) ALEXANDRE LE GRAND.” in pencil u.l. and u.r., also inscribed “...Larthe, Paul...” in pencil in a later hand on the reverse.

Gouache, watercolor, graphite, applied and tooled gold foil on green laid paper.

Condition: Tack holes, deckled top and bottom edges.

389

Provenance: Sotheby’s London, February 11, 1995, Lot 399 (1 of 4); George Glazer Gallery, New York.

N.B. Alexander le Grand premiered with the Paris Opera Ballet on June 21, 1937, and was choreographed by Serge Lifar. $2,000-3,000

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390 Fernand (Joseph Henri) Léger (French, 1881-1955) Two Costume Designs from David Triomphant: Le percepteur, 1937, and Enfants, 1936 Both unsigned and titled in pencil within the composition l.c.; Percepteur inscribed “David Triomphant étude/G.308-18/G.A.-18 24,5 x 20” and Enfants inscribed “David Triomphant étude/24,5 x 20/G.A-2/G308-2” in pen on the reverse, Enfants identified on a label and with Sotheby’s labels affixed to the backing.

Graphite and gouache on paper, sheet sizes to 9 3/4 x 7 7/8 in. (24.8 x 20.0 cm), both framed.

Condition: Transparent and paper tape hinged to window mat, old transparent tape residue, minor toning, creases to margins, Percepteur with folded right and bottom margins.

Provenance: Sotheby’s London, Impressionist and Modern Art and Ceramics: including Set and Costume Designs by Fernand Léger from the Collection of Pierre Cardin, October 21, 1998, Sale LN8643, Lot 217. $2,000-3,000 390

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391

391 Portfolio of Eighteen Dance-related Letters and Memorabilia (1931-1971) Including Letters from Léonide Massine, Michel Fokine, Ted Shawn, Mary Wigman, and a Signed Photo of Loïe Fuller Various sizes and shapes, in a portfolio measuring 15 x 11 in.

Condition: Some with toning, most good. $200-300 392 Sol LeWitt (American, 1928-2007) Avery Fisher Hall, Lincoln Center for the Performing Arts, September 20, 1973, after Arcs, Circles & Grids, 1972 Unsigned, inscribed “Sol LeWitt Commissioned by Lincoln Center for the Performing Arts for List Art Posters-Lincoln Center” within the matrix l.r.

Silkscreen on paper, sheet size 81 3/4 x 40 in.

(207.6 x 101.6 cm), unframed.

Condition: Linen-backed, minor rubs/wear to image, minor soiling. $200-400 392

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393 Santo Loquasto (American, b. 1944) Costume Design for a Female Imperial from Push Comes to Shove, 1975 Signed and dated “Loquasto ‘75” l.r., titled and inscribed around the margins and with fabric swatches stapled to right margin.

Watercolor and pencil on paper, 11 x 6 5/8 in.

(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. $200-300 394 Kermit Love (American, 1916-2008) Two Designs for the Shepherdess from L’Enfant et les Sortilèges One signed and dated “Kermit Love/1980” l.r., the other unsigned.

Watercolor and pencil on paper, 14 x 8 1/2 in.

(35.2 x 21.5 cm), one matted, both unframed.

Condition: Soiling to edges, one with minor foxing.

393

Provenance: From the collection of Boris Kochno, acquired by Laurence-Anne François, then to the present owner.

N.B. Kermit Love, perhaps best known as the creator of Sesame Street characters Big Bird and Mr. Snuffleupagus, also worked with many renowned choreographers, including collaborating with George Balanchine for over forty years. In the 1970s Love created sets and costumes for Balanchine’s L’Enfant et les Sortilèges (The Spellbound Child), a one-act opera that tells the tale of a bratty boy who tears up his house and tortures his cat and squirrel, but is then taught lessons by objects that come to life. Kermit Love also created costumes and settings for the 1981 television production of the opera. $200-300

394

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395

396

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

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

Advertising Poster: Folies Bergère, La Loïe Fuller Inscribed “e charle lucas” within the matrix, published by F. Appel, Paris.

Lithograph on paper, 57 3/4 x 38 in. (146.8 x 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

Costume Design for Thou Swell Inscribed and signed “’Thou Swell’ NYCB [New York City Ballet] Julius Lumsden” in pencil l.l. and l.r.

Graphite, ink, and watercolor on paper, sight size 17 x 11 1/2 in. (43.2 x 29.2 cm), framed.

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

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397

397 Charles Maurin (French, 1856-1914) Portrait of Loïe Fuller Signed “Maurin” l.r.

Pastel and charcoal on paper, 24 3/8 x 15 1/2 in. (62.0 x 39.3 cm), matted, unframed.

Condition: Small tears and nicks to the sides of the sheet. $5,000-7,000

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398

398 Oliver Hilary Sambourne Messel (British, 1904-1978) Costume Design for The Sleeping Beauty, Act I, c. 1976 Signed “Oliver Messel” in pencil l.r.

Gouache, watercolor, and graphite on paper, sheet size 19 7/8 x 15 in. (50.5 x 38.1 cm), unframed.

Condition: Taped to window sheet, minor handling creases.

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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

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399

399 Jo Mielziner (American, 1901-1976) Five Costume Designs from Shadow of the Wind, c. 1948 Unsigned, ballet identified in a letter from Richard Stoddard, Performing Arts Books, New York.

Pencil and colored pencil on tracing paper, sheet sizes 11 x 9 3/4 in. (29.8 x 23.0 cm), unmatted, unframed.

Condition: Fragile, three with tears, one with loss to u.r. corner, all with creasing.

N.B. American Ballet Theatre, choreography

by Anthony Tudor, scenery, costumes, and lighting by Jo Mielziner, premiere: New York Metropolitan Opera House, April 14, 1948. The above referenced letter from Richard Stoddard, dated October 5, 1992, accompanies the lot. $1,500-2,000

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400 © Barbara Morgan, The Barbara Morgan Archive.

400 Barbara Morgan (American, 1900-1992) Martha Graham-Lamentation-(Double Image), 1935, a later printing.

Signed and inscribed “Barbara Morgan-1935” in pencil on the mat l.r., signed, inscribed, and stamped “...Barbara Morgan...

Archivally Printed-1976/B.B.M./COPYRIGHT PHOTO...120 High Point Road/Scarsdale, New York...BARBARA MORGAN...” on the backing.

Gelatin silver print, 10 1/4 x 13 1/2 in. (26.0 x 34.3 cm), matted, framed.

Condition: Not examined out of frame. $600-800 401 Barbara Morgan (American, 1900-1992) Martha Graham, American Document (“Puritan Love Duet” with Erick Hawkins), 1938 Stamped “...BARBARA MORGAN/HIGH POINT ROAD/SCARSDALE, NEW YORK, U.S.A.” and inscribed “Martha Graham...

American Document/episode-Puritan Love Duet” in pencil on the reverse.

Gelatin silver print, sheet size 9 1/2 x 7 1/2 in.

(24.1 x 19.1 cm), unframed.

Condition: Minor handling creases. $500-700

401 © Barbara Morgan, The Barbara Morgan Archive.

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402

403

402 American School, 20th Century

403 American School, 20th Century

Portrait of Martha Graham Unsigned.

Gelatin silver print, sight size 10 1/2 x 8 in.

(26.7 x 20.3 cm), framed.

Condition: Minor pencil retouch to Graham’s face. $200-300

Advertising Poster: Mummenschanz is not part of the King Tut exhibit!

Unsigned, with information from the Bijou Theatre (New York) l.c.

Color lithograph on paper, 81 1/2 x 41 1/2 in. (207.0 x 105.4 cm) in two joined sections, unmatted, unframed.

Condition: Creases, scattered abrasions, sheet is in two separate sections, joined and mounted to a linen support. $500-700

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404

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

405 Raoul Henri Pène Du Bois (American, 19121985)

Advertising Poster: Alcazar d’Été, La Belle Otero Signed “Pal” within the matrix, published by Caby & Chardin, Paris.

Lithograph on paper, 54 7/8 x 39 in. (139.3 x 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

Set Design for Haydn Concerto Signed “Raoul Pène du Bois” l.l., inscribed “N.Y. Dec. 1967” l.r.

Ink and gouache on paper, 10 1/2 x 14 1/2 in.

(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

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406 Eight Dance and Ballet Photographs: Including Willard van Dyke (American, 1906-1986), Performance by the Hanya Holm School of Dance, signed “Willard Van Dyke” in pencil on the mount l.r., inscribed “HANYA HOLM” in ballpoint pen on the mount reverse; George Platt Lynes (American, 1907-1955), Four Works: Three Scenes from Picnic at Tintagel, 1952, and Jerome Robbins in Balanchine’s Tyl Ulenspiegel, 1952, each with photographer’s stamp, two inscribed “Picnic at Tintagel/ballet by Frederick Ashton/photo March 1952” and “Jerome Robbins...” in pen and pencil on the reverse; Leo Salkin (American, 1913-1993), Three Works: Portraits of John Kriza, Kenneth Johnson, and Barbara Weisberger, each signed “leo salkin” in pencil on the mount l.r., with the photographer’s stamp and identified on the reverse.

All gelatin silver prints, sheet sizes to 13 5/8 x 10 1/2 in. (34.6 x 26.7 cm), all unframed.

Condition: Losses to mounts. $400-600

407 Twenty-five Dance and Ballet Photographs: Including Eugene Hutchinson (American, 1880-1957), Anna Pavlova in Profile, photographer’s stamp on the reverse; James Abbé (American, 1883-1973), Anna Pavlova, Théatre des Champs Élysées, Paris, 1927, stamped “PHOTOGRAPH BY / ABBE, PARIS.” on the reverse; Continental School, 20th Century, Five Portraits of Anna Pavlova, three stamped “Anna Pavlowa/The Incomparable...” on the reverse, one inscribed “Anna Pavlowa in ‘Don Quixote’ Spanish Ballet” in pencil on the reverse, one inscribed “Becker & Maas, Berlin W.9. phot” within the negative l.l.; Gordon Anthony (British, 19021989), Portrait of a Woman, photographer’s stamp on the reverse; Carl van Vechten (American, 1880-1964), Portrait of Vicente Escudero and Portrait of Nora Kaye, the former inscribed “photograph by Carl Van Vechten/February 1, 1933/IIc:13-” in red pen, the later with photographer’s blindstamp l.l. and stamp on the reverse; Marcus Blechman (American, 1922-2010), Portrait of Serge Soudeikine, signed “MBlechman” in pencil l.l.; Terry Stevenson (American, 20th/21st Century), Portrait of Merce Cunningham with Monitors, c. 1981, dedicated and autographed “To Lee...with very best wishes Merce Cunningham” in ink l.c.; Jack Mitchell (American, 20th/21st Century), Portrait of Jerome Robbins, c. 1965, inscribed “© JACK MITCHELL” within the negative, autographed “Jerome Robbins” in felt-tip pen l.r.; Emil Otto Hoppé (British, 1878-1972), Portrait of a Dancer in Orientalist Costume, signed “E.O.Hoppé” in pen l.r., inscribed “MILLAIS HOUSE./SOUTH KENSINGTON.” on the mount l.l.; Herman Mishkin (Russian/ American, 1870-1948), Portrait of Dancer Mira Nirska, inscribed “MISHKIN N.Y.” within the negative l.r., inscribed “Mira Nirska...” in pen on the reverse; Boris Lipnitzky (Ukrainian/Russian, 1897-1971), Three Portraits of Dancer Olga Spessivtseva, two signed “LIPTNITZKI/PARIS” in ink l.r., each stamped “STUDIO LIPTNITZKI...” and inscribed “...Spessivtzeva...” in pencil on the reverse; Maurice Seymour Studio (Russian/American, c. 1900-1993), Portrait of Paul Haakon, inscribed “Maurice Seymour/CHICAGO” within the negative l.l., autographed “Sincerely Paul Haakon/1936” in pen l.r.; American School, 20th Century, Snake Charmer, dedicated, signed, and inscribed “With the best greetings Harald & Lulu/Pal...Chicago 36” in pen l.r.; Nickolas Muray (Hungarian/American, 18921965), Portrait of Doris Humphrey and La Argentina (Antonia Merce), both with photographer’s stamp and inscribed in pencil on the reverse; Edwin F. Townsend (American, 1879-1948), Ruth St. Denis and Ted Shawn, signed “-Townsend-/N-Y-” l.r., photographer’s stamp on the reverse; American School, 20th Century, Portrait of Ted Shawn in Invocation to the Thunderbird, 1919, and Portrait of Ruth St. Denis and Ted Shawn at a Fountain, unsigned.

Mostly gelatin silver prints; sheet sizes to 13 1/2 x 10 3/4 in. (34.3 x 27.3 cm), all unframed.

Condition: Handling creases, wear to corners; Abbé and Hoppé with mirroring, Argentina with retouch. $500-700

405

406

407

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408 Thirty-three Dance and Ballet Photographs: Mostly Portraits of Dancers from the American Ballet Theatre, Diaghilev’s Ballet Russes, Ballet Russe de Monte Carlo, José Limón Dance Company, and New York City Ballet, including one dedicated and autographed “With best wishes...Erick Hawkins,” and an autograph by George Balanchine.

Mostly gelatin silver prints, sheet sizes to 11 x 14 in. (27.9 x 35.6 cm), all unframed.

Condition: Handling creases. $200-300 409 Teddy Piaz (French, 20th Century) Serge Lifar, c. 1929 Inscribed “Teddy PIAZ/PARIS” and “creation de CHAMPROSAY-editeur” within the matrix l.r. and l.l., respectively.

Chromolithograph, 63 x 47 in. (100.7 x 119.4 cm), unframed.

Condition: Mended tear, tears to edges, handling creases. $200-400

408

409

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410

410 Georges de Pogédaïeff (Russian, 18971971) Ballets Russes Signed “Georges A de Pogédaïeff” l.l., titled within the image.

Watercolor with gouache and pencil on paper, sight size 22 11/16 x 15 in. (57.5 x 38.0 cm), framed.

Condition: Minute losses to lettering, not examined out of frame.

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

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411 Seven Modern Dance Posters, Mostly Ted Shawn and Martha Graham: Major Felten (American 1904-1978), Shawn and His Dancers, 1931, inscribed “MAJOR FELTEN” within the matrix l.r., lithograph after a wood engraving; Constantin Alajalov (Russian/American, 1900-1987), Ted Shawn and His Men Dancers, c. 1935, inscribed “aLadjaLov” within the matrix c.r., text within the composition, lithograph and halftone screen on paper; Rose Cecil O’Neill (American, 1874-1944), Ruth St. Denis with Ted Shawn and the Denishawn Dancers, c. 1923, inscribed “O’Neill” within the matrix l.l. and l.r., photolithograph on paper; Four Martha Graham Dance Company and The Joyce Trisler Danscompany offset lithographs, Trisler dedicated “To Bob Bunting...Sincerely Klarna Pinska 1976” in ballpoint pen u.l.; sheet sizes to sheet size 37 x 39 in. (94.0 x 99.1 cm), all unframed.

Condition: Felten with creases, paper backed, Alajalov with tear to u.r quadrant; O’Neill with punctures, creases, soiling; the rest with minor handling creases and abrasions to edges. $200-300

411

412 Five Vintage Dance and Ballet Posters: Danish School, 20th Century, Hallo Argentina/Poster for Down Argentine Way, c. 1946, signed and inscribed “E. STRAND 46” within the matrix u.r. and “KJAERHANSEN & HOLM” within the matrix l.c.; After Georges Wakhevitch (French, 19071984), THÉATRE DES CHAMPS-ÉLYSÉES MAI-1950 BALLETS AMÉRICAINS DE RUTH PAGE ET BENTLEY STONE, signed and dated “WAKEVITCH 50” within the matrix l.l.; British School, 20th Century, Léonide Massine, inscribed “DESIGNED AND PRODUCED BY COLMAN, PRENTIS & VARLEY, LTD.” within the matrix l.r.; Lorenzo Homar (Puerto Rican, 19132004), BALLETS DE SAN JUAN MARIA TALLCHIEF Y FRANK OHMAN, signed “Homar” in pencil and within the matrix l.r., numbered “6/30” in pencil l.l., Argentina, Américains and Massine color lithographs on paper, Maria silkscreen on paper; Program Poster from the New York City Ballet Performance at the Biennale di Venezia, XVI Festivale Internazionale di Musica Contemporanea, 1953; sheet sizes to 33 1/4 x 24 in. (84.5 x 61.0 cm); one framed, four unframed.

Condition: Argentine with folding creases, puncture to l.r. quadrant, tack holes to corners, Américains linen-backed, Massine with folding creases, minor losses to top edge; Maria with toning, subtle rippling. $200-400

412

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413

413 Italian School, 20th Century Advertising Poster: The American National Ballet Theatre at the Esposizione Internazionale Agricoltura, 1953 Signed in the matrix “fratini/Studio Favalli� c.r., published by Vecchioni & Guadagno, Rome, June 1953.

Offset lithograph on paper, 77 1/2 x 54 in.

(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. $500-700 414 Fourteen Dance and Theater Posters: Including an Autographed Bill T. Jones/ Arnie Zane Dance Company Tenth Anniversary Poster, Two Posters from Robert Wilson/American Repertory Theater Productions, Three from the Dance Theatre of Harlem, and one from the Rothschild Collection of Russian Ballets by Diaghilev (Harvard Theatre Collection).

Sizes to 47 1/2 x 33 1/4 in. (120.7 x 84.5 cm), all unmatted and unframed.

Condition: Many with subtle handling creases, Giselle with tears to margins. $250-350

414

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415

416

415 Seventeen Miscellaneous Posters from the New York City Ballet and American Ballet Theatre, c. 1980-2000: Twelve NYC Ballet Posters, including A Festival of Jerome Robbins’ Ballets signed

by Jerome Robbins, four 1988, American Music Festival posters with contemporary art reproductions, and a 2001 poster featuring Helen Frankenthaler’s Solar Imp; Five ABT Posters, including a performance at the Vienna Staatsoper.

Sizes to 47 x 33 in. (119.4 x 83.8 cm), unmatted, unframed.

Condition: Many with subtle handing creases, some with minor corner creases, mostly good. $250-350

417

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418

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

417 Elba Louisa Riffle (American, 1905-1980)

Costume Design for a Gentleman Unsigned, inscribed in French within the composition.

Ink and watercolor on paper, sheet size 12 3/4 x 8 in. (32.4 x 20.3 cm), framed.

Condition: Subtle rippling, staining and foxing, backed to sheet.

Portrait of Ted Shawn Signed and dated “Elba Riffle/26” l.r.

Watercolor and pencil on paper, sight size 17 5/8 x 13 in. (44.7 x 33.0 cm), framed.

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

Provenance: Wheelock Whitney, New York.

Literature: Margaret M. McGowan, The Court Ballet of Louis XIII: A Collection of Working Designs for Costumes, 1615-33 (London: Victoria and Albert Museum, 1986), no. 120 (color illus.).

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

418 Nicholas Konstantinovich Roerich (Russian, 1874-1947) Scene with Three Figures in Costume from La Sacre du Printemps Initialed l.l., identified on a label from Cordier & Ekstrom, Inc., New York, affixed to the backing.

Gouache and ink on illustration board, sight size 16 1/8 x 15 in. (40.9 x 38.1 cm), framed.

Condition: Losses, tears, toning.

Provenance: Cordier & Ekstrom, New York.

Exhibitions: Cordier & Ekstrom, Nicholas Roerich, Decors and Costumes for Diaghilev’s Ballets Russes and Russian Operas, November to December 1974, illus. no. 4.

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

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419

419 Pierre Roy (French, 1880-1950) Set Design for Le Lion Amoureux Stamped “Pierre ROY” l.l., inscribed “No 97” on the u.r. corner of the reverse.

Ink, pencil, and watercolor on paper, 12 3/4 x 19 3/4 in. (32.5 x 50.1 cm), matted, unframed.

Condition: Vertical center fold crease, tear or abrasion to l.c., creases to lower corners, sheet with ragged top edge, affixed with tape to window mat.

N.B. Pierre Roy designed the sets for Le Lion Amoureux, presented during the 5th Season of Col. W. de Basil’s Ballets Russes de Monte Carlo at the Royal Opera House, Covent Garden, London, 1937. $300-500 420 Pierre Roy (French, 1880-1950) Costume Study for Le Lion Amoureux Unsigned.

Pencil on cream laid paper, overall sheet size 12 7/8 x 16 in. (32.8 x 40.4 cm), unmatted, unframed.

Condition: Sheet folded in half with drawing centered on the right half, small tear to u.r. edge, crease to u.l. corner, scattered foxing, handling creases, mild soiling.

420

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

421

421 Russian School, 20th Century Set Design for Anitra’s Dance for Henrik Ibsen’s Peer Gynt, Act IV Unsigned, inscribed “ANITRA’S DANCE-GRIEG” l.l.

Ink and gouache on paper, sheet size 11 3/8 x 8 1/2 in. (28.9 x 21.6 cm), framed.

Condition: Subtle rippling, toning, not examined out of frame. $200-250 422 Lomonosov Porcelain Manufactory, After Elena Yanson-Manizer (Russian, 18901971) Figure of Galina Ulanova Red printed factory mark.

White glazed porcelain, height 16 1/2 in. (42.0 cm).

Condition: Very minor surface grime to interstices. $2,000-3,000 422

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423 Albert Rutherston (British, 1881-1953) Costume Design No. 1 for Flore in Réveil de Flore, as performed by Pavlova, 1914 Signed and dated “Albert R. 1914” l.r., titled u.r., with fabrication notes to lower corners.

Watercolor and pencil on paper, 14 x 10 in.

(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. $100-200 424 David Salle (American, b. 1952) American Ballet Theatre Poster, Autographed by Mikhail Baryshnikov and David Salle, c. 1986 Inscribed “Design: David Salle/Anthony McCall Associates, New York” within the matrix u.r.

Offset lithograph on paper, sight size 23 5/8 x 32 3/4 in. (60.0 x 83.3 cm), framed.

Condition: Not examined out of frame.

423

N.B. The poster’s image shows costume sketches by David Salle for The Mollino Room, choreography by Karole Armitage, and bears a portrait sketch of Baryshnikov in the center. $100-150

424

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425 Yvonne Sassinot De Nesle (French, b. 1937) Costume Design for Phaéton in Les Plaisirs de l’Île enchantée for the Film Vatel, c. 2000 Signed “YSassinot de Nestle” l.r., inscribed “VATEL...Roland Joffé...Cocher du Char du Soleil...” within the matrix l.c.

Color pencil on black paper, sheet size 16 1/2 x 11 5/8 in. (41.9 x 29.5 cm), unframed.

Condition: Minor handling creases.

425

N.B. Period reproduction costumes for Les Plaisirs de l’Île enchantée as they might have been worn by King Louis XIV’s court ballet were among those designed by De Nesle for the film Vatel, based on the life of 17th century French chef François Vatel. $150-200 426 Toer van Schayk (Dutch, b. 1936) Costume Design for Monument for a Dead Boy, 1966 Signed, dated, and inscribed “DE SCHOOL JONGENS/Toer van Schayk ‘66/Like jellyfish on a beach, they soil the horizon” in pen l.r., also inscribed “Freddie doet het met Lena” u.l.

Ink and ink wash on paper, sheet size 17 1/8 x 20 in. (43.5 x 50.8 cm), unframed.

Condition: Mounted to Bristol board or similar, trimmed composition, toning, mat burn.

N.B. Dutch choreographer Rudi van Dantzig created the groundbreaking 1965 ballet Monument for a Dead Boy, which portrayed a young man struggling with his gay identity.

Van Schayk, van Dantzig’s longtime partner, served as choreographer, dancer, set designer, and muse. The work premiered with the Dutch National Ballet, and was performed internationally by many other companies, including American Ballet Theatre and the Boston Ballet. $400-600

426

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427

427 Irene Sharaff (American, 1910-1993) Sheet with Four Costume Designs for Mata Hari, c. 1967 Titled and signed “Mata Hari/Sharaff” l.c., inscribed “M.H./Ballet” u.l.

Gouache and ink on paper, sight size 14 1/2 x 21 1/2 in. (36.8 x 54.6 cm), framed.

Condition: Toning, not examined out of frame.

N.B. Producer David Merrick’s musical Mata Hari, with choreography by Jack Cole, directed by Vincente Minelli, scenery and lighting by Jo Mielziner, costumes by Irene Sharaff, had a disastrous opening at the National Theater in Washington, D.C., November 18, 1967. It closed before ever reaching New York. $2,000-3,000

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428

428 Irene Sharaff (American, 1910-1993) Costume Design for La Noce Signed and inscribed “Sharaff...Fumé...La Noce” in pen l.r.

Gouache and ink on Arches MBM paper, sheet size 15 x 11 in. (38.1 x 27.9 cm), unframed.

Condition: Tack holes to corners. $1,000-1,500

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429

429 Irene Sharaff (American, 1910-1993) Costume Design for Violette Verdy in Le Printemps Signed and dated “Sharaff 72.” l.r., identified in an inscription on the reverse.

Gouache, watercolor, and ink on paper, 14 7/8 x 11 in. (37.8 x 28.0 cm), unmatted, unframed.

Condition: Handling creases, mild soiling, cluster of small tack holes to u.c., toning and glue residue to reverse.

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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

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430

430 Sergei Yurievich Soudeikine (Russian, 1883-1946) Costume Design for Tatiana Riabouchinska as a Florentine Beauty in Paganini, Scene II, 1939 Fragmentary signature “Soud...” l.r., inscribed in Cyrillic within the composition, also inscribed on the reverse.

Gouache, ink, and graphite on vellum, sheet size 11 11/16 x 9 15/16 in. (29.7 x 25.2 cm), unframed.

Condition: Trimmed sheet, handling creases, tack holes.

Provenance: Collection of Tatiana Riabouchinska (Russian, 1917-2000).

N.B. Soudeikine designed the set and costumes for the ballet Paganini, which was a collaboration between choreographer Michel Fokine and composer Sergei Rachmaninoff in 1939. It was created for Colonel Wassily De Basil’s Ballet Russe de Monte Carlo, and set to Rachmaninoff’s 1934 work Rhapsody on a Theme of Paganini. The present work depicts Riabouchinska’s scene II solo. $800-1,200

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431 432

431 Eleven Photographs of Ruth St. Denis (American, 1879-1968) Views of the dancer in: The Yogi (two views); Light of Asia (1917); Cobra (1906-07), photograph by Alfred Ellis & Walery (act. 18991918); Radha, inscribed “To Mr. Clarkson from Ruth St. Denis” l.c.; Egypt photograph with cropped signature by Lou Goodale Bigelow (American, 1884-1968) l.r.; The Bronze Palace from Julnar of the Sea with the Denishawn Dancers, photograph by Adair Bros.; Miriam, Sister of Moses signed and dated “Macgregor/1919” in pencil l.r.; unknown role with Ted Shawn, photograph by Nickolas Muray (American, 1892-1965), autographed by both dancers; two photos in unknown roles, by White Studio, New York.

Various shapes and sizes to 14 x 11 in. (35.5 x 28.0 cm), some mounted to cardboard supports, all unframed.

Condition: Some with toning, handling creases, creases to corners, losses to cardboard mounts, Egypt with losses to u.l. and l.l. corners.

432 American School, 20th Century Poster: Ruth St. Denis as Kuan Yin Published by the H.C. Miner Litho Company, New York.

Color lithograph on paper, 77 1/4 x 39 3/8 in.

(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

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

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433

433 Théophile Alexandre Steinlen (French/ Swiss, 1859-1923) Le Rêve, 1890 Published by Imprimerie Gillot, Paris (Bargiel & Zagrodzki, 10; Crauzat, 529).

Inscribed “GILLOT, GRAV. IMP.” and “Steinlen” within the matrix l.l. and l.r.

Color lithograph on paper, sheet size 35 x 25 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

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434 Hugh Stevenson (British, 1910-1956) 434

Costume Design for Neptune the MysticThe Woman in The Planets, c. 1934 Signed “Hugh Stevenson” l.r., titled u.r., inscribed “chiffon” l.r.

Watercolor on paper, 30 x 21 1/2 in. (76.0 x 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. $1,200-1,800 435 Hugh Stevenson (British, 1910-1956) Costume Design for Anthony Tudor as Neptune in The Planets, c. 1934 Unsigned, inscribed “Neptune/Anthony” u.r. and “green tale [sic]/scales on tunic” u.l., identified in a pencil inscription on the reverse.

Pencil and watercolor on paper, 8 7/8 x 6 3/16 in. (22.5 x 15.5 cm), unmatted, unframed.

Condition: Toning, soiling to edges, handling creases, tape stains from old hinges at top of reverse.

N.B. This design was created for The Planets, choreographed by Anthony Tudor and produced by the Ballet Club of London, 1934, based on the orchestral suite by Gustav Holst.

The choreographer himself danced the role of Neptune. $1,000-1,500

435

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436

436 Soichi Sunami (Japanese/American, 18851971) Portrait of Martha Graham in Ekstasis, c.

1933 Blindstamped “SOICHI SUNAMI” l.r., dedicated and autographed “To Fred Harris/Martha Graham” in pen l.l., photographer’s stamp “...SOICHI SUNAMI/ PHOTOGRAPHER/10 E. 15th ST., NEW YORK” on the reverse.

Gelatin silver print, sheet size 7 3/8 x 9 1/4 in.

(18.7 x 23.5 cm), unframed.

Condition: Minor creases to corners, minor skinning with glue residue to the reverse. $700-900 437 After Soichi Sunami (Japanese/American, 1885-1971) Ruth St. Denis Inscribed in the matrix “Photo by Soichi Sunami” and “Hegeman Print, N.Y.” l.r.

Lithograph on paper, sight size 39 x 26 in.

(99.5 x 66.0 cm), framed.

Condition: Printing imperfections, not examined out of frame.

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

437

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438

438 Eve Swinstead-Smith (British, 20th Century) Costume Designs for Enigma Variations, 1940/A Double-sided Composition Unsigned, with construction annotations within the composition.

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

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439

439 Pavel Tchelitchew (Russian/American, 1898-1957) Group of Dancers in a Scene from L’Errante, 1935 Signed and dated “P Tchelitchew/NY 35” l.l., identified on a label on the frame backing.

Gouache and ink on paper, sight size 14 1/2 x 19 5/8 in. (36.8 x 50.0 cm), framed.

Condition: Repaired tear or crease to l.l. quadrant, minor surface losses at corners, not examined out of frame.

The School of American Ballet in early 1934 as well as a touring company, The American Ballet, in 1935. Errante was staged again

by Balanchine in 1935 for The American Ballet Ensemble at the Metropolitan Opera Company. The ballet retained the ethereal look of the original production, with some figures interpreted as shadows or “phantoms of the storm.”1 1. Les Ballets 1933 (Brighton, England: The Royal Pavilion Art Gallery & Museums, 1987), p. 70.

$1,500-2,000

N.B. The ballet L’Errante, or The Wanderer, with music by Franz Schubert (Wanderer-Fantasie, transcribed by Franz Liszt), orchestration by Charles Koechlin, choreography by George Balanchine, scenery and costumes by Pavel Tchelitchew, had its world premier in Paris with Les Ballets 1933, Théâtre des Champs-Élysées, June 10, 1933.

Later that year Balanchine came to New York at the invitation of Lincoln Kirstein and together they founded

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440

440 Pavel Tchelitchew (Russian/American, 1898-1957) Costume Designs for Saint Francis (Noblissima Visione), 1938 Unsigned, construction notes inscribed within the composition.

Gouache, watercolor, and graphite on illustration board, 15 x 20 1/2 in. (38.1 x 52.1 cm), unframed.

Condition: Minor handling smudges. $1,500-2,500 441 Pavel Tchelitchew (Russian/American, 1898-1957)

441

Set Design for Saint Francis (Noblissima Visione), 1938 Signed and dated “P. Tchelitchew 1938” l.r., inscribed “St. Francis I acts.” l.l., identified on a label from Michael Rosenfeld Gallery, New York, affixed to the backing.

Tempera and graphite on paper, 16 1/2 x 24 in. (41.9 x 61.0 cm), framed.

Condition: Small ink splatters and water stains, minor losses, craquelure, minor abrasions.

Provenance: Collection of Mr. Oliver Smith gifted to Mr. Richard D’Arcy, New York; Michael Rosenfeld Gallery, New York.

N.B. A copy of the purchase invoice from Michael Rosenfeld Gallery, dated September 6, 1995, accompanies the lot. $2,000-3,000

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442 Pavel Tchelitchew (Russian/American, 1898-1957) Costume Design for The Prince in Violin Concerto, 1942 Inscribed “III partie Mozart le Prince” u.c., numbered “12” l.r., identified on a label from Michael Rosenfeld Gallery, New York, on the frame backing.

Gouache and pencil on paper, 14 x 7 1/2 in.

(35.6 x 19.1 cm), in a double-sided frame.

Condition: Not examined out of frame, a separate sheet of sketches with notes on costume materials is included at the back of the double-sided frame.

Provenance: Acquired by the present owner on May 11, 1993 from Michael Rosenfeld Gallery, New York, from the exhibition Pavel Tchelitchew: Nature Transformed.

Literature: Pavel Tchelitchew: Nature Transformed, Michael Rosenfeld Gallery, New York, April 3–May 29, 1993, (exhibition catalog), illus. p. 28.

N.B. Set to Mozart’s Violin Concerto No. 5 (K. 219), the ballet Violin Concerto was choreographed by George Balanchine in 1942 for the Ballet of the Teatro Colón in Buenos Aires.

According to Donald Windham in his 1942 monograph, Tchelitchew, published in Dance Index, Vol. III, nos. 1, 2, January to February 1944, Concerto was one of two ballets (the other being Apollon Musagete) for which Tchelitchew created the decor before he “retired from the theater” and began a new direction in painting.

442

We wish to thank Erik LaPrade for his kind assistance with cataloging the lot. $1,000-1,500 443 Rouben Ter-Arutunian (American, 19201992) Set Design for Ballet Imperial, 1964 Initialed and dated “R. 1964” in ballpoint pen and titled and signed “Ballet Imperial R. TerAr...” l.r.

Ballpoint pen on paper, 10 x 13 1/4 in. (25.5 x 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

443

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444 Rouben Ter-Arutunian (American, 19201992) Costume Design for Edward Villella in Harlequinade, 1965 Signed and inscribed “R./Edward Villella/...N.Y. City Ballet. R. Ter A... 1965” l.c.

Watercolor on paper, 13 x 9 in. (33.2 x 22.8 cm), unmatted, unframed.

Condition: Subtle rippling and handling creases, unpressed creases to l.l. and u.r. corners, glue stains in corners of reverse which bleed through to the front.

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

444

N.B. Harlequinade, Ballet in Two Acts (1965): music by Riccardo Drigo, choreography by George Balanchine, scenery and costumes by Rouben Ter-Arutunian. Les millions d’Arlequin was originally created by the choreographer Marius Petipa and the composer Riccardo Drigo for the Imperial Ballet of St. Petersburg, Russia, in 1900. George Balanchine staged an important revival of the work in honor of its 65th anniversary for the New York City Ballet, premiering February 4, 1965, under the title Harlequinade. The leading dancers were Patricia McBride as Columbine, Edward Villella as Harlequin, Suki Schorer as Pierrette, and Deni Lamont as Pierrot. $1,000-1,500

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445 Rouben Ter-Arutunian (American, 19201992)

445

Pierrot/A Costume Design for Harlequinade, 1965 Inscribed, dated and signed “...”Harlequinade” N.Y. City Ballet 1965/ R. Ter-Arutunian.” l.c.

Ink and ink wash on paper, sheet size 12 3/8 x 6 7/8 in. (31.4 x 17.5 cm), framed.

Condition: Taped at corners to backing sheet.

Provenance: Sotheby’s New York, Arcade, Modern and Contemporary Paintings, Drawings and Sculpture, February 24, 1994, Sale 1459, Lot 148 (1 of 2). $800-1,200 446 Rouben Ter-Arutunian (American, 19201992) Costume Design for Peter Martins in Concerto in G Signed and inscribed “R./’Concerto in G’/New York City Ballet, Homage à Ravel/1975/R. TerAru.../For Genia/with love, Rouben.” l.c.

Mixed media on paper, sight size 14 x 6 1/2 in. (35.5 x 16.5 cm), framed.

Condition: Subtle rippling, toning, glue stain l.r. corner, not examined out of frame.

N.B. The ballet Concerto in G debuted May 15, 1975, at the New York City Ballet Ravel Festival at the New York State Theater at Lincoln Center. With choreography by Jerome Robbins to music by Maurice Ravel, the ballet featured dancers Peter Martins and Suzanne Farrell. The ballet was subsequently retitled In G Major. $300-500

446

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447 Marcel Vertès (Hungarian/French, 18951961) Costume Design for Michel Fokine’s Bluebeard, Ballet Theater, 1941 Signed “Vertes” in pencil l.l.

Gouache, ink, silver metallic paint, and graphite on illustration board, 12 1/8 x 9 in.

(30.8 x 22.9 cm), framed.

Condition: Toning, small losses to corners, minor rubs/abrasions, small indentation l.c. $300-500 448 Marcel Vertès (Hungarian, 1895-1961) Set Design for La belle Hélène, c. 1941 Signed “Vertès” u.r., inscribed “La Belle Hélène” l.l., inscribed “... de Sao Paulo” in 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

447

448

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449

449 Marcel Vertès (French, 1895-1961) Set for the Bedroom in La Belle Hélène Unsigned.

Gouache and watercolor on paper, 19 x 24 5/8 in. (48.0 x 62.7 cm), unframed.

Condition: Minor craquelure, toning, tapehinged to window mat at top edge of the reverse.

Provenance: Marina Henderson.

N.B. David Lichine choreographed La Belle Hélène for the Paris Opera Ballet in 1955. $3,000-5,000

Online bidding at www.skinnerinc.com

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450

450 Abraham Walkowitz (American, 1878-1965) Two Studies of Isadora Duncan Both signed “A. Walkowitz” in pen l.r.

Watercolor and ink on paper, sight sizes 6 3/4 x 2 1/2 in. (17.1 x 6.4 cm), within a common mat and frame.

Condition: Toning, mat burn.

N.B. A handwritten letter from Isadora Duncan is framed with the lot. $1,000-1,500 451 Abraham Walkowitz (American, 1878-1965) Sketch of Isadora Duncan Signed “A. Walkowitz” l.c.

Watercolor, ink, and charcoal on paper, 13 x 8 5/8 in. (33.0 x 21.5 cm), framed.

Condition: Crease to l.r. corner, subtle mat burn, taped to window mat along all four edges of the reverse. $800-1,200 451

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452

452 Andy Warhol (American, 1928-1987)

Literature: II.125, Feldman & Schellmann.

Merce Cunningham I, 1974 Signed and numbered “Andy Warhol 98/100� in pencil on the reverse.

Color screenprint, 30 x 20 in. (76.2 x 50.8 cm), framed.

Condition: Subtle rippling, creasing, areas of thinning to the paper, with an unknown mark to the top of the reverse, hinged to back mat at top edge of the reverse.

N.B. Published by Castelli Graphics and Multiples, Inc., New York, as part of the portfolio, Cunningham I, containing works by seven artists, sold to benefit the Merce Cunningham Dance Company. The screenprint at hand, printed by Alexander Heinrici, is based on a photograph by Richard Rutledge. $800-1,200

Online bidding at www.skinnerinc.com

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453

453 Miles White (American, 1914-2000) Costume Design for Child- Fall River Legend Signed “Miles White” l.l., titled l.r., with a label from Giraffics Gallery, East Hampton, New York, on the frame backing.

Ink and watercolor on paper, sight size 11 3/8 x 7 3/4 in. (29.0 x 19.7 cm), framed.

Condition: Subtle rippling, not examined out of frame.

N.B. As the name suggests, Fall River Legend was based on the life of Lizzie Borden.

Choreographed by Agnes de Mille, the ballet premiered at The American Ballet Theatre on April 22, 1948, featuring an original score

by Morton Gould, lighting design by Jean Rosenthal, and scenic design by Oliver Smith. $600-800

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454 Sixteen Photographs of Mary Wigman (German, 1886-1973) Fifteen Photographs by Charlotte Rudolph (German, 1896-1983) and One Autographed Photograph by Albert Renger-Patzsch (German, 1897-1966) Rudolph photographs with embossed stamp “CH.RUDOLPH/DRESDEN” l.l. or l.r., some stamped and/or annotated in pencil on the reverse, Renger-Patzsch photograph dedicated “To Miss Cassidy/Mary Wigman” u.l., stamped “RENGER-FOTO D.W.B./ ESSEN, GOETHESTR. 41” on the reverse.

Black-and-white photographs, sizes to 8 3/4 x 6 3/4 in. (22.2 x 17.1 cm), unframed.

Condition: Subtle toning, soiling, handling creases.

N.B. The lot is accompanied by nine pieces of ephemera relating to Mary Wigman. $800-1,200

Additional information and photos at www.skinnerinc.com

455 Robert Wilson (American, b. 1941) The CIVIL warS, Act V, Scene C, 1982 Signed and dated “Robert W... ‘82” in pencil l.r., identified on a label from Paula Cooper Gallery, New York, affixed to the backing.

Graphite on paper, sight size 7 1/4 x 21 1/2 in.

(18.4 x 54.6 cm), framed.

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

454

455

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Artist Index Abbé, James ...........................................407 Adair Bros. ..............................................431 Alajalov, Constantin .................................411 Alexander, Cris ........................................301 American School, 20th Century .......302, 303 ...................................... 370, 403, 407, 432 Anisfeld, Boris .........................................304 Annals, Michael .......................................305 Anthony, Gordon .....................................407 Armistead, Horace ..................................306 Bakst, Léon .....................................307, 308 Bakst, Léon (After) ...................................309 Barceló, Randy ................................ 310-313 Barrett, Betty Palash .......................314, 315 Beaton, Cecil ...........................................316 Beaurepaire, André .........................317, 318 Benois, Alexandre Nikolaevich ......... 321-326 Benois, Nikolai Alexandrovich .......... 327-329 Bérard, Christian, called Bébé .......330-331B Berman, Eugene Gustavovitch ........ 332-337 Bigelow, Lou Goodale .............................431 Bilinsky, Boris ..................................338, 339 Blechman, Marcus ..................................407 British School, 20th Century ....................412 Cagli, Corrado .........................................340 Chalon, Alfred Edward (After) ..................387 Chéret, Jules ...........................................341 Cocteau, Jean .................................342, 343 Continental School, 20th Century ............407 Cunningham, Merce ................................344 Cunningham, Merce (After) ......................346 Cunningham, Merce, and Dance Company .....................................345 Danish School, 20th Century ...................412 Davison, Robert .............................. 347-350 Delfau, André ..........................................351 Derain, André ..........................................352 Dobuzhinski, Mstislav Valerianovich .353-356 Dunkel, Eugene Borisovich ......................357 Ellis, Alfred & Walery ................................431 Erté .................................................360, 361 Falk, Benjamin Joseph ............................362 Farmer, Peter ..........................................363 Felten, Major ...........................................411 Fini, Leonor .............................................364 Frowick, Roy Halston ..............................371 Ganeau, François ....................................365 Genthe, Arnold ........................................366 Goncharova, Natalia Sergeevna ......368, 369 Goncharova, Natalia Sergeevna (After) ....367 Halston [Roy Halston Frowick] .................371 Heckroth, Hein ................................ 372-374 Hoffman, Malvina Cornell .................375, 376 Homar, Lorenzo ......................................412 Hoppé, Emil Otto ....................................407 Hugo, Jean .............................................377 Hugo, Valentine J. (After) .........................378 Hutchinson, Eugene ................................407

Italian School, 20th Century ....................413 Junyer, Joan ...........................................379 Kemp, Lindsay ........................................380 Keogh, Tom .................................... 381-385 Kreutzberg, Harald ..................................386 Lane, Richard James ..............................387 Larionov, Mikhail ......................................388 Larthe, Paul-René ...................................389 Léger, Fernand (Joseph Henri) ................390 LeWitt, Sol ...............................................392 Lomonosov Porcelain Manufactory .........422 Loquasto, Santo ......................................393 Love, Kermit ............................................394 Lucas, E. Charle(s) ..................................395 Lumsden, Julius ......................................396 Lynes, George Platt .................................406

Van Dyke, Willard ....................................406 Van Vechten, Carl ...........................370, 407 Vertès, Marcel ................................. 447-449 Walkowitz, Abraham ........................450, 451 Warhol, Andy ...........................................452 White Studio ............................................431 White, Miles .............................................453 Wilson, Robert .........................................455 Yanson-Manizer, Elena (After) ..................422 Ephemera–Photographs ..................303, 370 ........................................ 406-408, 431, 454 Ephemera–Posters ..... 345, 403, 411-415, 432 Ephemera–Programs, Souvenir Books, and Memorabilia .................... 346, 358, 359, 391

Maurin, Charles .......................................397 Messel, Oliver Hilary Sambourne .............398 Mielziner, Jo ............................................399 Mishkin, Herman .....................................407 Mitchell, Jack ..........................................407 Morgan, Barbara .................... 370, 400, 401 Morgan, Barbara (Attributed to) ...............402 Moss Photo .............................................370 Muray, Nickolas ...............................407, 431 O’Neill, Rose Cecil ...................................411 Paléologue, Jean de, called Pal ...............404 Piaz, Teddy .............................................409 Pogedaieff, Georges de ...........................410 Pène Du Bois, Raoul Henri ......................405 Rabel, Daniel (Studio of) ..........................416 Renger-Patzsch, Albert ...........................454 Riffle, Elba Louisa ....................................417 Roerich, Nicholas Konstantinovich ..........418 Roy, Pierre ......................................419, 420 Rudolph, Charlotte ..................................454 Russian School, 20th Century .................421 Rutherston, Albert ...................................423 Salkin, Leo ..............................................406 Salle, David .............................................424 Sassinot De Nesle, Yvonne .....................425 Schayk, Toer van ....................................426 Seymour Studio, Maurice ........................407 Sharaff, Irene ................................... 427-429 Soudeikine, Sergei Yurievich ...................430 Steinlen, Théophile Alexandre ..................433 Stevenson, Hugh .............................434, 435 Stevenson, Terry .....................................407 Sunami, Soichi ........................................436 Sunami, Soichi (After) ..............................437 Swinstead-Smith, Eve .............................438 Swope, Martha ........................................370 Tchelitchew, Pavel ........................... 439-442 Ter-Arutunian, Rouben .................... 443-446 de Tirtoff, Romain ............................360, 361 Townsend, Edwin F. ................................407

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Conditions of Sale 1. Some of the lots in this sale are offered subject to a reserve. The reserve is a confidential minimum price agreed upon by the consignor and Skinner, Inc. below which the lot will not be sold. In most cases, the reserve will be set below the estimated range, but in no case will it exceed the estimates listed. A representative of 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.

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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.

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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

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Upcoming Auction American & European Works of Art

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

February 7, 2014, Boston, MA Consignment Deadline: November 15th, 2013 For more information, please contact the American & European Works of Art department at 508.970.3206, or email paintings@skinnerinc.com or prints@skinnerinc.com