Costume design for Nijinsky in Narcisse for Diaghilev enterprise, 1911. Lithograph (silkscreen) heightened with gold paint 21x 15 inches (53x40 cm). In original Italian Art Nouveau frame with ormolu mounts at the corners. For another copy see: Sotheby’s Russian Sale, 7 October 1998 lot 135, ill. The silkscreen was published circa 1924 possibly in Baltimore when Bakst was staying with the Garrets while designing the interior of the Evergreen Theatre. The size of the edition is not known, but from the scarcity of this lithograph it is assumed to be small. Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog).
Costume design for Don Kaspar in “Don Juan Refute”. Watercolor, ink on paper. Signed lower left . Exhibited(labels on the back): Leon Bakst, Davis&Long Company, catalogue#3, New York,1977; Bakst, McNay Art Institute, San Antonio, Texas, catalogue #3, 1977; “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog). Provenance: collection S. Rafalovitch, Sotheby’s Park Bernet, Monaco, 26.06.76, lot 706, NY,12.06.1981, lot 22, 8 x 6. In original art nouveau Austrian ebonized hand-carved frame with an ormolu mount, brocaded mat and a maker label“ C. Buhlmayer, Wien” on the back
Costume design for Vaclav Nijinsky in La Peri in Diaghilev enterprise, 1911. Pencil,watercolor, silver paint on Arches (watermarked) paper. Signed and dated lower right, 13 x8.25" (33x21 cm). Bears a rhombic stamp of the one time owner SADM – San Jose Art and Design Museum. Provenance: SADM. Original version (with some additional details) of the enlarged (doubled in size) drawing in Metropolitan Museum. The final version is reproduced in almost every book about Bakst or Nijinsky. It was Bakst’s usual practice to implement a smaller initial study of the costume (on sheets of paper 33x21 cm in 1909-1912) and later to produce an enlarged copy of the same costume (with minor differences sometimes). See for example lot 39 Sotheby’s 28 October 1982, London. Our original version of the drawing have been reproduced on 1911 cover of the Diaghilev ballet program – see for example “Collection des plus beaux numeros de Commedia Illustre et des programmes consacres aux Ballets & Galas Russes depuis le debut a Paris 1909- 1921” M. De Brunoff, Paris, 1922. In original 17th century hand carved, painted with flowers and gilded Spanish cassetta frame. Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog and on its cover).
Costume design for Brigands in “Daphnis and Chloe”. 1912, gouache, silver and gold paint on paper, laid on cardboard. Signed lower right, inscribed with multiple instructions to costume maker. 11 x 10". Provenance: Family of the artist, Paris; Sotheby's, London 15.12.1977, lot 24B. Reproduced in "Leon Bakst" by Alexander Schouvaloff, London,1991 p.133. Exhibited: An Exhibition of Designs for the Russian Ballet, Julian Barran, London 1994 cat. No 14(illustrated); “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog) This design was also used for Mr. Desjardins as Menelaus in "Helene de Sparte" for Ida Rubinstein enterprise. In original French Gothic revival hand carved parcel gilt and polychromed frame.
Female nude. Study for painting "Dream", . Pencil on paper, laid on board. Signed lower left Provenance: Sotheby’s London,16.06.1994, lot 8 . 11 x 21" . Reproduced in "Lev Bakst", Moscow, Izobrazitelnoe iskusstvo,1992, p. 28 ill. 23. In original Italian Sansovino hand-carved XVII century frame
Set design for "Boris Godunov" Diaghilev enterprise, - "Granovitaia Palata" in Kremlin with F. Chaliapin seated as Tsar Boris at the front view, signed and dated 1910 lower left. Gouache and gold paint on paper laid down on cardboard. 15 x 25". Reproduced in "Bakst Leon and the Ballets Russes" by Charles Spencer, Academy Editions 1995. p. 136 ill. 204.Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog).Provenance Christies London sale 06/27/1997 In original art nouveau silvered copper frame (Sotheby’s Billingshurst, 27/03/2001, lot 12, $1000, dated 1914, has frame maker Ch. Darre, Paris, label on the back)
Costume design for three dancers “Polonaise” in Boris Godunov, Diaghilev enterprise,1910, Gouache and gold paint on paper laid down on cardboard. 15 x 10 inches unframed, 16x21 framed.. Signed low right. Reproduced in "Commedia Illustre- Boris Godunov" Provenance: Sotheby’s London, sale March 13 1980, lot 46 (illustrated in the catalog); Sale : "L02141"*, Russian Pictures London 20/11/2002, lot174 (illustrated in the catalog) [ Bakst desisigned costumes and decor for scene IV, Polish scene of the opera, which Diagilev presented at the Theatre des Champs-Elysees, Paris, in 1913. The other costumes and decors were desined by Konstantin Juon].
Conte Crayon drawing of Ida Rubinstein lower torso, 1915, 18x11” Provenance: given to Sergei Diaghilev by Leon Bakst but returned back to him after relationships between Ida and Diaghilev deteriorated. A noted collector of Russian art I. S. Gourvitch bought it at Sothebys London sale 6/21/73 and in turn sold it to a previous owner. [Conté crayons, are a drawing medium composed of compressed powdered graphite or charcoal mixed with a wax or clay base]
Archer (costume design for "Salomé"). Watercolor on handmade paper. Signed and dated "1912" in the lower right hand corner and "Salome" on the upper left. Sheet size: 51.5 x 36.3 cm. Provenance: lot 1237 sale 4.11.2016 Nosbüsch & Stucke GmbH Berlin The Metropolitain Museum has a similar draft design for an Egyptian slave from the same year (2015.787.15) - shown for comparison to the right
L. BAKST. Set design for Scheherazade (Scheherezade bedroom), Diaghilev enterprise, 1910, Gouache on paper signed and dated low left h: 63 w: 74 cm Exhibited: Russian Painting and Sculpture. Brooklyn Museum 1923 #19 Compare designs for other movements: Charles Spencer “Leon Bakst and the Ballets Russes”, Academy Editions 1995 p.80 ill 121; Irina Proujan, "Bakst, Théâtre, Ballets, Décors, Costumes", éditions d'Art Aurora, Léningrad, 1986, plate 24.
Costume design of a young Beothian in “Narcisse” for Diaghilev enterprise, 1911, pencil, watercolor and metallic paint on paper. 10 x 15 inches. Signed and dated l/r: Bakst 1911. Provenance: Andre Bakst, reverse stamped: G Rasamatt. Another quite different variant of the costume is published in BAKST Leon and the Ballets Russes by Charles Spencer. Academy Editions 1995 on p. 98 ill 151.
Negro Slave Boy. Costume design for Ballet "Cleopatra" in Diaghilev enterprise. 1909. Watercolor, gouache, silver paint and pencil on UCA Frames paper (watermarked) laid on board. Signed in pencil up right, one more time low centre and stamped with signature lower left. Provenance: Sotheby's, 06.05.70, lot 6; Parmenia Migel Ekstrom Collection. Exhibited (labels on the reverse): Stravinsky and Diaghilev, Cordier and Ekstrom Gallery cat no6, illustrated, New York 1973; The Fine Art Society Centenary 1876-1976, London- Edinburgh, catalogue no 23, 1976; Leon Bakst, Davis&Long Company, catalogue#9, New York, 1977; Bakst, McNay Art Institute, San Antonio, Texas, catalogue #23, 1977; An Exhibition of Designs for the Russian Ballet, Julian Barran, London 1994 cat. No 7(illustrated), Diaghilev –Creator of the Ballet Russe, Barbican Art Gallery, London, cat no 103a 1996; “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog). 17 x 11". In original Aesthetic Movement French hand carved and gesso white gilded frame modeled as a crane flying past water lilies by Paris frame maker A. Barillon (label on the back) – probably chosen by the artist (Boy’s hands on the drawing are imitating the line of the crane’s neck on the frame)
Costume design for a Spear Carrier in "Cleopatre" in Diaghilev enterprise. Signed and dated 1912. Pencil, watercolor, silver and gold paint on paper. 11 x 6". Inscribed “N143 Cleopatre” on reverse and bears stamp “G. Rasamatt depositaire Exclusif des oeuvres de Leon Bakst”. Provenance: Julian Barran Gallery London. Exhibited: An Exhibition of Designs for the Russian Ballet, Julian Barran, London 1994 cat. No 9(illustrated) In original art nouveau frame with brocaded mat. This design may have been executed at the time of the original production, 1909, and then signed at a later date (1912). Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog).
Japanese costume for Gertrude Vanderbilt-Whitney (1875-1942, founded the Whitney Museum). Watercolor on paper. Inscribed by Bakst “Gertrude Jappa(nese)” in pencil upper right, signed “Bakst” in red ink and inscribed “Leon Bakst” by other hand in pencil on the back, 11x8.5”. “In 1913 Gertrude Vanderbilt Whitney commissioned from Bakst an ensemble consisted of a flared tunic and hare trousers. She also commissioned a portrait of herself by Robert Henri in 1916 that is now in Whitney Museum, showing her reclining on a sofa like an odalisque.” [Orientalism in America, 1870-1930. Mint Museum of Art, Charlotte, N.C., 2001]. John Singer Sargent also executed Gertrude portrait in that costume in 1914 (now in Whitney Museum). Authenticity of the drawing confirmed by the curator of Whitney Museum Ms. Stephanie Schumann 09.20.2004. In American, beginning of 20th century, Arts & Crafts, hand carved and gilded cassetta style Foster Bros frame, label on verso.
Costume design for Karsavina in a title role of “L'Oiseau de Feu”, Diaghilev enterprise, 1910 (an initial variant of the costume with significant color and composition difference in comparison with a well known published one). Pencil, watercolor and gold paint on paper, 10x13 inches, signed low right. Provenance: Collection of Serge Lifar (personal stamp up right), bought by the previous owner at one of the French auctions at Rue Druout, Paris. In XVIIIth century original Italian marquetry mother of pearl, silver and ivory inlaid frame with stepped sight, eared corners, leafs, flowers, berries and dragonflies to the frieze, antique hunting scene and theatrical mask at the center.
Costume design: Prince Cendrillon, Diaghilev enterprise,1921, 5 act, Costume in White Velvet. pencil, watercolor and metallic paint on laid paper. 11 x 9 inches. Signed and dated l/r: Bakst 1921. Note: Reverse of mat stamped: G Rasamatt. Artist notes of costume colors verso. Compare: a pair for that costume (Cendrillon herself) was sold at Sotheby’s London 20 May 2005, lot 113.
Costume design for Aladdin in Scheherazade, Diaghilev enterprise, 1910, music by Rimski-Korsakov, w/c, signed
low left, 10x6 inches, numbered 47 on the label attached in the front. Provenance: Collection Serge Lifar (stamped by his personal seal up right – the seal is reproduced, for example, in Sotheby’s Ballet Material and Manuscripts from the Serge Lifar Collection, London 5.9.84 lot66), BLANCHET &Associes, Paris, 26. 1. 2005, Arts & Spectacle Ballets Russes Lot 60A.
Exhibited: “A World of Stage”, April- October 2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog).
L.BAKST Statue of Hippolyte, draft of an accessory for the tragedy “ Phaedre”, in Theatre Nationale d”Opera by D’Annunzio, music by I. Pizzetti,with Ida Rubinstein as Phedra, 1923 (Paris Grand Opera premiered 8.08. 1923). Watercolor and pencil on paper, stamped with signature low right, 9,5x13 inches, inscribed in Bakst handwriting with instructions to a costumer: “If necessary it is possible to make a “hero” even taller by enlarging the height of the cells” (additionally to the cells printed on paper the artist has added a system of cells in pencil). Illustrated (with a comment – is kept in an abroad private collection ) in “Lev BAKST”, text by S. Golynets, Izobrazitelnoe Iskusstvo, Moscow, 1991, p.47 ill 44. Provenance: Christie’s, New York 09 August 2005 Sale No: 1543 lot 138. In original Austrian secession hand carved and greenish blackened frame with cluster reeded sides and blossom filled meandering in the bottom (provenance for the frame: Dorotheum, Vienna, sale November 2, 2005, lot 673). Enclosed: an original program for the premiere with the costume for Hippolyte by Bakst bearing same elements as the statue illustrated.
Two drafts of pochoir(stencil)s for costume designs in “Sleeping Princess”, Diaghilev enterprise, 1921. Ink on translucent paper 7x10 and 6x10 inches (in one frame), one signed and dated low left, both inscribed with the names of personages in Bakst handwriting. Executed for “Commedia Illustre”
Provenance: Mr&Mrs George Blumenthal (former Director Of Metropolitan Museum of Art)- stamp on the back.
Costume design after BAKST. Karl Ens (1898-1972) Volkstedt (Germany) porcelain figure of Tamara Karsavina and Vaclav Nijinsky in "Carnival". Based on a lithograph by Ludwig Kainer, published in his portfolio Russisches Ballett, Leipzig, Wolff, 1913. Some small defects. H = 11" Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog).
(Costume design after BAKST). Porcelain figure of Karsavina in "Scheherazade". Bears marks of Leningrad Lomonosov porcelain factory date 1922 and number 50/21. Form by D. Ivanov. H = 9" Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog). Compare: Sotheby’s Russian works of Art, London 12 June 2008 lot734
Nijinsky in “Carnival”
Karlsruhe Majolika by Fritz Behn 1912
Dancer Nijinsky Fritz Behn (Draft) 1912 Majolica Factory Karlsruhe (execution), stands on a circular base, the figure of the famous Russian dancer Nijinsky Waclaw cross-legged in an elegant pose in the role of Harlequin from the ballet Carnaval, with back-laid head, arms raised facing to the left, bright shards, eggshell-colored background, costume, cap and shoes in blue, painted red and green, colorless, craquelierte lead glaze. Bottom base with cast manufactory mark and Num, blue painted ligated, unspecified identifiable painters monogram, H 48,5 cm Ref: Karlsruhe Majolica 1901-2001 100 Years of Art Ceramics 20th Century, Monika Bach Mayer / Peter Schmitt, page 27; Karlsruhe Majolica, Baden State Museum Karlsruhe Palace, Exhibition 1979, Figure 20; Karlsruhe Majolica, guide through the museum in the Majolica Factory, Figure 32; Art Nouveau, Irmela Franzke, S. 48, Figure F 26
Costume design after BAKST. Porcelain figure of Karsavina in "Fire-Bird". Bears marks of Leningrad Lomonosov porcelain factory date 1922 and number 52/11. Form by D. Ivanov. H = 9" Provenance: Sotheby’s. Dance, Theater, Opera, Music Hall and Film. New York, 21.11.1984. lot 191 Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog). . Illustrated in: THE BALLETS RUSSES AND THE ART OF DESIGN Editors: Alston Purvis, Peter Rand, Anna Winestein, The Monacelli Press, Random House, 2009, p. 117.
JAR-PTITZA [THE FIRE-BIRD]
Jar-Ptitza. Russische Monatsschrift für Kunst und Literatur [Firebird. A Monthly Russian Art and Literary Journal], nos. 1-14 in 13 (issues 4 and 5 combined), text predominantly cyrillic, plates and illustrations throughout, including tipped-in colour plates with printed captions, advertisements, early cloth, publisher's stiff colour pictorial wrappers , [Fekula 5742], folio, Berlin, Dr. Selle & Co., 1921-1926 Overall in very good to excellent condition, light handling wear, consistent with age but colors are bright and bold with little or no fading. Original illustrated wrappers (spines expertly repaired, some light soiling and light wear); together in a custom-made case. ## 8,14 might be acquired separately for $500 each. FOR MORE DETAILS CLICK HERE
OMPLETE SET of Jar-Ptitsa, or 'The Firebird', "perhaps the most famous of post-revolutionary art journals, whose contributors threw new light on the development of Russian art at the beginning of the twentieth century" (Fekula). Compiled by Russian émigrés in Berlin (hence the appearance of some German text) notable contributors included Bakst, Diaghilev, Benois, Grigor'ev, Goncharova, Bilibin, Somov, Makovskii, Shukaev, Lukomskii, and all the members of Mir Iskusstva (World of Art group).
DIAGHILEV ENTERPRISE / BALLETS RUSSES - Maurice & Jacques de BRUNOFF (publishers). Collection des plus beaux numéros de Comoedia Illustré et des Programmes consacrés aux Ballets & Galas Russes depuis le début à Paris 1909-1921. Paris: M. de Brunoff, . Large 4to (330 x 255 mm). Paris, (1909-21). Folio. Silk over bevelled boards. Front board with a splendid large inset color lithographic illustration (from "The Firebird" by Natalia Gontcharova). Profusely illustrated in colour (some pochoir) and in black/white throughout. A very nice copy of this magnificent book. Content: 4 pp., being title-page and note from the editors +1909: 2 pp. introduction + 1909 Saison Russe - Opera et Ballet: 10 pp., including a cover illustration by Bakst +1910: 3 pp. introduction + cover illustration of Comoedia Illustré no. 18 (June 15, 1910) with portrait of Catherine Gheltzer + Comoedia Illustré special issue - supplement to no. 18: 14 pp., including two cover illustrations by Bakst +1911: 2 pp. introduction + Programme Officiel des Ballets Russes. Théâtre du Châtelet. June 1911: the extra gold embellished transparent paper covers + 34 pp., including cover illustration by Bakst (Nijinsky in La Péri) and another eight illustrations by Bakst (costume designs for Narcisse and Dieu Bleu and stage design for Narcisse) + 10 pp. from the sixth season of the Ballets Russes at Chatelet, with costumes by Jean Cocteau + 10 pp. on "Petrouchka" and "Schérezade" + "Le Carnaval" + 1 leaf of text introducing "Le Martyre de Saint Sébastien": 12 pp. from Comoedia Illutré devoted to this, including a cover illustration by Bakst (showing Ida Rubinstein as St. Sebastien) +1912: 2 pp. introduction + Comoedia Illustré 7th season: 16 pp. devoted mainly to "Dieu Bleu" and "Daphnis et Chloé", including cover illustration by Bakst and a further five illustrations by Bakst (costume designs, decor and scene) + 5 pp. from Comoedia Illustré on "Le Dieu Bleu" + 1 p. being the illustrated cover for the June 1912 special issue of Comoedia Illustré, showing Karsavina and Bolm in Thamar (costumes by Bakst) + 8 pp. on "Thamar", "Petrouchka", and "Scherezade", including the 4 pp. spread on "Scherezade" which contains illustrations of Bakst's nine costumes + two covers mounted back-to-back from the special issue of the seventh season of the Ballets Russes, showing Bakst's illustration of Nijinsky in "L'Après-Midi d'un Faune" + 8 pp. on "L'Apres Midi di Faune" + 10 pp. from Comoedia Illustré on "Le Carnaval", "Daphnis et Chloé" + 2 pp. ("title-page" for Ida Rubinstein in "Hélène de Sparte" and Salomé) + special issue on "Hélène de Sparte": 16 pp., including cover illustration by Bakst (of Ida Rubinsein as Helen) and a further five costume and scenic designs by Bakst + 6 pp. from Comoedia Illustré on Helen of Sparta + 4 pp. from Comoedia Illustré on Oscar Wilde's "Salomé" + 20 pp. including illustrations by Bakst for "Boris Godounoff", text on and illustrations for "Jeux", "Sacre du Printemps", "Kowanchina", and "Daphnis et Chloé" +1913: 2 pp. introduction + Eigth Season of Ballets Russes: 6 pp., including cover illustration of Schollar, Nijinsky, and Karsavina in "Jeux" by Valentine Gross + 1 p. ("title-page" for Ida Rubinstein in "La Pisanelle ou la Mort Parfumée" with costumes by Bakst + Comoedia Illustré No. 18, June 1913: 17 pp., including cover illustration of Ida Rubinstein in "La Pisanelle, in couture by Worth, decor by Bakst, etc. +1914: 2 pp. introduction + 28 pp. on the Ballets Russes 1914-season, including a full-page illustration of Kousnetzoff in costume by Bakst, , costume designs for "La Légende de Joseph" by Bakst, and a two-page costume-spread for "Rossignol" by Benois + 2 pp. on "Le Rossignol" by Maurice Ravel" + 4 pp. from Ballets Russes on "Le Coq d'Or" + 2 pp. on "Les Ballets Russes de Serge de Diaghilew" by Calvocoressi + 1915: 1 p. introduction +1917: 1 p. introduction + the special issue of "programme des Ballets Russes", 1917: 26 pp (cover by Picasso); programmes 1920 ("Tricorne") and 1921 ("Le Chout")
Title and text printed in green, illustrated with numerous examples of 13 actual programmes, or part programmes, some cut down and mounted, including colored plates, illustrations or designs after Goncharova, Larionov, Bakst, Picasso, Matisse, Massine, Sert and Derain. Original light green silk over bevelled boards, the upper cover with a varnished color-printed inset panel with the title and an illustrative design after Goncharova,color stenciled endpapers. Selection of reprinted special issues with supplements of the theatrical periodical Comoedia illustré. With graphics by Léon Bakst, André Derain, Natalya Goncharova, Mikhael Larionov, Henri Matisse, Léonide Massine, Pablo Picasso, José Maria Sert, and others. The text includes “Note des éditeurs” that introduces the selection and introductory text on each season by Valerian Svietlov or Jean Bernier. The seasons covered are: 1909 (4th season), 1910 (5th), 1911 (6th), 1912 (7th), 1913 (8th), 1914 (9th), 1915 (limited season, the 10th), no season 1916, 1917 (11th), no season 1918, 1919/1920 (12th), 1920 (13th), 1921 (14th). Comoedia illustré was a theatrical monthly that was published in Paris between 1908 and 1921; it suspended publication (except for special issues or supplements) between September 1914 and October 1919. At the beginning of 1922, Comoedia illustré merged with Le Théâtre (1898- 1921) to become Le Théâtre et comoedia illustré (1922-1926). It often devoted whole special issues or supplements to the annual Paris season of Serge Diaghilev’s Ballets Russes and Ida Rubinstein’s Galas Russes.
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Four porcelain plates with costume designs by Bakst for different Diaghilev events. Each bears marks of pre-Revolutionary Kuznetsov Porcelain factory, Leningrad Lomonosov porcelain factory and inscription “After drawing by L. Bakst” Size: 25-47cm.