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signed ‘Nicolas Benois’ (along lower edge), inscribed in pencil on reverse ‘L’Assedio di Corinto La Scala’, signed again NicBenois watercolour heightened with silver and gold paint on paper 32.8 x 50 cm Provenance: Estate of the artist Descendants of the Benois family Acquired from the above by the present owner

signed ‘N. Gontcharowa’(along the upper edge of the central panel) watercolour, gouache, and pencil on cardboard 54 x 18.5 cm (each) 1914 Provenance: Anonymous sale; Sotheby’s, London, 5 April 1990, lot 162; with Thos. Agnew and Sons Ltd., London, nos. 32153-5 (labels on the reverse of the backboard); Property of a European Lady of Title; Christie’s, London, 3 December 2009, lot 20; Acquired at the above sale by the present owner Before World War I, Natalia Goncharova was invited by Sergei Diaghilev to create sets and costumes for the opera-ballet The Golden Cockerel (staged by Mikhail Fokin for Diaghilev’s Russian Ballet company based on the opera by Nikolai Rimsky-Korsakov). The opera-ballet premiered in Paris and London in 1914. Goncharova’s fresh approach to popular Russian art, her familiarity with contemporary French painting, and her sense of humor allowed the artist to become an intermediary between the Russian avant-garde and Western art. Nikolai Rimsky-Korsakov’s opera, based on Alexander Pushkin’s fairy tale and political satire The Golden Cockerel, inspired Goncharova to create colorful sets that established her as a leading artist and set designer. Her success paved the way for further collaborations between the Russian Ballet and such artists as Mikhail Larionov, Pablo Picasso and Henri Matisse. All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

(The Christian Soldier, The Peasant Woman, The Captive...) signed (lower right), inscription gouache, graphite on paper circa 41.5 x 28.5 cm (each) Georges Wakhevitch was a French stage designer, painter, theater and film designer. He was born in Odessa, and in 1921 he emigrated with his family to France. He graduated from the National School of Decorative Arts in Paris. In 1924, at the age of seventeen, he exhibited for the first time at the Autumn Salon. Since 1924 he worked at film studios and created costumes and decorations for more than 150 films of famous film directors; in 1927 he started his career as a theater designer, and later, participated in the creation of ballet performances. Wakhevitch’s sketches are notable for their sharp, nuanced drawing, contrasting and saturated colors, giving rise to a special, characteristic for him, expression. Provenance: Private collection, acquired from the artist by a relative of the present owner

oil and pencil on panel 58 x 78.5 cm Literature: E. Lingenauber, O. Sugrobova-Roth, Boris Anisfeld. Catalogue Raisonné, Düsseldorf, Edition Libertars, 2011, P. 235, T 462, Illustrated

Inscribed in Polish (?) oil on canvas 48 x 61 cm (+) This lot is under temporary importation and is subject to import tax (EU).

Costume design for Act II, Tableau IV, The Palace of Happiness, The Joy of Seeing What is Beautiful, Metropolitan Opera, 1919 signed and dated 1919 (lower left) tempera on illustration on board 33 x 30.5 cm Exhibited: Adler Fine Art Galleries New York, 1980, #33; Gillman Galleries, Chicago, 1982 Literature: “A Time to Gather… RUSSIAN ART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, ill. p.23 «Boris Anisfeld. Catalog Raisonné» by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, #T337, ill. p.221 (+) This lot is under temporary importation and is subject to import tax (EU).

Design for the decor of the Palace of the Night from the Opera “The Blue Bird” Signed and indistinctly inscribed Blue bird (lower right) labels with the title on the back brush and Indian ink, gouache and varnish on board 55 x 74.5 cm circa 1919 Provenance: Mrs Chatfield-Taylor, Chicago, (daughter of the artist) Sale, Sotheby’s, London, Catalogue of Decor and Costume Designs from the Diaghilev Period, 15th December 1969, lot 44 Collection of James L. Gordon Julian Barran Ltd, London Literature: The Touchstone, Dec. 1919 ill. on p. 93 Boris Anisfeld Catalogue Raisonné by Eckart Lingenauber and Olga Sugrobova-Roth, reproduced T315 pg 218. (+) This lot is under temporary importation and is subject to import tax (EU).

extensively inscribed ‘Prince Igor /‘Khan Konchak / N33’, several stamps including Bolshoi Theather gouache, watercolor and gold paint on paper 34 x 26.5 cm (+) This lot is under temporary importation and is subject to import tax (EU).

inscribed “N. F. Baliev” in Russian watercolor on paper 15,30 x 23 cm Enclosed: the program «Balieff’s Chauve -Souris of Moscow, American Season.» (1925) with the variant of the caricature reproduced on the back cover. The Théâtre de la Chauve-Souris (The Bat Theater) in its heyday (1908–1943) was an internationally known musical theater under the direction of Nikita Baliev. Founded in Moscow in early 1908, it eventually became, because of the exigencies of history, a touring theater, a company equally at home in Paris, London, New York, and elsewhere. Despite its enormous popularity among general audiences, the Chauve-Souris was the first theater of its kind to enlist in its ranks artists from the Russian Imperial theaters, the public dramatic and light-opera theaters, and the experimental or avant-garde theaters as regular or frequent visiting performers, musicians, or designers. It was also one of the first, if not the first, theaters of its kind (at least in Western Europe) to engage a woman as its choreographer, Mme Elizabeth Anderson. On its first appearance in the West, Parisian critics variously identified the theatrical character of the Chauve-Souris as that of a cabaret, a night club, or a music-hall theater, none of which, as we shall see, adequately defines its nature. To understand the aesthetic premises of Baliev’s theater, we need to review briefly the origins of the Chauve-Souris and the early careers of Nikita Baliev, Elizabeth Anderson, and Sergei Sudeikin, the principal designer for the Paris opening. The artistic mastery each brought to the group’s first “saison russe” in 1920–21 produced a collaboration that led the critics to call the Chauve-Souris “une école d’avantgarde.” (+) This lot is under temporary importation and is subject to import tax (EU).

Three ballet stage designs for Eric Satie each signed in pencil ‘Erte’ (upper right) and extensively inscribed and numbered in pencil on reverse of the board ‘Ballet Eric Satie ... 1973’ watercolour and gouache on paper 21 x 34.5 cm Prototype of frames by GIACOMO BALLA (1871–1958) exectuted by his daughters Luce and Elica Balla, accompanied by signed certificates of authenticity. Limited edition, 1000 copies dimensions of frames: 54 x 79 cm

signed (lower right) watercolour on paper 48.5 x 30.5 cm

Signed (lower left or lower right) Watercolour 40x34.5 cm 49x38 cm 36x31 cm 38.5x33 cm Provenance: private collection, South of France Jean Toth attended La Grande Chaumière in Montparnasse and became famous thanks to his work for the Opéra Garnier. From the mythical ballets of the Paris Opera of the 40’s and 50’s to popular regional and international dances, dance was his main source of inspiration. Thanks to a passionate connoisseur’s eye, his works stand out for their dynamism.

Signed (lower right) One carries the inscription ‘Missia 2 acte “le kolo”’, the other one ‘Missia 2 acte’ and other inscriptions. Good condition. Provenance: Private collection, South of France

More than 48 sketches, drawings, illustrations for newspapers, 9 postcards, two envelopes, and newspaper clippings «Theater» from 1934 100-150 €

sterling silver and 14k white gold “Tempest” cuff bracelet, mother-of-pearl face and onyx hat set with diamonds inscribed and numbered ‘CFA Sterling 14k 169/600’ width 6.5 cm height: approx. 6 cm weight: 112 gr

Signed ‘Irene Lagut’ (lower right) Oil on canvas 73 x 48 cm Provenance: Delvaux, 29.06.2005, lot 50 Borodulin Collection French painter, initiated to painting by her husband Serge Jastrebzoff, known as Serge Férat. Student of Picasso, her work was imbued with a Cubist style in which she mainly explored faces of women, children and harlequins. In 1920, she exhibited at the Salon de la Societé des Artistes Indépendants, where she met important artistic figures of her time such as Max Jacob, Chirico, Gino Severini, and Ardengo Soffici, who helped her in her career. Olga Hohlova, a Russian ballet dancer, was the first wife of Pablo Picasso, and the mother of his son. Irene Lagut and Olga Hohlova were close friends.

signed in pencil ‘Erté’ (lower right) and numbered ‘22/300’ (lower left) pochoir on paper image: 39.5 x 28.3 cm Literature: Yoshiaki Yanada, Erte: Leader of Art Deco his trial through the century, Tokyo, 1990

1) London’s Ballet Festival: Album. Artistic Director: Anton Dolin. [London: London’s Festival Ballet], 1954. 2) Soviet Ballet, Moscow Academic Musical Theater of K. S. Stanislavsky and V. I. Nemirovich-Danchenko, 1956. Handwritten gratitude notes by dancers T. Zadorina and E. Vinogradova. Souvenir set of matches «Soviet ballet». 24 x 12 x 4 cm

Illustrations N.Samokish and E. Samokish-Sudkovskaya. Typography of Imperial Theaters. The wonderful ballet «Pearl» was created by Marius Petipa to the music of Riccardo Drigo, famous composer of the Imperial Theaters, on the occasion of the coronation of Nicholas II and Alexandra Feodorovna. The participation of Kshesinskaya, the former mistress of Nicholas II, was initially considered tactless in relation to the future empress.

Ballet Program Le Jardin Animé (Corsair) and Le Vaudeville Comedy diplomate (Diplomatist). Theater de l ' Hermitage (Hermitage Theater), St. Petersburg, January 16, 1898, illustration by N. Samokish. Typography of Imperial Theaters. Le Jardin Animé - ballet fragment “Corsair”, staged by Marius Petipa, played by the ballerina Matilda Kshesinskaya. Le diplomate French comedy-vaudeville, written for high society, enjoyed extraordinary success in the aristocratic circles of St. Petersburg. Rare in excellent condition.

: catalog of the exhibition «Pouchkin et son époque», or-ganized by Serge Lifar en 1949, brochure «Third celebration of Pushkin» by Sege Lifar, three books: «Pouchkin» by Mo-dest Hofmann, «Pushkin’s compositions», concert programms Provenance: archives of Serge Lifar and Modest Hofmann

2nd ed. Publishing house: Aquilon, 1923

- 128 p., [10] p. il.; 25, 5x19, 5 cm. 3500 copies printed. With full-color illustrations based on drawings by the artist G. O. Shlicht. In the publishing cardboard binding. The block is separated from the binding and splits into notebooks.G eorg Oskarovich Schlicht (1886-1964) - painter, architect. He participated in the design of performances as a theater artist: the ballet «Firebird» by I. F. Stravinsky, the operas «Boris Godunov» by M. P. Musorgsky, «Sadko» and «Golden Cockerel» by N. A. Rimsky- Korsakov. He was engaged in book graphics, illustrations for magazines («Firebird». 1922. No. 7). Author of illustrations for the German and Russian editions of books: «The Magic Humpbacked Horse» By P.P. Ershov (1922), «A Thousand and one nights» (1928), «Tales of A. S. Pushikn».