L12115

/

Lot 176
  • 176

Yuri Pavlovich Annenkov

Estimate
15,000 - 20,000 GBP
Log in to view results
bidding is closed

Description

  • Yuri Pavlovich Annenkov
  • Set design for Lola Montès
  • signed in Latin and dated 1954 l.l.
  • gouache over pencil with pen and ink on paper
  • image size: 49 by 69cm, 19 1/4 by 27in.

Provenance

Acquired directly from the artist

Literature

E.Losfeld, G.Annenkov, Max Ophuls, Paris: Le Terrain Vague, 1962, illustrated on the back cover

Condition

The sheet appears sound, but is slightly discoloured. There are flecks of paint loss to the green figure in the bottom right corner and further spots of paint loss to the yellow figure in the lower left corner, this figure also has some areas of paint shrinkage. Held in gold painted frame with mouldings under glass. Unexamined out of frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Lola Montès was Max Ophul's last film and the only one he shot in colour. A dazzling tour-de-force, it tells the story of Elizabeth Rosanna Gilbert (1821–1861), an Irish-born Spanish dancer and courtesan, and is recounted in a series of flashbacks experienced by the disillusioned and ailing star who now appears as the main attraction in an American circus. The role of Ringmaster was played by Peter Ustinov, grandson of Alexander Benois.

Shooting in colour posed interesting challenges for both the director and the designer. Annenkov was able to use the new medium to great effect as he explains in his biography of Max Ophuls: 'The Circus. The background of the circus is black. In front, in the ring, the circus plays out in colour, intense, almost exaggerated colours...  This myriad of colour is conveyed through the costumes and props in the show' (G.Annenkov, Max Ophuls, Paris 1962, p.89).