- 249
Natalia Sergeevna Goncharova
Estimate
30,000 - 50,000 GBP
bidding is closed
Description
- Natalia Sergeevna Goncharova
- Fashion Design for Myrbor
- signed in Latin l.l. and numbered MLF69 l.r.
- charcoal on paper
- image size: 89 by 55.5cm, 35 by 21 3/4 in.
- Executed in the 1920s
Provenance
Lefebvre-Foinet Collection
Literature
For another version of this composition see exhibition catalogue, Natalia Goncharova. Between East and West, Moscow: State Tretyakov Gallery, 2013, p.378, no.448 Woman's Dress with Boa
Condition
The sheet has been laid on Japanese paper. There are several large repaired tears and creases, particularly in the left hand part of the composition where there is one running the length of the sheet. At the centre of the right hand edge is a repaired paper loss and there are other smaller repaired tears and creases mostly at the corners and edges. Pinholes are visible in places at the corners and the edges. The sheet has discoloured and there is a light covering of surface dirt. Mounted and held in a white frame behind 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."
"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
As an artist who worked so successfully in the decorative and applied arts, fashion design was a logical progression for Goncharova. She had first turned her hand to it in 1912 with a series of celebrated embroidery designs for the Moscow couture house of Nadezhda Lamanova and soon after established a reputation in Parisian artistic circles with her 1914 costume designs for Le Coq d’or.
Myrbor, which took its name from a conflation of the Arabised form of Marie and Cuttoli’s maiden name (Myriam Bordes), had originally started as a hobby but became official in July 1922 with the opening of a boutique in Paris. According to her contract, Goncharova was to submit one design a month. Not only did she produce shawls, dresses, coats and carpets for the couture house, but she also designed the company logo, letterhead and advertisements.
In keeping with her socialist beliefs Goncharova herself dressed very modestly, even austerely, and yet she was an unexpected arbiter of taste amongst the beau-monde of Paris. Her fashion designs also display a keen understanding of the different demands of fashionable attire from theatrical costumes. The dropped waistlines and full skirts are designed to flatter; asymmetry is used to distract and highlight different areas; and the heavier areas of appliqué are restricted to hems and trains to create movement without adding bulk.
Myrbor, which took its name from a conflation of the Arabised form of Marie and Cuttoli’s maiden name (Myriam Bordes), had originally started as a hobby but became official in July 1922 with the opening of a boutique in Paris. According to her contract, Goncharova was to submit one design a month. Not only did she produce shawls, dresses, coats and carpets for the couture house, but she also designed the company logo, letterhead and advertisements.
In keeping with her socialist beliefs Goncharova herself dressed very modestly, even austerely, and yet she was an unexpected arbiter of taste amongst the beau-monde of Paris. Her fashion designs also display a keen understanding of the different demands of fashionable attire from theatrical costumes. The dropped waistlines and full skirts are designed to flatter; asymmetry is used to distract and highlight different areas; and the heavier areas of appliqué are restricted to hems and trains to create movement without adding bulk.