Lot 300
  • 300

Natalia Sergeevna Goncharova

Estimate
7,000 - 9,000 GBP
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Description

  • Natalia Sergeevna Goncharova
  • Two Set Designs of a Moonlit Night
  • one numbered MLF140 l.l.; the other numbered MLF203 l.l.
  • one watercolour on paper; the other charcoal on paper
  • sheet sizes: 50 by 65.5cm, 19 3/4 by 25 3/4 in.

Provenance

Lefebvre-Foinet Collection

Condition

Watercolour The edges are uneven. The sheet has discoloured with scattered foxing throughout. There is a light layer of surface dirt and handling marks along the edges. Held in a simple frame behind plexiglass. Unexamined out of frame. Charcoal The edges are uneven. The sheet has discoloured. There is scattered foxing throughout. There is a light layer of surface dirt with minor spots in places. Handling marks are visible along the edges. Held in a simple frame behind plexiglass. 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

These two set designs probably relate to the 1935 ballet El amor brujo which was set to music by Manuel de Falla. It was first staged by the Ballets de Léon Woizikovsky in London and revived a year later by Colonel de Basil's company during their Australian tour.

The ballet is set in the gypsy camps of Andalusia and tells the story of Candela, who is compelled to dance with the ghost of her late husband every night. Goncharova's sinister, romantic designs were a departure from her earlier decorative, cubo-futurist designs for Espagne and Triana. The Sydney Morning Herald described them thus: 'The backcloth displayed a single blasted, branchless tree, silhouetted against hill after hill of yellow-brown desert...Later there burst onto this grim yet fiery scene, two female figures, one in pure white and one in black'.