Alexander Nikolaevich Benois

Family of the artist
Thence by descent to the present owner, great-grandson of the artist

The paper is slightly discoloured in line with age. There are various minor creases and tears throughout, and some staining to the sheets. A section of the sketchbook is separated from the rest of the book and the binding is loose. There are pinholes visible on some pages and some minor areas of foxing.
"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."

Alexandre Benois is one of the cardinal figures of 20th century Russian Art and a name synonymous with the Ballet Russes. In the present sketchbook, the artist reuses an old compatibility book from the 18^thcentury (1744) that he adorns with watercolours and preparatory drawings. Most of the sketches are devoted to the ballets for which he worked relentlessly from 1945 to 1956.  

'I consider myself particularly fortunate that at a time when the soul thirsts for life-giving impressions in art I should have found our St Petersburg ballet at its zenith', writes Benois in the epilogue to his Reminiscences of the Russian Ballet. But as Benois grew up, he saw a rapid decline in the Russian ballet so painful to watch that he drove him to revive it abroad: 'What we brought to Paris was not the decadent Imperial Ballet, but something entirely separate, our own ballet, a ballet that corresponded with our ideals, that resuscitated the joys of our youth'.

The offered lot comprises of theatrical designs for Petrushka, La Belle au bois dormant, Manon Lescaut, La Fille du Capitaine, Lac de cygnes, la Favorite amongst others, which are superb examples of the enchantment and vitality that Benois and Diaghilev hoped to revive. It also includes two drawings signed by Hélène Clément, the artist's daughter.