.jpg?w=1)
Details
LARIONOV, Mikhail Fedorovich (1881-1864). A series of twenty autograph letters signed ('M. Larionov') to Sergei Diaghilev ('Sergei Pavlovich'), Les Pivotins par Garchy Nievre and Paris, 7 October 1918 - 6 December 1928 and n.d., together approximately 19 pages, 4to, and 6 pages, 8vo, (one letter stained in the margin); and GONCHAROVA, Natalia (1881-1962). 1 autograph letter signed to Sergei Diaghilev, Cannes, 12 September 1926, 2 pages, 4to.
LARIONOV AND THE BALLETS RUSSES. A series of letters covering the decade-long collaboration between Larionov and Diaghilev, during which this leading figure of the pre-revolutionary Russian avant-garde acted as artistic advisor and designer for Diaghilev's Ballets Russes. The correspondence touches on various productions, including 'Soleil de Nuit', Massine's first ballet, and 'The Firebird' with music by Stravinsky. Larionov discusses costs for initiating and producing the designs, the suitability of using designs from previous productions, and winning over the Paris audiences; suggests making changes to the staging of 'The Firebird', and that new designs in a more traditional Russian style are called for to address audiences' familiarity with the story; and asks for and responds to Diaghilev's sketches, frequently expressing frustration at Diaghilev's slow pace in sending replies and money. Goncharova's letter relates to her designs for 'The Firebird', commenting on progress made on the costumes and their fitting, and wanting to avoid repeating problems encountered during 'Les Noces'.
Larionov and Goncharova left Russia at Daghilev's prompting, and settled permanently in Paris in 1919. (21)
LARIONOV AND THE BALLETS RUSSES. A series of letters covering the decade-long collaboration between Larionov and Diaghilev, during which this leading figure of the pre-revolutionary Russian avant-garde acted as artistic advisor and designer for Diaghilev's Ballets Russes. The correspondence touches on various productions, including 'Soleil de Nuit', Massine's first ballet, and 'The Firebird' with music by Stravinsky. Larionov discusses costs for initiating and producing the designs, the suitability of using designs from previous productions, and winning over the Paris audiences; suggests making changes to the staging of 'The Firebird', and that new designs in a more traditional Russian style are called for to address audiences' familiarity with the story; and asks for and responds to Diaghilev's sketches, frequently expressing frustration at Diaghilev's slow pace in sending replies and money. Goncharova's letter relates to her designs for 'The Firebird', commenting on progress made on the costumes and their fitting, and wanting to avoid repeating problems encountered during 'Les Noces'.
Larionov and Goncharova left Russia at Daghilev's prompting, and settled permanently in Paris in 1919. (21)
Special notice
VAT rate of 17.5% is payable on hammer price plus buyer's premium.