Lady-horseman. Silhouette, ink on paper. Signed with Russian initials “CC”, with full signature und numbered 24 on the margin, signed one more time on reverse. . 7 x 9". Initial draft published in "The salon Album of Vera Sudeikin-Stravinsky". Text by J. Bowlt. Princeton University Press, 1995, ill 118.
Draft for a book cover (Евреинов Н.Н. Pro Scena Suo. — СПб.,”Prometei”, б/г.), watercolor on paper, signed in Cyrillic low right, , 8x11 inches. In original art nouveau silver plated frame by WMF. Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog). Provenance: Bloomsbury auctions, May 21 2008, lot 195B.
THE BOOK ITSELF IN PERFECT CONDITION IS ATTACHED (see illustrations of the cover to the right)
Costume study for a chancelor from The Magic Flute, 1927; brush, indian ink, watercolor and gold paint on paper, signed and inscribedin Russian “Kanzler (2) #31”, 35x22cm. Design was executed for the Metropolitan Opera House production, New York. Exhibited: New York, Harkness House for Ballet Arts, “Stage and Costume Design by Russian Painters”, February-May 1966, No 80 (label on the back). Provenance: Sotheby’s sale Diaghilev Ballet Material. NY, 18.7.1968, Lot 41 (illustrated in the catalog); Rosebery’s Auction, London, sale 07 Dec 2010 lot 579. Compare other costumes for the same production: Sotheby’s sale Designs for Costumes and Decors, Ballet, Theater and Opera, Parke-Bernet Galleries, NY 06.05.1970 lots 89-96; Sudeikin S.Y. Text by D. Kogan. Moscow, Iskusstvo 1974 pp160-161 ill 108-111
Three costume designs for "Venetsianskie Bezumtsy". Gouache on cardboard, signed in Russian lower right 19 x 12". 1915.
a) Masked Harlequin. Inscribed in pencil to A. Klimov(?). Compare the illustration in Venetsianskie bezumtsy.[Venetian fools]. A.Kozhebatkin, Moscow, 1915, p.13 Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog). Provenance: Sotheby’s Arcade, 9/29/1994 Lot #: 260.
b) Jester Mixed media on paper. 18-1/2 x 12 inches (47.0 x 30.5 cm) Bibliography: postcard published by Artes Liberales St. Petersburg #1461 “Эскиз костюма шута к "Венецианским Безумцам" М Кузмина 1915, бумага, смешанная техника, 47x30,5 частное собрание” (attached). Provenance: Heritage auctions Nov 14 2008 lot 65067
c) Colombina. Mixed media on paper. 18-1/2 x 12 inches (47.0 x 30.5 cm) Provenance: Heritage auctions Nov 14 2008 lot 65068
"Спектакль «Венецианские безумцы» был сыгран лишь один раз для очень узкого круга зрителей. Образное решение спектакля принадлежало С. Судейкину, который создал эскизы костюмов для актеров-любителей – членов семей легендарных московских богачей – Носовых, Рябушинских, Высоцких, Гиршманов, Манташевых. Эти эскизы знакомы исследователям – они опубликованы в качестве иллюстраций в роскошном издании текста самой комедии М. Кузмина в 1915 г."
Three costume designs for "Petroushka" by Stravinsky in Metropolitan Opera 1924/25 - Captain, Jester and Pantalone. Gouache on cardboard. Signed lower left 16 x 11" each. Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog).
Group of 3 Costume Designs for The Chinese Nightingale.
Gouache and ink on wove paper. Each 355x278 mm; 14x10 7/8 inches, sheet. Two signed in pencil, lower right recto; all annotated in pencil, verso, and with the United Scenic Artists 93 Local 829 Union stamp, signed by SUDEIKIN in ink, below. [New York, 1934]
The Chinese Nightingale was a Broadway play produced by The American Children's Theatre that ran for 8 performances in October of 1934 at the Theatre of Young America. Written by Hans Schmiedel and Lasar Galpern, with music by Alan Shulman from a story by Hans Christian Andersen. SUDEIKIN was charged with creating costumes for its 23 characters. The three designs here are: First and Fifth Court Ladies (played by Vivian Giesen and Jacqueline Hoyt), inscribed "Bulien" lower recto (unknown name in the production); Second and Fourth Court Ladies (played by Frederica Going and Eugenia Tucker), signed by SUDEIKIN and a male dancer, Signed in pencil below design by SUDEIKIN.
PROVENANCE: Swann galleries sale June 10 2015 lot 180
Curtain design with Doll. Signed lower left 12 x 11". Gouache heightened with white on board c.1924. Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog). Bibliography: postcard published by Artes Liberales St. Petersburg #908 “Эскиз занавеса с куклой, конец 1920х, бумага, гуашь, 31х26 частное собрание” (attached).
Costume design for Dickens Christmas Bells,1937. Radio City Music Hall. Gouache on paper, signed lower left 24 x 18". Provenance: Collection of S A. Bolan, New York; Marina Henderson Gallery, London. Illustrated in "Sudeikin S.Y." Text by D. Kogan. Moscow, Iskusstvo 1974. p166, ill.116 Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog)
Three Costume Studies with Mythological Figures for ballet “Dionysus” by Glazounov in Mordkin Theatre, 1938 Signed SUDEIKIN (ll) Pen and ink, wash with red chalk heightened with white on light brown paper 14 x 12 5/8 inches (35.5 x 32 cm) .
Fixing her Hair (Ruby Elzy in “Porgy and Bess”1935), oil on board 70.8 x 56.5 CM c 1935 Provenance: Sothebys Sale:L11112 lot 0259 Inscribed Ruby on the back. Ruby Elzy (February 20, 1908 – June 26, 1943), was a pioneer African American operatic soprano who created the role of Serena in George Gershwin's folk opera Porgy and Bess and performed in it more than eight hundred times. Her big aria in the opera was My Man's Gone Now, Serena's lament after her husband is murdered in a crap game.
Design for a décor for M. Mordkin ballet “The Gold Fish”, music by N. Cherepnin, 1937. Gouache, watercolor and pencil on board. 14x35”. Signed lower right, has official registration stamp “Design N3165, Production Mordkin Ballet” on reverse and signed M. Mordkin.
The accompanying packing sheet is inscribed by the artist: Present from S .SUDEIKIN to Michael Mordkin. Reproduced in colors at theatrical program Mordkin Ballet Season of 1937-1938. Provenance: Davidson Fine Art Gallery, Saint Petersburg, FL. Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog).
Three costumes for BALIEFF N. Chauve-Souris [ Letuchaia Mysh'.] c 1920
a/ Girl in a ball dress
b/ Russian officer with a witch holding his hand
c/ Chinese noble man
mixed media on paper, signed low right in blue pencil, 9x12 inches each
Framed together in one original hand-carved silver gilt European frame beginning of XXth century.
Two drafts of costumes (mostly hats) for BALIEFF N. Chauve-Souris [ Letuchaia Mysh'.] c. 1920
a/ for artist Gilinsky (Russian medieval noble man) - inscribed by the artist's name in Russian and latin 5x5 inches In original XVII century tortoise shell decorated wooden frame
b/ for artist Nikolaeva (Russian beauty)- inscribed by the artist's name and title of the play "Igrushki" in Russian up left and signed low right 5x7 inches In original bronze art nouveau frame
Mixed media on paper
Hand made book THEATER Date: circa 1935
Medium: hand made folio with reproductions of SUDEIKIN's Theater works and his hand written (drawn) cover
Dimension: 12 x 10 inches
Provenance: gift from the artist to Lib and Sam Rosenberg; The Estate of Samuel Rosenberg;
Concept Art Gallery auction Mar 14 2015 lot 211.
"Trepak" Design for a décor for BALIEFF N. Chauve-Souris [ Letuchaia Mysh'.] Gouache, watercolor and pencil – collage on black paper, c. 1920, signed low right, inscribed with a title and # 225 on the reverse. Exhibited: Exposition des œvres des artistes russes. Juin 1921. Paris: M. de Brunoff, 1921, #225 p 41 of the catalog 10x18”Provenance: Sotheby’s Russian Art Paintings, London, 10 June 2008, lot253.
Costume design for a villain, gouache and watercolor on paper.
Inscribed “Villain” in Russian (“Разбойник”) signed and dated in pencil 1931, left, bears inscriptions with comments in Russian for dress maker(“2 cтатистa, В. Бартоли(?) то же самое, иной раскраски”); 4x9 inches
Bibliography: “A Time to Gather… Russian Art From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.23.
In original antique sterling silver frame, made in sheffield dated 1923
Carnival scene [The Masquerade, Bal-Masque]. Oil/board, signed lower left c.1929. 12 x 15". Provenance: ABA Gallery (A. Bekerman)In original art nouveau Austrian walnut hand-carved frame with a maker label“ C. Buhlmayer, Wien” on the back Exhibited: 28th International Exhibition of Paintings Carnegie Institute Pittsburgh Oct 17-Dec 8 1929, Gallery 18 # 278 of the catalog; “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog). Bibliography: postcard published by Artes Liberales St. Petersburg #1190 “Карнавал, ок 1920, картон, масло, 30,5х33 частное собрание” (attached).
Still life with porcelain figurines. Oil/canvas/panel, signed with Russian initials and dated 15, signed one more time in Latin lower right 28 x 36". Bibliography: “A Time to Gather… Russian Art From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.23. Provenance: Macdougall Arts Ltd., London , Important Russian Art , UK, 11-25-2012 , illustrated in the catalog.
In American applied ornament and gilded Barbizon frame by Necomb-Macklin.
Sotheby's. Icons, Russian Pictures and Works of Art, London 7.04.89, lot161; Sotheby's.
The Russian Sale. London,14-15.12.1995. Lot 318; Christie’s, Important Russian Pictures, 30.11.04, London lot208 (the same figurines with the same tapestry at the background)
Self-portrait. Oil/canvas, inscribed in Russian " myself #7" lower right and dated 1946 at the reverse. 28 x 28". Also inscribed on the stretcher #7, self-portrait 1945-46. First variant of the painting "My life" - Sudeikin S.Y. Text by D. Kogan. Moscow, Iskusstvo 1974 p.169, ill.120. Bibliography: “A Time to Gather… Russian Art From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.20. In original American beginning of XX century gothic revival architectural style hand-carved frame with pillars and finials gilded [Provenance for the frame: Cleveland Museum of Art, Ohio; Rachel Davis Fine Arts > Frames at Auction > Lot 854, 24.03.2012).
SUDEIKIN, Sergei Iurevich [Serge SUDEIKIN] (1882-1946) and Nicolai REMIZOV (1887-1975) (illustrators). [Collection des Programmes du Théâtre de la Chauve-souris 1914-1927.] [Moscow-Paris-New-York]. Portfolio of 20 items (all issued), large 4to (317 x 248 mm). Illustrations, most colored, after Sudeikin, Remizov, Shukhaev and others. Also included is the book TEATR LETUCHAYA MYSH N. F. BALIEVA, 1918 TEATR LETUCHAJA MYSH [Theater The Bat], Petrograd: Solntse Rossii, 1918. From the famous company directed by Nikita Balieff. FOR DETAILS CLICK HERE or the image
The Clowns' Masks Oil on paper laid on wooden board, signed with Latin initials low left, 18x14 inches. COA by artist's widow Jeanne SUDEIKIN is attached on the back.
Bibliography: postcard published by Artes Liberales St. Petersburg #1368 “Натюрморт с масками, конец 1920х, бумага, масло, 18х14, частное собрание” (attached).
In original American arts&crafts hand carved and guild beginning of XX century Newcomb-Macklin frame. .
Harlequin and Pierrot, double self portrait, mixed media on cardboard, signed low right, 11x14 inches [c. 1927]. Exhibited: “Faces of Russia”, February 2007, West Palm Beach International Art Fair, USA (illustrated on page 28 of the catalog). ; Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog); “A Time to Gather… Russian Art From Foreign Private collections”, State Russian Museum, Saint-Petersburg, February-June 2008, Moscow - Exhibition Center "Tsaritsyno", June-July 2008, Palace Editions,2008, illustrated in the catalog p. 193 ill 133 [“The artist turned to images of Harlequin and Pierrot, classical figures of the Italian comedy who personify playfulness and theatricality, in different periods of his life. At the end of 1920s, working a lot on set designs for the Metropolitan
Opera, Sudeikin was in search of pictorial and plastic solutions, consonant with tendencies in contemporary art. The images created by the artist clearly contain the idea of theatralisation of life and inclination for transformation of everyday life. The ambivalent nature of Sudeikin’s oeuvre, expressed in the play between the conditional and the concrete, reality and mystification, was further developed in the works of 1920’s. The decorativeness of the artistic solution reveals an emotional implication, pointing out the secret essence of these popular theatrical characters”.]In original Italian (Neapolitan) XIX century hand carved parcel guilt and painted frame with gesso flowers. This drawing constitutes an initial variant of a larger 1927 oil painting sold on Sotheby’s, London, 7-Oct-1998, lot 187, and goes along with a well established Russian artists tradition (Iacovleff, Shukhaev et al.) of imaging themselves as personages of Commedia-del-Arte"]
Portrait of Leonide Massine in “La Legende de Joseph” , 1914 Oil on canvas Signed lower left in Latin 12 inches x 9 inches (30.5 x 23 cm) Provenance: Sotheby's London, June 1, 2006 Lot #103 illustrated. Portrait of Leonide Massine in “La Legende de Joseph” , 1914 Oil on canvas Signed lower left in Latin 12 inches x 9 inches (30.5 x 23 cm) Provenance: Sotheby's London, June 1, 2006 Lot #103 illustrated. Leonide Fyodorovich Massine was born in Moscow in 1896 and studied acting and dancing at the Imperial School in Moscow and had almost decided to become an actor until Sergey Diaghilev, seeking a replacement for Vaslav Nijinsky, invited Massine to join his company. After studying under Italian dancer and teacher Enrico Cecchetti, Massine made his Paris debut
in “La Legende de Joseph” in 1914 and received favorable reviews on his dramatic dance ability and commanding stage personality. Diaghilev supervised his artistic education, taking him to museums and concerts and introducing him to a variety of artists as well as the conductor Ernest Ansermet, and the composer Igor Stravinsky, all of whom influenced Massine's approach to dance. SUDEIKIN Diaghilev also encouraged his choreographic talent. Massine's first work as a choreographer, Le Soleil de nuit, was produced in 1915. Massine extended Michel Fokine's choreographic reforms by enriching and clarifying narration and characterizations. His ballets incorporated both folk dance and the demi-caractere dance, a style that uses classical technique to perform character dance. He added variety and complexity by including synchronized yet individual or small-group dance patterns within the corps de ballet. He died at the age of 82 in Cologne, West Germany.