JAR-PTITZA [THE FIRE-BIRD]
Jar-Ptitza. Russische Monatsschrift für Kunst und Literatur [Firebird. A Monthly Russian Art and Literary Journal], nos. 1-14 in 13 (issues 4 and 5 combined), text predominantly cyrillic, plates and illustrations throughout, including tipped-in colour plates with printed captions, advertisements, early cloth, publisher's stiff colour pictorial wrappers , [Fekula 5742], folio, Berlin, Dr. Selle & Co., 1921-1926 Overall in very good to excellent condition, light handling wear, consistent with age but colors are bright and bold with little or no fading. Original illustrated wrappers (spines expertly repaired, some light soiling and light wear); together in a custom-made case. ## 8,14 might be acquired separately for $500 each. FOR MORE DETAILS CLICK HERE
COMPLETE SET of Jar-Ptitsa, or 'The Firebird', "perhaps the most famous of post-revolutionary art journals, whose contributors threw new light on the development of Russian art at the beginning of the twentieth century" (Fekula). Compiled by Russian émigrés in Berlin (hence the appearance of some German text) notable contributors included Bakst, Diaghilev, Benois, Grigor'ev, Goncharova, Bilibin, Somov, Makovskii, Shukaev, Lukomskii, and all the members of Mir Iskusstva (World of Art group). Recently made $38000 on Christie's http://www.christies.com/lotfinder/books-manuscripts/world-of-art-group-zhar-ptitsa-5791629-details.aspx?from=searchresults&intObjectID=5791629&sid=4c359dd0-7725-4704-a81d-0d296b64f9fd
DIAGHILEV ENTERPRISE / BALLETS RUSSES - Maurice & Jacques de BRUNOFF (publishers). Collection des plus beaux numéros de Comoedia Illustré et des Programmes consacrés aux Ballets & Galas Russes depuis le début à Paris 1909-1921. Paris: M. de Brunoff, . Large 4to (330 x 255 mm). Paris, (1909-21). Folio. Silk over bevelled boards. Front board with a splendid large inset color lithographic illustration (from "The Firebird" by Natalia Gontcharova). Profusely illustrated in colour (some pochoir) and in black/white throughout. A very nice copy of this magnificent book. Content: 4 pp., being title-page and note from the editors +1909: 2 pp. introduction + 1909 Saison Russe - Opera et Ballet: 10 pp., including a cover illustration by Bakst +1910: 3 pp. introduction + cover illustration of Comoedia Illustré no. 18 (June 15, 1910) with portrait of Catherine Gheltzer + Comoedia Illustré special issue - supplement to no. 18: 14 pp., including two cover illustrations by Bakst +1911: 2 pp. introduction + Programme Officiel des Ballets Russes. Théâtre du Châtelet. June 1911: the extra gold embellished transparent paper covers + 34 pp., including cover illustration by Bakst (Nijinsky in La Péri) and another eight illustrations by Bakst (costume designs for Narcisse and Dieu Bleu and stage design for Narcisse) + 10 pp. from the sixth season of the Ballets Russes at Chatelet, with costumes by Jean Cocteau + 10 pp. on "Petrouchka" and "Schérezade" + "Le Carnaval" + 1 leaf of text introducing "Le Martyre de Saint Sébastien": 12 pp. from Comoedia Illutré devoted to this, including a cover illustration by Bakst (showing Ida Rubinstein as St. Sebastien) +1912: 2 pp. introduction + Comoedia Illustré 7th season: 16 pp. devoted mainly to "Dieu Bleu" and "Daphnis et Chloé", including cover illustration by Bakst and a further five illustrations by Bakst (costume designs, decor and scene) + 5 pp. from Comoedia Illustré on "Le Dieu Bleu" + 1 p. being the illustrated cover for the June 1912 special issue of Comoedia Illustré, showing Karsavina and Bolm in Thamar (costumes by Bakst) + 8 pp. on "Thamar", "Petrouchka", and "Scherezade", including the 4 pp. spread on "Scherezade" which contains illustrations of Bakst's nine costumes + two covers mounted back-to-back from the special issue of the seventh season of the Ballets Russes, showing Bakst's illustration of Nijinsky in "L'Après-Midi d'un Faune" + 8 pp. on "L'Apres Midi di Faune" + 10 pp. from Comoedia Illustré on "Le Carnaval", "Daphnis et Chloé" + 2 pp. ("title-page" for Ida Rubinstein in "Hélène de Sparte" and Salomé) + special issue on "Hélène de Sparte": 16 pp., including cover illustration by Bakst (of Ida Rubinsein as Helen) and a further five costume and scenic designs by Bakst + 6 pp. from Comoedia Illustré on Helen of Sparta + 4 pp. from Comoedia Illustré on Oscar Wilde's "Salomé" + 20 pp. including illustrations by Bakst for "Boris Godounoff", text on and illustrations for "Jeux", "Sacre du Printemps", "Kowanchina", and "Daphnis et Chloé" +1913: 2 pp. introduction + Eigth Season of Ballets Russes: 6 pp., including cover illustration of Schollar, Nijinsky, and Karsavina in "Jeux" by Valentine Gross + 1 p. ("title-page" for Ida Rubinstein in "La Pisanelle ou la Mort Parfumée" with costumes by Bakst + Comoedia Illustré No. 18, June 1913: 17 pp., including cover illustration of Ida Rubinstein in "La Pisanelle, in couture by Worth, decor by Bakst, etc. +1914: 2 pp. introduction + 28 pp. on the Ballets Russes 1914-season, including a full-page illustration of Kousnetzoff in costume by Bakst, , costume designs for "La Légende de Joseph" by Bakst, and a two-page costume-spread for "Rossignol" by Benois + 2 pp. on "Le Rossignol" by Maurice Ravel" + 4 pp. from Ballets Russes on "Le Coq d'Or" + 2 pp. on "Les Ballets Russes de Serge de Diaghilew" by Calvocoressi + 1915: 1 p. introduction +1917: 1 p. introduction + the special issue of "programme des Ballets Russes", 1917: 26 pp (cover by Picasso); programmes 1920 ("Tricorne") and 1921 ("Le Chout")
Title and text printed in green, illustrated with numerous examples of 13 actual programmes, or part programmes, some cut down and mounted, including colored plates, illustrations or designs after Goncharova, Larionov, Bakst, Picasso, Matisse, Massine, Sert and Derain. Original light green silk over bevelled boards, the upper cover with a varnished color-printed inset panel with the title and an illustrative design after Goncharova,color stenciled endpapers. Selection of reprinted special issues with supplements of the theatrical periodical Comoedia illustré. With graphics by Léon Bakst, André Derain, Natalya Goncharova, Mikhael Larionov, Henri Matisse, Léonide Massine, Pablo Picasso, José Maria Sert, and others. The text includes “Note des éditeurs” that introduces the selection and introductory text on each season by Valerian Svietlov or Jean Bernier. The seasons covered are: 1909 (4th season), 1910 (5th), 1911 (6th), 1912 (7th), 1913 (8th), 1914 (9th), 1915 (limited season, the 10th), no season 1916, 1917 (11th), no season 1918, 1919/1920 (12th), 1920 (13th), 1921 (14th). Comoedia illustré was a theatrical monthly that was published in Paris between 1908 and 1921; it suspended publication (except for special issues or supplements) between September 1914 and October 1919. At the beginning of 1922, Comoedia illustré merged with Le Théâtre (1898- 1921) to become Le Théâtre et comoedia illustré (1922-1926). It often devoted whole special issues or supplements to the annual Paris season of Serge Diaghilev’s Ballets Russes and Ida Rubinstein’s Galas Russes.
(To see details - CLICK HERE)
A3. 1916: Souvenir Program, Serge de Diaghlieff’s Ballet Russe, Metropolitan Opera Company, copyright 1916, Metropolitan Ballet Company, Inc., New York, with a smaller program from the performance at Convention Hall, Kansas City, Mo., Saturday March 4, 1916, tucked inside [rare and important, (15) magnificent full color/full page costume design and stage décor plates by Leon Bakst. (9) Full page sepia photographs of famous dancers in full costume including: Xenia Maklezowa, Aldof Bolm, Tchernichowa and Leonide Massin, Flore Revalles and stories of ballets of the season with great period music advertisements, 40 pages total, 12 1/2"h. x 9 1/4"w]
A12. 1925: Programme Officiel, Théatre de Monte-Carlo, Direction Serge de Diaghilew, with an inserted program for the evening of April 28, 1925, Représentations de Ballets Russes sous le haut patronage de S.A.S. La Princesse Héréditaire de Monaco. (lithograph Picasso cover color illustrations by Braque, Laurencin )
A13.1926: Souvenir program, Ballets Russes de M. Serge de Diaghilew, Mai-Juin 1926, Théatre Sarah Bernhardt, Direction Les Frères Isola, with an inserted program for Gala du Jeudi 3 Juin, 1926, XIXe Saison à Paris, Organisée par M.Serge de Diaghilew à la Memoire d’Eric Satie. (lithograph Picasso cover)
A14.1926: Programme Officiel, Théatre de Monte-Carlo, Saison de Ballets par la troupe de M. Serge de Diahilew du 17 Janvier au 9 Mai, 1926, M. et J. De Brunoff, Éditeurs. (inscribed in ink “Peggie Cochrane, 1926” at the top of the title page)( lithograph Picasso cover, color illustrations by Braque, Pruna, Utrillo )
1.FINE ORIGINAL POCHOIR COVER + 4 COLOR CHROMOLITHOGRAPH PLATES by LEON BAKST & SUDEIKIN THÉÂTRE FEMINA MARIA KOUSNEZOFF DANS L'ADORATION ILLUSTRATED by M. LEON BAKST & SUDEIKIN PARIS et Toulouse: Published by B. Sirven, Toulouse, Avril-Mai 1922 [published date: 1922]. 11" x 8.5" Inches.Pp.  pages, including 5 full-page colour plates + 4 portrait plates. The front cover shows a hand colored pochoir by Bakst's representing Kousnezoff in Adoration and the back cover with a black & white vignette. Theatre program for The Comedians, Balalaika, Ohana'Sa (in Japanese), The Adoration of the Russian Fair, etc. Boleslawsky staging, sets and costumes by BAKST and SOUDEÏKINE. 5 costume and scenery Soudeïkine reproduced colors in full page. Photo portraits by Maria Kousnezoff , Rudomine, Bakst, Soudeïkine (his eyes) and Boleslawsky.
Born in Odessa, Maria Kuznetsova was the most celebrated Russian soprano of her day. Her father was a distinguished portrait painter. She first went into ballet at St. Petersburg, but then she studied singing with baritone Joakim Tartakov and made her debut as Marguerite at the Mariinsky Theatre where she sang until 1913. Among the premieres in which she took part was Rimsky-Korsakov’s “The Legend of the Invisible City of Kitezh.” She also sang Aida and Norma, and she created Cleopatra (Massenet). Her repertory ranged from Salome, Aida, Norma and Elsa to the lighter roles (Juliette, Mimì). She fled from the Revolution to Sweden, disguised as a cabin-boy and hidden in a trunk. Maria Kuznetsova was the first Russian singer after Chaliapin to attach as much importance to acting as to singing. She made her debut as Cleopatra at the Chicago Opera but Mary Garden reigned at this opera house. There was no room for both singers. Kuznetsova was never invited again. Paris became her second artistic home where she continued her career to great success. She gave recitals of Russian music, in which she frequently both sang and danced. Together with Mikhail Karakash and Benoit she organized an opera company with the name “Opéra Russe,” a chance for many emigrated Russian singers to appear on stage. They gave performances at the Théâtre des Champs Elysées in Paris, Barcelona, Madrid, Milan and at the Teatro Colón in Buenos Aires.
2. THÉÂTRE FEMINA Argument de la Piece. c. 1921 with four pochoirs of costumes by L. Granier
Ballet Russe de Monte-Carlo - collection of 34 programs 1932-1962 (programs are available individually as well - CLICK HERE)
In 1931, Colonel Wassily de Basil (a Russian émigré entrepreneur from Paris) and René Blum, (ballet director at the Monte Carlo Opera) founded the Ballet Russe de Monte Carlo, giving its first performances there in 1932. Diaghilev alumni Léonide Massine and George Balanchine worked as choreographers with the company, and Tamara Toumanova was a principal dancer.
Artistic differences led to a split between Blum and de Basil, after which de Basil renamed his company initially Ballets Russes de Colonel W. de Basil. Blum retained the name Ballet Russe de Monte Carlo, and de Basil created a new company. In 1938 he called it The Covent Garden Russian Ballet, then renamed it The Original Ballet Russe in 1939.
After World War II began, the Ballet Russe de Monte Carlo left Europe and toured extensively in the United States and South America. As dancers retired and left the company, they often founded dance studios in the United States or South America, or taught at other former company dancers' studios. With Balanchine's founding of the School of American Ballet, and later the New York City Ballet, many outstanding former Ballet Russe de Monte Carlo dancers went to New York to teach in his school.
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 compare:
SUDEIKIN, SERGEI IUREVICH, AND NICOLAI REMIZOV. Collection des 4 Programmes du Théâtre de la Chauve-souris 1920-1921 (cover title). [Paris: Comoedia Illustré, 1922].
Sold for US$ 2,000 inc. premium Bonhams 19 Jun 2012 New York
DER BLAUE VOGEL J. JUSHNIJ BERLIN 1921-1930 9 programs (all published)
1st program saison 1921/1922 8 pp 6 color ill. by Lissner, Tchelitchew, Chudjakow, Boguslavskaia, cover by Boguslavskaia
2nd program February 1922 16 pp 9 color ill. by Tchelitchew, Chudjakow, Boguslavskaia, Rzewoussky (with list of repertoire attached)
3rd program September 1922 16pp 7 color ill. Tchelitchew, Chudjakow Marketing brochure December 1921-December 1922 48 pp 15color ill by Tchelitchew, Chudjakow, Boguslavskaia, Lissner
4th program saison 1923/1924 Cover by G. Pogedaeff ill. Jordan, Pogedaieff, Konstantinowsky
5th program 1926 16 pp 8 color ill by Gorbunoff, Stern, Urwantzoff, Jordan
6th 1927 program 16 pp 12 color ill by Bothas, Pozhedaeff, Lissner, Urwantzoff, Jordan, cover by Bilibine 1928 program 12 pp 6 color ill by Schuchaeff, Stern, Gorbunoff, Linsky 1930 program (American Tour) 16 pp 14 color ill by Stern, Klement, Chudjakoff, Boguslavskaia, Jordan, Pogedaeff For details click HERE or the image