Sergei Soudeikine

Ruben Lalaev (acquired as a gift from the artist)
Alexandre Amilachvary (acquired directly from the above)
Acquired directly from the above in April 1965 by the present owner

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This work on paper is well-presented at the moment and could easily be hung as is. Due to the slightly fickle nature of the paint layer is some places, there may have been a few retouches in the white flowers in the upper left, for instance, where a few of the pale yellow strokes may be restorations. In the richest crimson colors in the center, there's a tiny bit of flaking and perhaps a few small pink strokes in the blossoms in the lower right are also later additions. This would also call into question the pink strokes on the white gown of the male figure. It's very hard to establish which of these strokes of paint may, in fact, be restorations, but in general, the condition seems to be healthy and we recommend the picture be hung as is.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Eastern themes were common in Soudeikine's oeuvre after 1910, when he executed several performances with eastern subjects, specifically the operetta "Maids at Play" at the Malyi Drama Theater in 1911 and "The Tragedy of Salome" for Diaghilev's Russian seasons in Paris in 1913. These sketches demonstrate Soudeikine's gift for sophisticated decoration, flawless coloration, and creating a festive spectacle on stage. In particular, his mounted works with Eastern themes underscore a significant level of artistic maturity.

The present lot was created in the 1920s, when Soudeikine was actively working with Nikita Balieff in Paris (1920-1922), and later in New York (from September 1922), making shows for theatres including the Théâtre de la Chauve-Souris ("The Bat"). He reintroduced eastern themes with a renewed energy during these years, as seen in his sketches for the costumes and decoration of Pushkin's "The Fountain of Bakhchisarai." The romantic interpretation of the aura of eastern miniatures, primitive stylization, and harmony of chromatic composition make it possible to attribute the present lot to this period in Soudeikine's career.