Natalia Sergeevna Goncharova

M.Poupineau, Paris, the proprietor of Maison Pascot, theatrical costumiers
Acquired from the descendents of the above by the previous owner
Sotheby's London, Icons, Russian Pictures and Works of Art, 17 June 1993, lot 392

The sheet is discoloured and dirty, undulated in places and with a crease on the upper left edge. There is a crease on the lower left edge and some minor areas of paint loss in the lower half. Held in a simple wooden frame behind glass. Unexamined out of frame.
"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."

Natalia Goncharova’s earliest collaboration with Sergei Diaghilev and the Ballets russes was in 1916 when she accompanied the troupe to Spain for a season. Inspired by the country’s colourful national costumes and dancing, Spanish motifs became a recurring theme in the artist’s work, indeed in 1939 she mounted an entire exhibition of Spanish paintings at the Galerie Cadran in Paris.

In 1916, Diaghilev rehearsed Espana and Triana, two ballets set to music by Ravel and Albéniz respectively, although neither was ever produced. The offered lot may have been executed for one of these productions.