Alexander Nikolaevich Benois

There is a loss to the lower right corner as well as to the lower left corner. The edges are slightly uneven and there are a few minor tears and creases to the left edge. A tear of approximately 1.5cm at the lower edge has been repaired, another tear at the top edge has also been repaired. The sheet has discoloured and there is surface dirt. There are remnants of adhesive in the corners and along the edges on the reverse of the sheet. The reverse of the sheet is attached to a cardboard mount with adhesive tape in three places. Held in a 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."

Benois’ costume and set designs for Petrushka are among the most recognisable of all the Ballets Russes images. The first production performed by Diaghilev’s troupe in 1911 is considered by many as the climax of Benois’ career and he repeatedly revised and reworked these designs in later life. The present work is remarkable for its unusual sense of depth and has the air of a finished mise en scene rather than a more two-dimensional theatre design. It is Benois at his most fanciful, incorporating all the colour and the familiar set pieces of the production itself, together with the characterisation more often found in his more intimate and informal family sketchbooks. The little girl tugging at her father’s arm in the centre of the composition is a charming detail that brings to life this unusual version of Benois’ Shrovetide fair.