P. Garst, G. Rouault, Ballet Costume Design,'Le Fils Prodigue'-1930s watercolour

An original 1930s watercolour painting, P. Garst G. Rouault, Ballet Costume Design, 'Le Fils Prodigue'.

A playful copy in yellow and blue of Georges Rouault's modern costume design for Felia Doubrovska in 'Le Fils Prodigue' or 'The Prodigal Son'. Premiering in 1929, 'Le Fils Prodigue' was choreographed by Balanchine and was the last new ballet produced by Les Ballets Russes before they disbanded later that year.

Unsigned. Dated lower right.  Inscribed lower centre: '"Le Fils Prodigue" Costume for Felia Doubrovska, Costume after design by Georges Rouault, 1929.' 
Age toning as shown. Paper loss to the lower right edge as shown. Visible horizontal creases to the upper right and left edges running parallel to her lifted thigh. Small creases to the upper right and left corners. Stray watercolour mark near lower leg.
22cm x 17.6cm.

Dancing and leaping across the page, in watercolour, graphite and ink, this work forms part of a collection of copies by a P. Garst of the costume designs for the Ballet Russes de Monte Carlo, as well as historical fashion plates. Reaching from the early years of WWI all the way to the end of WWII, the works in this collection encompass a golden age of design, luxury and modernity. Peter Garst was an actor, dancer and costume designer in the early 1930s and 40s. One of a troupe of touring actors known as the International Ballet, which ran from 1941-53, Garst appears on the playbill for a number of theatrical productions in England in the early 1940s.

Garst clearly dedicated his life to creativity, theatre and production, and the span of his career provides a fruitful lens through which to consider the breadth of this collection. The majority of works here are finely modelled copies of costume designs taken from popular productions of the Ballets Russes de Monte Carlo, a smaller splinter group of the original and more well-known Ballet Russes, founded by Léonide Massine and René Blum that ran from 1937-1968. Many of these copies are retrospective – they often engage with costume and set design that occurred in some places up to ten years before, while also considering contemporary stage and screen, including working directly from film stills of the 1939 Victor Fleming production of Gone with the Wind.

There are also a significant number of documentary graphite sketches of historical fashion, taken directly from Victorian ladies magazines and journals, in an attempt to trace and understand the minutiae of changes in popular apparel design.

Due to their nature as copies, it is likely this collection was meant as a type of visual reference book for Garst’s own role within the theatre. This, paired with the handwritten notes on the back of some of the historical drawings, indicates that Garst was most likely working as an amateur costume designer during this time, possibly for the International Ballet, with whom he toured in the 1940s. This collection not only can continue to serve this type of purpose today, but can also act as an aesthetic memento to the Golden age of Art Deco creative design and theatricality.

Text copyright © 2017 Somerset & Wood Fine Art Ltd. All rights reserved.

Product code: JF-709

Share this Product