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Ian Ehling
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Lot 117
SENDAK, MAURICE. 1928-2012. Two original watercolor costume designs:
5 December 2019, 10:00 EST
New YorkUS$8,000 - US$12,000
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SENDAK, MAURICE. 1928-2012.
Two original watercolor costume designs:
1. "TZIPPY BESIDE HERSELF," design for Tzippy, the female Wild Thing for the 1983 Oliver Knussen opera Where the Wild Things Are, watercolor, pen and ink, and graphite on paper, 150 x 80 mm, signed and dated: "M. Sendak Feb 14, '83," and noted "(Goat person in this costume-Must be able to stand on arm & foot-Do hand (foot?) springs—," matted and framed.
2. Design for an unrealized production of The Princess and the Goblin by Twyla Tharp, watercolor, pen and ink, and graphite on paper, 200 x 130 mm, unsigned, matted and framed.
Provenance: Gift from the artist to Tony Ledell, Head of Costume at Glyndebourne Opera House.
Maurice Sendak's Where the Wild Things Are (1963) is considered by many to be the greatest picture book of the 20th century. The artist's passion for books was matched only by his passion for opera; and he took a brief sabbatical from illustration to design for the stage in the late 1970s and early 1980s. The opera based on the children's book was originally commissioned by the Opera National, Brussels as Max et les Maximonstres and opened on 28 November 1980. Knussen's final score was performed by Glyndebourne Touring Opera at the National Theatre, London in 1984. The first American production was directed by Frank Corsaro for the Minnesota Opera in September 1985 and the New York City Opera in 1987. The Tzippy costume was done for the Glyndebourne production where Mr. Ledell oversaw the costumes. (The Morgan Library has another dating from 1979 that was part of the Bequest of Maurice Sendak, 2013). Tzippy, the female Wild Thing, does not appear in the original picture book. When she loses her head during the Wild Rumpus of the opera, Max halts the frenzy and eventually returns home to his supper, thus "(Goat person in this costume—Must be able to stand on arm & foot-Do hand (foot?) springs—." According to Sendak's longtime collaborator Arthur Yorinks, the second costume design was intended for an unrealized ballet based on George MacDonald's The Princess and the Goblin that Sendak was designing for famed choreographer Twyla Tharp.
1. "TZIPPY BESIDE HERSELF," design for Tzippy, the female Wild Thing for the 1983 Oliver Knussen opera Where the Wild Things Are, watercolor, pen and ink, and graphite on paper, 150 x 80 mm, signed and dated: "M. Sendak Feb 14, '83," and noted "(Goat person in this costume-Must be able to stand on arm & foot-Do hand (foot?) springs—," matted and framed.
2. Design for an unrealized production of The Princess and the Goblin by Twyla Tharp, watercolor, pen and ink, and graphite on paper, 200 x 130 mm, unsigned, matted and framed.
Provenance: Gift from the artist to Tony Ledell, Head of Costume at Glyndebourne Opera House.
Maurice Sendak's Where the Wild Things Are (1963) is considered by many to be the greatest picture book of the 20th century. The artist's passion for books was matched only by his passion for opera; and he took a brief sabbatical from illustration to design for the stage in the late 1970s and early 1980s. The opera based on the children's book was originally commissioned by the Opera National, Brussels as Max et les Maximonstres and opened on 28 November 1980. Knussen's final score was performed by Glyndebourne Touring Opera at the National Theatre, London in 1984. The first American production was directed by Frank Corsaro for the Minnesota Opera in September 1985 and the New York City Opera in 1987. The Tzippy costume was done for the Glyndebourne production where Mr. Ledell oversaw the costumes. (The Morgan Library has another dating from 1979 that was part of the Bequest of Maurice Sendak, 2013). Tzippy, the female Wild Thing, does not appear in the original picture book. When she loses her head during the Wild Rumpus of the opera, Max halts the frenzy and eventually returns home to his supper, thus "(Goat person in this costume—Must be able to stand on arm & foot-Do hand (foot?) springs—." According to Sendak's longtime collaborator Arthur Yorinks, the second costume design was intended for an unrealized ballet based on George MacDonald's The Princess and the Goblin that Sendak was designing for famed choreographer Twyla Tharp.