![Masson, André. (1896–1987) [Stravinsky, Igor. (1882–1971)] "Souvenir du Sacre en Hommage à Igor Stravinsky"](http://www.schubertiademusic.com/cdn/shop/files/Masson_Stravinsky_2.jpg?v=1722186977)
![Masson, André. (1896–1987) [Stravinsky, Igor. (1882–1971)] "Souvenir du Sacre en Hommage à Igor Stravinsky"](http://www.schubertiademusic.com/cdn/shop/files/Masson_Stravinsky_3.jpg?v=1722186977)
![Masson, André. (1896–1987) [Stravinsky, Igor. (1882–1971)] "Souvenir du Sacre en Hommage à Igor Stravinsky"](http://www.schubertiademusic.com/cdn/shop/files/Masson_Stravinsky_4.jpg?v=1722186977)
![Masson, André. (1896–1987) [Stravinsky, Igor. (1882–1971)] "Souvenir du Sacre en Hommage à Igor Stravinsky"](http://www.schubertiademusic.com/cdn/shop/files/Masson_Stravinsky_5.jpg?v=1722186977)
Masson, André. (1896–1987) [Stravinsky, Igor. (1882–1971)] . "Souvenir du Sacre en Hommage à Igor Stravinsky". Pen and ink on paper. 50.5 x 32.8 cm. Signed and inscribed lower right "Souvenir du Sacre / en Hommage à Igor Stravinsky / André Masson." Undated. Archivally mounted and set in a hand-carved continuous edge ebony frame to approx. 88 x 73 cm overall.
Provenance: Estate of Vera de Bosset Stravinsky (1888 - 1982), thence by descent to the previous owner. Authenticated by Diego Masson, who has confirmed that this is an authentic, "important" and previously unknown work.
The influential French artist was an early associate of Igor Stravinsky in Paris and, beginning in 1933 with sets and costumes for the Ballets Russes, he frequently designed for the theater, the opera and the ballet. Masson, at the time only 17 years old, had not yet arrived in Paris by the time of the 1913 premiere of Stravinsky's "Le sacre du Printemps," but his reaction to the work and its resonance is undeniably powerful in the present work.
Provenance: Estate of Vera de Bosset Stravinsky (1888 - 1982), thence by descent to the previous owner. Authenticated by Diego Masson, who has confirmed that this is an authentic, "important" and previously unknown work.
The influential French artist was an early associate of Igor Stravinsky in Paris and, beginning in 1933 with sets and costumes for the Ballets Russes, he frequently designed for the theater, the opera and the ballet. Masson, at the time only 17 years old, had not yet arrived in Paris by the time of the 1913 premiere of Stravinsky's "Le sacre du Printemps," but his reaction to the work and its resonance is undeniably powerful in the present work.
Masson, André. (1896–1987) [Stravinsky, Igor. (1882–1971)] . "Souvenir du Sacre en Hommage à Igor Stravinsky". Pen and ink on paper. 50.5 x 32.8 cm. Signed and inscribed lower right "Souvenir du Sacre / en Hommage à Igor Stravinsky / André Masson." Undated. Archivally mounted and set in a hand-carved continuous edge ebony frame to approx. 88 x 73 cm overall.
Provenance: Estate of Vera de Bosset Stravinsky (1888 - 1982), thence by descent to the previous owner. Authenticated by Diego Masson, who has confirmed that this is an authentic, "important" and previously unknown work.
The influential French artist was an early associate of Igor Stravinsky in Paris and, beginning in 1933 with sets and costumes for the Ballets Russes, he frequently designed for the theater, the opera and the ballet. Masson, at the time only 17 years old, had not yet arrived in Paris by the time of the 1913 premiere of Stravinsky's "Le sacre du Printemps," but his reaction to the work and its resonance is undeniably powerful in the present work.
Provenance: Estate of Vera de Bosset Stravinsky (1888 - 1982), thence by descent to the previous owner. Authenticated by Diego Masson, who has confirmed that this is an authentic, "important" and previously unknown work.
The influential French artist was an early associate of Igor Stravinsky in Paris and, beginning in 1933 with sets and costumes for the Ballets Russes, he frequently designed for the theater, the opera and the ballet. Masson, at the time only 17 years old, had not yet arrived in Paris by the time of the 1913 premiere of Stravinsky's "Le sacre du Printemps," but his reaction to the work and its resonance is undeniably powerful in the present work.