ALEXANDRE BENOIS (1870-1960) Costume sketch for Conseil in L'Impératrice aux Rochers. Un miracle de Notre-Dame (1927) signed with a monogram and dated 'AB 1927' (centre left), inscribed in red pencil 'Conseil et Regie/clerge.... Le dignitaire' (top left), numerous pencil inscriptions. watercolour and pencil on paper approx. 35.4 x 19.8 cm executed in 1927 The premiere of Honegger's L'Impératrice aux Rochers, originally scheduled for December 1925, was postponed to 17 February 1927 due to the scale of the production, which resembled a fashion show designed to showcase Ida Rubinstein. Ida Rubinstein was not only the star of the show, she had also invested over a million francs, financed by her lover Bryan Walter Guinness, to create this extravagant spectacle. She called on the services of couturier Alexandre Benois when Alexandre Golovine was unavailable. Despite the sumptuous sets, costumes and considerable resources, the drama proved far too long. The performance lasted five hours, with frequent set changes that only prolonged it. Opera subscribers, who entered the auditorium at 7.45pm, did not leave until 4am. ALEXANDRE BENOIS (1870-1960) Costume design for a Councill for L'Impératrice aux Rochers. Un miracle de Notre-Dame (1927) signed with a monogram and dated 'AB 1927' (centre left), inscribed in red crayon 'Conseil du Clergé'(upper left), extensively inscribed in pencil watercolour and pencil on paper circa 35.4 x 19.8 cm executed in 1927 The premiere of Honegger's L'Impératrice aux Rochers, originally scheduled for December 1925, was delayed until 17 February 1927 due to the immense scale of the production, which resembled a fashion show designed to highlight Ida Rubinstein. Rubinstein not only starred in the performance but also invested over a million francs, funded by her lover Bryan Walter Guinness, to create the extravagant spectacle. She enlisted designer Alexandre Benois after Alexandre Golovine was unavailable. Despite the lavish sets, costumes, and extensive resources, the drama proved far too long. The performance lasted five hours, with frequent set changes that only prolonged it further. Opera subscribers, who entered the theatre at 7:45 pm, did not leave until 4 am.