Orig artwork Liljan Espenak dance program 1961

May 11, 2022

Lot 60

Orig artwork Liljan Espenak dance program 1961

Estimate: $300 - $500

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Description

DANCE, in America. Carnegie Hall (venue). – Liljan ESPENAK (1905-1988, dancer) & Lynn STONGIN (pianist). – Original ink and brush artwork for a poster/flyer “Carnegie Hall Recital Hall / Friday May 12 [19]61 / 8.30 P.M. / LILJAN / ESPENAK / Dance improvisation program on themes / suggested by the audience / Lynn Strongin / at the piano / Tickets $2.50 at Carnegie Hall Box Office / or by Mail Espenak Studio”. Black and red ink on wove paper (sheet size: 25 x 18 1/8in; 635 x 460mm), signed indistinctly, marked for reproduction: penciled note ‘RCH / Reduce / 17” to 7 7/8”’. Condition: marginal tears, some heavy creasing, repair to verso, light toning, residue from old adhesive tape.

The end of an era for Espenak: “My studio was then torn down for Lincoln Center and I gave a program at the small Carnegie Hall [- the program featured in the present poster/flyer). But I found that this program was not suitable in a concert hall. .. I decided, then this is the time to stop and concentrate on working for others.” (Liljan Espenak).

“Liljan Espenak (1905-1988) was a dancer, instructor, dance therapist and author. Espenak was born in Norway. During the 1920s, she moved to Berlin to study under Mary Wigman. Espenak established her own dance school in Berlin. In the 1930s, Espenak left Germany due to pressure from the Nazis to become a collaborative artist. Espenak eventually established herself in the United States and resumed her career. She opened a dance studio and developed a second career as a dance therapist in New York City.” (NYPL).

“I used to give improvisation programs and invite people to come to the studio. I had a very large, beautiful studio and I could seat about 70 to 80 people. I used to have that many. Since the programs were improvisation, the audience called out the title that they wanted me to dance. This was a very popular program. People would come again and again, as the program would be different each time. I used to do 10 or 11 numbers, and I was very lucky that I had a composer who also improvised as I danced. There again, that was luck. We gave these programs 3 or 4 times a year, for 3 or 4 years. See, I wasn't able to give concerts; that cost too much money. I had a need for performing and for dancing, and fulfilling myself in the dance, so this was a very good solution. I was still technically very good. My studio was then torn down for Lincoln Center and I gave a program at the small Carnegie Hall. But I found that this program was not suitable in a concert hall. The important thing in this program was the contact with the audience but you are too far away from them. … I decided, then this is the time to stop and concentrate on working for others. So that was a decision I made.” (An interview with Liljan Espenak).

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