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Ces Exercices sont executes par les Enfans du Sr. Legagneur.
Ces Exercices sont executes par les Enfans du Sr. Legagneur.
[Anon., French, n.d., c.1730.]
Double-page engraving, inset key cartouche to lower part of frame, very rare. 410 x 495mm, 16 x 19½". Trace of vertical folds; margins a little tatty and stained. Closed tear into right edge of plate.
An illustration of the different positions in the routine of a French family of acrobats, an interesting image. From an unidentified volume.
[Ref: 23264]   £750.00  
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La liste de presence [in pencil.]
La liste de presence [in pencil.]
P. Renouard [pencil signature.]
[n.d. c.1892.]
Etching, very large margins, signed in pencil. Plate 291 x 221
A young girl in ballet dress leans over a table to read her instructions for her class. No. 1. from a series published as 'A l'Opera 30 Eaux-Fortes par P. Renouard preface de Ludovic Halivy'.
[Ref: 34643]   £220.00  
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[Ensemble de 14 Planche Danse Opera.]
[Ensemble de 14 Planche Danse Opera.] No.1. M.elle Taglioni, Dans la Sylphide. [&] No.2. M.me Rosati, Ballet du Corsaire. [&] No.3. M.me Ferraris, dan le Ballet des Elfes. [&] No.4. M.lle Zina Richard, dans Marco Spada. [&] No.5. M.elle Marquet, dans Marco Spada. [&] No.6. M.elle Marquet, dans le Ballet du Dieu et la Bayadère. [&] No.7. M.lle Fiocre, dans l'Amour de Pierre de Médicis. [&] No.8. M.elle Cassegrain, dans Marco Spada. [&] No.9. M.elle Emarot, dans Guillaume Tell. [&] No.10. M.elle Emma Livry, dans Herculanum. [&] No.11. M.elle Caroline, dans Marco Spada. [&] No.12. M.elle Plunkett, dans La Mañola de La Favorite. [&] No.13 M.elle Vibon, dans le Ballet de Vert-Vert. [&] No.14.M.elle Lefèvre, dans Orfa.
Alophe del. Et lith. Imp. Auguste Bry, r. du Bac, 114, Paris.
[n.d. c.1860.]
Rare complete set of 14 hand-coloured lithographs, bound together. 330 x 255mm. 13 x 10".
From Alophe's 'Les Danseuses de l’Opéra' at the Paris Opera, c.1860. Maria Taglioni, the greatest ballerina of the 19th century as the Sylph in La Sylphide her most famous role. She was teaching at the Paris opera in 1860. [&] Carolina Rosati, one of the great dramatic dancers of the mid-19th century, she was the highest paid dancer ever at the Paris Opera. [&] Amalia Ferraris, one of Paris Opera Ballet’s main stars. [&] Zina Richard, in Marco Spada, performed at the Paris Opera in 1857, chosen because it provided two strong female roles for the Paris Opera Ballet’s main stars. Carolina Rosati and Amalia Ferraris. [&] Louise Marquet, also in Marco Spada, as a minor soloist. [&]Louise Marquet as an Indian temple dancer. [&] Louise Fiocre, as Cupid, in the opera Pierre de Médicis at the Paris Opera in 1860. [&] Julie Cassegrain, performing also in the Paris Opera Ballet production of Marco Spada. [&] Célestine Emarot, mother to Emma Livry. [&] Emma Livry in the opera by Félicien David, produced at the Paris Opera in 1858; tragically in 1862, she died from burns received when her flimsy ballet dress caught fire during a rehearsal. [&] Caroline Lassiat, a minor soloist in the 1857 Paris Opera production of Marco Spada. [&] Adelina Plunklett, following in the footsteps of Fanny Essler; versions of La Mañola were also danced by Fanny Cerrito. [&] Mlle Vibon as a minor dancer at the Paris Opera in the 1850s. By the 1860s, most male roles in ballets in Paris and later in London were played by girls en travesti. [&] Mme Lefèvre in peasant costume from Reykjavik. The Paris Opera was founded in 1669 by Louis XIV as the Académie d’Opéra. This collection features artists from the time it was under the title of Académie Impériale de Musique and thus featured music that highlighted events and challenges faced by the Second Empire, led by Napoleon III. Marco Spada, for example was a splendid piece of French Second Empire nonsense, featuring bandits, kidnapped heroines, lovers’ misunderstandings, a rejected suitor who in a fit of pique agrees to marry someone he doesn’t love and a bandit chief’s daughter, freed to marry her lover when it transpires she was adopted.
Harvard: [Vol.P.state.] [1] No. [2] III.439.iv/iv. [3]II.23.ii/iii. [4]III.412.i/i. [5] No. [6] III.138.i/ii. [7] II.26.ii/ii. [8] I.216.i/i. [9] No. [10] III.88.i/iv. [11] No. [12] III.343.iii/vii. [
[Ref: 21615]   £2,200.00   view all images for this item
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[Ballet dancers.]
[Ballet dancers.]
L. Brouet [signed in pencil].
[n.d., c.1920.]
Drypoint etching, signed by the artist, limited to 250. 280 x 380mm, 11 x 15".
Two ballerinas performing an arabesque en pointe. Auguste Louis Brouet, French, [[1872 - 1941.]
[Ref: 11883]   £420.00  
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[A ballet dancer.]
[A ballet dancer.]
L. Brouet [pencil signature.]
[French, n.d., c.1910.]
Drypoint etching, from an edition limited to 100. Numbered '15/100' by the artist in pencil to lower margin. 130 x 180mm, 5 x 7".
Publisher's blindstamp lower left. Auguste Louis Brouet (French, 1872 – 1941).
[Ref: 22529]   £240.00  
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Ballet dansé au Théatre de l'Opera, dans le Carnaval du Parnasse. Acte Ier.
Ballet dansé au Théatre de l'Opera, dans le Carnaval du Parnasse. Acte Ier. Dedié, è Monseigneur, le Duc de la Valiere; Pair et Grand Fauconnier de France, Chevalier des Ordres du Roi, Brigadier de ses Armées, Gouverneur et Grand Senechal de la Province de Bourbonnois et Capitaoine des Chasses de la Capitainerie Royale de la Varenne du Louvre, Par son très humble et très obéissant serviteur, Basan.
G. De St. Aubin Pinxit F. Basan Sc.
A Paris, ches Basan, Graveur, rue St. Jacques. [c.1760]
Etching and engraving, platemark 320 x 370mm (12½ x 14½"). Repaired tear, trimmed close to plate. Very scarce.
Scene from the 'Carnaval de Parnasse', a ballet composed by Fuzelier and Mondonville. It was issued as a pair to 'La Guinguette', depicting a scene from the pantomime of that name by created by de Hesse.
[Ref: 23105]   £360.00  
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[Set of four Ballet scenes.]
[Set of four Ballet scenes.]
[German/Austrian, n.d., c.1780.]
Four coloured etchings. Ech 165 x 245mm (6½ x 9¾"), large margins. A few signs of wear.
Four ballet scenes, numbered X.1 to 4, each with a central dancer (a king, queen, shepherd and shepherdess) flanked by musicians in a rustic landscape.
[Ref: 45059]   £650.00  
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Classe du premier quadrille [in pencil.]
Classe du premier quadrille [in pencil.]
P. Rd [pencil signature; Paul Renouard.]
[n.d. c.1892.]
Etching with very large margins, signed in pencil. Plate 229 x 280mm (9 x 11").
Inside a dance studio, the maestro plays a violin, the teacher directs four dancers on the floor; the rest sit behind the musician on a window ledge. No. 25 from a series published as 'A l'Opera 30 Eaux-Fortes par P. Renouard preface de Ludovic Halivy'.
[Ref: 34645]   £220.00  
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Ballets de l’Opéra de Paris. Ballets dans les Opéras-Nouveaux Ballets.
Ballets de l’Opéra de Paris. Ballets dans les Opéras-Nouveaux Ballets.
Par Léandre Vaillat. Dessins de Jean-Charles Duval.
Compagnie Française des Arts Graphiques. MCMXLVII [1947].
4to (), with original protective tissue cover. Tissue slightly torn along spine and corners.
A survey of the major dance productions of the Paris Opera during the first half of the 20th century, including Castor et Pollux, Aida, Roméo et Juliette and Impressions de Music-Hall, indexes, profusely illustrated by Jean-Charles Duval.
[Ref: 22089]   £260.00  
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Galerie Théâtrale / M.lle Bigotini
Galerie Théâtrale / M.lle Bigotini (Adadémie R.le de Musique) / ((Rôle de la Folie) / Dans le Balet du Carnaval de Venise
Couré del. / Prud'hon Sculp.t / Ecrit par Beaublé / Imprimé par Langlois
Déposé à la Direct.on de la Librairie.
Stipple printed in colour with large margins, platemark 285 x 220mm (11¼ x 8½").
Émilie Bigottini (1784-1858), French dancer, performing a role. Admired by Napoleon, Bigottini spent her career with the company of the Opéra de Paris, and maintained a reputation which avoided the allegations of immorality often attached to dancers during the early 19th century.
Not in Harvard
[Ref: 35592]   £220.00  
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Cotillion
Cotillion Figure of the Lady in the Chair
Olivia F. de Roos del
[n.d., c.1840]
Pen and lithograph, very rare; sheet 385 x 280mm (15¼ x 11).
The cotillion dance, a forerunner of the quadrille, with a woman seated. Olivia F. de Roos (1808-85) is represented in collections including the Victoria & Albert Museum.
Ex: collection of the Hon. C. Lennox-Boyd
[Ref: 35240]   £85.00   (£102.00 incl.VAT)
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"Dacia".
D. Lewis Graves. - 28. [pencil signature.]
Etching. Watermarked, J Whatman. 254 x 197mm. 10 x 7¾".
A ballerina mid ballet leap.
[Ref: 19194]   £130.00   (£156.00 incl.VAT)
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[Interval].
[Interval].
[Ernest] Heber Thomspon signed in pencil.
Etching 225 x 175mm.
Ernest Heber Thompson (1891-1971) R.E. This etching captures a moment in the middle of a performance while the dancers rest.
[Ref: 6118]   £260.00  
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[Interval].
[Interval].
[Ernest] Heber Thomspon. [Signed in pencil.]
Very fine etching. Plate: 225 x 175mm, (9 x 7") large margins. Uncut.
A scene showing a ballerina resting her feet by a stove during the interval of a performance, behind her two other dancers read from a paper. Ernest Heber Thompson (1891-1971). Issued by the Print Collector's Club in original mount & slip.
[Ref: 39962]   £290.00  
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[Dancer with Castanets.]
[Dancer with Castanets.] ''You taught me to warble the gay Seguadille [/] And dance to the light Castagnettes.''
[n.d., c.1840.]
A very fine watercolour in printed border. Sheet: 180 x 235mm (7 x 9¼").
A watercolour portrait of a dancer, dancing in a garden.
[Ref: 44660]   £260.00  
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[Avant la Danse.]
[Avant la Danse.]
[Auguste Louis] L. Brouet [signed in pencil].
[n.d., c.1920.]
Etching, remarqued proof, [three positions] 25/100 limited. 278 x 245mm. Six small worm holes in the margins.
Auguste Louis Brouet, French, [[1872 - 1941.] Atmospheric etching of dancers preparing to perform.
[Ref: 983]   £250.00  
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The Dancing Lesson [set of four]
The Dancing Lesson [set of four]
Etch.d by G Cruik_k
[Published by H. Humphrey, St. James's Street, 1822-5]
Four etchings with hand-colouring, each sheet approx. 125 x 165mm (5 x 6½"). Each trimmed inside platemark. Remains of scrap sheet verso at corners.
Four etchings published over a period of four years, showing a dancing master instructing children while accompanying them on the violin. Etched by George Cruikshank (1792-1878). The son of a notable satirist (who died following a drinking match when George was only 19, leaving him as the family breadwinner), Cruikshank was a prolific and celebrated caricaturist from an early age. Alongside contemporaries such as Rowlandson and Gillray, he ridiculed the excesses of late Georgian Britain with devastating effectiveness (George IV eventually paid him 'not to caricature His Majesty in any immoral situation'). These prints date from the time when Cruikshank left behind political satire and moved into humorous book illustration.
BM Satires 14436 [1]; 14899 [3, in 1835 reissue only]; 14890 [4, in 1835 reissue only].
[Ref: 41545]   £450.00  
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Ecole De Danse.
Ecole De Danse.
Peint a la Gouache par N. Lavreince peintre du Roi de Suede et de l'Academie Royale de Stockholm. Grave par F. Dequevauviller.
Avec Privilege du Roi. [n.d., c.1780.]
Engraving, 345 x 410mm. Foxing to wide margins, only lightly to plate.
A woman dances within a panelled room to the accompanyment of a boy playing his violin. The engraver is Francois Dequevauviller (1745 - 1807). The artist Nicolas Lavreince was a Swedish miniature painter who trained and worked in Paris until the onset of the Revolution.
[Ref: 7352]   £500.00  
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Ghawazi, or Dancing Girls.
Ghawazi, or Dancing Girls.
Drawn on stone by Lemoine [after Achille-Constant-Theodore Emile Prisse d'Avennes].
James Madden, London. [1851.]
Tinted lithograph. Printed area 365 x 260mm (13½ x 10¼").
A pair of arab dancing girls with finger castanets, a seated man with a riq (an arab tamborine) behind. Published in the 'Oriental Album: Characters, Costumes, and Modes of Life, in the Valley of the Nile' by Achille-Constant-Theodore Emile Prisse d'Avennes (1807-79), a French orientalism who embraced Islam and took the name Edris-Effendi.
Attabay: 1001; Blackmer 1357.
[Ref: 32041]   £220.00  
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Mad.e Duval Dancing a Minuet at the Hampstead Assembly. page 277.
Mad.e Duval Dancing a Minuet at the Hampstead Assembly. page 277.
W. Heath del.
London, Published by Jones & Co Feb.y 16 1822.
Etching and aquatint, sheet 125 x 190mm (5 x 7½").
Scene from Frances Burney's novel 'Evelina': Madame Duval dances with a flamboyant gentleman at the Hampstead Assembly, London, while the assembly looks on.
[Ref: 45890]   £65.00   (£78.00 incl.VAT)
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"Firefly".
D. Lewis Graves. / '31. [pencil signature.]
Etching. Watermarked: David Strang. Limited edition: 19/30. 311 x 235mm. 12¼ x 9¼".
A ballerina in attitude en pointe.
[Ref: 19200]   £140.00   (£168.00 incl.VAT)
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[France.]
[France.]
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. Sheet size: 250 x 145mm (9¾ x 9¾"). Cut.
A dancer in a glamourous version of a French Revolutionary ceremonial military uniform, holding the Tricoleur. The costume was made for the Army and Navy ballet at London's Alhambra Theatre. Although the theatre 'specialized in beautiful ballets' it was notorious as a meeting place for prostitutes and their clients.
Not in Ogilby.
[Ref: 40008]   £60.00   (£72.00 incl.VAT)
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La Peri pour gage de son retour offre au ciel la larme d'un pecheur repentant.
La Peri pour gage de son retour offre au ciel la larme d'un pecheur repentant.
[n.d., c.1845.]
Lithograph, sheet 335 x 260mm. 13¼ x 10¼". Spotting, small marginal tears.
An angel or fairy above a young boy fisherman, who prays with another man in a Middle Eastern landscape. Illustrates La Péri, a ballet by Friedrich Burgmüller, Jean Coralli, and Théophile Gautier, first performed in 1843. A book illustration, possibly to accompany sheet music.
[Ref: 10394]   £160.00   (£192.00 incl.VAT)
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[A Dancer Resting ]
[A Dancer Resting ]
Ethel Gabain signed in pencil.
Lithograph. 225 x 340mm.
Born in 1883, Ethel Gabain was one of the few women of her generation to be able to make a living as a lithographer. Ethel Gabain [1883-1950] and her husband, English printmaker John Copley lived, for a number of years, in Italy where both found the inspiration to create some of their finest work. Her lithographs have a distinctive style that some critics have attributed to her Gallic blood, as she was half French.
W.184.
[Ref: 2602]   £230.00  

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[Music cover] The Greek Romaika.
[Music cover] The Greek Romaika. Danced by Mademoiselle Celeste.
[British/American?, c.1835.]
Rare hand-coloured lithograph, illustrated sheet music cover. Sheet c.275 x 205mm, 10¾ x 8". Trimmed.
The ballet was composed expressly for actress and dancer Celine Celeste (1814 - 1882), here posed in Grecian costume, by A. Fleche. A version of the music score very similar to that published in London was published in New York City by Firth & Hall.
See Harvard p.226, 31.
[Ref: 21673]   £180.00   (£216.00 incl.VAT)
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Mrs. Honey,
Mrs. Honey, (As Psyche)
Lithographed, Printed, & Published by G.E. Madeley, 3 Wellington St. Strand. [n.d., 1830.]
Hand coloured lithograph on india laid paper, sheet 360 x 265mm. 14¼ x 10½". Slightly soiled.
Laura Honey (1816? - 1843), actress and vocalist, with butterfly on head and lamp in left hand; as Psyche in the burlesque 'Cupid'. By George Edward Madeley.
Harvard Theatre Collection: pg.249, 21.
[Ref: 13318]   £130.00   (£156.00 incl.VAT)
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Alfred Crowquill's Sketches From Jullien's Bal Masque.
Alfred Crowquill's Sketches From Jullien's Bal Masque. I've Hardly The Face To Ask You: But Are You Angel Enough. To Smile When Nobody Asks You To Dance.
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 379 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,’ where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News’ as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7816]   £230.00  
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Danse a l'Italienne.
Danse a l'Italienne. Il vous est doux, Iris, que tous ces Spaetateurs...Qu'inspirent a mon Coeur vos divins agrements. C. Moraine.
C. Parrocel delineavit. Le Bas Sculp.
a Paris chez le Bas graveur du Roy, au bas de la rue de la Harpe vis a vis la rue Percee chez un Fayancier. [n.d. c.1736.]
Etching and engraving with large margins. Plate 260 x 375 One small fox mark in sky.
Italian dance: party of young men and women gathered in a park and watching a couple dancing; on the left, a fountain, and on the right several figures leaning on the parapet of a terrace.
[Ref: 30054]   £280.00  
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"Joan & Mary."
D. Lewis Graves. / '31. [pencil signature.]
Etching. Limited edition: 17/30. 272 x 235mm. 10¾ x 9¼".
Two ballerinas on stage under the spotlights.
[Ref: 19198]   £130.00   (£156.00 incl.VAT)
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[Music cover] The Krakoviak.
[Music cover] The Krakoviak.
[J. Brandard.]
[London: Jefferys & Nelson, c.1840.]
Hand-coloured lithograph, illustrated sheet music cover to 'The Krakoviak. From Beniowsky'. Sheet 255 x 170mm, 10 x 6¾". Trimmed. Water stain to upper part.
Carlotta Grisi (Caronne Adele Josephine Marie Grisi, 1819 - 1899), Italian ballerina, dancing. Full title: 'The Krakoviak. From Beniowsky [by R. N. C. Bochsa]. Arranged for the piano forte by T. B. Phipps.' By John Brandard (1812 - 1863), Victorian lithographer, engraver and illustrator.
Beaumont 107. See BL h.61.qq.(14.).
[Ref: 21668]   £80.00   (£96.00 incl.VAT)
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[Music cover] La Lituana.
[Music cover] La Lituana. Danced at Her Majesty's Theatre, by Madlle Cerito...
[J. Brandard.]
[London: Jefferys & Co., c.1845.]
Lithograph, illustrated sheet music cover. Sheet 265 x 185mm, 10½ x 7¼". Trimmed. A few stains.
Francesca Cerrito (1817- 1909), Italian ballet dancer and choreographer. By John Brandard (1812 - 1863), Victorian lithographer, engraver and illustrator.
Beaumont 113.
[Ref: 21669]   £130.00   (£156.00 incl.VAT)
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The Russian Family, Matweitsch
The Russian Family, Matweitsch in the Cossack Dance from the Imperial Theatre, at Moscow, performing at the Argyll Rooms. 246, Regent Street.
W. Clark, lith., 202 High Holborn [c.1838]
Lithograph with hand-colouring, sheet approx 200 x 210mm (8 x 8¼"). Trimmed and glued to backing sheet. Very rare.
The Matweitsch family performed in Britain for the first time in 1838, when the 'Morning Post' reviewer wrote (June 18, 1838) that: 'the melodies did not betray the originality we anticipated; but in the disposition and treatment quaintness was often remarkable'. They also appear to have toured England, Scotland and Ireland, and performed specially for visitors such as the future Alexander II of Russia, when he visited England as a young man in 1839.
[Ref: 37961]   £160.00   (£192.00 incl.VAT)
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Midshipman.
Midshipman.
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. Sheet 250 x 145mm, 9¾ x 9¾".
A dancer in a glamourous version of the uniform of a Naval midshipman. The costume was made for the Army and Navy ballet at London's Alhambra Theatre. Although the theatre 'specialized in beautiful ballets' it was notorious as a meeting place for prostitutes and their clients.
Not in Ogilby.
[Ref: 16936]   £60.00   (£72.00 incl.VAT)
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[Midshipman.]
[Midshipman.]
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. Sheet size: 240 x 145mm (9¼ x 9¾"). Cut.
A dancer in a glamourous version of the uniform of a Naval midshipman. The costume was made for the Army and Navy ballet at London's Alhambra Theatre. Although the theatre 'specialized in beautiful ballets' it was notorious as a meeting place for prostitutes and their clients.
Not in Ogilby.
[Ref: 40007]   £75.00   (£90.00 incl.VAT)
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[Nymph Dancing with Faun.]
[Nymph Dancing with Faun.]
Troy Kinney [pencil signature.]
[n.d. c.1920.]
Ethcing. 291 x 318mm. 11½ x 12½".
A nymph holding a stringed instrument skipping through the field alongside a faun playing cymbals. Troy Kinney (1871-1938) was an notable American artist, etcher and author; most of his works portraying dance performers, fanciful subjects, and classically styled nudes.
[Ref: 19204]   £140.00   (£168.00 incl.VAT)
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[L'Odalisque. - L'Amusement du Sultan.]
[L'Odalisque. - L'Amusement du Sultan.]
[Michel Honoré Bounieu.]
[n.d., c.1786.]
A fine Mezzotint, proof before letters. 355 x 485mm (14 x 19"). Trimmed just within plate at bottom.
An oriental prince watching two women dancing, one of whom plays a tambourine. A black servant looks on in the background. Drawn and engraved by Michel Honoré Bounieu (1740-1814), the print was advertised in the 'Mercure' in 1786.
[Ref: 47211]   £650.00  
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[L'Odalisque.]
[L'Odalisque.]
[Michel Honoré Bounieu.]
[n.d., c.1785.]
Mezzotint, proof before letters, image 355 x 485mm. 14 x 19". Some soiling; trace of water stain to lower left corner. Tear into plate at right. Trimmed into lower part of plate.
An oriental prince watching two women dancing, one of whom playing a tambourine. A black servant looks on in the background. By Michel Honoré Bounieu (1740 - 1814), painter, draughtsman and engraver. Pupil of Pierre, member of the Academy 1767, also active as a restorer. He later became professor of design at the Ecole des Ponts et Chaussées.
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 10811]   £380.00  
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[Pastorale]
[Pastorale]
Troy Kinney [signed in pencil.]
[n.d. c.1922.]
Signed etching; paper watermarked: England. 235 x 292mm. 9¼ x 11½".
Pastorale; expressed the pastoral nature of music. A fawn playing pipes as a girl dances in the field. Troy Kinney (1871-1938) was a notable American artist, etcher and author; most of his works portraying dance performers, fanciful subjects, and classically styled nudes.
[Ref: 20049]   £160.00   (£192.00 incl.VAT)
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The Peri.
The Peri.
F. Corbaux [signed in plate.]
[British, n.d., c.1850.]
Sepia lithograph heightened in white with colour (red) added by hand. Sheet 380 x 280mm, 15 x 11". Some surface soiling, with extremities a little bumped; otherwise good.
In Persian mythology, the péris are oriental heavenly creatures that embody Prince Achmed’s yearning for another form of existence. A beautiful péri appears to him with her retinue and promises him redemption: she promises that the barrier between Heaven and Earth can be overcome by the power of love. La Péri, by Friedrich Burgmüller, Jean Coralli, and Théophile Gautier, was first performed in 1843 at the Paris Opéra. After Fanny Corbaux (British, female, 1812 - 1883).
[Ref: 22541]   £130.00   (£156.00 incl.VAT)
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The Polka. Grotesque and Elegant.
The Polka. Grotesque and Elegant. 1. Lead your lady to the circle, place her vis à vis to you, take her left hand in your right and then do the introductory steps, four times, together you then advance balancant, first to the right & then to the left, alternately placing yourselves vis à vis & dos à dos, proceeding thus around the circle once, & with the glissade the second time. 2. With your right arm circling your partner's waist, and in your left hand holding her right, place your lady exactly fronting you, and retreat round the room, your partner pursuing you, as it were, the reverse the figure, she retreating, you pursuing, your lady doing the back step now, as you have just done, and you doing the forward step as she has just done. 3. Advance together down centre of the ball room doing figure one step and then do the gallop step round to the commencing point. 4. With the heel and toe step Valse up and down passing your lady over from your left arm to your right & from your right to your left alternately. 5. At top cross to each others' places, and advance separately, performing figures en avant & en tournant, (forward & turning,) then dos à dos and vis à vis alternately up the centre. 6. Valse round the room, doing the back step, turning your partner the contrary way to the usual Valse.
For Steps See Music.
[n.d. c.1840.]
Three sheets; rare & fine hand-coloured lithographs. 368 x 260mm. 14½ x 10¼".
The art of Polka seen as a contrast between the grotesque and elegant, trashy and sophisticated, with notes describing the correct moves required.
[Ref: 24140]   £450.00   view all images for this item
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The Real Scotch Polkas, as Danced at Her Majesty's Balls Almack's...
The Real Scotch Polkas, as Danced at Her Majesty's Balls Almack's... Arranged for the Piano Forte. By Richard Linter.
H.C. Maguire del et lith.
Ent. Sta. Hall. London, Dalmaine & Co. 20, Soho Square. [1844.] Pr 3/-
Sheet music cover/titlepage, hand coloured lithograph heightened in gold leaf. Sheet 355 x 260mm, 14 x 10¼".
A composition by Richard (Ricardo) Linter (1818 - 1886).
BL: 004485834.
[Ref: 18866]   £95.00   (£114.00 incl.VAT)
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Performed at Professor Keller's, of the Royal Olympic Theatre.
Performed at Professor Keller's, of the Royal Olympic Theatre. The Little Italian Dancers & Singers.
L'Enfant Brothers, lith. Printers, 12, Rathbone Place.
Lithograph, rare. Sheet: 330 x 270mm (13 x 10½"). Repaired tear in left edge.
A portrait of two little dancers who performed at the Royal Olympic Theatre.
[Ref: 46667]   £190.00   (£228.00 incl.VAT)
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Russia.
Russia.
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. Sheet 250 x 145mm, 9¾ x 9¾".
A dancer in a glamourous version of a Russian ceremonial military uniform, holding the imperial standard. The costume was made for the Army and Navy ballet at London's Alhambra Theatre. Although the theatre 'specialized in beautiful ballets' it was notorious as a meeting place for prostitutes and their clients.
Not in Ogilby.
[Ref: 16941]   £80.00   (£96.00 incl.VAT)
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Alfred Crowquill's Sketches From Jullien's Bal Masque.
Alfred Crowquill's Sketches From Jullien's Bal Masque. Smith Your Wife's In The Boxes!
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Lithograph, sheet 266 x 203mm. Foxing and staining, trimmed to printed border.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,’ where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News’ as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7819]   £90.00   (£108.00 incl.VAT)
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Scene from the ballet of 'the Soldier's Dream'.
Scene from the ballet of 'the Soldier's Dream'.
[n.d., c.1830.]
Lithograph in fine contemporary hand colour, sheet 160 x 260mm. 6¼ x 10¼".
Semi-caricatured dancers performing on stage. The performers and their characters are captioned below the image. A rare lithograph.
[Ref: 13320]   £180.00   (£216.00 incl.VAT)
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Flore. [/] La Tirolienne. [/] La Napolitaine. [/] La Bayadere. [/] La Naiade. [/] Marie Taglioni [Facsimile signature].
Flore. [/] La Tirolienne. [/] La Napolitaine. [/] La Bayadere. [/] La Naiade. [/] Marie Taglioni [Facsimile signature].
A.E.C. [A.E.Chalon]. R.J.L. [R.J.Lane].
Published by J. Dickinson. New Bond Street, Aug.t 1831.
Set of six proof lithographs laid on India paper with large margins. Very scarce. Printed area: 212 x 141mm (8¼ x 5½") each.
A rare set of six proof lithographs of renowned ballet dancer Marie Taglioni (1804-1884) depicted in some of the roles that have established her as a central figure in the history of European dance. After A.E.Chalon, by R.J. Lane. Taglioni was one of the most celebrated ballerinas of the romantic ballet, and cultivated her skill primarily at Her Majesty's Theatre in London, and at the Théâtre de l'Académie Royale de Musique of the Paris Opera Ballet. She later took a three-year contract in Saint Petersburg with the Imperial Ballet.
[Ref: 32628]   £2,000.00   view all images for this item
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Mademoiselle Taglioni.
Mademoiselle Taglioni.
From a Drawing by A E Chalon R.A. Drawn on Stone by R.J. Lane A.R.A. Proof.
London, Published June 1831 by J. Dickinson, New Bond Street. Printed by Hullmandel
Rare coloured lithograph on india, sheet 370 x 240mm (14½ x 9½"). Repaired tear to top edge; india missing lower right. Slight staining top.
Marie Taglioni (1804-84), dancer, in the Flore in 'Flore et Zephyre'. Born in Stockholm into a family of dancers, Taglioni made her debut in Vienna in 1822 and was renowned throughout Europe by the time she first appeared in London in 1829. The toast of many writers (including Victor Hugo, Thackeray, and Théophile Gaultier), Taglioni retired in 1847 when Jenny Lind threatened her position as the preeminent diva of the day. Thereafter she spent much time in Italy, although she returned to live in London from 1874, working as a teacher of deportment, where she would be seen escorting schoolgirls in Hyde Park or Brighton. Lithograph after Alfred Edward Chalon (1780-1860), a fashionable portrait painter specialising in figures from the worlds of music and theatre, and Portrait Painter in Water-colours to Queen Victoria.
[Ref: 40234]   £450.00  
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"Tarantella".
D. Lewis Graves. / '31. [pencil signature.]
Etching. Limited edition: 21/30. 312 x 235mm. 12¼ x 9¼". Crease to lower left-hand corner.
A young girl dancing a tarantella, an Italian folk dance usually accompanied by tambourines, with a pair of cymbals.
[Ref: 19197]   £120.00   (£144.00 incl.VAT)
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La Tarantella.
La Tarantella.
G. Torino dis.
[n.d., c.1840.]
Hand-coloured lithograph. Sheet: 210 x 165mm (8¼ x 6¼"). Trimmed.
An Italian scene showing two figures dancing the tarantella while a crowd watches and plays musical instruments.
[Ref: 44682]   £85.00   (£102.00 incl.VAT)
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Alfred Crowquill's Sketches From Jullien's Bal Masque.
Alfred Crowquill's Sketches From Jullien's Bal Masque. That's About The Step I Think Maria? Yes Love, Now Isn't He A Duck!
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 379 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,’ where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News’ as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7813]   £230.00  
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