A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
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De Vrede, als uit den hemel nederdalende, vertoond, by hat weder openen van den Amsteld. Schouwburg Ao.1749..In het Zinnespel Leeuwendaal herstadt door de Vrede.
[Amsterdam, c.1749.]
Engraving, image 190 x 285mm. 7½ x 11¼". Trimmed to image and glued to backing sheet.
Interior of an Amsterdam theatre, a performance on stage. By Simon Fokke (printmaker; Dutch; Male; 1712 - 1784), engraver and etcher working for the Amsterdam book trade; also a collector.
For another ballet print of the Schouwbourg Theatre, see ref. 13317
[Ref: 26968] £160.00 (£192.00 incl.VAT)
[Amsterdam, c.1749.]
Engraving, image 190 x 285mm. 7½ x 11¼". Trimmed to image and glued to backing sheet.
Interior of an Amsterdam theatre, a performance on stage. By Simon Fokke (printmaker; Dutch; Male; 1712 - 1784), engraver and etcher working for the Amsterdam book trade; also a collector.
For another ballet print of the Schouwbourg Theatre, see ref. 13317
[Ref: 26968] £160.00 (£192.00 incl.VAT)
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![La liste de presence [in pencil.]](jpegs/34643.jpg)
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 (£264.00 incl.VAT)
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 (£264.00 incl.VAT)
Quadrilles. From Aubers Celebrated Opera, ''Le Dieu et la Bayadère''. Respectfully Dedicated to Mad.lle Augusta, by S.M. New York.
N. Curriers Lithograph New York
Published by Hewitt & Jaques 239 Broadway. c. 1836
Lithograph and 6pp sheet music, each sheet 325 x 260mm (12¾ x 10¼").
New York-published piano arrangement of music from Daniel-François-Esprit Auber's opera 'Le dieu et la bayadère', one of several works he composed for the Paris Opéra during the 1830s. Attractive cover sheet with lithograph of a ballerina.
[Ref: 43319] £260.00 (£312.00 incl.VAT)
N. Curriers Lithograph New York
Published by Hewitt & Jaques 239 Broadway. c. 1836
Lithograph and 6pp sheet music, each sheet 325 x 260mm (12¾ x 10¼").
New York-published piano arrangement of music from Daniel-François-Esprit Auber's opera 'Le dieu et la bayadère', one of several works he composed for the Paris Opéra during the 1830s. Attractive cover sheet with lithograph of a ballerina.
[Ref: 43319] £260.00 (£312.00 incl.VAT)
The Auriol Polka. Composed by Charles Matthews, and Respectfully Dedicated by express Permission to Mademoiselle Francesca Auriol.
[Anon., c.1850]
London, Published by Duncombe & Moon, 17 Holborn opposite Furnival's Inn.
Rare aquatint. 340 x 260mm (13½ x 10¼). Slightly trimmed on left.
Music cover for a polka named in honour of the dancer Francisca (or Francesca) Auriol (1829-62). Auriol, daughter of the famed French clown Jean Baptiste Auriol, made her London debut in 1847 as a second dancer at the Royal Italian Opera, Covent Garden. She married British dancing clown Richard Flexmore and made a career dancing with him around Europe, with particular success with their 'Dancing Scotsman' of 1854.
[Ref: 53234] £230.00 (£276.00 incl.VAT)
[Anon., c.1850]
London, Published by Duncombe & Moon, 17 Holborn opposite Furnival's Inn.
Rare aquatint. 340 x 260mm (13½ x 10¼). Slightly trimmed on left.
Music cover for a polka named in honour of the dancer Francisca (or Francesca) Auriol (1829-62). Auriol, daughter of the famed French clown Jean Baptiste Auriol, made her London debut in 1847 as a second dancer at the Royal Italian Opera, Covent Garden. She married British dancing clown Richard Flexmore and made a career dancing with him around Europe, with particular success with their 'Dancing Scotsman' of 1854.
[Ref: 53234] £230.00 (£276.00 incl.VAT)
The Auriol Polka. Composed by Charles Matthews, and Respectfully Dedicated by express Permission to Mademoiselle Francesca Auriol.
[Anon., c.1850]
London, Published by Duncombe & Moon, 17 Holborn opposite Furnival's Inn.
Aquatint with 5pp. sheet music, each sheet 340 x 260mm (13½ x 10¼). Made up corner bottom right.
Music for a polka named in honour of the dancer Francisca (or Francesca) Auriol (1829-62). Auriol, daughter of the famed French clown Jean Baptiste Auriol, made her London debut in 1847 as a second dancer at the Royal Italian Opera, Covent Garden. She married British dancing clown Richard Flexmore and made a career dancing with him around Europe, and were particularly successful with their 'Dancing Scotsman' of 1854.
[Ref: 43323] £180.00 (£216.00 incl.VAT) view all images for this item
[Anon., c.1850]
London, Published by Duncombe & Moon, 17 Holborn opposite Furnival's Inn.
Aquatint with 5pp. sheet music, each sheet 340 x 260mm (13½ x 10¼). Made up corner bottom right.
Music for a polka named in honour of the dancer Francisca (or Francesca) Auriol (1829-62). Auriol, daughter of the famed French clown Jean Baptiste Auriol, made her London debut in 1847 as a second dancer at the Royal Italian Opera, Covent Garden. She married British dancing clown Richard Flexmore and made a career dancing with him around Europe, and were particularly successful with their 'Dancing Scotsman' of 1854.
[Ref: 43323] £180.00 (£216.00 incl.VAT) view all images for this item
![[Austria.]](jpegs/17571.jpg)
[Austria.]
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. 250 x 145mm. 9¾ x 5¾". Trimmed excluding title.
A dancer in a glamourous version of a Austrian ceremonial military uniform, holding the Imperial Flag. 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: 17571] £50.00 (£60.00 incl.VAT)
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. 250 x 145mm. 9¾ x 5¾". Trimmed excluding title.
A dancer in a glamourous version of a Austrian ceremonial military uniform, holding the Imperial Flag. 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: 17571] £50.00 (£60.00 incl.VAT)
Signora Baccelli.
Painted by T. Gainsborough R.A. Engraved by John Jones.
London Pub.d Feb.y 5th 1784 by J. Jones No. 63 Great Portland Street Marylebone.
Rare mezzotint. 535 x 350mm (21 x 13¾"), with largemargins on three sides. Slight mark centre top. Top area slightly rubbed.
Giovanna Baccelli (1774, fl.- d.1801), dancer. Baccelli, first appeared at the King's Theatre, Haymarket in 1774. She reached the peak of her career during the 1780-1 season when she appeared with Gaetan Vestris and his son Auguste in several important ballets devised by Noverre. She also danced in Venice in 1783-4, and at the Paris Opéra as late as 1788. Baccelli was equally known as a mistress of John Frederick Sackville, 3rd Duke of Dorset (1745-99), who had set up Baccelli in a suite of rooms at Knole by October 1779. Baccelli accompanied him to Paris in 1783 when he was appointed Ambassador to France. They entertained lavishly, patronising the Paris Opéra, and were admitted to the friendship of Queen Marie-Antoinette. Horace Walpole records that when the Duke was awarded the Order of the Garter in 1788, Baccelli danced at the Opéra wearing the blue Garter ribbon around her head. As the events of the French Revolution unfolded, the pair returned to Knole, where Baccelli remained until their amicable parting in 1789. Engraved by John Jones after the portrait by Thomas Gainsborough (exhibited 1782) which hangs in Tate Britain. Gainsborough was well-acquainted with many theatre people, including Richard Brinsley Sheridan, the famous dramatist and part-owner of the King's Theatre. When this portrait was exhibited at the Royal Academy in 1782, Gainsborough's portrait of the Duke of Dorset was withdrawn, presumably for reasons of decorum. As well as commissioning this portrait, the Duke also patronised Gainsborough's great rival Joshua Reynolds, who painted Baccelli in 1783.
Horne: 7 II of III; CS 3 II of III.
[Ref: 47602] £1,500.00
Painted by T. Gainsborough R.A. Engraved by John Jones.
London Pub.d Feb.y 5th 1784 by J. Jones No. 63 Great Portland Street Marylebone.
Rare mezzotint. 535 x 350mm (21 x 13¾"), with largemargins on three sides. Slight mark centre top. Top area slightly rubbed.
Giovanna Baccelli (1774, fl.- d.1801), dancer. Baccelli, first appeared at the King's Theatre, Haymarket in 1774. She reached the peak of her career during the 1780-1 season when she appeared with Gaetan Vestris and his son Auguste in several important ballets devised by Noverre. She also danced in Venice in 1783-4, and at the Paris Opéra as late as 1788. Baccelli was equally known as a mistress of John Frederick Sackville, 3rd Duke of Dorset (1745-99), who had set up Baccelli in a suite of rooms at Knole by October 1779. Baccelli accompanied him to Paris in 1783 when he was appointed Ambassador to France. They entertained lavishly, patronising the Paris Opéra, and were admitted to the friendship of Queen Marie-Antoinette. Horace Walpole records that when the Duke was awarded the Order of the Garter in 1788, Baccelli danced at the Opéra wearing the blue Garter ribbon around her head. As the events of the French Revolution unfolded, the pair returned to Knole, where Baccelli remained until their amicable parting in 1789. Engraved by John Jones after the portrait by Thomas Gainsborough (exhibited 1782) which hangs in Tate Britain. Gainsborough was well-acquainted with many theatre people, including Richard Brinsley Sheridan, the famous dramatist and part-owner of the King's Theatre. When this portrait was exhibited at the Royal Academy in 1782, Gainsborough's portrait of the Duke of Dorset was withdrawn, presumably for reasons of decorum. As well as commissioning this portrait, the Duke also patronised Gainsborough's great rival Joshua Reynolds, who painted Baccelli in 1783.
Horne: 7 II of III; CS 3 II of III.
[Ref: 47602] £1,500.00
![[Ensemble de 14 Planche Danse Opera.]](jpegs/21615.jpg)
[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
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
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
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
![[Set of four Ballet scenes.]](jpegs/45059.jpg)
[Set of four Ballet scenes.]
[German/Austrian, n.d., c.1780.]
Four coloured etchings. Ech 165 x 245mm (6½ x 9¾"), with 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
[German/Austrian, n.d., c.1780.]
Four coloured etchings. Ech 165 x 245mm (6½ x 9¾"), with 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
![[Pet of the Ballet. No. 8.]](jpegs/15653.jpg)
[Pet of the Ballet. No. 8.]
[R. Gallon pinx. et lith. Day & Haghe Lith.rs to the Queen.]
[R. Ackermann 14th Feb. 1844.]
Aquatint in india. 310 x 230mm (12¼ x 9"). Staining on backing paper.
A portrait of a ballerina from a series of eight plates portraying annoymous dancers who made up the decorative background during a performance.
[Ref: 15653] £580.00
[R. Gallon pinx. et lith. Day & Haghe Lith.rs to the Queen.]
[R. Ackermann 14th Feb. 1844.]
Aquatint in india. 310 x 230mm (12¼ x 9"). Staining on backing paper.
A portrait of a ballerina from a series of eight plates portraying annoymous dancers who made up the decorative background during a performance.
[Ref: 15653] £580.00
Ballet 1946-1947.
Covent Garden Books - Number One. Editor: Anthony Gishford.
Printed by Jarrold and Sons Ltd. Norwich and Published by The Covent Garden Opera Trust. [n.d. c.1947.]
Book, 4to; 63 pages. Coloured cover of the stage from a right-wing box.
An illustrated sixty-three page book on the Royal Ballet. It includes contributions by Philip Page "The Royal Opera House", Anthony Gishford "The Covent Garden Opera Trust" and "Frederick Ashton" (with a portrait by Cecil Beaton), David Webster "Lord Keynes", Frances Harris "Ninette de Valois", Sacheverell Sitwell "The Sleeping Beauty" and "Giselle", and Michael Benthall "The Creation of a Ballet". This volume is superbly illustrated with portraits of the dancers and notables, including Ninette de Valois, Constant Lambert, Frederick Ashton, Margot Fonteyn, Moira Shearer, Harold Turner, Pamela May, June Brae, Robert Helpmann, David Paltenghi, Alexis Rassine, Beryl Grey, Michael Somes, and so on, together with photographs of performances and stagings. Among the photographs are works by Cecil Beaton, Germaine Kanova, Baron, Frank Sharman, Gordon Anthony, etc. Other illustrations include a colour plate depicting "William Chappell's backcloth design for the first act of Coppelia", and color photographs of performances of "The Sleeping Beauty" featuring Margot Fonteyn .Among the ballets featured in this, number one of the Covent Garden books, are "The Sleeping Beauty", "Giselle", "Adam Zero", "Les Sirenes".
[Ref: 23324] £140.00
Covent Garden Books - Number One. Editor: Anthony Gishford.
Printed by Jarrold and Sons Ltd. Norwich and Published by The Covent Garden Opera Trust. [n.d. c.1947.]
Book, 4to; 63 pages. Coloured cover of the stage from a right-wing box.
An illustrated sixty-three page book on the Royal Ballet. It includes contributions by Philip Page "The Royal Opera House", Anthony Gishford "The Covent Garden Opera Trust" and "Frederick Ashton" (with a portrait by Cecil Beaton), David Webster "Lord Keynes", Frances Harris "Ninette de Valois", Sacheverell Sitwell "The Sleeping Beauty" and "Giselle", and Michael Benthall "The Creation of a Ballet". This volume is superbly illustrated with portraits of the dancers and notables, including Ninette de Valois, Constant Lambert, Frederick Ashton, Margot Fonteyn, Moira Shearer, Harold Turner, Pamela May, June Brae, Robert Helpmann, David Paltenghi, Alexis Rassine, Beryl Grey, Michael Somes, and so on, together with photographs of performances and stagings. Among the photographs are works by Cecil Beaton, Germaine Kanova, Baron, Frank Sharman, Gordon Anthony, etc. Other illustrations include a colour plate depicting "William Chappell's backcloth design for the first act of Coppelia", and color photographs of performances of "The Sleeping Beauty" featuring Margot Fonteyn .Among the ballets featured in this, number one of the Covent Garden books, are "The Sleeping Beauty", "Giselle", "Adam Zero", "Les Sirenes".
[Ref: 23324] £140.00
![The Chinese Lantern [pencil].](jpegs/49154.jpg)
The Chinese Lantern [pencil].
E. Gordon Carter [pencil].
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist, numbered 12 of 100. 200 x 135mm (8 x 5¼"), with large margins. In original mount with printed gallery label with artist's name and publisher's logo of a black bell with ABC in white. Mint.
A ballet dancer standing under a Chinese lantern.
[Ref: 49154] £260.00 (£312.00 incl.VAT)
E. Gordon Carter [pencil].
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist, numbered 12 of 100. 200 x 135mm (8 x 5¼"), with large margins. In original mount with printed gallery label with artist's name and publisher's logo of a black bell with ABC in white. Mint.
A ballet dancer standing under a Chinese lantern.
[Ref: 49154] £260.00 (£312.00 incl.VAT)
![Classe du premier quadrille [in pencil.]](jpegs/34645.jpg)
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 (£264.00 incl.VAT)
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 (£264.00 incl.VAT)
![[Ballet Costume.]](jpegs/22715.jpg)
[Ballet Costume.]
[n.d. c.1890.]
Watercolour with pen outline and detail. Image 310 x 135mm. 12¼ x 5¼". Laid on board.
A lady standing in an arabesque posture, without the hand positioning. In a long drape floral dress, with pink floral detail down the pleats. She wears a small jacket with pink and blue frills on the sides and collar. In her right hand she daintly leans on a parasol and in her left hand she holds a hand bag with a pink bow. On her head she wears a pink ribboned bow.
Ex Collection: Alec Clunes.
[Ref: 22715] £140.00 (£168.00 incl.VAT)
[n.d. c.1890.]
Watercolour with pen outline and detail. Image 310 x 135mm. 12¼ x 5¼". Laid on board.
A lady standing in an arabesque posture, without the hand positioning. In a long drape floral dress, with pink floral detail down the pleats. She wears a small jacket with pink and blue frills on the sides and collar. In her right hand she daintly leans on a parasol and in her left hand she holds a hand bag with a pink bow. On her head she wears a pink ribboned bow.
Ex Collection: Alec Clunes.
[Ref: 22715] £140.00 (£168.00 incl.VAT)
![In the Limelight [pencil].](jpegs/49151.jpg)
In the Limelight [pencil].
E. Gordon Carter [pencil].
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist, numbered 4 of 100. 125 x 170mm (5 x 6¾") very large margins. In original mount with printed gallery label with artist's name and publisher's logo of a black bell with ABC in white. Mint.
A ballet dancer on pointe, in tutu, hair bobbed.
[Ref: 49151] £350.00
E. Gordon Carter [pencil].
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist, numbered 4 of 100. 125 x 170mm (5 x 6¾") very large margins. In original mount with printed gallery label with artist's name and publisher's logo of a black bell with ABC in white. Mint.
A ballet dancer on pointe, in tutu, hair bobbed.
[Ref: 49151] £350.00
![The little dancer [pencil].](jpegs/49153.jpg)
The little dancer [pencil].
E. Gordon Carter [pencil].
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist, numbered 5 of 100. 170 x 125mm (6¾ x 5"), with large margins. In original mount with printed gallery label with artist's name and publisher's logo of a black bell with ABC in white. Mint.
A ballet dancer, on pointe with back arched.
[Ref: 49153] £350.00
E. Gordon Carter [pencil].
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist, numbered 5 of 100. 170 x 125mm (6¾ x 5"), with large margins. In original mount with printed gallery label with artist's name and publisher's logo of a black bell with ABC in white. Mint.
A ballet dancer, on pointe with back arched.
[Ref: 49153] £350.00
![[Scrapsheet with Drawings of Ballet Dancers.]](jpegs/50597.jpg)
[Scrapsheet with Drawings of Ballet Dancers.]
Scrapsheet. Sheet: 325 x 220mm (12¾ x 8¾''). Tears.
A scrapsheet with various scenes including amateur portraits of Taglioni, Grisi, Cerrito and Lucile Grahn dancing.
[Ref: 50597] £180.00 (£216.00 incl.VAT)
Scrapsheet. Sheet: 325 x 220mm (12¾ x 8¾''). Tears.
A scrapsheet with various scenes including amateur portraits of Taglioni, Grisi, Cerrito and Lucile Grahn dancing.
[Ref: 50597] £180.00 (£216.00 incl.VAT)
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. pp. 187. Profusely illustrated with colour and b/w images. 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
Par Léandre Vaillat. Dessins de Jean-Charles Duval.
Compagnie Française des Arts Graphiques. MCMXLVII [1947].
4to, with original protective tissue cover. pp. 187. Profusely illustrated with colour and b/w images. 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
Cerito. Ondine.
F. Smith. W. H. Mote.
Published by David Bogue, Fleet Street Nov.r 1. 1844.
Engraving. Sheet: 175 x 260mm (7 x 10¼"). Trimmed.
A portrait of Italian ballet dancer Fanny Cerito (1817-1909) in the title role of the ballet Ondine. From 'The Beauties of Opera and Ballet'.
[Ref: 40920] £85.00 (£102.00 incl.VAT)
F. Smith. W. H. Mote.
Published by David Bogue, Fleet Street Nov.r 1. 1844.
Engraving. Sheet: 175 x 260mm (7 x 10¼"). Trimmed.
A portrait of Italian ballet dancer Fanny Cerito (1817-1909) in the title role of the ballet Ondine. From 'The Beauties of Opera and Ballet'.
[Ref: 40920] £85.00 (£102.00 incl.VAT)
![[Fanny Cerrito] Cerito.](jpegs/49517.jpg)
[Fanny Cerrito] Cerito. Ondine.
Widal [Vincent Vidal]. W.H. Mote.
Published by David Bogue, Fleet Street Nov. 1 1844.
Steel engraving. Sheet: 175 x 260mm (7 x 10¼").
Francesca "Fanny" Cerrito as a water sprite, the title role of 'Ondine, ou La naïade', a ballet with choreography by Jules Perrot and music by Cesare Pugni. Cerrito (11 May 1817 - 6 May 1909) was one of the few 19th century ballerinas who also gained acceptance as a choreographer. From 'The Beauties of Opera and Ballet'.
[Ref: 49517] £85.00 (£102.00 incl.VAT)
Widal [Vincent Vidal]. W.H. Mote.
Published by David Bogue, Fleet Street Nov. 1 1844.
Steel engraving. Sheet: 175 x 260mm (7 x 10¼").
Francesca "Fanny" Cerrito as a water sprite, the title role of 'Ondine, ou La naïade', a ballet with choreography by Jules Perrot and music by Cesare Pugni. Cerrito (11 May 1817 - 6 May 1909) was one of the few 19th century ballerinas who also gained acceptance as a choreographer. From 'The Beauties of Opera and Ballet'.
[Ref: 49517] £85.00 (£102.00 incl.VAT)
Cupid & Psyche. I wish I had a thousand pound [/] I'd give it thee, my Honey. [/] Oh! give me what I value more, [/] Your love and looks so funny!.
Printed by G. E. Madeley, 3 Wellington St.
Pub. by Tho.s McLean, 26 Haymarket. [n.d., c1835.]
Lithograph. Sheet: 250 x 225mm (9¾ x 9"). Trimmed. Some staining.
A humorous valentine showing a funny looking man and a woman dressed as the mythical lovers Cupid and Psyche. Ballet interest.
[Ref: 40918] £190.00 (£228.00 incl.VAT)
Printed by G. E. Madeley, 3 Wellington St.
Pub. by Tho.s McLean, 26 Haymarket. [n.d., c1835.]
Lithograph. Sheet: 250 x 225mm (9¾ x 9"). Trimmed. Some staining.
A humorous valentine showing a funny looking man and a woman dressed as the mythical lovers Cupid and Psyche. Ballet interest.
[Ref: 40918] £190.00 (£228.00 incl.VAT)
"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)
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)
![[Interval].](jpegs/6118.jpg)
[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 (£312.00 incl.VAT)
[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 (£312.00 incl.VAT)
![[Interval].](jpegs/39962.jpg)
[Interval].
[Ernest] Heber Thomspon. [Signed in pencil.]
Very fine etching. Plate: 225 x 175mm (9 x 7"), with 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 (£348.00 incl.VAT)
[Ernest] Heber Thomspon. [Signed in pencil.]
Very fine etching. Plate: 225 x 175mm (9 x 7"), with 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 (£348.00 incl.VAT)
M.dme Rose Didelot, in the Character of Calypso, in the Ballet of Telemachus. Composed by Mr. Dauberval.
Cha.s Henard del.t. Conde & Reynolds sculp.t.
[London, c.1791.]
Mezzotint. Sheet 510 x 385mm (20 x 15¼"). Ink collector's mark on reverse. Trimmed to plate, some surface rubbing
A full length portrait of Rose Didelot (d.1806), wife of Charles Louis Didelot, in classical dress, standing in a garden. A talented ballerina, she was a rival of Parisot, although the three appeared together in a performance of 'Alonzo e Caro' at the Opera in 1796, causing a scandal with their scanty costumes (subject of Gillray's 'Modern Graces').
Whitman 70. Ex: Collections of The Hon. Christopher Lennox-Boyd and American collector Frederic Robert Halsey (1847-1918), Lugt 1308.
[Ref: 67909] £420.00
Cha.s Henard del.t. Conde & Reynolds sculp.t.
[London, c.1791.]
Mezzotint. Sheet 510 x 385mm (20 x 15¼"). Ink collector's mark on reverse. Trimmed to plate, some surface rubbing
A full length portrait of Rose Didelot (d.1806), wife of Charles Louis Didelot, in classical dress, standing in a garden. A talented ballerina, she was a rival of Parisot, although the three appeared together in a performance of 'Alonzo e Caro' at the Opera in 1796, causing a scandal with their scanty costumes (subject of Gillray's 'Modern Graces').
Whitman 70. Ex: Collections of The Hon. Christopher Lennox-Boyd and American collector Frederic Robert Halsey (1847-1918), Lugt 1308.
[Ref: 67909] £420.00
![[Music cover] The Cracovienne. Danced by Madlle Fanny Elssler,](jpegs/22978.jpg)
[Music cover] The Cracovienne. Danced by Madlle Fanny Elssler, in the Grand Ballet of the Gypsey, Composed by N. C. Bocsha. Pr.75 cts.
N. Currier's Lith. N.Y.
New York Published by Hewitt & Jacques 239 Broadway [n.d., c.1850.]
Lithograph, illustrated sheet music cover, rare. Sheet 330 x 220mm, 13 x 8¾". Sheet slightly trimmed.
Dancer Fanny Elssler (1810 - 1884) full length to front, wearing a military jacket, arms crossed in front of waist, hat with feathers, and hair in long braids. Houses and figures behind. She performs the Krakowiak, a fast, syncopated Polish dance in duple time from the region of Krakow. La Gypsy was a ballet in three acts with choreography by Joseph Mazilier; it premiered on 28th January 1839 at the Paris Opera with Elssler and Mazilier.
See Library of Congress LOT 10615-17. Not in Beaumont.
[Ref: 22978] £220.00 (£264.00 incl.VAT)
N. Currier's Lith. N.Y.
New York Published by Hewitt & Jacques 239 Broadway [n.d., c.1850.]
Lithograph, illustrated sheet music cover, rare. Sheet 330 x 220mm, 13 x 8¾". Sheet slightly trimmed.
Dancer Fanny Elssler (1810 - 1884) full length to front, wearing a military jacket, arms crossed in front of waist, hat with feathers, and hair in long braids. Houses and figures behind. She performs the Krakowiak, a fast, syncopated Polish dance in duple time from the region of Krakow. La Gypsy was a ballet in three acts with choreography by Joseph Mazilier; it premiered on 28th January 1839 at the Paris Opera with Elssler and Mazilier.
See Library of Congress LOT 10615-17. Not in Beaumont.
[Ref: 22978] £220.00 (£264.00 incl.VAT)
Fanny Elssler. Florinde.
Edwin D. Smith. W.H. Mote.
Published by David Bogue, Fleet Street Nov. 1 1844.
Steel engraving. Sheet: 175 x 260mm (7 x 10¼").
Francesca "Fanny" Cerrito as a water sprite, the title role of 'Ondine, ou La naïade', a ballet with choreography by Jules Perrot and music by Cesare Pugni. Cerrito (11 May 1817 - 6 May 1909) was one of the few 19th century ballerinas who also gained acceptance as a choreographer. From 'The Beauties of Opera and Ballet'.
[Ref: 49518] £80.00 (£96.00 incl.VAT)
Edwin D. Smith. W.H. Mote.
Published by David Bogue, Fleet Street Nov. 1 1844.
Steel engraving. Sheet: 175 x 260mm (7 x 10¼").
Francesca "Fanny" Cerrito as a water sprite, the title role of 'Ondine, ou La naïade', a ballet with choreography by Jules Perrot and music by Cesare Pugni. Cerrito (11 May 1817 - 6 May 1909) was one of the few 19th century ballerinas who also gained acceptance as a choreographer. From 'The Beauties of Opera and Ballet'.
[Ref: 49518] £80.00 (£96.00 incl.VAT)
Fanny Essler.
Lith. Rigo Fs. Pass. Saulnier, 19. Alexandre. Lacauchie.
Paris, Publie par Marchand. [n.d. c.1840.]
Lithograph. 321 x 246mm. 12¾ x 9¾". Staining to the margins.
Fanny Elssler (1810-1884), born Franziska Elssler, was an Austrian ballerina. From her earliest years she was trained for the ballet, and made her appearance at the Kärntnertortheater in Vienna before she was seven. She almost invariably danced with her sister Theresa, who was two years her senior; the sisters studied dancing with Jean-Pierre Aumer and Freiedrich Horschelt beginning when Fanny was nine years old, also traveling to Naples to study with the great Gaetano Gioja. After some years experience together in Vienna, the two went in 1827 to Naples. It was conspicuously in her performance of the Spanish La Cachucha that Elssler outshone all rivals. In 1840 she sailed with her sister for New York, and after two years unmixed success they returned to Europe. While in New York City, Fanny dined with and was escorted by John Van Buren, son of the President of the United States, Martin Van Buren. During the following five years Fanny appeared in Germany, Austria, France, England and Russia. In 1845, she refused to perform along with her rivals Marie Taglioni, Carlotta Grisi, Fanny Cerrito and Lucile Grahn in Jules Perrot's Pas de Quatre in London.
[Ref: 12952] £160.00 (£192.00 incl.VAT)
Lith. Rigo Fs. Pass. Saulnier, 19. Alexandre. Lacauchie.
Paris, Publie par Marchand. [n.d. c.1840.]
Lithograph. 321 x 246mm. 12¾ x 9¾". Staining to the margins.
Fanny Elssler (1810-1884), born Franziska Elssler, was an Austrian ballerina. From her earliest years she was trained for the ballet, and made her appearance at the Kärntnertortheater in Vienna before she was seven. She almost invariably danced with her sister Theresa, who was two years her senior; the sisters studied dancing with Jean-Pierre Aumer and Freiedrich Horschelt beginning when Fanny was nine years old, also traveling to Naples to study with the great Gaetano Gioja. After some years experience together in Vienna, the two went in 1827 to Naples. It was conspicuously in her performance of the Spanish La Cachucha that Elssler outshone all rivals. In 1840 she sailed with her sister for New York, and after two years unmixed success they returned to Europe. While in New York City, Fanny dined with and was escorted by John Van Buren, son of the President of the United States, Martin Van Buren. During the following five years Fanny appeared in Germany, Austria, France, England and Russia. In 1845, she refused to perform along with her rivals Marie Taglioni, Carlotta Grisi, Fanny Cerrito and Lucile Grahn in Jules Perrot's Pas de Quatre in London.
[Ref: 12952] £160.00 (£192.00 incl.VAT)
Fanny Essler.
Alexandre Lacauchie, Lith de Rigo frères, Pass, Saulnier, 19.
Publié par Marchant, 12, Boulol. St. Martin.
Lithograph. 248 x 159mm. 9¾" x 6¼". Some spotting.
Fanny Essler (1810-1884, Vienna), ballet dancer.
[Ref: 8500] £220.00 (£264.00 incl.VAT)
Alexandre Lacauchie, Lith de Rigo frères, Pass, Saulnier, 19.
Publié par Marchant, 12, Boulol. St. Martin.
Lithograph. 248 x 159mm. 9¾" x 6¼". Some spotting.
Fanny Essler (1810-1884, Vienna), ballet dancer.
[Ref: 8500] £220.00 (£264.00 incl.VAT)
"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)
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)
![[France.]](jpegs/40008.jpg)
[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)
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)
![[Carolina and Charlotta Frederic] Pygmalion, of Het Beeld Bezield Dood De Liefd;](jpegs/52033.jpg)
[Carolina and Charlotta Frederic] Pygmalion, of Het Beeld Bezield Dood De Liefd; zo als herzelve door Carolina en Charlotta Frederic, oud g en 7 Jaaren, op den Amsteldamschen Schouwbourg, in het laatfte des jaars 1758, gedanst is.
G. vander Myn ad vivum delineavit. J. Punt sculpsit, 1759.
te Amsterdam By J. Punt in den Schouwburg
Etching. 355 x 260mm (15¼ x 10¼) very large margins. Crease through inscription.
This rare print depicts the performance of Carolina and Charlotta Frederic (aged 7 and 9) in 1758 at the Amsterdam Schouwbourg Theatre in 'Pygmalion'. The Frederic children were sensations on the European stage of the mid-18th century. Carolina made her debut at age 6 at the Theatre Française in 1754; her sister Charlotte, age 5, joined her at the end of the same year. The Frederic children came from an illustrious background with their grandfather being Salle's partner at the London premiere of Pygmalion. Their father was the Dutch actor-manager known as “Sieur Frederic,” and their ballet teacher was the Maître de Ballet at the Paris Opera, François-Duval Malter. By Gerard Van der Myn. See ref: 13332 for a view of the Theatre interior during a performance.
[Ref: 52033] £680.00
G. vander Myn ad vivum delineavit. J. Punt sculpsit, 1759.
te Amsterdam By J. Punt in den Schouwburg
Etching. 355 x 260mm (15¼ x 10¼) very large margins. Crease through inscription.
This rare print depicts the performance of Carolina and Charlotta Frederic (aged 7 and 9) in 1758 at the Amsterdam Schouwbourg Theatre in 'Pygmalion'. The Frederic children were sensations on the European stage of the mid-18th century. Carolina made her debut at age 6 at the Theatre Française in 1754; her sister Charlotte, age 5, joined her at the end of the same year. The Frederic children came from an illustrious background with their grandfather being Salle's partner at the London premiere of Pygmalion. Their father was the Dutch actor-manager known as “Sieur Frederic,” and their ballet teacher was the Maître de Ballet at the Paris Opera, François-Duval Malter. By Gerard Van der Myn. See ref: 13332 for a view of the Theatre interior during a performance.
[Ref: 52033] £680.00
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)
[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)
![[Augusta Fuchs] Quadrilles. From Auber's Celebrated Opera, Le Dieu et la Bayadére._](jpegs/53233.jpg)
[Augusta Fuchs] Quadrilles. From Auber's Celebrated Opera, Le Dieu et la Bayadére._ Respectfully dedicated to Mad.lle Augusta, by S.M.
N. Currier's Lith. N.Y.
New York. Published by James L. Hewitt & Co, 239 Broadway. [n.d., c.1840.]
Rare lithograph. Sheet 340 x 255mm (13½ x 10"). With music-seller's ink stamp, mount burn.
A music cover with a portrait of Mademoiselle Augusta (Caroline Augusta Josephine Thérèse Fuchs, 1806-1901) en pointe. Born in France, she debuted in London in 1833, toured America with great success, starring in 'Le Dieu et la Bayadére' in 1836, 'La Sylphide' in 1838 and 'Giselle' in 1858. On her marriage she became Comtesse de Saint-James and died at the age of 95.
[Ref: 53233] £230.00 (£276.00 incl.VAT)
N. Currier's Lith. N.Y.
New York. Published by James L. Hewitt & Co, 239 Broadway. [n.d., c.1840.]
Rare lithograph. Sheet 340 x 255mm (13½ x 10"). With music-seller's ink stamp, mount burn.
A music cover with a portrait of Mademoiselle Augusta (Caroline Augusta Josephine Thérèse Fuchs, 1806-1901) en pointe. Born in France, she debuted in London in 1833, toured America with great success, starring in 'Le Dieu et la Bayadére' in 1836, 'La Sylphide' in 1838 and 'Giselle' in 1858. On her marriage she became Comtesse de Saint-James and died at the age of 95.
[Ref: 53233] £230.00 (£276.00 incl.VAT)
Madamoiselle Adelina Genee. [Drummer Girl.]
[01 Jan 1900.]
Photograph with signature. Sheet 216 x 228mm. 8½ x 9". Cut.
Dame Adeline Genée (1878-1970) was a Danish/British ballet dancer. Her dancing career started as a young girl in her uncle's touring company from the age of 10. In 1895, she became the principal dancer at the Royal Opera House in Copenhagen, and in 1896 she danced with the Berlin Court Opera Ballet and the Munich Opera Ballet. In 1897 she moved to the England and stared at the Ballet of the Empire Theatre in London, where she was later offered the position of Prima Ballerina. After much success in London she sailed to the USA in 1907 to perform at the New York Theatre, and the producer, Florenz Ziegfeld, described her on the posters as "The World's Greatest Dancer." She then chose to spend many years alternating between a season in London and one in New York; however in 1913 she performed in Melbourne and Sydney, where she later embarked on a sixteen-week tour of Australia. In 1916 when she returned to London, she gave her last major performance at the Coliseum, but it was her last performance there in 1933, that marked the change when the theatre turned from a music hall into an opera house. In 1923 she was awarded the Order of the "Ingenu et Arti" by the King of Denmark and in 1950 she became a Dame of the British Empire. She similarly gave her name to the Genee Theatre in East Grinstead and the Genée Studio in the Royal Academy of Dance, Battersea, London.
[Ref: 17834] £60.00 (£72.00 incl.VAT)
[01 Jan 1900.]
Photograph with signature. Sheet 216 x 228mm. 8½ x 9". Cut.
Dame Adeline Genée (1878-1970) was a Danish/British ballet dancer. Her dancing career started as a young girl in her uncle's touring company from the age of 10. In 1895, she became the principal dancer at the Royal Opera House in Copenhagen, and in 1896 she danced with the Berlin Court Opera Ballet and the Munich Opera Ballet. In 1897 she moved to the England and stared at the Ballet of the Empire Theatre in London, where she was later offered the position of Prima Ballerina. After much success in London she sailed to the USA in 1907 to perform at the New York Theatre, and the producer, Florenz Ziegfeld, described her on the posters as "The World's Greatest Dancer." She then chose to spend many years alternating between a season in London and one in New York; however in 1913 she performed in Melbourne and Sydney, where she later embarked on a sixteen-week tour of Australia. In 1916 when she returned to London, she gave her last major performance at the Coliseum, but it was her last performance there in 1933, that marked the change when the theatre turned from a music hall into an opera house. In 1923 she was awarded the Order of the "Ingenu et Arti" by the King of Denmark and in 1950 she became a Dame of the British Empire. She similarly gave her name to the Genee Theatre in East Grinstead and the Genée Studio in the Royal Academy of Dance, Battersea, London.
[Ref: 17834] £60.00 (£72.00 incl.VAT)
Germany.
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. Sheet 250 x 145mm, 9¾ x 9¾".
A dancer in a glamourous version of the German ceremonial military uniform, holding a standard with imperial eagles and the Iron Cross. 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: 16944] £40.00 (£48.00 incl.VAT)
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. Sheet 250 x 145mm, 9¾ x 9¾".
A dancer in a glamourous version of the German ceremonial military uniform, holding a standard with imperial eagles and the Iron Cross. 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: 16944] £40.00 (£48.00 incl.VAT)
Grenadier.
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. Sheet 250 x 145mm (9¾ x 5¾").
A dancer in a glamourous version of the uniform of the Grenadier Guards, with bearskin. 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: 16939] £120.00 (£144.00 incl.VAT)
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. Sheet 250 x 145mm (9¾ x 5¾").
A dancer in a glamourous version of the uniform of the Grenadier Guards, with bearskin. 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: 16939] £120.00 (£144.00 incl.VAT)
Carlotta Grisi. La Giselle.
Published by David Bogue, Fleet Street April 1. 1844.
Steel engraving. Sheet: 175 x 260mm (7 x 10¼"). Trimmed. Slight mark.
A portrait of Italian ballet dancer Carlotta Grisi (1819-1899) in the title role of the ballet Giselle. From 'The Beauties of Opera and Ballet'.
[Ref: 40921] £65.00 (£78.00 incl.VAT)
Published by David Bogue, Fleet Street April 1. 1844.
Steel engraving. Sheet: 175 x 260mm (7 x 10¼"). Trimmed. Slight mark.
A portrait of Italian ballet dancer Carlotta Grisi (1819-1899) in the title role of the ballet Giselle. From 'The Beauties of Opera and Ballet'.
[Ref: 40921] £65.00 (£78.00 incl.VAT)
Horse Guard.
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. Sheet 250 x 145mm, 9¾ x 9¾".
A dancer in a glamourous version of the uniform of the Horse Guards. 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. See Ref: 16939
[Ref: 16937] £60.00 (£72.00 incl.VAT)
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. Sheet 250 x 145mm, 9¾ x 9¾".
A dancer in a glamourous version of the uniform of the Horse Guards. 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. See Ref: 16939
[Ref: 16937] £60.00 (£72.00 incl.VAT)
Ariel. Priseilla Horton [Facsimile within plate.]
LANE [monogram of Richard James Lane]. J. Graf. Printer to Her Majesty.
London, Published Dec.r 17, 1838 by J. Mitchell, 33 Old Bond St.
Lithograph with hand colouring. Laid, on India paper. Sheet size: 355 x 260mm (14 x 10¼").
Priscilla Horton (1818 - 1895) was a well-known singer and actress in 19th century London, famous with her husband, Thomas German Reed, for their refined entertainments which became popular with middle-class audiences who did not otherwise go to the theatre. The print shows her as Ariel, in the 1838 production of Shakespeare's The Tempest. By Richard James Lane (1800 - 1872).
[Ref: 39046] £260.00 (£312.00 incl.VAT)
LANE [monogram of Richard James Lane]. J. Graf. Printer to Her Majesty.
London, Published Dec.r 17, 1838 by J. Mitchell, 33 Old Bond St.
Lithograph with hand colouring. Laid, on India paper. Sheet size: 355 x 260mm (14 x 10¼").
Priscilla Horton (1818 - 1895) was a well-known singer and actress in 19th century London, famous with her husband, Thomas German Reed, for their refined entertainments which became popular with middle-class audiences who did not otherwise go to the theatre. The print shows her as Ariel, in the 1838 production of Shakespeare's The Tempest. By Richard James Lane (1800 - 1872).
[Ref: 39046] £260.00 (£312.00 incl.VAT)
![[Italy.]](jpegs/17419.jpg)
[Italy.]
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. Sheet 245 x 145mm, 9½ x 9¾".
A dancer in a glamourous version of the Italian ceremonial military uniform, holding a standard, with the Colosseum behind. 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: 17419] £95.00 (£114.00 incl.VAT)
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. Sheet 245 x 145mm, 9½ x 9¾".
A dancer in a glamourous version of the Italian ceremonial military uniform, holding a standard, with the Colosseum behind. 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: 17419] £95.00 (£114.00 incl.VAT)
"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)
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)
![[Madame Le Cery]](jpegs/8898.jpg)
[Madame Le Cery]
[Cyrillic - photography by V. Barkanov.]
[n.d., c.1870.]
Photograph, 170 x 105mm (6¾ x 4¼"), signed by sitter.
A ballerina dancing.
[Ref: 8898] £180.00 (£216.00 incl.VAT)
[Cyrillic - photography by V. Barkanov.]
[n.d., c.1870.]
Photograph, 170 x 105mm (6¾ x 4¼"), signed by sitter.
A ballerina dancing.
[Ref: 8898] £180.00 (£216.00 incl.VAT)
![[Music cover] La Lituana.](jpegs/21669.jpg)
[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)
[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)
![[Ink:] My love to very dear Jane always. Alicia 1941.](jpegs/23927.jpg)
[Ink:] My love to very dear Jane always. Alicia 1941.
[On verso, stamped:] Photograph by Carl Van Vechten 101 Central Park West Cannot be Reproduced Without Permission.
Signed photograph. Photo, in ink XXVR.17; Oct 6 1940; 350 x 272mm. 13¾ x 10¾". Laid on card.
Dame Alicia Markova (1910-2004) holding a cross and flowers with glittered letters 'Gis[elle]'. She was an English ballerina and choreographer, director and teacher of classical ballet. Most noted for her career with Sergei Diaghilev's Ballets Russes and touring internationally, she was widely considered to be the greatest classical ballet dancers of the 20th century. She was a founder dancer of the Rambert Dance Company, The Royal Ballet and American Ballet Theatre, and was co-founder and director of the English National Ballet. As prima ballerina with the Vic-Wells Ballet, 1933-5, she was the first British dancer to appear as Giselle and Odette/Odile and created roles in Rendezvous (1933) and The Rake's Progress (1935). She appeared in many ballets around the world, but is remembered mostly for her 'Giselle'. Carl Van Vecthen (1880-1964) was an American essayist and novelist, particularly of 'Nigger Heaven' (1926). He took up photographer in 1932, aiming to portray all the leading creative talent of his era.
[Ref: 23927] £280.00 (£336.00 incl.VAT)
[On verso, stamped:] Photograph by Carl Van Vechten 101 Central Park West Cannot be Reproduced Without Permission.
Signed photograph. Photo, in ink XXVR.17; Oct 6 1940; 350 x 272mm. 13¾ x 10¾". Laid on card.
Dame Alicia Markova (1910-2004) holding a cross and flowers with glittered letters 'Gis[elle]'. She was an English ballerina and choreographer, director and teacher of classical ballet. Most noted for her career with Sergei Diaghilev's Ballets Russes and touring internationally, she was widely considered to be the greatest classical ballet dancers of the 20th century. She was a founder dancer of the Rambert Dance Company, The Royal Ballet and American Ballet Theatre, and was co-founder and director of the English National Ballet. As prima ballerina with the Vic-Wells Ballet, 1933-5, she was the first British dancer to appear as Giselle and Odette/Odile and created roles in Rendezvous (1933) and The Rake's Progress (1935). She appeared in many ballets around the world, but is remembered mostly for her 'Giselle'. Carl Van Vecthen (1880-1964) was an American essayist and novelist, particularly of 'Nigger Heaven' (1926). He took up photographer in 1932, aiming to portray all the leading creative talent of his era.
[Ref: 23927] £280.00 (£336.00 incl.VAT)
![[Ink:] For Reggie with affectionate thoughts alway Alicia.](jpegs/23925.jpg)
[Ink:] For Reggie with affectionate thoughts alway Alicia.
Maurice Seymour Chicago.
[n.d. c.1945.]
Signed photograph. 120 x 95mm. 4¾ x 3¾".
Head portrait of Dame Alicia Markova (1910-2004). She was an English ballerina and choreagrapher, director and teacher of classical ballet. Most noted for her career with Sergei Diaghilev's Ballets Russes and touring internationally, she was widely considered to be the greatest classical ballet dancers of the 20th century. She was a founder dancer of the Rambert Dance Company, The Royal Ballet and American Ballet Theatre, and was co-founder and director of the English National Ballet. Photo by Maurice Seymour (1900-1993), a Chicago celebrity photographer from the 1920s through the 1960s, who photographed many of the top stage and film stars of the era as well as a prima ballerinas and famous dancers.
[Ref: 23925] £140.00 (£168.00 incl.VAT)
Maurice Seymour Chicago.
[n.d. c.1945.]
Signed photograph. 120 x 95mm. 4¾ x 3¾".
Head portrait of Dame Alicia Markova (1910-2004). She was an English ballerina and choreagrapher, director and teacher of classical ballet. Most noted for her career with Sergei Diaghilev's Ballets Russes and touring internationally, she was widely considered to be the greatest classical ballet dancers of the 20th century. She was a founder dancer of the Rambert Dance Company, The Royal Ballet and American Ballet Theatre, and was co-founder and director of the English National Ballet. Photo by Maurice Seymour (1900-1993), a Chicago celebrity photographer from the 1920s through the 1960s, who photographed many of the top stage and film stars of the era as well as a prima ballerinas and famous dancers.
[Ref: 23925] £140.00 (£168.00 incl.VAT)
![[Ink:] For dear Jane & Reggie, With my love & best wishes. Alicia. Alhambra. 1932.](jpegs/23928.jpg)
[Ink:] For dear Jane & Reggie, With my love & best wishes. Alicia. Alhambra. 1932.
[On verso, stamped:] "Photograph by Lenare," 28, George Street, Hanover Square, W.1. Telephone Mayfair 2261-3 Lines.
Signed photogaph. 350 x 260mm (13¾ x 10¼").
Dame Alicia Markova (1910-2004) in 'flight' whilst on stage during the 'Kiss of Spring' at the Alhambra, London in 1932. She was an English ballerina and choreographer, director and teacher of classical ballet. Most noted for her career with Sergei Diaghilev's Ballets Russes and touring internationally, she was widely considered to be the greatest classical ballet dancers of the 20th century. She was a founder dancer of the Rambert Dance Company, The Royal Ballet and American Ballet Theatre, and was co-founder and director of the English National Ballet.
[Ref: 23928] £130.00 (£156.00 incl.VAT)
[On verso, stamped:] "Photograph by Lenare," 28, George Street, Hanover Square, W.1. Telephone Mayfair 2261-3 Lines.
Signed photogaph. 350 x 260mm (13¾ x 10¼").
Dame Alicia Markova (1910-2004) in 'flight' whilst on stage during the 'Kiss of Spring' at the Alhambra, London in 1932. She was an English ballerina and choreographer, director and teacher of classical ballet. Most noted for her career with Sergei Diaghilev's Ballets Russes and touring internationally, she was widely considered to be the greatest classical ballet dancers of the 20th century. She was a founder dancer of the Rambert Dance Company, The Royal Ballet and American Ballet Theatre, and was co-founder and director of the English National Ballet.
[Ref: 23928] £130.00 (£156.00 incl.VAT)
![[Midshipman.]](jpegs/40007.jpg)
[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)
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)
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)
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)