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.
VAT included (see terms) | Exclude VAT
![[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
Madame Catinka de Dietz. Pianiste de L.L.M.M. la Reine de Baviere et la Reine des Francais.
M Alophe [facsimile in image.]
Im. Lemercier a Paris. Journal des Artistes. [n.d. c.1840.]
Lithograph. 305 x 222mm. 12 x 8¾".
Madame Catinka de Dietz (1813-1901) made her debut in Paris in 1836 at the Salle Pleyel. He career revolved around placements at different royal courts until in 1840 she became pianist to the queen of Bavaria. The following year she played at the French court and was appointed pianist to the queen of the French in 1845. She composed salon pieces, played regularly for Queen Victoria, and was reported to have written an oratorio for which Queen Victoria accepted the dedication. Her pianistic style was Classical, firmly within the Kalkbrenner tradition.
[Ref: 19949] £95.00 (£114.00 incl.VAT)
M Alophe [facsimile in image.]
Im. Lemercier a Paris. Journal des Artistes. [n.d. c.1840.]
Lithograph. 305 x 222mm. 12 x 8¾".
Madame Catinka de Dietz (1813-1901) made her debut in Paris in 1836 at the Salle Pleyel. He career revolved around placements at different royal courts until in 1840 she became pianist to the queen of Bavaria. The following year she played at the French court and was appointed pianist to the queen of the French in 1845. She composed salon pieces, played regularly for Queen Victoria, and was reported to have written an oratorio for which Queen Victoria accepted the dedication. Her pianistic style was Classical, firmly within the Kalkbrenner tradition.
[Ref: 19949] £95.00 (£114.00 incl.VAT)
Improvistaion. Revue des Peintres. M. Alophe (dessin.) Pl.119.
M. Alophe lith. Imp: d'Aubert et de Junca, gal: Colbert.
[n.d. c.1840.]
Lithograph on india with very large margins. 271 x 209mm (10¾ x 8¼"). Small tear to upper edge of sheet.
A drawing room with a man sat playing the piano, and rather than following the sheet music, he admires the two young belles that gaze on at him.
[Ref: 34634] £90.00 (£108.00 incl.VAT)
M. Alophe lith. Imp: d'Aubert et de Junca, gal: Colbert.
[n.d. c.1840.]
Lithograph on india with very large margins. 271 x 209mm (10¾ x 8¼"). Small tear to upper edge of sheet.
A drawing room with a man sat playing the piano, and rather than following the sheet music, he admires the two young belles that gaze on at him.
[Ref: 34634] £90.00 (£108.00 incl.VAT)
![Marie Pleyel. [Facsimile signature:] M. Pleyel.](jpegs/19965.jpg)
Marie Pleyel. [Facsimile signature:] M. Pleyel.
Le Ménestrel, 9 bis, Rue Vivienne. M. Alophe [facsimile in image.]
Imp. Bertauts, Paris. [n.d. c.1835.]
Lithograph. 388 x 267mm. 15½ x 14½". Slight foxing.
Marie-Félicité-Denise Pleyel (1811-1875) was a French pianist and teacher, and one of the most celebrated virtuosos of the 19th century. In 1830 she was engaged to Hector Berlioz but broke it off to marry Camille Pleyel, scion of the piano-manufacturing family.
[Ref: 19965] £140.00 (£168.00 incl.VAT)
Le Ménestrel, 9 bis, Rue Vivienne. M. Alophe [facsimile in image.]
Imp. Bertauts, Paris. [n.d. c.1835.]
Lithograph. 388 x 267mm. 15½ x 14½". Slight foxing.
Marie-Félicité-Denise Pleyel (1811-1875) was a French pianist and teacher, and one of the most celebrated virtuosos of the 19th century. In 1830 she was engaged to Hector Berlioz but broke it off to marry Camille Pleyel, scion of the piano-manufacturing family.
[Ref: 19965] £140.00 (£168.00 incl.VAT)