GARWOOD & VOIGT

Fine & Rare Books Maps & Prints

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Decorative Prints:  Ballet & Dance

Decorative Antique Prints & Engravings of Ballet Dancers

Exchange rate (approximately):  £ 1.00 = EUR 1.15 = US-$ 1.35

CAROLINE:
1648. Adolphe, Marie-Alexandre. ‘MELLE CAROLINE, DANS MARCO SPADA’. Full length portrait in costume. Auguste Bry, Paris 1861 [28491] 33 x 24 cm (sheet size) Lithograph with full hand colour. £150
The print shows the dancer in the ballet Marco Spada, which was performed at the Paris Opera in 1857. It 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. The subject was chosen because it provided two strong female roles for the Paris Opera Ballet's current stars, Carolina Rosati and Amalia Ferraris.
H28491CarolineAlophe.jpg (88850 bytes)

CASSEGRAIN, SOPHIE:
1649. Adolphe, Marie-Alexandre. ‘MELLE CASSEGRAIN, DANS MARCO SPADA’. Full length portrait in costume. Auguste Bry, Paris 1861 [28488] 33 x 24 cm (sheet size) Lithograph with full hand colour. £150
The print shows the dancer in the ballet Marco Spada, which was performed at the Paris Opera in 1857. It 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. The subject was chosen because it provided two strong female roles for the Paris Opera Ballet's current stars, Carolina Rosati and Amalia Ferraris.
H28488CassegrainAlophe.jpg (87124 bytes)

CERITO:
1650. Heath, Ch. ‘CERITO. ONDINE’. Full length portrait of Fanny Cerito, the ballet dancer. Charles Heath, London 1845 [24360] 22 x 16 cm. Uncoloured steel engraving by W. H. Mete after Edwin D. Smith with decorative border from the ‘Beauties of the Opera & Ballet’, edited by Charles Heath. £75
H24360CeritoSmith.jpg (100733 bytes)

CHOLLET:
1651. Lacauchie, A. ‘CHOLLET’. From Galerie des Artistes Dramatiques de Paris. Full length image of the ballet dancer in costume, in ‘Le Postillon de Lonjumeau’. Paris ca. 1840 [24313] Uncoloured lithograph by Alexandre Lacauchie, 25 x 16 cm. £90
H24313CholletRigo.jpg (93413 bytes)

DANCE COSTUME:
1652. Mansion, I. ‘AUSTRIA, SCHLAVONIA’. An Austrian / Slavonian girl in a very colourful dance costume. Ackermann, London 1831 [26756] 20 x 15 cm. Original coloured lithograph. Excellent condition. £60
H26756SchlavoniaManson.jpg (100232 bytes)

DONA BRANCA:
1654. Sanquirico, A. ‘DONA BRANCA’. Scenery design by Allesandro Sanquirico for the opera by Alfredo Keil, lithographed by Ricordi after designs by Abini. Milano and Firenze ca. 1830 [27340] 16 x 21 cm. Original full coloured lithograph. Excellent condition. £90
Allesandro Sanquirico (1777–1849), Italian artist and designer. In 1806, after a neoclassical apprenticeship, Sanquirico began to work regularly at Milan's La Scala. As sole designer from 1817 to 1832, he prepared hundreds of settings for opera and dance and conceived the redecoration of the theatre's interior (1829–30), including its magnificent chandelier. His name is particularly linked with the romantic tradition of opera (Rossini, Bellini, Donizetti, Pacini) and the dramatic ballets of Taglioni and Viganò. The chief characteristics of his style were asymmetrical architectural design, historical verisimilitude, suggestive lighting, a lively sense of colour, ‘pavilions’ with richly decorated curtains, drapes, friezes, mouldings, and spacious cellars or subterranean spaces with suggestively lit vaulted ceilings. Sanquirico also designed gardens, funerals, and Ferdinando I's coronation ceremony . - Alfredo Cristiano Keil (1850 – 1907) was a Portuguese romantic composer and painter.
 H27340DonaBrancaSanquirico.jpg (161685 bytes)

DUVERNAY:
1655. Arnold, I. B. ‘THE CACHOUCHA DANCE’. Frontispiece for a music cover depicting the ballerina Pauline Duvernay in Spanish costume, dancing the Cachoucha. Drawn and lithographed by W. Clerk. London, George & Manby, c 1850 [24371] Original coloured lithograph, 22 x 18 cm. (image) £125
Pauline Duvernay (1812-94), French ballerina.
H24371CachouchaClerk.jpg (103277 bytes)

EBEL:
1656. Bloch, E. ‘WILHELM EBEL’ as Graf Morgano in Morgano, a fantasy ballet in three acts and a prologue from Paul Taglioni. Berlin, Eduard Bloch ca. 1860 [24381] Full coloured lithograph, 20 x 15 cm. £120
H24381Ebel(Morgano)Bloch.jpg (94993 bytes)

ELSSLER:
1657. Geiger, A. ‘FANNY ELSSLER IN DER CACHUCHA’. Original hand coloured engraving by Andreas Geiger and published in the Wiener Theaterzeitung ca. 1830 [19772] 21 x 14 cm. £200
Fanny Elssler was a famous ballerina of Austrian origin.
H19772ElsslerCachucha.jpg (99475 bytes)
ELSSLER:
1658. Lacauchie, A. ‘FANNY ESSLER’ (sic!). Full length image of the ballet dancer in costume, dancing the Cachucha. From Galerie des Artistes Dramatiques de Paris. Paris ca. 1840 [24314] Uncoloured lithograph by Alexandre Lacauchie, 25 x 16 cm. Excellent condition. £180
Austrian ballerina of international renown, especially for her Spanish Cachucha, introduced in 1836 in Le Diable Boiteaux. Her performances in La Tarentule, La Gypsy, Giselle and Esmeralda were especially noted.
 H24314ElsslerLacauchie.jpg (98367 bytes)

ELSSLER:
1659. Heath, Ch. ‘FANNY ELSSLER. FLORINDE’. Full length portrait of Elssler, the ballet dancer. Charles Heath, London 1845 [24359] 22 x 16 cm. Uncoloured steel engraving by W. H. Mete after Edwin D. Smith with decorative border from the ‘Beauties of the Opera & Ballet’, edited by Charles Heath. £95
Fanny Elssler was a famous ballerina of Austrian origin.
H24359ElsslerSmith.jpg (99574 bytes)

EMAROT, CELESTINE:
1660. Adolphe, Marie-Alexandre. ‘MELLE EMAROT, DANS GUILLAUME TELL’. Full length portrait in costume. Auguste Bry, Paris 1861 [28489] 33 x 24 cm (sheet size) Lithograph with full hand colour. £150
Célestine Emarot was a soloist at the Paris Opera and the mother of the talented Emma Livry, the dancer who was tragically burned to death when her costume caught fire in 1860.
H28489EmarotAlophe.jpg (88119 bytes)

FERRARIS, AMALIA:
1661. Adolphe, Marie-Alexandre. ‘MME FERRARIS, DANS LE BALLET DES ELFES’. Full length portrait in costume. Auguste Bry, Paris 1861 [28492] 33 x 24 cm (sheet size) Lithograph with full hand colour. £150
Amalia Ferraris (Voghera, 1828 - Florence, April 1, 1904) was an Italian dancer. After studying in Turin, she attended the ballet school at La Scala Academy, under the direction of the Carlo Blasis, she debuted in Milan. Ferraris danced at the Teatro di San Carlo in Naples and then throughout Europe. In 1848, she joined the Theatre Royal in London, and performed on the occasion of The Great Exhibition. After successful performances in London (1853), Rome (1854), and Vienna (1855), Ferraris performed at the Paris Opera in 1856. Together with Carolina Rosati, her artistic rival, Ferraris was one of the most notable Italian dancers of her era. In 1857, she performed with Rosati at the Paris Opera in the ballet Marco Spada, ou La Fille du Bandit; it was said to have been commissioned by Napoleon III for Ferraris and Rosati, who was considered to be the most celebrated ballerinas at the time.[3] Along with Rosati, Giuseppina Bozzacchi, and Fanny Cerrito, Ferraris was considered an Italian virtuosity, known for "bravura displays of technique".[4]
H28492FerrarisAlophe.jpg (78184 bytes)

FIOCRE, EUGENIE:
1662. Adolphe, Marie-Alexandre. ‘MELLE FIOCRE, DANS L’AMOUR DE PIERRE DE MEDICIS’. Full length portrait in costume. Auguste Bry, Paris 1861 [28494] 33 x 24 cm (sheet size) Lithograph with full hand colour. £150
Eugénie Fiocre (b. Paris, 2 July 1845, d. 1908) was a principal dancer at the Paris Opéra 1864–75 where she often danced en travesti, creating Frantz in Coppélia in 1870, and, renowned for her beauty, was sculpted by Jean-Baptiste Carpeaux and painted by Degas in a scene from Saint-Léon's ballet La Source.
H28494FiocreAlophe.jpg (92448 bytes)

FOLK-DANCING:
1664. Sharp, C. J. ‘KIRKBY SWORD DANCE’. From a set of English Folk Dances, ‘Mr North’s Maggott’, pictured by S. Kennedy North, with an introduction by Cecil J. Sharp. London 1921 [26745] 14 x 23 cm. Original engraving, printed in full colours, excellent condition. £60
H26745SwordNort.jpg (99285 bytes)

FOLK-DANCING:
1665. Sharp, C. J. ‘CONSTANT BILLY’. From a set of English Folk Dances, ‘Mr North’s Maggott’, pictured by S. Kennedy North, with an introduction by Cecil J. Sharp. London 1921 [26748] 14 x 23 cm. Original engraving, printed in full colours, excellent condition. £60
H26748BillyNorth.jpg (101528 bytes)

FOLK-DANCING:
1666. Sharp, C. J. ‘THE ROSE’. From a set of English Folk Dances, ‘Mr North’s Maggott’, pictured by S. Kennedy North, with an introduction by Cecil J. Sharp. London 1921 [26751] 14 x 23 cm. Original engraving, printed in full colours. Excellent condition. £60
H26751RoseNorth.jpg (97861 bytes)

GRISI:
1668. Heath, Ch. ‘CARLOTTA GRISI. LA GISELLE’. Full length portrait of Grisi, the ballet dancer. Charles Heath, London 1845 [24358] 22 x 16 cm. Uncoloured steel engraving by H. Robinson after Alfred Edward Chalon with decorative border from the ‘Beauties of the Opera & Ballet’, edited by Charles Heath. £95
H24358GrisiChalon.jpg (102819 bytes)

INDIAN DANCING:
1670. Geiger, A. ‘DIE BAJADEREN AUS INDIEN’. Indian Temple Dancers. Bureau der Theaterzeitung, ca. 1820 [26753] 19 x 26 cm. Original coloured engraving by Andreas Geiger after Schoeller. £100
H26753BajaderenSchoeller.jpg (102753 bytes)

JOSEPH’S LEGEND:
1671. Simont, J. ‘DR. RICHARD STRAUSS’S FIRST BALLET PROPER: THE STORY OF JOSEPH AND POTIPHAR’S WIFE SET IN THE 16TH CENTURY, PRESENTED FOR THE FIRST TIME IN ENGLAND BY THE RUSSIAN BALLET AT DRURY LANE’. Scene from Strauss’s Ballet ‘Josephslegende’. Drawn by J. Simont for Illustrated London News 1914 [28002] 35 x 48 cm. Double page tinted print. Very good condition. £90
 H28002JosephSimont.jpg (94533 bytes)

JOSEPH’S LEGEND:
1672. Bransburg, S. ‘RICHARD STRAUSS’S FIRST BALLET PROPER: LA LEGENDE DE JOSEPH’. In a dress of breeches, hose and gown designed by Leon Bakst: Mme. Marie Kousnetzoff as Potiphar’s Wife, at Drury Lane. This old biblical tale is placed in the 16th century, in the manner, as it were, of Paolo Veronese. Illustrated London News 1914 [28006] 35 x 22 cm. Uncoloured print after a photograph by Saul Bransburg. Excellent condition. £90
 H28006KousnetzoffBransburg.jpg (116116 bytes)

LA SYLPHIDE:
1673. Farmer, Henry. ‘SYLPHIDE QUADRILLES’. A ballet scene depicting fairies dancing, surrounded by a most decorative border. J. Gardner & Co, ca. 1860 [28218] 32 x 21 cm. Tinted lithograph. Excellent condition. £125
H28218SylphideFarmer.jpg (149696 bytes)

LEROUX:
1674. Lacauchie, A. ‘PAULINE LEROUX’. From Galerie des Artistes Dramatiques de Paris. Full length image of the French ballet dancer in costume, dancing in Le Diable Amoureux. Paris ca. 1840 [24316] Uncoloured lithograph by Rigo Freres, 25 x 16 cm. £125
H24316LerouxLacauchir.jpg (99305 bytes)

LEFEVRE, MELLE:
1675. Adolphe, Marie-Alexandre. ‘MELLE LEFEVRE, DANS ORFA’. Mme Lefèvre is probably wearing her costume as a peasant in the first scene, which takes place on a snowy plain near Reykjavic. Auguste Bry, Paris 1861 [28496] 33 x 24 cm (sheet size)33 x 24 cm (sheet size) Lithograph with full hand colour. £120
Orfa was a ballet-pantomime set in two acts in Iceland.
H28496LefevreAlophe.jpg (92936 bytes)

LEROUX:
1676. Aubert. ‘PAULINE LEROUX’. Head to waist portrait. Aubert/Galerie Vero-Dodat Paris ca. 1840 [24305] Uncoloured steel engraving, 18 x 14 cm. Excellent condition. £90
Adele Louise Pauline Leroux (1809-1891), French dancer. Trained at the school of the Paris Opera. Leroux spent most of her career with that company. At the height of the Romantic movement, she was a featured ballerina, creating a number of roles in the period's best-known ballets.
 H24305LerouxAubert.jpg (100499 bytes)

LIVRY, EMMA:
1677. Adolphe, Marie-Alexandre. ‘MELLE EMMA LIVRY, DANS HERCULANUM’. Full length portrait in costume. Auguste Bry, Paris 1861 [28490] 33 x 24 cm (sheet size) Lithograph with full hand colour. £150
Emma Livry (born as Jeanne Emma Emarot or Emma Marie Emarot; 24 September 1842 – 26 July 1863) was one of the last ballerinas of the Romantic ballet era and a protégée of Marie Taglioni. She died from complications after burn injuries sustained when her costume caught fire during a rehearsal.
H28490LivryAlophe.jpg (87749 bytes)

MARQUET, LOUISE:
1678. Adolphe, Marie-Alexandre. ‘MELLE MARQUET, DANS LE BALLET DE DIEU ET LE BAYADERE’. Louise Marquet in an Indian costume from the ballet. Auguste Bry, Paris 1861 [28486] 33 x 24 cm (sheet size) Lithograph with full hand colour. £150
La Bayadère (The Temple Dancer;) is a ballet, originally staged in four acts and seven tableaux by French choreographer Marius Petipa to the music of Ludwig Minkus. La Bayadère was first performed by the Imperial Ballet at the Imperial Bolshoi Kamenny Theatre in St. Petersburg. A scene from the ballet, known as The Kingdom of the Shades, is one of the most celebrated excerpts in all of classical ballet.
H28486MarquetAlophe.jpg (104494 bytes)

MARQUET, LOUISE:
1679. Adolphe, Marie-Alexandre. ‘MELLE MARQUET, DANS MARCO SPADA’. Auguste Bry, Paris 1861 [28487] 33 x 24 cm (sheet size) Lithograph with full hand colour. £150
Marco Spada was performed at the Paris Opera in 1857, 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. The subject was chosen because it provided two strong female roles for the Paris Opera Ballet's current stars, Carolina Rosati and Amalia Ferraris.
H28487MarquetAlophe.jpg (89929 bytes)

MAZURKA:
1680. Jullien. ‘THE VARSOVIEN MAZURKA’, composed and dedicated to Monsieur Paris of Manchester. Front music cover with a fine image of Grisi & Perrot dancing. Jullien, London ca. 1860 [26764] 33 x 24 cm. Coloured lithograph by Brandard with decorative border. Left outside border slightly damaged, but not affecting main image. £125
Carlotta Grisi (1819-99), Italian ballet dancer. Trained at Teatro alla Scala’s ballet school in Milano and later with balletmaster and choreographer Jules Perot. Especially noted for her role as Giselle.
H26764VarsovienJullien.jpg (99102 bytes)

MULLER:
1681. Bloch, E. ‘CHARLES MULLER’ as Carlo in Satanella, a ballet in three acts from Paul Taglioni. Berlin, Eduard Bloch ca. 1860 [24379] Full coloured lithograph, 20 x 15 cm. £120
H24379MuellerBloch.jpg (98999 bytes)

NIJINSKY:
1682. Haviland, F. ‘CREATOR OF A REAL REVOLUTION IN DANCING: NIJINSKY’. The Dancer who prefers character to charm: Pioneer of post - impressionist dancing. One of Frank Haviland’s series of portraits for the Illustrated London News 1913 [28004] 35 x 22 cm. Uncoloured print. Excellent condition. £90
Vaslav Nijinsky (1890-1950), Russian ballet dancer. From the Imperial Ballet School in St. Petersburg he went to Diaghilev's famous ballet company in Paris, where he performed in and choreographed many ballets, including Le Sacre du Printemps (The Rite of Spring).
 H28004NijinskyHaviland.jpg (92260 bytes)

PAVANE:
1683. Toudouze. E. ‘THE PAVANE’. An original etching by Pierre Augustine Massé after Edouard Toudouze. Art Journal 1886 [26757] 20 x 26 cm. Uncoloured etching. £60

H26757PavaneToudouze.jpg (101193 bytes)

PAVLOVA:
1684. Haviland, F. ‘MLLE. ANNA PAVLOVA, WHOSE DANCING AT THE PALACE [Theatre] IS A SENSATION OF THE MOMENT’. Fine illustration in costume of the prima ballerina assoluta of the Imperial Opera House, St Petersburg. One of Frank Haviland’s series of portraits for the Illustrated London News 1910 [28005] 35 x 22 cm. Uncoloured print. Excellent condition. £90
 H28005PavlovaHaviland.jpg (83263 bytes)

PAVLOVA:
1686. Schneider. ‘LA PAVLOVA, RHYTHM AND GRACE: A GREAT RUSSIAN DANCER’. Pavlova dressed as the swan in ‘La Cygne’ by Saint-Saens at the Palace Theatre. Illustrated London News 1913 [28008] 35 x 22 cm. Brown tinted print after a photograph by Schneider. Excellent condition. £90
 H28008PavlovaSchneider.jpg (101314 bytes)

PAVLOVA:
1687. Lavery, J. ‘ANNA PAVLOVA, THE GREAT RUSSIAN DANCER’. Head to waist portrait by John Lavery, specially painted from life for The Illustrated London News, ca. 1911 [26768] 47 x 31 cm. Printed in full colours. Excellent condition. £100
The celebrated Russian ballerina Anna Pavlova (1882-1931) danced in London with Sergei Diaghilev's company for the first time in the summer of 1910. She caused a sensation with her Dance Bacchanal from Pepita's ballet The Seasons.
H26768PavlovaLavery.jpg (102152 bytes)

PEREA-NENA:
1688. Brandard, J. ‘THE PEREA NENA POLKA’ by Carl Höchst. Music cover showing a ballet scene with dancers in Spanish costume. M. & N. Hanhart, ca. 1850 [24372] Original full coloured lithograph by John Brandard, 31 x 24 cm. £125
H24372NenaBrandard.jpg (98693 bytes)

PERROT:
1689. Schoeller. ‘SCENE AUS DEM KOBOLD, FEENBALLET IN ZWEI ABTHEILUNGEN UND FÜNF TABLEAUX VON HRN. J. PERROT’.
A dancer is balancing on a spinning wheel whilst the ballerina looks on in admiration. Scene from the ‘Kobold’, a fairy ballet in two acts and five scenes by Jules Perrot. Wiener Theaterzeitung, ca. 1800 [26486] 18 x 24 cm. Original hand coloured engraving by Andreas Geiger after Schoeller. Excellent condition. £125
H26486KoboldSchoeller.jpg (102033 bytes)

PERROT:
1690. Lacauchie, A. ‘PERROT’. From Galerie des Artistes Dramatiques de Paris. Full length image of the ballet dancer in costume. Paris ca. 1840 [24312] Uncoloured lithograph by Rigo Freres, 25 x 16 cm. £150
Jules Perrot was born in France in 1810. He studied with Auguste Vestris and Salvatore Vigano, two of the principal exponents of expressive ballet (as opposed to pure or formal ballet). He made his debut in 1830 at the Paris Opera, where, despite the period's prejudice against male dancers, he was highly applauded for both his classical and his mime dancing. He went on to be a great choreographer.
H24312PerrotLacauchie.jpg (91591 bytes)

PLUNKETT, ADELINA:
1691. Adolphe, Marie-Alexandre. ‘MELLE PLUNKETT, DANS LA MANOLA DE LA FAVOURITE’. Full length portrait in costume. Auguste Bry, Paris 1861 [28493] 33 x 24 cm (sheet size) Lithograph with full hand colour. £250
Following the success of Fanny Elssler's cachucha, Spanish dance became extremely popular with theatre audiences and many ballerinas evolved their own solos and pas de deux based around Spanish dance steps; versions of La Manola were danced by Fanny Cerrito and Adelina Plunkett. One critic declared that Plunkett, born in Belgium, and Elssler were 'the most authentic Andalusians' - a comment that was received with incredulity by native Spanish dancers.
H28493PlunkettAlophe.jpg (104232 bytes)

POLKA:
1692. Werner Korponay de Komonka, M. de. ‘THE FAVOURITE AMERICAN POLKA’ as danced by Mlle Pauline Desjardins and Mons Gabriel de Corponay. Composed for the piano and dedicated to Chevalier de Hulsemann, Charge d’Affaires to the Court of Austria, by Marie De Werner Korponay de Komonka. Lithograph, showing the dancers in various positions. Firth & Hall, New York, ca. 1845 [26758] 29 x 23 cm. Uncoloured lithograph complete with music. £125
Gabriel and Pauline are credited for introducing the Polka to the United States in 1844. De Korponay was a retired /exiled officer in the Hungarian Army who later became Colonel of the American Army's 28th Pennsylvania Volunteer Infantry.

H26758PolkaHulsemann.jpg (101640 bytes)

POLKA:
1693. Hanhart, M. & N. ‘NO. 1, THE ORIGINAL POLKA, AS DANCED AT THE SOIREES DU HAUT-TON IN LONDON, PARIS, VIENNA &’. The music by Jullien. Music cover with a decorative border, showing two dancers, most probably Grisi & Perrot, dancing the Polka. London, Jullien ca 1850 [26488] 33 x 25 cm. Original coloured lithograph. Excellent condition. £100
H26488PolkaJullien.jpg (102703 bytes)

POLKA:
1694. Hanhart, M. & N. 'THE RHINE POLKA'. Composed on National German melodies and dedicated to Herr Pischek. A delightfull dance scene by the banks of the Rhine, in Germany. Jullien & Co, London ca. 1850 [26759] 33 x 23 cm. Full coloured lithograph, complete with music. £90
H26759RhinepolkaJullien.jpg (99313 bytes)

POLKA:
1695. Beyer, F. ‘3 POLKAS {CAMELIA - ALPENHORN - UND TEUFELS - POLKA}’. Composed for the piano by Ferdinand Beyer. Fils de B.Schott, Mainz ca. 1850 [26762] 26 x 33 cm. Uncoloured lithograph, complete with music. £75
Ferdinand Beyer (1803–1863) was a classical musician. Beyer wrote the Elementary Instruction Book for the Piano Forte, a series of exercises for the right and left hand.
H26762PolkasBeyer.jpg (99323 bytes)

POLKA:
1696. Koenig, H. ‘THE BOHEMIAN POLKA’, composed and respectfully dedicated to Viscount Bury, by Herrman Koenig. Front music cover with a fine image of a couple dancing in costume. Jullien, London ca. 1860 [26766] 33 x 24 cm. Coloured lithograph by Brandard with decorative border. Left outside border slightly damaged, but not affecting main image. £90
H26766BohemianKoenig.jpg (101827 bytes)

POLKA:
1697. Farmer, H. ‘LA SYLPHE - POLKA’. A ballerina floating through the air beneath a spray of flowers. Music cover, composed for and dedicated to Lady Fellows by Henry Farmer. Published by Z. T. Purday, printed by Stannard and lithographed by E. Noyel ca. 1860 [28155]
30 x 19 cm. Uncoloured lithograph. Excellent condition. £80
H28155SylpheFarmer.jpg (87035 bytes) 

QUADRILLE:
1698. Bohlman, H. ‘LES FLAMBARTS’. Quadrille pour le piano by Henri Bohlman. A delightful scene with members of High Society on the dance floor. Fils de B.Schott, Mainz ca. 1860 [26760] 26 x 33 cm. Uncoloured lithograph, complete with music. £75
H26760FlambartsBohlman.jpg (98715 bytes)

QUADRILLE:
1699. Anonymous. ‘LA GITANA’. Quadrille for the pianoforte by W. Smallwood. Five pages of music with a decorative front cover of a gypsy dancer with tamborine, in vignette form. B. Williams, London, ca. 1866 [28236] 28 x 18 cm. Uncoloured steel engraving. Excellent condition. £80
H28236GitanaAnon.jpg (102598 bytes)

RICHARD, ZINA:
1700. Adolphe, Marie-Alexandre. ‘MELLE ZINA RICHARD, DANS MARCO SPADA’. Zina Richard in costume in one of the minor roles in the ballet. Auguste Bry, Paris 1861 [28485] 33 x 24 cm (sheet size) Lithograph with full hand colour. £150
Marco Spada was performed at the Paris Opera in 1857, 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. The subject was chosen because it provided two strong female roles for the Paris Opera Ballet's current stars, Carolina Rosati and Amalia Ferraris.
H28485RichardAlophe.jpg (90251 bytes)

ROMER:
1701. Wageman/Holl. ‘MISS ROMER AS COLOMBINE’. A role she danced at the Theatre Royal, Covent Garden. Anonymous ca. 1830 [25751] Coloured engraving, 28 x 19 cm. Slight stain below her chin. £95
H25751RomerColumbine.jpg (95246 bytes)

ROSATI, CAROLINA:
1702. Adolphe, Marie-Alexandre. ‘MME ROSATI, BALLET DU CORSAIRE’. The famous ballerina in costume. Carolina Rosati was one of the great dramatic dancers of the mid 19th century, appearing in Paris, London and St Petersburg. Auguste Bry, Paris 1861 [28484] 33 x 24 cm (sheet size) Lithograph with full hand colour. £250
Le Corsaire (The Pirate) is a thrilling ballet about Conrad, a dashing pirate, and his love for Medora, a beautiful harem girl. It is a swashbuckling drama of captive maidens, rich sultans, kidnap and rescue, disguise and conspiracy, love and betrayal, culminating in a shipwreck which is one of the most breathtaking spectacles in ballet.
H28484RosatiAlophe.jpg (94003 bytes)

SALOME:
1703. Gerschel. ‘IN THE BEARDSLEY MANNER: THE SALOME OF THE RUSSIAN BALLET’. MME.KARSAVINA IN THE TITLE ROLE OF ‘LA TRAGEDIE DE SALOME’. Music by Florent Schmitt. Taken from a photograph by Gerschel. Illustrated London News 1914 [28007] 35 x 23 cm. Brown tinted print. Excellent condition. £90
Florent Schmitt (1870 – 1958) was a French composer.
 H28007KarsavinaGerschel.jpg (97795 bytes)

TAGLIONI SET:
1704. Chalon, A. E. ‘SIX DES PRINCIPAUX RÔLES DE MELLE. TAGLIONI’. Rare collection of six lithographs in book form of Mademoiselle Marie Taglioni in different roles (Auber/Le Dieu et la Bayadère, Deshayes/La Naïade, Didelot/Flore et Zéphire, Rossini/Wilhelm Tell). Printed by Lemercier in Paris after Alfred Edward Chalon for Rittner & Goupil ca. 1831 [27869] Small folio (31 x 24 cm). Original paper wrapper (title). 8pp. Excellent condition. £1950
Marie Taglioni (1804-84), Italian/Swedish ballerina of the Romantic ballet.
 
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TAGLIONI:
1705. Lacauchie, A. ‘TAGLIONI’. From Galerie des Artistes Dramatiques de Paris. Full length image of the ballet dancer in costume, dancing La Sylphide. Paris ca. 1840 [24315] Uncoloured lithograph by Alexandre Lacauchie, 25 x 16 cm. White margins outside the image lightly spotted, otherwise very good condition. £180
Marie Taglioni (1804-84) was a famous Italian ballerina of the Romantic ballet era, a central figure in the history of European dance. She rose to fame as a dancer when her Italian father (and teacher) Filippo Taglioni created the ballet La Sylphide (1832) for her. She was the most celebrated Ballerina of the romantic ballet, which was cultivated primarily at Her Majesty's Theatre in London, and at the Théâtre de l'Académie Royale de Musique in Paris.
 H24315TaglioniLacauchie.jpg (91064 bytes)

TAGLIONI:
1706. Heath, Ch. ‘TAGLIONI. LA SYLPHIDE’. Full length portrait of Marie Taglioni, Italian/Swedish ballerina (1804-84). Charles Heath, London 1845 [24361] 22 x 16 cm. Uncoloured steel engraving with decorative border from the ‘Beauties of the Opera & Ballet’ edited by Charles Heath. £75
H24361TaglioniSylphide.jpg (100832 bytes)

VIBON, M(ademois)ELLE:
1708. Adolphe, Marie-Alexandre. ‘MELLE VIBON, DANS LE BALLET DE VERT VERT’. Full length portrait in costume. Auguste Bry, Paris 1861 [28495] 33 x 24 cm (sheet size) Lithograph with full hand colour. £120
Mlle Vibon was a minor dancer at the Paris Opera in the 1850s. Vert-Vert, set in 18th century France, was choreographed by Joseph Mazilier. It may be that Vibon played one of the pages, who seem to have been performed by girls. By the 1860s, most male roles in ballets in Paris and later in London were played by girls en travesti (dressed as men). This is an indication of the influence of the Romantic ballet, which had centered on the ballerina and pushed the male dancer into a supporting role.
H28495VibonAlophe.jpg (83296 bytes)

WALTZ:
1709. [Gillray, J.]. ‘WALTZER AU MOUCHOIR’. A young male dancing with a much larger woman. After James Gilray pubished in London and Edinburgh by John Miller and W. Blackwood ca. 1820 [28230] 24 x 19 cm. Coloured etching. Excellent condition. £80
H28230WaltzerGilray.jpg (131459 bytes)
WOLLRABE - HELMERDING:
1710. Bloch, E. ‘AMALIE WOLLRABE UND CARL HELMERDING ALS NINETTE UND GIRARD IN EIN ALTER TÄNZER’, a farce by L. Günther. Berlin, Eduard Bloch ca. 1860 [26754] 20 x 15 cm. Full coloured lithograph. £90
H26754WollrabeBloch.jpg (98478 bytes)

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