TAGLIONI, Marie. Original Alophe 1838 Portrait Lithograph DANCE BALLERINA BALLET

TAGLIONI, Marie. Original Alophe 1838 Portrait Lithograph DANCE BALLERINA BALLET

Taglioni, Marie. (1804–1884) [Alophe, Menuet. (1812–1883)] Original 1838 Portrait Lithograph Paris: Imprimerie Aubert et Cie. [1838]. Early M. Alophe portrait of the famous Italian ballerina of the Romantic ballet era, a central figure in the history of European dance.  Lithograph on wove paper, published as part of the Galerie de la Presse series by Imp. Aubert et cie, 1838.  Mild rippling to sheet, with small tear to lower margin, else fine.  Plate 6.75 x 9 inches (17.1 x 22.9 cm.); sheet 8.15 x 10.75 inches (20.7 x 27.3 cm.)."In her father’s ballet La Sylphide, introduced at the Paris Opéra, March 12, 1832, she became one of the first women to dance on the extreme tips, or points, of the toes; she created a new style marked by floating leaps, such balanced poses as the arabesque, and a delicate, restrained use of the points.  The diaphanous dress she wore in La Sylphide...was the prototype of the tutu, the full, light skirt that, in various lengths, has remained the accepted uniform of the classical dancer for more than a century.  Not only did she have Paris at her feet but audiences in London, Milan, Vienna, Berlin, and St. Petersburg hailed her as one of the greatest dancers ballet had ever produced." (Britannica) In 1838, after her last seasonal appearance in Russia, Taglioni went on to London for a season at Her Majesty's Theatre at the time of Queen Victoria's coronation.  Her first performance was a pas de deux with Antonio Guerra in Parisina.  It was labeled the pas des diamants because of the quantity of Russian jewels she wore on stage.  She danced her newly learned mazurka (Fanny Elssler reputedly saw it!) and presented Miranda for her London benefit.  The new ballet lasted an even shorter time than it had in St. Petersburg.  Of iconographic importance this summer was the Paris publication of a portrait in the series Galerie de la Presse (May 29, 1838).  It appeared again, when the series was reissued in one volume in January 1839.  Like the Belliard lithograph of her in the previous year, it has an excellent likeness. Literature: Edwin Binney, Longing for the Ideal: Images of Marie Taglioni in the Romantic Ballet, pp. 127. Schubertiade Music & Arts LLC - BUY WITH CONFIDENCE! ***ALL AUTOGRAPHS GUARANTEED AUTHENTIC WITHOUT LIMIT*** I was the President of the Professional Autograph Dealers Association from 2013-2018 and a leading and trusted authenticator of autographs, including for many of the world's auction houses and for James Spence (JSA). Schubertiade Music & Arts are also members in good standing of ABAA/ILAB, the most exclusive consortium of Rare Book and Manuscript Dealers in the world, as well as the MLA (Music Librarian Association), and MARIAB (Massachusetts and Rhode Island Antiquarian Booksellers). You can read more about us by searching for Schubertiade Music & Arts and may buy with utmost confidence! SCHUBERTIADE MUSIC & ARTS deals in Music, Entertainment, Literary and other Autographs, Antiquarian Music, Books, Prints, Photographs & Paintings and Ephemera. Please read more about us in our "about me" page by clicking next to our username / feedback listing. We issue seasonal and occasional catalogues - please contact us if you would like to receive notifications or let us know about your collection. Everything we offer is guaranteed authentic without limit and is so stated on the signed and detailed receipt which comes with every item. Because this Guarantee is attached to an actual and meaningful money-back guarantee (see our Terms for further details), this is much more significant than most COAs which are generally but worthless pieces of paper if not issued by recognized experts in the field and backed by a real authenticity return policy. We accept payment by ALL MAJOR CREDIT CARDS, Check, and by Paypal. Shipping Charges are as listed and are not subject to negotiation. We will of course be happy to combine shipments and do NOT charge multiple shipping charges except for large/heavy items which naturally affect the cost. We ship exclusively via insured FedEx and pride ourselves on our thorough and expert packaging.

"In her father’s ballet La Sylphide, introduced at the Paris Opéra, March 12, 1832, she became one of the first women to dance on the extreme tips, or points, of the toes; she created a new style marked by floating leaps, such balanced poses as the arabesque, and a delicate, restrained use of the points.  The diaphanous dress she wore in La Sylphide...was the prototype of the tutu, the full, light skirt that, in various lengths, has remained the accepted uniform of the classical dancer for more than a century.  Not only did she have Paris at her feet but audiences in London, Milan, Vienna, Berlin, and St. Petersburg hailed her as one of the greatest dancers ballet had ever produced." (Britannica)

In 1838, after her last seasonal appearance in Russia, Taglioni went on to London for a season at Her Majesty's Theatre at the time of Queen Victoria's coronation.  Her first performance was a pas de deux with Antonio Guerra in Parisina.  It was labeled the pas des diamants because of the quantity of Russian jewels she wore on stage.  She danced her newly learned mazurka (Fanny Elssler reputedly saw it!) and presented Miranda for her London benefit.  The new ballet lasted an even shorter time than it had in St. Petersburg.  Of iconographic importance this summer was the Paris publication of a portrait in the series Galerie de la Presse (May 29, 1838).  It appeared again, when the series was reissued in one volume in January 1839.  Like the Belliard lithograph of her in the previous year, it has an excellent likeness. Literature: Edwin Binney, Longing for the Ideal: Images of Marie Taglioni in the Romantic Ballet, pp. 127.