Ballerino Collection

Dance of Alcinous Children, 1790-02 (plaster)
6343144 Dance of Alcinous Children, 1790-02 (plaster) by Canova, Antonio (1757-1822); Fondazione Cariplo, Milan, Lombardy, Italy; (add.info.: Danza dei figli di Alcinoo, 1790-2)

Dance of Alcinous Children, detail, 1790-02 (plaster)
6343145 Dance of Alcinous Children, detail, 1790-02 (plaster) by Canova, Antonio (1757-1822); Fondazione Cariplo, Milan, Lombardy, Italy; (add.info.: Danza dei figli di Alcinoo, 1790-2)

Karsavina, 1914 (pochoir print)
STC226942 Karsavina, 1914 (pochoir print) by Barbier, Georges (1882-1932); Private Collection; (add.info.: resembles Vaslav Nijinsky in L apres-midi d un Faune ; ); The Stapleton Collection

Vaslav Nijinsky (1888-1950) performing in l Apres-Midi d un Faune by Claude Debussy (1862-1918) 1912 (b / w photo)
CHT218603 Vaslav Nijinsky (1888-1950) performing in l Apres-Midi d un Faune by Claude Debussy (1862-1918) 1912 (b/w photo) by Meyer, Adolf de (1868-1946); Private Collection; © Archives Charmet

Dance of Alcinous Children, detail, 1790-92 (plaster)
6343147 Dance of Alcinous Children, detail, 1790-92 (plaster) by Canova, Antonio (1757-1822); Fondazione Cariplo, Milan, Lombardy, Italy; (add.info.: Danza dei figli di Alcinoo, 1790-2)

"How to dance the Alemanna"Double page of "Le Gratie d Amore"
LRI557850 " How to dance the Alemanna" Double page of " Le Gratie d Amore" (Le Grazie d Amore) by italian dancer Cesare Negri called Il Trombone (1536-1604)

"How to dance the capriola"Double page of "Le Gratie d Amore"
LRI557845 " How to dance the capriola" Double page of " Le Gratie d Amore" (Le Grazie d Amore) by italian dancer Cesare Negri called Il Trombone (1536-1604)

Portrait of Cesare Negri called Il Trombone (1536-1604), an italian dancer
LRI557838 Portrait of Cesare Negri called Il Trombone (1536-1604), an italian dancer by Italian School, (17th century); Museo internazionale e biblioteca della musica, Bologna, Emilia-Romagna

Costume design for Triton, in a 17th century ballet, from the Menus Plaisirs Collection
STC135417 Costume design for Triton, in a 17th century ballet, from the Menus Plaisirs Collection, facsimile by A. Guillaumot Fils (colour engraving) by French School

Costume design for the Pageboy of the Fairy Lilac, from Sleeping Beauty
STC133682 Costume design for the Pageboy of the Fairy Lilac, from Sleeping Beauty, 1921 (colour litho) by Bakst, Leon (1866-1924); Private Collection; The Stapleton Collection; Russian

Plate 370. First Ballet Action, 1885 (collotype on paper)
3950077 Plate 370. First Ballet Action, 1885 (collotype on paper) by Muybridge, Eadweard (1830-1904); 23.3x31.3 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 369. First Ballet Action, 1885 (collotype on paper)
3950076 Plate 369. First Ballet Action, 1885 (collotype on paper) by Muybridge, Eadweard (1830-1904); 17x324.5 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Ancient Egypt: Music and dance before the king, 1866 (coloured engraving)
XEE702561 Ancient Egypt: Music and dance before the king, 1866 (coloured engraving) by Leutemann, Heinrich (1824-1905); Private Collection; (add.info)

"Description of ballet for two"Double page of "Le Gratie d Amore"
LRI557848 " Description of ballet for two" Double page of " Le Gratie d Amore" (Le Grazie d Amore) by italian dancer Cesare Negri called Il Trombone (1536-1604)

Scene from La Peri by Jean Coralli (1779-1854) and Theophile Gautier (1811-72
CHT198498 Scene from La Peri by Jean Coralli (1779-1854) and Theophile Gautier (1811-72) 1843 (colour litho) by French School, (19th century); Musee des Arts Decoratifs, Paris

Leonid Massine (1895-1979) (pencil on paper) (b / w photo)
TPG189170 Leonid Massine (1895-1979) (pencil on paper) (b/w photo) by Bakst, Leon (1866-1924); Victoria & Albert Museum, London, UK; Russian, out of copyright

Hunting costume design for Giselle by Adolphe Adam (1803-56) c
CHT171839 Hunting costume design for Giselle by Adolphe Adam (1803-56) c.1841 (w/c on paper) by Lormier, Paul (1813-95); Bibliotheque de l Opera Garnier, Paris

Double page of "Le Gratie d Amore"(Le Grazie d
LRI557856 Double page of " Le Gratie d Amore" (Le Grazie d Amore) by italian dancer Cesare Negri called Il Trombone (1536-1604), treaty on dance by Italian School

Paul Taglioni (1808-84) and his wife Anna Galster dancing in Gustave III, c
CHT171836 Paul Taglioni (1808-84) and his wife Anna Galster dancing in Gustave III, c.1830 (colour litho) by French School, (19th century); Bibliotheque des Arts Decoratifs, Paris

"How to dance a ballet for two"Double page of "Le Gratie d Amore"
LRI557853 " How to dance a ballet for two" Double page of " Le Gratie d Amore" (Le Grazie d Amore) by italian dancer Cesare Negri called Il Trombone (1536-1604)

"How to dance the campanella"Double page of "Le Gratie d Amore"
LRI557841 " How to dance the campanella" Double page of " Le Gratie d Amore" (Le Grazie d Amore) by italian dancer Cesare Negri called Il Trombone (1536-1604)

Frontispiece of "Le Gratie d Amore"(Le Grazie d
LRI557836 Frontispiece of " Le Gratie d Amore" (Le Grazie d Amore) by italian dancer Cesare Negri called Il Trombone (1536-1604), treaty on dance by Italian School

Modern Grace or, The Operatical Finale of the Ballet of Alonzo e caro
XYC232913 Modern Grace or, The Operatical Finale of the Ballet of Alonzo e caro (w/c with pen & ink on wove paper) by Rowlandson, Thomas (1756-1827); 17.5x23.2 cm; Yale Center for British Art

A Dancer from the Paris Opera (pen & ink on paper)
XIR243494 A Dancer from the Paris Opera (pen & ink on paper) by Watteau, Jean Antoine (1684-1721) (attr. to); Musee de la Ville de Paris, Musee Carnavalet, Paris, France; French, out of copyright

Costume design for a male dancer, c. 1681
BAL1060 Costume design for a male dancer, c.1681 by Derain, Jean (17th century); Victoria & Albert Museum, London, UK; French, out of copyright

Costume design for male dancer, c. 1660 (pen, ink, w / c & gold on pape)
BAL1058 Costume design for male dancer, c.1660 (pen, ink, w/c & gold on pape) by Gissey, Henry (1621-73) (attr. to); Victoria & Albert Museum, London, UK; (add.info.: made in Paris)

Costume for Nijinsky (1890-1950) in the ballet Scheherazade by Rimsky-Korsakov
XIR167511 Costume for Nijinsky (1890-1950) in the ballet Scheherazade by Rimsky-Korsakov (1844-1908) choreographed by Michel Fokine (1880-1942) 1910 (gouache on paper) by Bakst

Portrait of Marius Petipa in Ballet Dancemania, 1837 (oil on canvas)
BAL134492 Portrait of Marius Petipa in Ballet Dancemania, 1837 (oil on canvas) by Russian School, (19th century); Bakhrushin Theatrical Museum, Moscow, Russia; (add.info.: French dancer)

Marie (1804-84) and Paul Taglioni (1808-84) in the ballet La Sylphide, 1832
XIR173136 Marie (1804-84) and Paul Taglioni (1808-84) in the ballet La Sylphide, 1832 (oil on canvas) by Lepaulle, Francois Gabriel Guillaume (1804-86); Musee des Arts Decoratifs, Paris

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"Ballerino: A Timeless Art of Grace and Elegance" Step into the enchanting world of ballet, where dancers effortlessly glide across the stage, captivating audiences with their exquisite movements. From classical masterpieces to modern interpretations, the art has mesmerized generations. In 1790, "Dance of Alcinous Children" was brought to life in plaster form. The intricate details showcased the beauty and precision that define this timeless dance style. Each delicate movement tells a story, evoking emotions that transcend time. The pochoir print "Karsavina" from 1914 captures a moment frozen in elegance. The graceful pose reflects the dedication and discipline required to become a true ballerino, and is through years of training and passion that dancers like Vaslav Nijinsky were able to bring Claude Debussy's masterpiece "L'Apres-Midi d'un Faune" to life on stage in 1912. From Cesare Negri's portrait as an Italian dancer in the 16th century to costume designs for characters like Triton or the Pageboy of Fairy Lilac from Sleeping Beauty, each element contributes to creating a visual feast for spectators. "How to dance the Alemanna" and "How to dance the capriola, " depicted in double pages from "Le Gratie d'Amore, " provide insights into techniques passed down through centuries. These historical references remind us that ballerinos have been perfecting their craft since ancient times. Plate 370 and Plate 369 showcase ballet actions captured on paper in collotype form during1885 – moments frozen forever but still resonating with energy today. They serve as reminders that even though time passes, ballet remains an ever-evolving art form. Ballerinos embody strength disguised as grace; they are athletes who defy gravity with every leap and pirouette. Their dedication is unwavering as they strive for perfection, pushing their bodies to the limits.