Untitled Document

001. John Frederick Lewis R.A. (1805-1876). Yolande Duvernay [stage name: Pauline Duvernay] as Florinda in Le Diable Boiteux. Original hand-coloured lithograph printed by Charles Hullmandel, 1837, Goupil and McLean. 15 x 11 inches.

Pauline Duvernay was an extremely popular dancer in London in the 1840s. She was a particular favourite of the young Princess Victoria (later Queen Victoria), an avid theatre-goer, who, in her art classes, would then draw the performers. The results are held in the Royal Archives, and include many sketches of Duvernay in different roles.
Duvernay is wearing the pink, frilled Spanish-style dress worn by Florinda, heroine of Jean Coralli's 1836 ballet Le Diable Boîteaux (The Devil on Two Sticks or The Lame Devil), to dance the Cachucha, which was the high-spot of the ballet. The Cachucha is a stylized Spanish dance, originally from Cuba; it covers a range of movements, sometimes gracefully calm, sometimes sprightly and sometimes impassioned hip swinging, while making great use of the castanets.

This listing is for an original hand-coloured lithograph by John Frederick Lewis (1805-1876), printed in London, England on 2/14/1837 by C. Hullmandel (1789-1850), Published by Thomas McLean & Co. The lithograph after a drawing by J F Lewis, shows Pauline Duvernay in the role of Florinda in Le Diable Boîteux (translated as The Devil on Two Sticks or The Lame Devil).

The print is cut across the corners. Beneath the image is the facsimile signature 'Pauline Duvernay' along with the text: " London Published Feb. 14th 1837 by Tho. McLean, 26 Haymarket - Paris chez Ruttner et Goupit - Depose - Printed by C. Hullmandel"
Paper; Watercolour; Lithographic ink; Giltwood frame, matted, with glass.
Duvernay is wearing the pink, frilled Spanish-style dress worn by Florinda, heroine of Jean Coralli's ballet, to dance the Cachucha, which was the high-spot of the ballet. The Cachucha is a stylized Spanish dance, originally from Cuba; it covers a range of movements, sometimes gracefully calm, sometimes sprightly and sometimes impassioned hip swinging, while making great use of the castanets.
The dancer stands on a terrace against a balustrade with foliage to either side, the body turned to her left and the head turned to her right. Her left hand is at the waist, her right arm is down and she holds castanets in her hand. Her hair is in mid-Victorian style, dressed with a rose at her right and a comb to her left. Her short-sleeved, calf-length, off the shoulder pink dress is trimmed with black lace and ribbons, the skirt having two deep frills of black lace. Her black ballet slippers are tied with ribbons.
Historical significance: The large souvenir prints of the Romantic ballet, issued in the 1830s and 1840s, are among the most evocative images of dance in the 19th century. Lithography, with its soft quality, enhanced by the delicate yet rich hand-colouring, was ideally suited to the subject - the ballerinas who dominated ballet in the mid-century and the romanticised settings in which they performed; style and subject were perfectly matched. The British lithographs are notable for capturing individual performers and their style, often clearly in a theatrical setting. They capture dance and its interpreters at one of its greatest periods.
Pauline Duvernay was an extremely popular dancer in London in the 1840s. She was a particular favourite of the young Princess Victoria (later Queen Victoria), an avid theatre-goer, who, in her art classes, would then draw the performers. The results are held in the Royal Archives, and include many sketches of Duvernay in different roles.
Duvernay is wearing the pink, frilled Spanish-style dress worn by Florinda, heroine of Jean Coralli's 1836 ballet Le Diable Boîteaux (The Devil on Two Sticks or The Lame Devil), to dance the Cachucha, which was the high-spot of the ballet. The Cachucha is a stylized Spanish dance, originally from Cuba; it covers a range of movements, sometimes gracefully calm, sometimes sprightly and sometimes impassioned hip swinging, while making great use of the castanets.
John Frederick Lewis [1 ] (14 July 1804 – 15 August 1876) was an Orientalist English painter. He specialized in Oriental and Mediterranean scenes and often worked in exquisitely detailed watercolour . He was the son of Frederick Christian Lewis (1779–1856), engraver and landscape-painter.
Lewis lived in Spain between 1832 and 1834. He lived in Cairo between 1841 and 1850, where he made numerous sketches that he turned into paintings even after his return to England in 1851. He lived in Walton-on-Thames until his death.

Lewis became an Associate of the Royal Academy (ARA) in 1859 and a member (an RA) in 1865.
After being largely forgotten for decades, he became extremely fashionable, and expensive, from the 1970s and good works now fetch prices into the millions of dollars or pounds at auction

002. Emma Albertazzi (née Howson) as Zerlina in Don Giovanni, by Fanny Corbaux (1812-1883), Original hand-coloured lithograph printed by Charles Hullmandel, 1837, Goupil and McLean. 15 x 11 inches. Height: 386 millimetresWidth: 286 millimetres. "Zerlina: 'Mi trema un poco il cor' Il Don Giovanni", and production detail, "Paris Chez Rittner et Goupil Deposé / London Published 15th May 1837 by Thos McLean 26, Haymarket / Printed by C Hullmandel". Within image to left "Fanny Corbaux 1837.

3. Thomas Howell Jones. Portraits of Madame Vestris and Mr. Charles Mathews. "A Scene in the Farce of 'One Hour; or the Carnival Ball' as performed at the Olympic Theatre (No.1 of Theatrical Portraits)". With production detail " T. Jones pinxit. Published by Bell, Removed to No. 28, Craven Street, Strand, London, May 1, 1836".

4. Madam Vestris as Don Giovanni. Madame Vestris in the role of Don Giovanni from Mozart's opera 'Don Giovanni' The singer Lucia Elizabeth Vestris appears here as Don Giovanni. In 1820 she had been hired by William Elliston, manager of London's Drury Lane Theatre and, after her success in several productions, the theater revived Moncrieff's "Giovanni in London" and cast Vestris as the lead. The production opened on May 30, 1820 and "the female Giovanni" became the singer's most famous role--later repeated at Covent Garden, Manchester, Birmingham and Dublin. Unlike Mozart's now iconic opera of the same name, this comic variation was fluid in structure and the star often improvised additions and adaptions.

5. Madame Ronzi Vestris painted by Miss Drummond engraved by T.Woolnot 1824. Portrait of Caroline Mary Theresa Vestris. Pub March 1. 1824 by Dean & Munday Threadneedle Street.' Height: 184 millimetresWidth: 115 millimetres

ummond engraved by T.Woolnoth

6. Mr Henry Siddons engraved by Ridley after a drawing by Edridge, pub by Vernon & Hood Poultry Jan 1 1802.a drawing by Edridge, pub by Vernon & Hood Poultry Jan 1

1802. engraved by Ridley after a drawing by Edridge, pub by Vernon & Hood Poultry Jan 1 1802.

7. Portraits of Madam Malibran Mr H Phillips, Mr. Templeton 1836. Georgian Theatrical Engraved Plate of 1836: Maria Malibran in 'The Maid of Artois' performed at the Drury Lane Theatre, London 1836. Portraits of Madame (Maria) Malibran, Mr K.Phillips, Mr Templeton, Miss Poole and Masters Bedford.

8. The Celebrated fighting Scene from Miss in her Teens. 1780. Mr. Woodward as Flash; Mr. Garrick as Fribble; Miss Hippisly as Miss Biddy; Mrs. Pritchard as Tag. David Garrick's play Miss in Her Teens was originally acted in 1747."We shall certainly do one another a prejudice", and "I shall annihilate the Nothingness of your sould & body." "On my words he is a bully", and the lady on the right addressing the man on the right claims "Is all your fury gone Mr Flash." Engraving.

9. Portraits of Carlotta Grisi and Jules Perrot. A Scene in the ballet . Georgian Theatrical aquatint shows Carlotta Grisi being lifted by Jules Perrot in 'Le Rossignol' at the King's Theatre. Choreographer, Mr. Andre Jean-Jacques Deshayes [1777-1846]. Bell, London.1836.