Drawing of the Day: Homage to the Queen, 1953

Homage to the Queen
Design for the Coronation Ballet
Oliver Messel, 1953
The Victoria & Albert Museum

“Homage to the Queen” was choreographed by Frederick Ashton as the Sadler's Wells Ballet tribute for the coronation of Queen Elizabeth II on 2 June, 1953. The production was performed at the Royal Opera House. We can tell from production notes which were made at the time that it appears that the production designer, Oliver Hilary Sambourne Messel, (1904 - 1978 ) conceived the ballet opening with an extravagant procession, incorporating both English folk and mythological figures which would close with an Apotheosis showing Elizabeth I as Queen of the Past, handing the Imperial orb to Elizabeth II as Queen of the Present. At the end of the opening, the image of the Queen would be left, as Messel put it, “surrounded with all the virtues and gifts.”

Messel, one of Britain’s leading theatrical designers of the 1930s through 1950s, envisioned this spectacle to be something like a 17th century Jacobean court masque in the manner of Inigo Jones and produced “lavish, fantastical designs” which managers of the ballet noted, “would have cost more than his sets and costumes for the main ballet.” Because of the potential expense, the stage procession of the homage was reduced to a simple entry for the queens of the four elements - Earth, Water, Fire and Air - and their attendant. Messel still got his way—partially. After the ballet, an apotheosis is performed wherein the spirit of the first Elizabeth passes the orb to the second. Here we see one of the storyboard images which Messel produced for his original concept of the homage ballet. This image shows the lion and the unicorn of the Royal arms. The sketch shows the two figures, dancing, facing each other, and carrying flowers which were to be presented to the Queen.

Lord Snowdon, onetime husband of Princess Margaret, and Oliver Messel's nephew, inherited Messel's theatrical designs and other artifacts. According to the V&A, “The designs were briefly stored in a disused chapel in Kensington Palace before being housed at the V&A from 1981 on indefinite loan. The V&A Theatre Museum purchased the Oliver Messel collection from Lord Snowdon in 2005.”

Drawing of the Day: The Fairy of the Woodland Glades Costume Design, 1945

The Fairy of the Woodland Glades
Costume Design
Oliver Messel, 1946
The Victoria & Albert Museum

The 1946 production of “The Sleeping Beauty” at The Sadler's Wells (now Royal) Ballet is considered the greatest triumph of Britain’s leading theatre designer of the mid-Twentieth Century, Oiliver Messel (1904-1978).

Messel created a feeling of a “real” world for the fantastical production. Instead of focusing on the fairytale elements, Messel depended on visual themes based on the architecture and fashions of Seventeenth to Eighteenth Century English, Spanish and French styles. The clever overall look was one of stepping back in time, but not so otherworldly that the character and action seemed false.

In the production, the good fairies arrive to visit Princess Aurora on the day of her christening. They present her with a variety of gifts. Notable, the character of “The Fairy of the Woodland Glades” offers the little princess the gift of “generosity.”

Here is Messel’s proposed costume for “The Fairy of the Woodland Glades.” This design features a train. We know from photographs of the performance that this is not the costume which was created for the show. Obviously, the design was later rejected. It is noted that Messel decided against this design since he had initially wished for all seven fairies to wear costumes with long trains. The extra fabric proved cumbersome and filled the stage so that the dancers’ movements were hindered.

Still, it’s interesting to see how the production design developed over time.

Print of the Day: The Devil on Two Sticks, 1836

Costume de Chasseur dans Le Diable Boiteux
d'Aubert et Cie, 1836
The Victoria & Albert Museum

This chromolithograph from 1836 is entitled “Costume de Chasseur dans Le Diable Boiteux” which translates in English to “The Devil on Two Sticks.” It’s a costume design from a ballet in three acts which debuted on June 1, 1836 at the Paris Opera. 

The ballet is based on the novel of the same name by Le Sage and recounts the tale of a Spanish student who assists a demon in escaping from a bottle. His efforts are rewarded by the demon who introduces the student to three lovely women—a dancer, an heiress and a pauper. The Spanish-style dances were a hit with audiences who were mesmerized by the fancy footwork, flicks, twists and flirtatious movement of the dancers.

The print was published by d'Aubert & Cie of Paris. 

Print of the Day: Mlle.Noblet in La Paysanne Supposee, 1822

Mlle. Noblet in La Paysanne Supposee
1822
The Victoria & Albert Museum

This full-length  etching from 1822 depicts the dancer "Mlle. Noblet in La Paysanne Supposee," a celebrated ballet of the 1820s.  Noblet ("You can't un-fry things, Jerri.  You can't be something you're not."*) wears a pale yellow calf-length lightweight gown with a crimson front-lacing bodice.  She holds the edge of a delicate white apron in her left hand.

A similar hand-colored version of this image is held in the collection of the New York Public Library though the gown in that print was left white.

The print is dated "14th March 1822" and is the work of the engraver Robert Cooper.  The piece is based on an original painting by F. Waldeck.  It was published by H. Berthoud, Jr.  

*Internet points to anyone who knows what I'm talking about.

Figure of the Day: Le Papillion, 1861

Emma Livry as "Le Papillion"
Jean August Barre, 1861
The Victoria & Albert Museum

This delicate figurine is the work of Jean Auguste Barre (1811-1896) and depicts the young French ballerina Emma Livry (1842-1863) as “Le Papillon” (The Butterfly).

Livry, is considered “one of the last Romantic ballerinas.” She trained at the Paris Opéra (let’s drop some chandeliers), and later studied with one of the greatest Romantic dancers Marie Taglioni, who noted in Livry, “an ethereal lightness.”

In 1860 Taglioni choreographed “Le Papillon” especially for Livry. The ballet concerns a girl who is turned into a butterfly by an evil fairy. The spell broken when the girl is attracted to a flame which burns her wings.

Ironically and tragically, the plot of the ballet sadly foreshadowed Emma Livry's death at the age of twenty from burns sustained after her dress caught fire when the light fabric of her costume caught the gas jet footlights on the stage. While fabric could be fireproofed, Livry, like many dancers, refused the chemicals on her costumes since they made the fabric stiff and thus less ethereal on stage.

Barre depicts Livry on a multicolored floral base. She is supported on the tip of her left foot, her right leg raised behind with a slightly bent knee. Her arms are curved above her head. She wears the costume of the “Butterfly.” The figure was created in 1861, two years before her death.

Drawing of the Day: Homage to the Queen, 1953

Homage to the Queen
Design for the Coronation Ballet
Oliver Messel, 1953
The Victoria & Albert Museum

“Homage to the Queen” was choreographed by Frederick Ashton as the Sadler's Wells Ballet tribute for the coronation of Queen Elizabeth II on 2 June, 1953. The production was performed at the Royal Opera House. We can tell from production notes which were made at the time that it appears that the production designer, Oliver Hilary Sambourne Messel, (1904 - 1978 ) conceived the ballet opening with an extravagant procession, incorporating both English folk and mythological figures which would close with an Apotheosis showing Elizabeth I as Queen of the Past, handing the Imperial orb to Elizabeth II as Queen of the Present. At the end of the opening, the image of the Queen would be left, as Messel put it, “surrounded with all the virtues and gifts.”

Messel, one of Britain’s leading theatrical designers of the 1930s through 1950s, envisioned this spectacle to be something like a 17th century Jacobean court masque in the manner of Inigo Jones and produced “lavish, fantastical designs” which managers of the ballet noted, “would have cost more than his sets and costumes for the main ballet.” Because of the potential expense, the stage procession of the homage was reduced to a simple entry for the queens of the four elements - Earth, Water, Fire and Air - and their attendant. Messel still got his way—partially. After the ballet, an apotheosis is performed wherein the spirit of the first Elizabeth passes the orb to the second. Here we see one of the storyboard images which Messel produced for his original concept of the homage ballet. This image shows the lion and the unicorn of the Royal arms. The sketch shows the two figures, dancing, facing each other, and carrying flowers which were to be presented to the Queen.

Lord Snowdon, onetime husband of Princess Margaret, and Oliver Messel's nephew, inherited Messel's theatrical designs and other artifacts. According to the V&A, “The designs were briefly stored in a disused chapel in Kensington Palace before being housed at the V&A from 1981 on indefinite loan. The V&A Theatre Museum purchased the Oliver Messel collection from Lord Snowdon in 2005.”

Drawing of the Day: A Costume from “The Bell Flower Ballet,” 1890

Costume Design from "Dick Whittington"
Wilhelm, 1890
The Victoria & Albert Museum

Charles William Pitcher (1858-1925), under the name “Wilhelm,” was one of the most prolific English costume designers of the late Nineteenth to early Twentieth Centuries. “Wilhelm” began his career at an early age, designing costumes for pantomimes at the Drury Lane Theatre. His innovative designs quickly caught the eye of Britain’s most notable producers, and “Wilhelm” was soon highly in demand. 

This design by Wilhelm shows his idea for the costumes for the twelve “Lilies of the Valley” featured in the “Bell Flower Ballet,” from the pantomime “Dick Whittington.” The panto was performed at the Crystal Palace on Christmas Eve of 1890.

Print of the Day: The Devil on Two Sticks, 1836

Costume de Chasseur dans Le Diable Boiteux
d'Aubert et Cie, 1836
The Victoria & Albert Museum

This chromolithograph from 1836 is entitled “Costume de Chasseur dans Le Diable Boiteux” which translates in English to “The Devil on Two Sticks.” It’s a costume design from a ballet in three acts which debuted on June 1, 1836 at the Paris Opera. 

The ballet is based on the novel of the same name by Le Sage and recounts the tale of a Spanish student who assists a demon in escaping from a bottle. His efforts are rewarded by the demon who introduces the student to three lovely women—a dancer, an heiress and a pauper. The Spanish-style dances were a hit with audiences who were mesmerized by the fancy footwork, flicks, twists and flirtatious movement of the dancers.

The print was published by d'Aubert & Cie of Paris. 

Mastery of Design: The Snow Queen's Crown, 1950

Wig and Diadem of "The Snow Queen"
Stanley Hall, 1950
The Victoria & Albert Museum

If you’re a ballerina and you’re in “The Nutcracker,” you’re likely going to want to play the Sugar Plum Fairy. Even though the character doesn’t appear until the second act, the young lady cast in the part knows she got the plum role. I know…I’m sorry.

But, sometimes it’s just not enough. Famed ballerina Alicia Markova, when she played the Sugar Plum Fairy in the 1950 production at London’s Stoll Theatre, decided her part wasn’t big enough, so she insisted that she also play “The Snow Queen” at the end of the first act. Fair enough.

Here’s part of Markova’s Snow Queen costume—a diamanté crown set on a wig of opalescent cellophane. The wig was the clever work of Stanley Hall of “Wig Creations,” and is notable as being the first wig ever made of cellophane. The effect was one of frosty hair when viewed beneath the bright stage lights. 

Drawing of the Day: The Fairy of the Woodland Glades Costume Design, 1945

The Fairy of the Woodland Glades
Costume Design
Oliver Messel, 1946
The Victoria & Albert Museum

The 1946 production of “The Sleeping Beauty” at The Sadler's Wells (now Royal) Ballet is considered the greatest triumph of Britain’s leading theatre designer of the mid-Twentieth Century, Oiliver Messel (1904-1978).

Messel created a feeling of a “real” world for the fantastical production. Instead of focusing on the fairytale elements, Messel depended on visual themes based on the architecture and fashions of Seventeenth to Eighteenth Century English, Spanish and French styles. The clever overall look was one of stepping back in time, but not so otherworldly that the character and action seemed false.

In the production, the good fairies arrive to visit Princess Aurora on the day of her christening. They present her with a variety of gifts. Notable, the character of “The Fairy of the Woodland Glades” offers the little princess the gift of “generosity.”

Here is Messel’s proposed costume for “The Fairy of the Woodland Glades.” This design features a train. We know from photographs of the performance that this is not the costume which was created for the show. Obviously, the design was later rejected. It is noted that Messel decided against this design since he had initially wished for all seven fairies to wear costumes with long trains. The extra fabric proved cumbersome and filled the stage so that the dancers’ movements were hindered.

Still, it’s interesting to see how the production design developed over time.

Drawing of the Day: A Costume Design by Attilio Comelli, 1903

Hummingbird Costume
Attilio Comelli, 1903
The Victoria & Albert Museum

Attilio Comelli (1858-1925) remains one of the most revered costume designers in the history of British theatre. This design by Comelli was created for the “Hummingbirds” ballet scene in “Humpty Dumpty” at the Theatre Royal Drury Lane’s 1903 production. Signed by Comelli at the bottom, the design for the back of the costume has been drawn on a separate piece of paper which has been attached to the reverse. Comelli’s fabric samples have been pinned to the drawing. 

Print of the Day: La Bayadère - Portrait of Mademoiselle Taglioni, 1830

Marie Taglioni
After Alfred Edward Chalon, 1830
The Victoria & Albert Museum

The famed dancer Taglioni stands on the tips of her toes, en pointe, in this beautiful print from 1830. Though the technique of performing en pointe had developed in the 1820s,Taglioni was the first ballet dancer to develop the method as an expression of character, not simply as a mere technical trick. 


Standing against a blue background, Taglioni’s costume was clearly inspired by Indian fashions which have been simplified for a British audience. This print was said to be Marie Taglioni's favorite image of herself. It was published both in Paris and in London in 1830. The painter was Alfred Edward Chalon and Richard James Lane acted as lithographer. 

Drawing of the Day: Homage to the Queen, 1953

Homage to the Queen
Design for the Coronation Ballet
Oliver Messel, 1953
The Victoria & Albert Museum

“Homage to the Queen” was choreographed by Frederick Ashton as the Sadler's Wells Ballet tribute for the coronation of Queen Elizabeth II on 2 June, 1953. The production was performed at the Royal Opera House. We can tell from production notes which were made at the time that it appears that the production designer, Oliver Hilary Sambourne Messel, (1904 - 1978 ) conceived the ballet opening with an extravagant procession, incorporating both English folk and mythological figures which would close with an Apotheosis showing Elizabeth I as Queen of the Past, handing the Imperial orb to Elizabeth II as Queen of the Present. At the end of the opening, the image of the Queen would be left, as Messel put it, “surrounded with all the virtues and gifts.”

Messel, one of Britain’s leading theatrical designers of the 1930s through 1950s, envisioned this spectacle to be something like a 17th century Jacobean court masque in the manner of Inigo Jones and produced “lavish, fantastical designs” which managers of the ballet noted, “would have cost more than his sets and costumes for the main ballet.” Because of the potential expense, the stage procession of the homage was reduced to a simple entry for the queens of the four elements - Earth, Water, Fire and Air - and their attendant. Messel still got his way—partially. After the ballet, an apotheosis is performed wherein the spirit of the first Elizabeth passes the orb to the second. Here we see one of the storyboard images which Messel produced for his original concept of the homage ballet. This image shows the lion and the unicorn of the Royal arms. The sketch shows the two figures, dancing, facing each other, and carrying flowers which were to be presented to the Queen.

Lord Snowdon, onetime husband of Princess Margaret, and Oliver Messel's nephew, inherited Messel's theatrical designs and other artifacts. According to the V&A, “The designs were briefly stored in a disused chapel in Kensington Palace before being housed at the V&A from 1981 on indefinite loan. The V&A Theatre Museum purchased the Oliver Messel collection from Lord Snowdon in 2005.”

Figure of the Day: Le Papillion, 1861

Emma Livry as "Le Papillion"
Jean August Barre, 1861
The Victoria & Albert Museum

This delicate figurine is the work of Jean Auguste Barre (1811-1896) and depicts the young French ballerina Emma Livry (1842-1863) as “Le Papillon” (The Butterfly).

Livry, is considered “one of the last Romantic ballerinas.” She trained at the Paris Opéra (let’s drop some chandeliers), and later studied with one of the greatest Romantic dancers Marie Taglioni, who noted in Livry, “an ethereal lightness.”

In 1860 Taglioni choreographed “Le Papillon” especially for Livry. The ballet concerns a girl who is turned into a butterfly by an evil fairy. The spell broken when the girl is attracted to a flame which burns her wings.

Ironically and tragically, the plot of the ballet sadly foreshadowed Emma Livry's death at the age of twenty from burns sustained after her dress caught fire when the light fabric of her costume caught the gas jet footlights on the stage. While fabric could be fireproofed, Livry, like many dancers, refused the chemicals on her costumes since they made the fabric stiff and thus less ethereal on stage.

Barre depicts Livry on a multicolored floral base. She is supported on the tip of her left foot, her right leg raised behind with a slightly bent knee. Her arms are curved above her head. She wears the costume of the “Butterfly.” The figure was created in 1861, two years before her death.

Print of the Day: Mlle.Noblet in La Paysanne Supposee, 1822

Mlle. Noblet in La Paysanne Supposee
1822
The Victoria & Albert Museum

This full-length  etching from 1822 depicts the dancer "Mlle. Noblet in La Paysanne Supposee," a celebrated ballet of the 1820s.  Noblet ("You can't un-fry things, Jerri.  You can't be something you're not.") wears a pale yellow calf-length lightweight gown with a crimson front-lacing bodice.  She holds the edge of a delicate white apron in her left hand.

A similar hand-colored version of this image is held in the collection of the New York Public Library though the gown in that print was left white.

The print is dated "14th March 1822" and is the work of the engraver Robert Cooper.  The piece is based on an original painting by F. Waldeck.  It was published by H. Berthoud, Jr. 

Painting of the Day: Tamara Karsavina as Columbine in “Le Carnaval,” 1918

Tamara Karsavina as Columbine
from Mikhail Fokine's "Carnaval"
Adrian Paul Allinson, 1918
Commissioned by Cyril Beaumont
The Victoria & Albert Museum

This painting by Adrian Paul Allinson depicts actress Tamara Karsavina in costume as the Commedia dell’Arte character “Columbine” in Mikhail Fokine's ballet “Carnaval,” which was first performed by the Diaghilev Ballets Russes in 1910.

The role of the Columbine was one of Karsavina's most celebrated.  She was described by ballet specialist Cyril Beaumont as “a Dresden china figure, but she had very human failings. She was a heartless coquette who inspired admiration and then snubbed the fool who thought his affection would be returned.”

The frilly costume set with scalloped edges features a design of red cherries.  It was designed by Leon Bakst.

The painting was once a part of the collection of Cyril Beaumont and it is possible that Beaumont commissioned the portrait from Adrian Allinson around 1918.  At this time, Allinson was working on illustrations from “Carnaval” for the book series “Impressions of the Russian Ballet” which was published by Beaumont.  Beaumont donated the piece to the V&A.