Art work for the print of Vaslav Nijinsky as Daphnis in Mikhail Fokine's ballet Daphnis and Chloe by Roberto Montenegro showing Nijinsky rather taller and streamlined than the 5'4" stocky dancer. Montenegro has, however, captured Nijinsky's neck and face. The tunic is far shorter than the knee-length costume. This is one of ten drawings of Nijinsky offered to Cyril Beaumont who purchased them on the condition that he could publish them in a 'small edition'. The print was Plate 7 in the portfolio printed in black and white and highlighted in gold.

Daphnis and Chloe designed by Léon Bakst and choreographed by Mikhail Fokine to an original score commissioned from Maurice Ravel received 2 performances at the Théâtre du Châtelet on 8 and 10 June 1912 and only revived when Fokine returned to Diaghilev's Ballets Russes after Nijinsky's dismissal. Given that Nijinsky only performed the ballet twice a surprisingly large number of illustrations of him in the role were drawn.

From the start Daphnis and Chloe was an unlucky ballet. The narrative was one Fokine had planned for many years (having submitted a proposal for a ballet on Longus’ narrative to the Imperial Theatre, St Petersburg). It was planned by Diaghilev for his 1911 season but it had to be postponed as Maurice Ravel had failed to complete the score. Sets and costumes by Léon Bakst were transferred to another work set in Greece, Narcisse. When the ballet was premiered at the end of the 1912 season (during which Nijinsky’s ‘Greek’ ballet L’Après-midi d’un faune had been premiered) many of the costumes from Narcisse appear to have been re-used. Fokine was so put out at his treatment during the 1912 season he resigned from the company and Daphnis and Chloe only returned to the repertory when he returned for the 1914 season.