'Madlle. Duvernay as Florinda.' Lithograph of Pauline Duvernay in the ballet "The Devil on Two Sticks" ("Le Diable aux boiteux") by Madeley ca. 1836

Full length female figure facing left, proper right foot pointed forward and proper right arm arm extended from shoulder height, the left arm curved in line with the body, and holding castanets. She is wearing a pale pink low-necked, calf-length Romantic ballet dress with short sleeves and fitted pointed bodice; the dress is in Spanish style, indicated by black lace trimming to neck, sleeves and deep flounces on the skirt. Around the neck are gold chains and on the wrists are tied gold ribbons. The hair is plaited around the ears and pulled back into a tight knot, trimmed with black lace, at the back of the head ; across the front hair is a floral band. To either side of the figure are indications of foliage. Titled: "Madlle. Duvernay as Florinda.", "No. 5 Fair Favorites", "Proof" with name of the lithographer.

Cyril W. Beaumont Bequest

The print shows Pauline Duvernay as Florinda in The Devil on Two Sticks (Le Diable aux boiteux) which was mounted at Drury Lane by Joseph Mazilier after Coralli's Paris production, on 1 December 1836. Thus Duvernay introduced London to the cachucha, rather than Fanny Elssler, had created the role in Paris in June 1836, and whose interpretation of the dance was to become legendary. Duvernay was a extremely popular with London audiences, including Princess Victoria, later Queen Victoria, and was Thackary's favourite dancer.
The series "Fair Favourites" comprised 5 prints of which 4 were actresses and only No. 5, Duvernay, depicted a dancer.
The word "Proof", formally printed on many English prints, related to a peculiarly English convention among printmakers. It did not mean a test pull of the print; because lithographs could be issued in such large editions it was felt that they were of little worth, compared to engravings, so the practice developed of titling some of the early pulls as "Proof" and selling them at a premium. The marking was no indication of quality, as later prints from the same stone could be as fine, if not finer.
The print came to the Museum as part of the Cyril Beaumont Bequest.

S.134-1992