Ballet Graces, No. 4. Lithograph coloured by hand, mid 19th century.

In a landscape with mountains and lake a dancer stands on point on her right leg, her left leg raised with foot pointed; her body is turned to her right, with her arms held out and her inclined head turned took out to her right. Her severely dressed hair is decorated around the back coil with flowers. Her off-the-shoulder short-sleeved black bodice is pointed at centre front and trimmed with lace at neck and sleeves and with small tassels on the bodice. The diaphanous skirt reaches to below the knee and is edged with a pale grey band. The print is cut across the corners

Given by Dame Marie Rambert

The print is part of the collection of dance prints amassed by Marie Rambert and her husband, Ashley Dukes in the first half of the 20th century. Eventually numbering 145 items, some of which had belonged to the ballerina Anna Pavlova, it was one of the first and most important specialist collections in private hands.
Rambert bought the first print as a wedding present but could not bear to give it away. As the collection grew, it was displayed in the bar of the Mercury Theatre, the headquarters of Ballet Rambert, but in 1968, Rambert gave the collection to the Victoria and Albert Museum; seven duplicates were returned to Rambert, but these are catalogued in Ivor Guest's A Gallery of Romantic Ballet, which was published before the collection came to the V&A. Although often referred to as a collection of Romantic Ballet prints, there are also important engravings of 17th and 18th century performers, as well as lithographs from the later 19th century, by which time the great days of the ballet in London and Paris were over.

This print is one of a series of ballet dancers, published in the mid 19th century. The subjects are not named dancers, nor probably even drawn from life - they are simply 'ballet dancers'. The image of the dancer crystallised in the 1840s, creating an image that would transcend time and fashion - sleeked-down hair, pointed, low-necked bodice, or a laced bodice over a small blouse, and knee or calf-length bell-shaped skirt formed of tiers of tarlatan, with a diaphanous top layer. So strong was the image that, even today, people who have never see a ballet would recognize these prints as 'ballet dancers.'

E.5071-1968