Valentino. Tinted lithograph coloured by hand by Bettannier after A Hyacinthe, mid 19th century

In an arched room with candelabra an a floral arrangement, men and women are dancing. In the foreground to the left, a woman faces to the right, standing on her left leg, her right kicking high in front, her hand held in line with the raised leg; She wears a green bonnet with a neck frill, trimmed with flowers and green ribbon ties; around her neck is a red bead necklace and at her wrist a similar bracelet. Her wide, low-necked pale brown bodice has a large bow over her breasts and a white sleeve frill; around her arm is a black frilled shawl, which flies out over the back of her long brown tiered skirt. Under the skirt can be seen her white, broiderie anglaise-trimmed underskirt. Opposite her is a male figure, his right arm raised, and left held down, standing on his left toe, with right leg kicked out behind. He has handsome side-whiskers, and wears dull brown trousers, a tall top hat, black tail coat, white cravat, shirt and shawl-collared double-breasted waistcoat. On the floor is a small bouquet.

Bequeathed by Lady Mary Evans

The Bal Valentino was a famous Parisian dance hall in the 19th century. It was there that Princesse Celeste de Mogador danced the Can-Can eccentrique, which became the rage of the public dance halls with people from all walks of life.

The Bal Valentino was a famous Parisian dance hall in the 19th century. It was there that Princesse Celeste de Mogador danced the Can-Can eccentrique, which became the rage of the public dance halls with people from all walks of life. The high kick performed by the woman is a feature of the dance, although her kick is not excessively high and she seems to be trying to hold her skirt down for decency's sake. By 1848 the police felt that the Can-Can was becoming too risqué, but by the end of the century it was a symbol of Paris, performed with great abandon, bare thigh glimpsed amid frou-frou and lace, high kicks that could take off a gentleman's top hat, concluding with the essential splits.

S.2597-1986