1889 (printed)
| Artist/Maker | |
| Place of origin |
Portfolio of 13 colour prints showing costumes for the ballet Our Army and Navy created for the Alhambra Theatre, London, by the theatrical costumier Charles Alias from designs by Lucien Besche. Printed by Alf Cooke, Leeds, 1889.
Our Army and Navy opened on 1 April 1889 at the Alhambra Theatre, Leicester Square. In essence it was a revised version of the ballet Le Bivouac, created in 1885 in response to the war in the Sudan and the death of General Gordon in Khartoum. The ballet was a patriotic work set in the Portsmouth docks and consisted largely of processions in formation.
The 'Dances and Evolutions' were arranged by Eugenio Casati to music selected, arranged and composed by Georges Jacobi. The costumes were made by Alias from designs by Lucien Besche, with accoutrements by Robert Bennett . The scenery representing Portsmouth harbour was by T.E. Ryan.
Six of the costumes in the portfolio represent a nationality incorporating national insignia and/or flags in sashes with a background showing a ‘typical’ national scene, and seven represent military uniforms worn by members of the British armed forces; the army and navy. The costumes were created for women performing ‘en travestie’ and emphasis the feminine body. This was a ballet without a ballerina (principal dancer), the two dancers who attracted most attention were Minnie Thurgate and Miss Phillips as the Midshipmen.
Popular dancers, Minnie Thurgate and Miss Phillips danced an acclaimed hornpipe. As Stewart Headlam wrote in ‘New Ballet at the Alhambra’, Manchester Examiner, 3 April 1889, 'Thurgate and Phillips were most natty in their black sailors dresses, and did a little dance together; but their friends, who are many, would gladly have seen them have a better opportunity.’ The Topical Times, 6 April 1889, claimed that ‘Of the dances, the sailors seemed the most popular, especially a double hornpipe by Miss Thurgate and Miss Phillips.’ An illustration of ‘Two Merry Little Middies’, signed ‘AWA’, appeared in Pictorial News,27 April 1889.
The ballet fell into three parts: The Assembly of the British servicemen; the Reception of Nations, and the March Past of the British with military exercises and sham fights, ending with Rule Britannia. The Midshipmen were the fourth group of dancers to appear in the Assembly.
Our Army and Navy opened on 1 April 1889 at the Alhambra Theatre, Leicester Square. In essence it was a revised version of the ballet Le Bivouac, created in 1885 in response to the war in the Sudan and the death of General Gordon in Khartoum. The ballet was a patriotic work set in the Portsmouth docks and consisted largely of processions in formation.
The 'Dances and Evolutions' were arranged by Eugenio Casati to music selected, arranged and composed by Georges Jacobi. The costumes were made by Alias from designs by Lucien Besche, with accoutrements by Robert Bennett . The scenery representing Portsmouth harbour was by T.E. Ryan.
Six of the costumes in the portfolio represent a nationality incorporating national insignia and/or flags in sashes with a background showing a ‘typical’ national scene, and seven represent military uniforms worn by members of the British armed forces; the army and navy. The costumes were created for women performing ‘en travestie’ and emphasis the feminine body. This was a ballet without a ballerina (principal dancer), the two dancers who attracted most attention were Minnie Thurgate and Miss Phillips as the Midshipmen.
Popular dancers, Minnie Thurgate and Miss Phillips danced an acclaimed hornpipe. As Stewart Headlam wrote in ‘New Ballet at the Alhambra’, Manchester Examiner, 3 April 1889, 'Thurgate and Phillips were most natty in their black sailors dresses, and did a little dance together; but their friends, who are many, would gladly have seen them have a better opportunity.’ The Topical Times, 6 April 1889, claimed that ‘Of the dances, the sailors seemed the most popular, especially a double hornpipe by Miss Thurgate and Miss Phillips.’ An illustration of ‘Two Merry Little Middies’, signed ‘AWA’, appeared in Pictorial News,27 April 1889.
The ballet fell into three parts: The Assembly of the British servicemen; the Reception of Nations, and the March Past of the British with military exercises and sham fights, ending with Rule Britannia. The Midshipmen were the fourth group of dancers to appear in the Assembly.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Printing ink on paper |
| Brief description | Print of a costume design for female dancers representing Midshipmen in the ballet Our Army and Navy, Alhambra Theatre, London, 1889. One of 13 prints in a portfolio of costume designs produced by costumier Charles Alias from designs by Lucien Besche. Printed by Alf Cooke, Leeds. Harry Beard Collection |
| Physical description | Colour print depicting a female figure in a midshipman's tunic with an ensign draped at the hips, black tights and shoes, a peaked cap, and a sword at her waist. She stands on the deck of a ship in front of a canon. |
| Dimensions |
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| Marks and inscriptions |
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| Credit line | Harry R. Beard Collection, given by Isobel Beard |
| Summary | Portfolio of 13 colour prints showing costumes for the ballet Our Army and Navy created for the Alhambra Theatre, London, by the theatrical costumier Charles Alias from designs by Lucien Besche. Printed by Alf Cooke, Leeds, 1889. Our Army and Navy opened on 1 April 1889 at the Alhambra Theatre, Leicester Square. In essence it was a revised version of the ballet Le Bivouac, created in 1885 in response to the war in the Sudan and the death of General Gordon in Khartoum. The ballet was a patriotic work set in the Portsmouth docks and consisted largely of processions in formation. The 'Dances and Evolutions' were arranged by Eugenio Casati to music selected, arranged and composed by Georges Jacobi. The costumes were made by Alias from designs by Lucien Besche, with accoutrements by Robert Bennett . The scenery representing Portsmouth harbour was by T.E. Ryan. Six of the costumes in the portfolio represent a nationality incorporating national insignia and/or flags in sashes with a background showing a ‘typical’ national scene, and seven represent military uniforms worn by members of the British armed forces; the army and navy. The costumes were created for women performing ‘en travestie’ and emphasis the feminine body. This was a ballet without a ballerina (principal dancer), the two dancers who attracted most attention were Minnie Thurgate and Miss Phillips as the Midshipmen. Popular dancers, Minnie Thurgate and Miss Phillips danced an acclaimed hornpipe. As Stewart Headlam wrote in ‘New Ballet at the Alhambra’, Manchester Examiner, 3 April 1889, 'Thurgate and Phillips were most natty in their black sailors dresses, and did a little dance together; but their friends, who are many, would gladly have seen them have a better opportunity.’ The Topical Times, 6 April 1889, claimed that ‘Of the dances, the sailors seemed the most popular, especially a double hornpipe by Miss Thurgate and Miss Phillips.’ An illustration of ‘Two Merry Little Middies’, signed ‘AWA’, appeared in Pictorial News,27 April 1889. The ballet fell into three parts: The Assembly of the British servicemen; the Reception of Nations, and the March Past of the British with military exercises and sham fights, ending with Rule Britannia. The Midshipmen were the fourth group of dancers to appear in the Assembly. |
| Collection | |
| Accession number | S.67:4-2012 |
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| Record created | February 1, 2012 |
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