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.'
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 Royal Horse Guards were the eighth group of dancers to appear in the Assembly.
The Penny Illustrated Paper, 6 April 1889, noted that ‘Our Army and Navy…is a banquet of rich and dazzling colours; and the dextrous evolutions and dances of the scarlet-coated Grenadier Guards, kilted Black Watch, Bluejackets, and what not evoke storms of patriotic enthusiasm. ...this splendid spectacular ballet is bound to run all through the summer, and win the admiration especially of the hundred thousand or so Americans who are to pass through London en route to the Paris Exhibition.’ (p.222)
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.'
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 Royal Horse Guards were the eighth group of dancers to appear in the Assembly.
The Penny Illustrated Paper, 6 April 1889, noted that ‘Our Army and Navy…is a banquet of rich and dazzling colours; and the dextrous evolutions and dances of the scarlet-coated Grenadier Guards, kilted Black Watch, Bluejackets, and what not evoke storms of patriotic enthusiasm. ...this splendid spectacular ballet is bound to run all through the summer, and win the admiration especially of the hundred thousand or so Americans who are to pass through London en route to the Paris Exhibition.’ (p.222)
Object details
| Categories | |
| Object type | |
| Materials and techniques | Printing ink on paper |
| Brief description | Print of a costume design for female dancers representing the Royal Horse Guards 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 feminised version of the uniform of the Horse Guards. She holds a sword and stands outside a building with arches. |
| 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.' 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 Royal Horse Guards were the eighth group of dancers to appear in the Assembly. The Penny Illustrated Paper, 6 April 1889, noted that ‘Our Army and Navy…is a banquet of rich and dazzling colours; and the dextrous evolutions and dances of the scarlet-coated Grenadier Guards, kilted Black Watch, Bluejackets, and what not evoke storms of patriotic enthusiasm. ...this splendid spectacular ballet is bound to run all through the summer, and win the admiration especially of the hundred thousand or so Americans who are to pass through London en route to the Paris Exhibition.’ (p.222) |
| Collection | |
| Accession number | S.67:5-2012 |
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| Record created | February 1, 2012 |
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