Wooden figure showing Lydia Lopokova
Figure
1920s (Made)
1920s (Made)
| Artist/Maker | |
| Place of origin |
The figure represents Lydia Lopokova as the Can-Can dancer in Leonide Massine's ballet "La Boutique fantasque", premiered by the Diaghilev Ballets Russes in 1919 with designs by André Derain. It was probably made by the Aldon Studios for the dance historian, bookseller and publisher, Cyril Beaumont, for sale in his shop at 75, Charing Cross Road. Lopokova created the role of the Can-Can dancer.
La Boutique fantasque was a light-hearted a ballet in one act was choreographed by Léonide Massine to an arrangement of music by Giacomo Rossini arranged and orchestrated by Ottorino Respighi. The production was designed by André Derain with the sets painted by Vladimir and Elizabeth Polunin and the costumes made by Alias Ltd. It was created for Serge Diaghilev’s Ballets Russes and first performed at the Alhambra, Leicester Square, London, on 5 June 1919, where it was a terrific hit. As one critic wrote after the premiere, in La Boutique fantasque ‘the old and the reactionary and the new music and “choreography” and décor all run together into a piece of merry nonsense, so single and so compelling that it carries you away.’
The action of the ballet is set in a toy-shop c.1865. Clients visit to see the novelties and the pair of can-can dancers are separated when purchased by different clients. At night, after the shop had closed, the toys come to life and enable the can-can dancers to elope. In the morning they are found to be missing by the disgruntled purchases. Le Boutique fantasque was one of a number of ballets based on the Viennese Die Puppenfee (The Fairy Doll) of 1888.
Cyril Beaumont described Lopokova as ‘delightful’ in the role of the female cancan dancer. ‘She was attired in a blue satin bodice and short, white satin skirt, fringed with black lace and stuffed with innumerable frilly petticoats; her hair was dressed in the little curls fashionable during the Second Empire and bound with a garland of cornflowers and marguerites. Her resemblance to a doll was extraordinary. It was totally different from the angular, stiffly jointed puppet of the Dancer in Petrouchka. Her rounded limbs, pale face, full cheeks, curved pointing lips and innocent expression recalled one of those expensive china dolls at once the supreme joy of children and dread of care-worn fathers….She danced with incredible precision and verve. One leg flew upwards to writhe, twist, turn and revolve amid a sea of foaming lace and ribbon. She flaunted her petticoats in the most mischievous abandon and, without altering the expression of her features contrived to convey by the pose of her head and arms, the fleeting emotions of distain, surrender, coquetry and pique. I have never heard a theatre resound to greater applause.’
La Boutique fantasque was a light-hearted a ballet in one act was choreographed by Léonide Massine to an arrangement of music by Giacomo Rossini arranged and orchestrated by Ottorino Respighi. The production was designed by André Derain with the sets painted by Vladimir and Elizabeth Polunin and the costumes made by Alias Ltd. It was created for Serge Diaghilev’s Ballets Russes and first performed at the Alhambra, Leicester Square, London, on 5 June 1919, where it was a terrific hit. As one critic wrote after the premiere, in La Boutique fantasque ‘the old and the reactionary and the new music and “choreography” and décor all run together into a piece of merry nonsense, so single and so compelling that it carries you away.’
The action of the ballet is set in a toy-shop c.1865. Clients visit to see the novelties and the pair of can-can dancers are separated when purchased by different clients. At night, after the shop had closed, the toys come to life and enable the can-can dancers to elope. In the morning they are found to be missing by the disgruntled purchases. Le Boutique fantasque was one of a number of ballets based on the Viennese Die Puppenfee (The Fairy Doll) of 1888.
Cyril Beaumont described Lopokova as ‘delightful’ in the role of the female cancan dancer. ‘She was attired in a blue satin bodice and short, white satin skirt, fringed with black lace and stuffed with innumerable frilly petticoats; her hair was dressed in the little curls fashionable during the Second Empire and bound with a garland of cornflowers and marguerites. Her resemblance to a doll was extraordinary. It was totally different from the angular, stiffly jointed puppet of the Dancer in Petrouchka. Her rounded limbs, pale face, full cheeks, curved pointing lips and innocent expression recalled one of those expensive china dolls at once the supreme joy of children and dread of care-worn fathers….She danced with incredible precision and verve. One leg flew upwards to writhe, twist, turn and revolve amid a sea of foaming lace and ribbon. She flaunted her petticoats in the most mischievous abandon and, without altering the expression of her features contrived to convey by the pose of her head and arms, the fleeting emotions of distain, surrender, coquetry and pique. I have never heard a theatre resound to greater applause.’
Object details
| Categories | |
| Object type | |
| Parts | This object consists of 2 parts. (Some alternative part names are also shown below)
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| Title | Wooden figure showing Lydia Lopokova (generic title) |
| Materials and techniques | Wood and gouache |
| Brief description | Plywood souvenir figure representing Lydia Lopokova as the Can-Can dancer in Leonide Massine's ballet La Boutique fantasque, issued by C W Beaumont, 1920s. Wood and gouache. |
| Physical description | Full length two-dimensional cut-out female figure with painted features, Full length female figure with painted features, facing left, on point on right foot with left raised to waist height, the left arm curved and the right outstretched, wearing an off white knee-length full-skirted dress with blue lownecked bodice held across the shoulders by a white frill trimmed in the centre with black and blue bows centre front and on either shoulder; the skirt is frilled to the lower edge, above which is a black trim set with blue bows. On the short brown hair is a floral wreath of alternating blue flowers and white daisies with yellow centres. The painting continues around the sides and the reverse is painted black. Under the right foot a small wooden support to slot into a base. Wood and gouache. The tip of the left foot is broken. |
| Dimensions |
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| Production type | Limited edition |
| Credit line | Cyril W. Beaumont Bequest |
| Object history | The figure represents Lydia Lopokova as the Can-Can dancer in Leonide Massine's ballet "La Boutique fantasque", premiered by the Diaghilev Ballets Russes in 1919 with designs by André Derain. It was probably made by the Aldon Studios for the dance historian, bookseller and publisher, Cyril Beaumont, for sale in his shop at 75, Charing Cross Road. Lopokova created the role of the Can-Can dancer. Beaumont had admired Caran d'Ache's satirical wood carvings of political personalities, and, about 1914, he conceived the idea of two-dimensional wooden figures of principal dancers of the Diaghilev Ballets Russes. The figures represented the dancers in costume in a typical pose from the chosen work; they were cut out from two-ply wood, hand painted and mounted on detachable stands. Each design was limited to fifty copies, originally hand-coloured by the artist and issued at 7s 6d. They sold steadily. Adrian Allinson designed nineteen figures in all and after the War, Beaumont turned to other artists and commissioned a separate artist to execute the colouring. S.971-1982 is included in The Complete Catalogue of the Publications of C. W. Beaumont, 1928, which lists 49 figures; examples of 30 of these came to the Museum as part of the Cyril Beaumont Bequest plus 10 not in the 1928 catalogue. The 1928 catalogue included the following description of the cut-outs (p.25): "These figures of celebrated dancers of the Diaghileff Ballet have been issued with a view to supply the demand for something between a photograph and a statuette - something that would preserve the memory of a dancer as she appeared in a particular ballet. Each figure is based on drawings made from sittings given by the dancer herself, and from sketches made during an actual performance. The designs are by the following artists: Adrian Allinson, Eileen Mayo, Vera Willoughby, also working under the name of Vera Petrovna, Randolph Schwabe and Ethelbert White. The figures, which are of wood, average 8 3/4 inches high, and are hand-coloured with special care to ensure accuracy of costume. The black stands on whcih the figures are mounted are easily removable to afford facility in packing. The figures are priced at 7s. 6d. net." Historical significance: The existence of such figures are a testimony to the popularity of the Diaghilev Ballets Russes in London, and a growing 'popular' audience who demanded memorabilia and souvenirs. As the only specialist bookseller and publisher in London, and with access to the dancers and company, Beaumont was quick to identify the market and he commissioned the figures, prints and illustrated books to fulful the demand. |
| Subject depicted | |
| Summary | The figure represents Lydia Lopokova as the Can-Can dancer in Leonide Massine's ballet "La Boutique fantasque", premiered by the Diaghilev Ballets Russes in 1919 with designs by André Derain. It was probably made by the Aldon Studios for the dance historian, bookseller and publisher, Cyril Beaumont, for sale in his shop at 75, Charing Cross Road. Lopokova created the role of the Can-Can dancer. La Boutique fantasque was a light-hearted a ballet in one act was choreographed by Léonide Massine to an arrangement of music by Giacomo Rossini arranged and orchestrated by Ottorino Respighi. The production was designed by André Derain with the sets painted by Vladimir and Elizabeth Polunin and the costumes made by Alias Ltd. It was created for Serge Diaghilev’s Ballets Russes and first performed at the Alhambra, Leicester Square, London, on 5 June 1919, where it was a terrific hit. As one critic wrote after the premiere, in La Boutique fantasque ‘the old and the reactionary and the new music and “choreography” and décor all run together into a piece of merry nonsense, so single and so compelling that it carries you away.’ The action of the ballet is set in a toy-shop c.1865. Clients visit to see the novelties and the pair of can-can dancers are separated when purchased by different clients. At night, after the shop had closed, the toys come to life and enable the can-can dancers to elope. In the morning they are found to be missing by the disgruntled purchases. Le Boutique fantasque was one of a number of ballets based on the Viennese Die Puppenfee (The Fairy Doll) of 1888. Cyril Beaumont described Lopokova as ‘delightful’ in the role of the female cancan dancer. ‘She was attired in a blue satin bodice and short, white satin skirt, fringed with black lace and stuffed with innumerable frilly petticoats; her hair was dressed in the little curls fashionable during the Second Empire and bound with a garland of cornflowers and marguerites. Her resemblance to a doll was extraordinary. It was totally different from the angular, stiffly jointed puppet of the Dancer in Petrouchka. Her rounded limbs, pale face, full cheeks, curved pointing lips and innocent expression recalled one of those expensive china dolls at once the supreme joy of children and dread of care-worn fathers….She danced with incredible precision and verve. One leg flew upwards to writhe, twist, turn and revolve amid a sea of foaming lace and ribbon. She flaunted her petticoats in the most mischievous abandon and, without altering the expression of her features contrived to convey by the pose of her head and arms, the fleeting emotions of distain, surrender, coquetry and pique. I have never heard a theatre resound to greater applause.’ |
| Bibliographic references |
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| Collection | |
| Accession number | S.971:1, 2-1982 |
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| Record created | October 31, 2001 |
| Record URL |
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