London: Jullien, [ca. 1843].
Folio. Hand-coloured lithograph by J. Brandard depicting a couple in fur-trimmed costume dancing the polka, the gentleman in profile to left, the lady facing forward. Within Jullien's characteristic decorative gilt border. Signed by the artist in the stone. Printed by M. and N. Hanhart.
With Julllien's facsimile signature handstamp to lower outer corner.
Slightly worn, soiled, and creased; trimmed slightly affecting decorative border to outer margin and text to imprint at lower margin; minor remnants of mounting tape to upper edge of verso. Cover only.
The original version of Brandard's much-adapted print referred to by Chaffee American Music Titles, 55.
"The distinguishing feature of Grisi's style as a dancer was a natural spontaneity that the public found irresistible... Her dancing always seemed effortless, but this concealed a very strong technique. Contemporary reviews make it clear that her pointe work was quite exceptionally developed for her time, and she was equal to such hazardous feats as the famous leap in La Péri. Her place in the history of ballet is also characterized by her lifelong friendship with the poet, scenarist, and critic Théophile Gautier, who conceived two of her best-known roles and who wrote several poems that owe their inspiration to her. Above all, she was the muse of the greatest choreographer of the Romantic ballet, Jules Perrot." Ivor Guest in The International Encyclopedia of Dance, Vol. 3, p. 316.
Jullien was a French composer, conductor, and music publisher. "Considered something of a child prodigy by his violinist-bandmaster father Antonio, Jullien served in the army before entering the Paris Conservatoire in 1833 or 1831. He left in 1836, preferring dance music over counterpoint. For the next three years, Jullien’s lively entertainments of dance music at the Jardin Turc brought rapid popularity, rivalling Musard’s, and three duels brought notoriety. He left Paris for England in 1838... In the democratization of music and the establishment of the early promenade concert, Jullien’s role was significant... Davison... was a supporter and personal friend: ‘M. Jullien’, he wrote in the Musical World, ‘was undoubtedly the first who directed the attention of the multitude to the classical composers … [he] broke down the barriers and let in the “crowd”.’ " Keith Horner in Grove Music Online.
John Brandard (1812-1863), an English lithographic artist, was a master of the illustrated sheet music cover, designing hundreds of title pages, primarily for ballets and operas.
Price: $85.00 other currencies