914. Melle. Leroyer, rôle de la Folie dans Les adieux au [sic] Boulevart [sic] du Temple, Théâtre des Folies

What you are looking at

A single female dancer is shown in a three-quarter frontal pose against a pale yellow ground. She wears an ornate costume in shades of red and gold: a pointed crimson headdress with jeweled decoration, a short-sleeved red dress with a gold underskirt visible at the hem, and a draped gold cape or overskirt with red appliqué details and scalloped edges. The skirt is short and full, ending above the knee. She holds a decorative prop—apparently a cane or baton—in her right hand, angled downward. Her left arm hangs at her side. The figure is rendered with fine hand-coloring over what appears to be a lithographic base, with careful attention to the texture and sheen of the fabrics. A faint shadow cast by the figure grounds her on the page. The composition is formal and frontal, presenting the costume and pose for theatrical viewing rather than capturing a moment of dynamic movement.

The dancing

The dancer stands upright with weight evenly distributed, her body aligned in an open, presentational stance. Her gaze is directed downward and to one side, away from the viewer. Her arms are relaxed and asymmetrical: the right arm extended forward with the prop held at an angle, the left at rest. The posture is static and stately rather than dynamic, suggesting a moment of pause or presentation within a theatrical scene. Her feet appear to point forward, the stance grounded rather than lifted.

The dance depicted

This is a costume study for a theatrical character role—specifically the character of 'la Folie' (Madness) in a piece titled 'Les adieux au Boulevart du Temple' performed at the Théâtre des Folies. This identifies a Parisian theatrical dance or opéra comique, likely from the late 19th century. The character 'Folie' was a stock comic figure in French theatre, traditionally given an extravagant, ornamental costume. The prop and costume suggest a lighthearted, burlesque or comic theatrical performance rather than classical ballet or serious dance drama. The presentation is purely illustrative—a record of the costume and stage appearance rather than a document of actual movement or technique.

How it was made

This is a hand-colored lithograph, a print technique that allowed rapid mass production of costume designs and theatrical illustrations. The artist worked from a lithographic stone, then hand-applied watercolor or gouache to each print, resulting in the delicate gradations and jeweled details visible here. This technique was standard for theatrical documentation and publicity in the 19th century, and such prints circulated widely among theatre-goers, costume makers, and fans. The finish—flat graphic shapes enhanced by careful hand-coloring—prioritizes clarity and decorative effect over naturalistic representation.

About this work

This is a theatrical costume study for a character in a French opéra comique or féerie, documenting the appearance of a dancer playing 'Madness' on stage. The print preserves the exact silhouette, color scheme, and stage props of the role, presented as a frontal, undynamic pose suitable for documentation rather than artistic interpretation. It belongs to a large body of 19th-century theatrical ephemera that documented popular stage performances and the costumes that made them memorable. The Théâtre des Folies was a venue for comic and burlesque theatre in Paris, and such costume prints were sold to audiences as souvenirs and aids to memory.

How to look at it

Look first at the costume: the careful hand-coloring of the gold and red fabrics, the jeweled headdress, the scalloped edges of the overskirt. These details record exactly what a theatre-goer would have seen on stage. The pose is deliberately still and frontal—not a naturalistic moment of motion, but a presentation of the costume in idealized clarity. Notice how the prop (the cane or wand) and the costume together define the character: ornament, fantasy, and mockery signaled through dress. The downward gaze and asymmetrical arm position add a touch of character and personality without breaking the static, presentational mode.

The artist

The artist is not recorded in the catalogue. The print was produced in the style and format standard for Parisian theatrical costume documentation of the 1870s–1890s, a period when such prints were a commercial product marketed to theatre audiences. The hand-coloring technique and the careful, decorative rendering suggest a professional atelier rather than individual artistic invention.

The period

This work dates to the era of French opéra comique and féerie theatre, when comic, spectral, and fantastical characters were stock roles in Parisian popular theatre. The Théâtre des Folies (Folies-Bergère and similar venues) specialized in spectacular, music-driven comedies with elaborate costumes and scenic effects. This period coincides with the rise of theatrical tourism and souvenir culture—audiences wanted to take home images of the performers and costumes they had seen. In fine art, meanwhile, Impressionism and later movements were exploring movement and costume in very different registers; this theatrical print represents the commercial, popular culture of visual documentation.

Where it lives

This print is held in the New York Public Library's collection of dance-related prints. It is one of a large body of 19th-century theatrical costume prints, many of which document now-forgotten productions and performers. The collection preserves these ephemeral images as historical records of theatrical practice and popular culture.

Dance in this work

Questions about this work