![Nijinsky, Waslaw. (1889-1950) [Bert, Auguste.] Signed Photograph in "Spectre de la Rose."](http://www.schubertiademusic.com/cdn/shop/files/Nijinsky_2C_Vaslav_Spectre_SP_17350.jpg?v=1722189419)
Nijinsky, Waslaw. (1889-1950) [Bert, Auguste.]. Signed Photograph in "Spectre de la Rose.". Rare original photograph of Nijinsky in Fokine's "Le Spectre de la rose," boldly signed and inscribed in black ink "Souvenir de / Waslaw Nijinsky / A Monsieur Rector 1916." Stamps on the verso ("Warslav Nijinsky," "Serge de Diaghileff's Ballet Russe," "The Metropolitan Ballet Co., Inc. Metropolitan Opera House New York"), lightly trimmed along the the lower edge, with small tears to the right blank edge, one repaired from verso with tape, light stains and surface creases throughout, but overall a fine signed example of an iconic image, uncredited on the present example but taken by Auguste Bert of Paris in 1911. 14.5 x 20 cm.
Based on a poem by Théophile Gautier, and choreographed by Michel Fokine to the music of Carl Maria von Weber's piano work Aufforderung zum Tanz, the ballet premiered in Monte Carlo on 19 April 1911. The photograph shows Nijinsky as the rose, wearing Bakst's costume of pink-red petals. "By this time, Nijinsky's body had acquired its obvious, adult strength. This gives the image an interesting tension. There is a kind of phallic pathos here, in that the body is short, hard, and straight, but the maleness is 'decorated' by the swirling prettiness of the 'port de bras.' ...In this role...the choreographer drew attention to the importance of what he perceived to be Nijinsky's lack of masculinity. Fokine pointed out that the rose is 'in no circumstance a 'cavalier' or a typical 'ballerina's partner.'" (Peter Stoneley, "A Queer History of the Ballet," p. 75)
Based on a poem by Théophile Gautier, and choreographed by Michel Fokine to the music of Carl Maria von Weber's piano work Aufforderung zum Tanz, the ballet premiered in Monte Carlo on 19 April 1911. The photograph shows Nijinsky as the rose, wearing Bakst's costume of pink-red petals. "By this time, Nijinsky's body had acquired its obvious, adult strength. This gives the image an interesting tension. There is a kind of phallic pathos here, in that the body is short, hard, and straight, but the maleness is 'decorated' by the swirling prettiness of the 'port de bras.' ...In this role...the choreographer drew attention to the importance of what he perceived to be Nijinsky's lack of masculinity. Fokine pointed out that the rose is 'in no circumstance a 'cavalier' or a typical 'ballerina's partner.'" (Peter Stoneley, "A Queer History of the Ballet," p. 75)
Nijinsky, Waslaw. (1889-1950) [Bert, Auguste.]. Signed Photograph in "Spectre de la Rose.". Rare original photograph of Nijinsky in Fokine's "Le Spectre de la rose," boldly signed and inscribed in black ink "Souvenir de / Waslaw Nijinsky / A Monsieur Rector 1916." Stamps on the verso ("Warslav Nijinsky," "Serge de Diaghileff's Ballet Russe," "The Metropolitan Ballet Co., Inc. Metropolitan Opera House New York"), lightly trimmed along the the lower edge, with small tears to the right blank edge, one repaired from verso with tape, light stains and surface creases throughout, but overall a fine signed example of an iconic image, uncredited on the present example but taken by Auguste Bert of Paris in 1911. 14.5 x 20 cm.
Based on a poem by Théophile Gautier, and choreographed by Michel Fokine to the music of Carl Maria von Weber's piano work Aufforderung zum Tanz, the ballet premiered in Monte Carlo on 19 April 1911. The photograph shows Nijinsky as the rose, wearing Bakst's costume of pink-red petals. "By this time, Nijinsky's body had acquired its obvious, adult strength. This gives the image an interesting tension. There is a kind of phallic pathos here, in that the body is short, hard, and straight, but the maleness is 'decorated' by the swirling prettiness of the 'port de bras.' ...In this role...the choreographer drew attention to the importance of what he perceived to be Nijinsky's lack of masculinity. Fokine pointed out that the rose is 'in no circumstance a 'cavalier' or a typical 'ballerina's partner.'" (Peter Stoneley, "A Queer History of the Ballet," p. 75)
Based on a poem by Théophile Gautier, and choreographed by Michel Fokine to the music of Carl Maria von Weber's piano work Aufforderung zum Tanz, the ballet premiered in Monte Carlo on 19 April 1911. The photograph shows Nijinsky as the rose, wearing Bakst's costume of pink-red petals. "By this time, Nijinsky's body had acquired its obvious, adult strength. This gives the image an interesting tension. There is a kind of phallic pathos here, in that the body is short, hard, and straight, but the maleness is 'decorated' by the swirling prettiness of the 'port de bras.' ...In this role...the choreographer drew attention to the importance of what he perceived to be Nijinsky's lack of masculinity. Fokine pointed out that the rose is 'in no circumstance a 'cavalier' or a typical 'ballerina's partner.'" (Peter Stoneley, "A Queer History of the Ballet," p. 75)