Folio of Photos & Hand Colored, 1945, Engravings of Michel Fokine, Ballet

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This Portfolio is Number 52 of a limited edition of 100. The cover is wrapped in a red silk cloth and line in a green moire satin.    

Pertaining to the Ballets of Monte-Carlo. First dancer Michel Fokine and l’etoile of the New Ballets of Monte-Carlo. Drawings by Louis V. Molne, Engravings by P. Seguin-Bertault, Photography by Fernand Detaille, Edited by Georges Detaille.

Etchings are hand-colored, signed in pencil by Molne.

The photogravures are approximately 5 x 7 tacked on the folio page at the top edge of the print. Folio pages are approximately 12.5 x 9.5 inches.  All pages are separate and loose as was intended.

NOTE: The following is Google Translate output of the preface to the folio: 

One prestigious name! … An exceptional personality! In the art world, this name evokes unforgettable memories.  He acts with a magic power that makes you dream. While the Conventional Dance gradually became anemic and, mortally wounded, it wasted away, FOKINE, at the risk of frightening its spectators, infused him with new blood, and he metamorphosed the domain of which he was to become king. Revolutionary, it was;  seditious, but without premeditated violence, without unnecessary brutality. There was in FOKINE a physical intoxication which he communicated II to his close relations, to his collaborators, and which the crowd itself ended up sharing. As for Music and Dance, they were enriched by the radiance of his taste, his experience, his penetrating observation and this admirable lucidity, of which Chaliapin said: “She is such that he is never wrong ”.  Exclamation launched in the heat of enthusiasm, too absolute. Error is human, and no one escapes it. But actually FOKINE was rarely wrong. He had a musician’s heart, a painter’s perception, and a dancer’s soul. The influence of FOKINE was enormous, not only in the evolution of Dance, but also in that of Music. Is it really necessary to appeal to Stravinsky, so that the eurythmy of an ideal association is immediately clarified? Certainly not, because it is inseparable.  To both, the union of Music and Dance had appeared as a necessity. The contributions of FOKINE illuminate, penetrate and enrich the musical text; they give it back to him magnifying a mysterious flavor, a rare, often unique fragrance. What variety, what life, what irresistible power of seduction in each of his creations! The great merit of FOKINE is to have broken the old molds, too narrow for his thinking. Then a new sap sprang, sap which was to flood the Contemporary Dance of youth, enthusiasm and faith.  It is no longer a banal song in Spring, but the hymn of spring itself; it is the whole of nature which awakens at the call of the magician. FOKINE knew how to bring passion to its height without ever falling astray. Its name remains the luminous point which enlightens us and will guide us for a long time to come. And we, his disciples, salute in him, in the homage we pay him here, the Supreme Master who satisfies the spirit, lifts the soul and gives Beauty the splendor of Truth. Gérard MULYS.


  1. MICHEL FOKINE, etching drawn by MOLNÉ, engraved by P. SEGUIN-BERTAULT.
  2. MICHEL FOKINE, in Le Pavillon d’Armide.  (Collection “Le Théâtre”.)
  3. MICHEL FOKINE, in The Polovtsian Dances of Prince Igor.  (Photo Bert.)
  4. MICHEL FOKINE, in Carnival.  (Photo E. Druet.)
  5. VERA FOKINA, in Narcisse.  (Photo E.-O. Hoppé.)
  6. PAVLOVA, NIJINSKY, in Le Pavillon d’Armide.  (Collection “Le Théâtre”.)
  7. POLOVTSIAN DANCES OF PRINCE IGOR, 1936. (Photo Detaille.)
  8. THE SYLPHIDES, drawing by MOLNÉ. 
  9. LES SYLPHIDES, 1909, decoration by Alexandre BENOIS. (Photo Bert.) 
  10. LES  SYLPHIDES, 1936, decoration after COROT. (Photo SBM)
  11. NIJINSKY, in Sheherazade. (Photo Bert.) 
  12. SHEHERAZADE, 1937, decoration and costumes by Léon BAKST.  (Photo S.B.M.)
  13. CARNAVAL, 1934, set and costumes by Léon BAKST.  (Photo Detaille.)
  14. CARNAVAL, drawing by MOLNÉ.
  15. THE BIRD OF FIRE, 1934, set and costumes by Nathalie GONTCHAROVA.  (Cliché Detaille.)
  16. THE SPECTER OF THE ROSE, drawing by MOLNÉ.
  17. TAMAR KARSAVINA, in Le Specter de la Rose. (Collection” Les Annales “.)
  18. PETROUCHKA, 1911, 4th Table, decor and costumes  by Alexandre BENOIS. (Photo Bert.)
  19. NIJINSKY, in Petrouchka.  (Cliché Bert.)
  20. PETROUCHKA, 1936, 1 * Painting, decor and costumes by Alexandre BENOIS.  (Photo S.B.M.)
  21. THE LOVE TEST, 1936, set and costumes by André DERAIN.  (Photo
  22. L’ÉPREUVE D’AMOUR, drawing by MOLNÉ.
  23. DON JUAN, 1936, Prélude. Curtain and costumes by Mariano ANDREU. (Photo SBM) 
  24. DON JUAN, 1936, 1 Painting, decor and costumes by Mariano  ANDREU. (Photo SBM) 
  25. THE ELEMENTS, 1937, decor and costumes by Dimitri BOUCHÈNE. (Photo SBM) 
  26. GROUCHKA, 1938, decoration and costumes by Nathalie GONTCHAROVA. (Photo Detailed.) 


All Ballets mentioned above were composed and directed for by MICHEL FOKINE.The dates accompanying the photos indicate the year in which they were made.

Dimensions: 13 x 10 x .5

Date: 25th February, 1945

Origin: New York

Condition: The collection is in remarkable condition. There is very little foxing or handling marks.  Again, please remember that the eight plate is missing in this portfolio.  

Please see photos as they are an integral part of the condition report and ask any questions that you have about the item so that we can satisfy you.

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