Albert (dancer)
ballet dancer from France

François-Ferdinand Decombe (15 April 1789, Bordeaux – 18 July 1865, Fontainebleau) was a French ballet dancer and ballet master, under the stage name Albert.
Career
Albert débuted aged 14 at the Théâtre de la Gaîté, before being taken on by the Opéra de Paris in 1808, having been recommended to them by Jean-François Coulon and Auguste Vestris. Ejected by the ballet master Pierre Gardel, Albert divided his time between Paris and London, where he showed all the measure of his talent. Ousted from the Opéra in 1831 to the benefit of Jean Coralli and Filippo Taglioni, he worked in London, Naples and Marseille. From 1838 to 1840 Albert was ballet master to the Brussels Théâtre de la Monnaie, where he made the talents of Arthur Saint-Léon known to the public. On his return to Paris in 1841 he composed the divertissements for the opera La Favorite by Donizetti and for other pieces by that composer. He was also the author of a dance manual, L'art de la danse à la ville et à la cour (Paris, 1834). In 1811 Albert married the soprano Augustine Himm, after which she performed as Augustine Albert.
The public source identifies “Albert (dancer)” as ballet dancer from France. This brief keeps that definition visible, then builds a research path around Albert, dancer and ballet.
Why this record matters
A short description can identify a subject without explaining its stakes. For “Albert (dancer)”, the useful work is to connect “ballet dancer from France” to the records capable of establishing context and consequence.
Attribution, date and provenance are strongest when supported by the original work, a catalogue record and documented transmission. The source revision retrieved here is dated May 10, 2026. The linked authority identifier is Q2830906. VIAF identifies the subject as 22131510. The Library of Congress control number is n82134745. 3 of 3 selected statements include explicit references; 0 carry qualifiers and 0 use preferred rank. The first chronological checks are 1789, 1865, 1808 and 1831.
Titles can refer to several editions, objects or performances, making precise identification essential before interpretation. The lead is largely declarative, so disagreement and counter-evidence require a deliberate search beyond the opening account. Authority statements aid reconciliation but still require their own references, qualifiers and ranks to be checked.
How to read it
Separate the work, its editions or performances, and its later reception. Catalogue records, publication histories and object files often preserve different parts of that story.
- Identifying works and editions
- Tracing reception history
- Finding collection records
The original object or edition, catalogue raisonné, performance record, rights file and holding institution.
Three-step research path
- Establish the record: confirm the title “Albert (dancer)”, its source revision and the description used here.
- Expand the search: follow Albert (dancer) primary sources, Albert (dancer) archive and Albert research across catalogues and specialist indexes.
- Test the account: compare the strongest cited source with the responsible institution’s current record and note any disagreement.
Questions for further research
- Which source most directly establishes the central claim about “Albert (dancer)”?
- Which edition, object, performance or recording is being described?
- How did later circulation or interpretation alter the work’s reception?
Search terms from this dossier
This entry incorporates text from “Albert (dancer)” on English Wikipedia. Contributors are listed in the page history. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License. Selected authority identifiers and statements are retrieved from Wikidata under CC0; their references and qualifiers remain part of the verification path.