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Ohnet, Georges, novelist and editor (1848-1918).
Autograph letter signed. No place or date.
8vo. 1 page on bifolium. Expressing his regrets over being too late to assist the addressee, as Ohnet has just returned to Paris, but predicting a great success of the recipient's work that would not have needed his involvement in any case: "Je suis en retard pour vous rejoindre. Mais j'ai été absent de Paris et je n'ai trouvé votre lettre qu'à mon retour. Rien ne peut m'être plus sympathique [...]". - With slight ink offsetting and small stain.
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Pène, Henry de, journalist and writer (1830-1888).
Autograph letter signed. No place or date.
8vo. 1½ pp. on bifolium. To a colleague, concerning the publication of a short story by the journal "Le Gaulois", a process which seems, in de Pènes words, as difficult as making a camel go through the eye of a needle, which is why received short stories have been piling up for two years in Henry de Pène's drawer: "Faire passe une nouvelle au Gaulois fut-elle chef d'oeuvre est presque aussi difficile que de faire passe un chameau par le trou d'une aiguille. J'en ai un tiroir plein, de nouvelles, que j'ai reçues depuis deux ans pour la plupart et pour lesquelles il est toujours causé qu'il se fera un jour entre deux romans [...]". - With lithographic letterhead.
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Prévost, Marcel, French writer (1862-1941).
Autograph letter signed. Paris, 21. I. 1897.
8to. 4 pp. on bifolium. With sealed autograph envelope. To the French playwright and librettist Philippe Gille, thanking him for a favourable review of his 1897 novel "Le Jardin secret" and making plans for a meeting: "J'ai été tellement dérangé hier, autre une séance chez le médecin, que je n'ai pas pu vous écrire à loisir, pour vous remercier de votre bel article. Il m'a profondement touché par l'amitié dont il témoigne. Mais j'ai été, aussi, particulièrement heureux de me voir si bien analysé et commenté au fond. Je vois que nous sommes du même avis sur la nécéssité du Jardin secret [...]". - Philippe Gille (1831-1901), who is best known for the libretto to Léo Delibes' opera "Lakmé", was Marcel Prévost's paternal friend. In 1894, Gille decorated Prévost at his reception into the Legion d'honneur. - Very light browning. With stains from the seal on the envelope.
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Rémy de Guebhard, Caroline (pseud. Séverine), journalist (1855-1929).
Autograph letter signed ("Séverine"). [Paris], 27. IV. 1896.
8vo. 1½ pp. on bifolium. To a Monsieur, asking a favour (not further discussed) for a friend named Léon Maes, writing that she will consider any help rendered by the addressee provided directly to Rémy de Guebhard herself: "Voulez-vous me faire le grand plaisir de renseigner mon ami, Léon Mars, sur une question à laquelle il s'intéresse [...] Ce qui sera fait pour lui, je le considérai comme fait pour moi [...]". - With colour-embossed vignette.
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Sade, Donatien Alphonse François, Marquis de, French writer (1740-1814).
Autograph letter. Saumane, 20 Aug. [1797].
Large 8vo. 1 p. on bifolium. With autograph address and traces of seal. Urgent letter to François Ripert, the caretaker of de Sade's property in Saumane, sent via Ripert's mother, with bitter complaints about outstanding financial statements. De Sade claims that he has been waiting for six weeks and doubts Ripert's honesty. In closing, the Marquis announces that he will leave for Paris within three weeks, threatening that the process might take years if he leaves the country without verifying the financial statements: "Je ne sais comment et de quelle Manière il faut que je m'y prenne pour faire comprendre à Monsieur Ripert que je ne puis faire ses comptes sans les avoir eu quelques temps auparavant en ma disposition pour les examiner. Voilà 6 semaines que je les demande sans pouvoir les obtenir. Les gens francs et clairs qui n'ont pas de prétentions louches et ridicules à mettre en avant marchent plus à découvert que cela. Je préviens Mr Ripert que sous trois semaines je pars pour Paris et que si je quitte ce païs-ci et sans vérifier ses comptes, il pourra bien s'écouler bon nombre d'années avant que cette opération-là ne s'entreprenne [...]". - Despite de Sade's bitter complaints and insinuations, he held Ripert in high esteem as a faithful employee and ally in countless conflicts within his own family. Ripert even hid de Sade during his flight to Italy, following the 1772 condemnation in the so-called "Affaire de Marseille", which ultimately led to his 12-year incarceration in Paris. In 1796/97, the Marquis was on the verge of bankruptcy and was thus forced to sell large swathes of his remaining property, against the will of his wife and children. De Sade's short conflict with his caretaker arose in the context of these extreme financial difficulties. - Traces of folds. With some stains to the address-side. Dated to 1797 by contemporary hand.
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Shaw, George Bernhard, Anglo-Irish writer (1856-1950).
Autograph letter signed ("G. Bernard Shaw"). N. p., 27. XI. 1906.
Oblong 8vo. 2 pp. Framed and glazed together with a portrait of Shaw. Backing leaves with a window for the recto of the letter. To the poet and dramatist Newman Howard (1861-1929) with brutal criticsm of Howard's blank verse tragedy "Constantine the Great". Shaw lauds Howard's workmanship but rejects the historical theme as irrelevant to the questions of their time, elevating William Morris as a counterexample and urging him to write about "the things we are all thinking about" even if the press will reject him for that: "This is all right: you can handle words like a master, but what the devil do I care about Constantine the Great? Constantine the Apostate as Anatole France calls him. Why should I wade through all this blank verse when it is not about anything that I care about, or want to know anything about, or that you could tell me anything about if I did? I began it with great pleasure; for it is pleasant to sample good workmanship. But that soon palls [...]. If you only knew how Literature bores a man who has taken to Life! Of course Morris loathed reading other mens' verses. How do you like it yourself? But he read Dickens and Dumas père. If you would write about the things we are all thinking about and the people we all know, the papers would revile you and we should read you [...]" . The now largely forgotten author Newman Howard wrote a series of blank verse tragedies called "The Christian Trilogy", of which "Constantine the Great" was the third instalment. Though Shaw did not like the works, they were well received by most critics. - With a vertical fold and some browning.
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Shaw, George Bernhard, Anglo-Irish writer (1856-1950).
Autograph postcard signed ("G. Bernard Shaw"). The Hydro, Torquay, 27. VIII. 1914.
Postcard format. ½ p. With autograph address. Framed and glazed. Laconic response to the impresario Percy Burton: "All right: whatever is usual with the Half Hours With The Best Dramatists. I forget what we did before; but no doubt we can do it again". - Shaw spent many summers at the Hydropathic Hotel in Torquay. His 1897 play "You Never Can Tell" is set in Torquay, satirizing the upper-class holidaymakers. - With pinch folds.
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Shaw, George Bernhard, Anglo-Irish writer (1856-1950).
Autograph postcard signed ("G. Bernard Shaw"). Ayot St. Lawrence, Welwyn, 12. X. 1924.
Postcard format. 1 p. With autograph address. Framed, matted and glazed together with a portrait of Shaw. To the Reverend J. Parke Bachman in Brooklyn, thanking him for praise of his 1923 play "Saint Joan" and repeating his claim not to have romanticized the heroine: "I am glad St. Joan enlivened your voyage ... But really the praise must be to her. I cannot too often repeat that I have been only her reporter - fortunately one with sense enough to know that she needed no romantic beleaguerings from any playwright." - With insignificant stains and pinch folds.
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Stolberg-Stolberg, Sophie Charlotte zu (geb. von Redern), Frau des Schriftstellers Friedrich Leopold zu Stolberg-Stolberg (1765-1842).
Eigenh. Brief mit U. Münster, 26. II. 1811.
3½ SS. auf Doppelblatt. 8vo. Mit eh. Adresse (Faltbrief). Wasserzeichen (VDL). Dankesbrief an Werner von Haxthausen mit Nachrichten zum Besuch des Ehepaars Müller, das die Aufsicht über das Gut ihres Stief-Schwiegersohns, des Dichters G. A. Carl von Hardenberg (1776-1813), bei Würzburg übernehmen werde: "Sie haben mir große Freude mit Ihrem Geschenk gemacht, mein bester Werner und ich danke Ihnen herzlich dafür, ich kann das Crucifix freylich nicht ohne Wehmuth ansehn, wenn ich denke auf welchem Weg, es von Jerusalem in unsere Hände gekommen ist [...] in diesem Augenblick sind die guten Müllers bey uns, eigentlich als Zug-Vögel [...] der arme Hardenberg bedarf wohl mehr als je einem treuen Freund, wie Müller ihm seyn wird [...]". - Werner von Haxthausen wurde durch Kontakte seiner Halbschwester Therese von Droste-Hülshoff um 1800 in der Familie Stolbergs in Münster erzogen. Haxthausen war 1810 an der Verschwörung Wilhelm von Dörnbergs gegen die Franzosenherrschaft in Westfalen beteiligt gewesen und für einige Zeit nach England geflüchtet. Carl von Hardenberg, der jüngere Bruder des Dichters Novalis, heiratete die Tochter Henriette Luise (1788-1868) aus der ersten Ehe des Friedrich Leopold zu Stolberg-Stolberg. - Leicht braunfleckig durch Briefverschluss.
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Weinheber, Josef, österr. Dichter (1892-1945).
"Frühes Liebesgedicht". Eigenh. Gedicht mit U. O. O. u. D.
1 S. 4to. Auf etwas größeren Papierträger montiert. "Ich mußte dich lassen, bevor ich dich fand. | Dein Bild erblühte vor meiner Schwelle | und schwand. | Nun weint mein Herz. | Aber jenseits von unsrem Begegnen, | in einem blauen Märchenland, | wird mein Schmerz | in leuchtenden Gedichten niederregnen | auf den ewigen Frühling deiner Seele". - Das aus dem Jahr 1918 stammende Gedicht ist u. a. in der Auswahl "Dokumente des Herzens" (München 1944, 141) enthalten und wird auch unter dem Titel "Verklärung" oder "Ich mußte dich lassen" geführt.
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Zola, Émile, French writer (1840-1902).
Autograph letter signed. Médan, 5. XI. 1880.
Small 8vo. 1 p. Together with a portrait photograph of Zola, matted together (30 x 24 cm). To an unnamed recipient concerning a property sale: "Je vous remercie d'avoir bien voulu accepter ma proposition. Veuillez donc venir e jour qu'il vous plaira, de trois à quatre heures. Nous n'avons pas besoin de passer devant un notaire, un sous-seing suffira. Apportez votre titre de prorpiété, et nous terminerons séance tenante". - Émile Zola had bought his famous house in Mélan in 1878 from the proceeds of his first major literary success, "L'Assommoir" (1877), and immediately used it as his primary residence. The purchase hinted at in the letter was probably connected to this property. The equally successful yet even more scandalous novel "Nana" (1880) allowed Zola to enlarge his house, and he added the tower "Nana" that same year. - Traces of folds and minimally creased.
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Boughton, Rutland, English composer (1878-1960).
Autograph letter signed. Kilcot, near Newent in Gloucestershire, 1. I. 1960.
8vo. 2 pages. To the English soprano Winifred Lawson: "Thank you very much for so generously helping us to celebrate Xmas - or rather, the New Year, for we spent Xmas with Arthur at Bath. And there on Boxing Day we had the saddest news: namely, that Christina had lost her life in a car accident near her house in the South of France. Her husband was at Barnes, and we have to wait his return before any details reach us [...] The Bethlehem broadcast was a disgrace to the BBC". - The artist and poetess Christina Walshe (b. 1888) was Boughton's second partner and his artistic "right-hand man" for his Glastonbury projects, particularly the country's first national annual summer school of music which he established with Walshe and the poet Reginald Buckley. Walshe died in a car accident on 24 December, 1959, in Vence, where she had been teaching at the Ecole Freinet. - In fine condition.
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Boulanger, Nadia, Komponistin (1887-1979).
Eigenh. Brief mit U. 36, Rue Ballu [Paris], 13. III. 1952.
1 S. Qu.-8vo. Mit eh. Adresse verso. In französischer Sprache an P. Astier mit Bedauern, nie die Zeit zu finden, ihr ihre Gedanken und Wünsche persönlich zu überbringen: "Pour vous porter ma pensée et mes voeux - quel regret de n'avoir jamais un moment pour aller jusqu'à vous [...]". - Mit der Nummer 28 in blauem Farbstift von alter Sammlerhand. Ein kleiner Randeinriss.
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Bridge, Frederick, English organist and composer (1844-1924).
3 autograph lettercards signed. [London], ca. 1907.
Oblong small 8vo. Altogether 4 pages on 3 ff., one with autogr. address. To one of his students, arranging lessons. - On stationery with embossed address and black border.
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Britten, Benjamin, English composer, conductor, and pianist (1913-1976).
Autograph and part-typed letter signed. Apparently Aldeburgh, Suffolk, undated.
Oblong small 8vo. To Mr. Sherlock, thanking "for your good wishes for my birthday [...]". - On headed paper.
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Bush, Alan, British composer and pianist (1900-1995).
Typed letter signed. Radlett near London, Hertfordshire, 19. XI. 1975.
Oblong 8vo. ½ page. To John about "my schedule of examining. I examine in London on December 1st, arriving Stevenage in the evening of that day. I examine in Stevenage at Stevenage Music Centre, Six Hills Way, on December 2nd and 3rd, starting on both days at 9.0 a.m. [...]". - On headed paper.
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Foss, Hubert, English pianist and composer (1899-1953).
Typed letter signed, with autograph postscript. London, 11. X. 1934.
4to. 1 page. To the blind bass-baritone Sinclair Logan about a recital: "I greatly enjoyed both your singing and your songs last night. I have never heard you in better form or with better control of vocal colour. I wish I could feel that your accompanist were a patch on you, but frankly I think he was not a great success last night [...] I will try to get the recital mentioned in my 'Passing Notes', in our next Bulletin [...]". - Apart from his musical activities, Foss was the first Musical Editor (1923-41) for the Oxford University Press at Amen House in London. - On headed paper "Oxford University Press - Music Department".
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Hadley, Patrick, British composer (1899-1973).
Autograph lettercard signed. Apparently Cambridge, 1. III. 1962.
Oblong small 8vo. With autograph address. To an unidentified addressee on Arnold Bax's "Threnody and Scherzo", an octet in two movements (1936), which the composer had once dedicated to him: "I am sorry and no little ashamed to say that I can give you no information about this Threnody & Scherzo. Indeed I should welcome any information you can give me! [...]". - On stationery with embossed letterhead.
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Korngold, Erich Wolfgang, composer (1897-1957).
Autograph musical quotation signed. No place, October 1922.
85 x 114 mm. In pencil. Korngold has, characteristically, written the opening chord from his opera "Violanta", one bar in the treble clef. "Violanta" was written in 1914 when the composer was only seventeen. It was, in fact, his second opera, having been preceded by "The Ring of Polykrates".
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Massenet, Jules, French composer (1842-1912).
Autograph letter signed. Paris, 29. VII. 1885.
Small 8vo. 3 pp. on bifolium. To the soprano Fidès Devriès (1852-1941), announcing the completion of his opera "El Cid" and that she will receive her score within two days, delivered by the composer personally. Massenet explains a delay in his work with sickness and the departure of his publisher and original librettist Georges Hartmann: "Je ne sais si cette lettre your parviendra à Paris ou à Deauville mais je tiens à vous dire, Madame, que je vous ferai parvenir la partition complètement exacte au plus tard le 1er août. J'ai eu beaucoup de travail pour les corrections des épreuves et la maladie, le départ de Hartmann sont aussi un peu causes du retard. Mais tout sera en ordre. J'ai hâté d'aller vous voir à Deauville et de vous entendre!!!". - In an insertion, Massenet explains that he will rent a Villa in Houlgate in August and that he will drive his "little car, Le Cid under the arm" to nearby Deauville, where Devrès apparently spent her summer: "nous avons loué une Villa à Houlgate ma femme et ma fille y passeront les mois d'août y de septembre peut-être aussi - de là, avec ma petite voiture, le Cid sous le bras, j'irai à Deauville pour les moments d'étude que vous voudrez bien m'indiquer". - Massenet's "Le Cid" successfully premiered on 30 November 1885 at the Paris Opéra with Fidès Devriès as the female lead. - Some foxing and somewhat creased.
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Massenet, Jules, French composer (1842-1912).
Collection of 5 autograph letters signed, 2 monogrammed autograph letters, and 1 autograph letter. Brussels, Paris, Vevey, and no place, January-September 1890.
8vo and 12mo. Altogether 20 pp. on bifolia and one single leaf. With 8 autograph envelopes. In French. A series of letters written to his daughter Juliette (1868-1935) and her husband Léon Alloend-Bessand. Massenet was travelling extensively in 1890 and spent several months in Bruxelles, probably for the reprise of his opera "Esclarmonde" in September 1890 at La Monnaie, with Sibyl Sanderson. While it was rumoured that Massenet had an affair with Sanderson and the American soprano does indeed play a role in his letters, the correspondence also bears witness to Massenet's profound longing for his wife and his solitude due to the physical distance from his family. It is unclear whether his wife Louise, who at the time suffered from an eye disease, was actively avoiding contact with him, but the letters imply that Massenet was unable to communicate with her over extended periods of time. - The earliest of four letters from January to April 1890 must have been written in Paris and are mostly of a practical nature. Massenet inquires whether his daughter wants to go to the Ball of the Paris Opera on 1 February and later informs her that he has cancelled his reservation for a box because Sibyl Sanderson had fallen ill. In a letter datable to March, Massenet inquires whether his son-in-law has winter clothes for his hairdresser. On 4 April 1890, he expresses his gratitude and affection towards his daughter without mentioning the context: "I am very touched by your attentiveness - I'm lucky to know that I'm loved and respected. I send you all my warmest thanks and to both of you my affections", signing with "papa" along with his signature. - On 4 August 1890 Massenet wrote Juliette from Vevey, announcing the completion of his opera "Le Mage", particularly the orchestration of the first act. Alluding to Sibyl Sanderson, who was supposed to sing the lead in a "Manon" reprise, Massenet writes: "The ladies hold your memory very dear and 'Manon' is very amiable but very spoiled - The true 'Manon' has already worked for 3 acts and that is very promising". He closes with his "blissful solitude" and the information that he could not write to his wife as he does not know the address. - Massenet's perception of his solitude takes a turn in Bruxelles. On 24 August, he writes about his warm welcome at La Monnaie, but mostly about his wife: "I am constantly thinking about your mother who suffers with her eyes ... this is a constant preoccupation for me because I suppose that she must be sad, not being able really to enjoy her voyage - I wish I received news from morning to evening". On 29 August, he complains about not having received a word from his wife and describes his longing for his family. He wants true peace "because the quiet after the theatre is solitude and that's empty - she is with the family and I am alone in my hotel room". In a more practical vein, Massenet announces the reprise of "Esclarmonde" for 6 September. Two days before the premiere, Massenet again inquires about his wife and the state of her eyes, as he has not received "a single detail in 5 weeks", and he implores his dauther: "write me - I am so alone and so far and so desperate for Paris". He also announces concerts in Ostend and Antwerp following the Brussels premiere. - Well preserved. With occesional stains and collector's notes in pencil.
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Orr, C[harles] W[ilfred], English composer (1893-1976).
Autograph postcard signed ("C. W. Orr"). No place, 20. II. 1974.
8vo. 1 page. With autogr. address. To Colin Scott-Sutherland (1930-2012): "In case you might like to listen in, my album of four tenor songs is being broadcast on Monday next, 25th, at 3.25 on 3rd Programme. I expect this is not a very good time for you, but thought I would let you know. Would you tell Stewart A. as well?". - The addressee was a bank manager who wrote a number of remarkable books and articles on music and other artistic subjects, starting with his pioneering "Arnold Bax" in 1973. - Slightly creased in centre.
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Puccini, Giacomo, Italian composer (1856-1924).
Autograph letter signed ("Giacomo"). Torre del Lago, 1. IV. 1921.
Small 4to. 2 pp. In Italian. To his friend Sybil Seligman, to whom he announces his imminent journey to Rome, where he is to attend performances of Manon Lescaut and to hear a concert by Arthur Nikisch. Elvira is a little sick in Milan; he hopes that the leg of poor Sybil is improving and regrets that the sciatica returns at intervals of at few months' time. - On stationery with embossed address. In fine condition.
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Puccini, Giacomo, Italian composer (1856-1924).
Autograph letter signed ("GPuccini"). Milan, 19. III. 1897.
8vo. 2½ pages on bifolium. In Italian. To a count, with thanks for his interest in "La Bohème", which had premiered on 1 February 1896 at the Teatro Regio in Turin. Puccini has sent Ricordi his letter; they will see what they can do for the actor who is of such interest to the count. - On stationery with embossed address. Small traces of mounting on page 4.
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Scott, Cyril, English composer, writer, poet, and occultist (1879-1970).
Typed lettercard signed (with initials). Apparently Eastbourne, Sussex, 10. XII. 1964.
Oblong small 8vo. 1 page. With typed address. To Colin Scott-Sutherland (1930-2012): "Thanks for letter. All three Piano Sonatas are published by Elkin". - The addressee was a bank manager who wrote a number of remarkable books and articles on music and other artistic subjects, starting with his pioneering biography of Arnold Bax in 1973. - On stationery with printed letterhead.
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Somervell, Arthur, English composer and art song writer (1863-1937).
Autograph letter signed. [London], 29. IX. 1935.
8vo. 1 page on bifolium. To the blind bass-baritone Sinclair Logan: "How jolly to hear your voice singing 'Maud' - and so beautifully too. It gave us both immense pleasure, & filled my eyes many times. 'Maud is not 39' - but she will be in a short time & I feel she wears well in such hands as yours [...]". - Somervells's first Cycle of Songs "Maud" after Tennyson's first collection of Poems under that name was published in 1898. - On headed paper.
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Stainer, John, English composer and organist (1840-1901).
Autograph letter signed. No place, 8 August, no year (but ca. 1882 to 1888).
8vo. 1 page. To a "dear Sir": "I shall be much obliged if you will allow me to make the musical inspection of your college a few days earlier than in your printed notice [...]". - "In 1882, Stainer was offered the post of Inspector of Music in Schools and Colleges, a position he took with great seriousness and which he occupied for six years. He worked towards raising standards in music teaching and toured the country, visiting schools and colleges and examining candidates" (Wikipedia). - On stationery with embossed letterhead of the Education Department, Whitehall. Small tear to left margin.
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Stevenson, Ronald, Scottish composer and pianist (1928-2015).
Autograph letter signed. Townfoot House, West Linton, Peeblesshire, 27. X. 1866.
4to. 1 page. To his "dear Colin", i. e. Colin Scott-Sutherland (1930-2012), citing a limerick on the composer Ernest John Moeran: "A footnote to my last. I have just found, in an old music magazine, this limerick by Tom Pitfield: There was a composer called Moeran / Who Iacked MS. paper to score on; / But sly and alert, / He tore up his shirt, / Which he scribbled 'conshirtos' galore on [...] P.S. Have just received an offer of publication of my Prelude, Fugue & Fantasy [on Busoni's Faust] from Novello [...]". - The addressee was a bank manager who wrote a number of remarkable books and articles on music and other artistic subjects, starting with his pioneering biography of Arnold Bax in 1973. - Slightly wrinkled.
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Arletty (i. e. Léonie Bathiat), Schauspielerin (1898-1992).
Eigenh. Portraitpostkarte mit U. O. O. u. D.
1 S. 8vo. Mit einer Widmung für Th. Crichton: "en souvenir [...]".
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Guilbert, Yvette, Sängerin und Schauspielerin (1865-1944).
Eigenh. Brief mit U. Paris, 15. II. [1933].
3 SS. auf Doppelblatt. 8vo. In französischer Sprache an den Schriftsteller und Verleger Maurice Delamain (1883-1974) mit Zustimmung zu seinen Bemerkungen sowie der Ankündigung, sich wieder dem Gesang widmen zu wollen, sobald sie ihr Buch vollendet habe, für dessen Illustration sie eine neue Idee habe und zwei Künstlerinnen wärmstens empfiehlt: "Très Sage! Toutes vos observations, et vos prudences sont les miennes! Aussi, vais je m'employer sitôt liberée de nos N. de D. d'obligations chantatoires [...] sitôt libre, je completerai le volume en y ajoutant de nombreuses choses jouées et récitées. Mais j'ai une idée neuve pour illustrer ce livre qui le fera acheter j'en suis certaine! J'ai quelque fois de fructueuses idées...pour les autres, et si les 2 artistes que je vais interesser à mon idée veulent me faire une maquette je vous les conduirai. Elles sont du reste ces 2 femmes charmantes à connaitre, leur labeur intelligent et artiste vous plaira [...]". - Auf Briefpapier mit gepr. Adresse. Mit Stempel der Librarie Stock in Paris. Randeinrisse; leicht wasserfleckig.
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Guitry, Sacha, Schauspieler, Filmregisseur, Drehbuchautor und Dramatiker (1885-1957).
Eigenh. Visitenkarte mit U. O. O. u. D.
1 S. Visitkartenformat. In französischer Sprache an einen Freund mit Dank: "Merci cher monsieur [...]".
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Meyerhold, Vsevolod, Russian and Soviet theatre director, actor and theatrical producer (1874-1940).
Typed letter signed ("V. Meyerhold"). Leningrad, 11. IX. 1935.
4to (285 x 204 mm). 3½ pages on 4 ff. In Russian, two phrases in German added. To Ivan Fyodorovich Kodatsky, chairman of the executive committee of the Leningrad Regional Council. Meyerhold declares his close kinship to Leningrad (St Petersburg) and asks permission to establish a permanent base there. Writing to Kodatsky, Meyerhold delivers a long and obsequious request to have assigned to him on a permanent basis the Leningrad apartment where he and his wife Zinaida Reich have been staying during his preparations for a recent production of "Queen of Spades" with the Maly Opera Theatre ("Malegot"): his justification is that this would enable him to prepare for a second production with Malegot, of Mussorgsky's "Boris Godunov" under conductor Samuil Samosud, to mark the centenary of Pushkin's death in 1937. - The letter is remarkable above all as an example of Meyerhold's strenuous efforts to accommodate himself to the official discourse of Stalinist Russia in order to achieve his artistic vision: he speaks of his intended residence in Leningrad as a "fiery dream [...] Perhaps the dream was evoked by Leningrad's atmosphere, where in 1917 I joined the ranks for VKP(b) [i.e. the Bolshevik Party]? [...] and at the old Imperial theatres where, persecuted by the reactionary segment of the company I [...] achieved the production of an ingenious creation of young Lermontov (Masquerade). Perhaps my dream is caused by the fact that Leningrad is my second home: the first is Penza, where I was born, green and studious, and the second - Petersburg (Leningrad), where I started to search for innovations in the field of directing, which had brought me in October 1917 such a weight of knowledge as to help me to become useful to our proletariat in its pursuit of becoming genuinely a cultural part of humanity". His purpose in asking for the permanent allocation of the apartment is in part a response by the senior Party official Boris Pozern to help attract young directors to Leningrad, as well as for theatrical work. "I am asking you to turn a temporary mooring which had been assigned to me into a permanent mooring, where I would periodically drop the anchor of my ship, equipped with a director's intentions, and would consider myself obligated to serve Leningrad as well, giving a Leningrad viewer what, after experiencing Queen of Spades and GOSTIM's [the Meyerhold Theatre's] plays, they would like to have from me. That is why I am inspired by the dream, to do infinitely more for the theatre than I have done previously. I want to belong not only to Moscow but also to Leningrad". - Meyerhold's period at the Imperial theatres in Leningrad in 1907 to 1917 was formative for his innovative directing style. He refers in the present letter specifically to his production of Lermontov's "Masquerade" which was in dress rehearsal at the Alexandrinsky Theatre on 25 February 1917 - the very day on which the February Revolution broke out; the evening has been described as "the last act of the tragedy of the old regime". In spite of Meyerhold's efforts to pander to the Stalinist regime, as in the present letter, the current was turning against him, and the following two years saw increasing official criticism of his productions and style. In 1938 the Meyerhold Theatre was closed down, and in June 1939 Meyerhold himself was arrested, tortured and (on 2 February 1940) executed. His wife, the actress Zinaida Reich, was brutally murdered days after his arrest, undoubtedly by state agents.
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Pavlova, Anna, Russian prima ballerina (1881-1931).
Signed picture postcard. No place, ca. 1910.
8vo. Full-length photograph of the young ballerina in "Autumn Bacchanal", part of tableau 4 from Alexander Glazunov's allegorical ballet "The Seasons". Anna Pavlova danced "Autumn Bacchanal" (a dance transmitted the Dionysian Spirit of ancient Greece) with Mikhail Mordkin in New York in 1910 and made her American debut with him at the Metropolitan Opera House in that year. This photograph (but unsigned) can also be found in the 1910 Souvenir Programme for Pavlova's Anerican season at the Met. - From the "Mishkin Studio, New York" in the negative lower left, signed in full to lower margin. Corners slightly bumped.
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Pavlova, Anna, Russian prima ballerina (1881-1931).
Signed picture postcard. No place, ca. 1910.
8vo. Bromide postcard print. From the studio of Foulsham & Banfield, London, published by Rotary Photographic Co. Ltd., depicting the great Russian ballerina in her elaborate kokoshnik as part of the costume for her celebrated Russian Dance. - Signed in full diagonally upwards across the centre of the image.
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Thimig, Hans, Schauspieler und Regisseur (1900-1991).
Photographischer Teilnachlass. Wildalpen, Wien u. a. O., ca. 1895-1974.
29 Originalphotographien in Schwarzweiß. Verschiedene Formate (23:39 bis 330:415 mm), darunter ein aus vier einzelnen Photos montiertes und hinter Glas gesetztes Panoramabild (ca. 125:430 mm), ein gerahmtes Portrait des jungen Hans Thimig (313:254 mm), zwei gerahmte Photographien von Frau und Kindern beim Baden (194:194 mm) und ein Fotoalbum mit Leineneinband und Seidenkordel mit 18 Fotografien (40:40 bis 58:83 mm). Des weiteren 58 Glasplattennegative (90:90 bis 165:178 mm), 14 kolorierte Glasplattenpositive (90:120 und 120:154 mm) und 2 Glasplattenpositive mit je zwei zusammenmontierten Glasplatten für Ton und Farbe (90:165 mm). Außerdem ca. 1200 Schwarzweiß- und Farbnegative (Dianegative) in verschiedenen Formaten (8:8 bis 115:88 mm), teilweise als Filmrolle, teilweise geschnitten in Kuverts, Phototaschen und drei alten Aluminium-Filmdosen der Firmen "Perutz, "Kodak" und "Agfacolor". Mit einer Beilage (s. u.). Sammlung von größtenteils privaten Portrait- und Landschaftsphotographien, oft im Zusammenhang mit Familien- und Freundestreffen in Hans Thimigs Sommerhaus im steirischen Wildalpen, zudem ein schönes Familienportrait von Hugo und Fanny Thimig mit den Kindern Helene, Hermann, Friedrich und Hans vor einem Bauernhaus (ca. 1906). Das gerahmte großformatige Portrait zeigt den etwa 10-jährigen Hugo Thimig. Vorliegen außerdem Portraits der Schauspielerin, Sopranistin und ersten Ehefrau Hans Thimigs, Christl Mardayn, seines Vaters Hugo Thimig, seines Bruders Hermann Thimig, einiger Bühnenkollegen, der Töchter der Familie Rauch u. a. Zudem liegt eine Portraitpostkarte mit eh. Widmung von Christl Mardayn bei ("Alles Gute meinem Lenerl"). - Die beachtliche Kollektion an Glasplattennegativen weist den jungen Hans Thimig als beliebtes Motiv für Baby- und Kinderportraits aus, diese oft mit bestimmten Themen oder in Verkleidung umgesetzt ("Offizier und Bauer", "Hans der Seemann", "Hans flötenspielend mit Landschaft" u. a.). Ein Glasnegativ zeigt ein gemeinsames Kinderportrait mit dem späteren Schauspieler Gustav Diessl (1899-1948), ein anderes ein professionelles Portrait Hans Thimigs mit Schriftzug des amerikanischen Ateliers "White". - Das entwickelte Filmmaterial erstreckt sich über den gesamten Zeitraum des Erwachsenenlebens Hugo Thimigs und zeigt ihn, seine eigene Familie und Mitglieder seiner Herkunftsfamilie sowie Freunde und Bekannte zu Ferienzeiten in und rund um Wildalpen, in der Wiener Wohnung, bei Ausflügen, Stadtfahrten und auf Reisen. - Die Glasplattennegative meist in Papier eingeschlagen und akkurat beschriftet mit Jahreszahl und Motiv. Eine Glasplatte mit durchgehendem Sprung, eine weitere mit abgebrochener Ecke und eine dritte mit sich teilweise ablösender fotosensibler Schicht. Die Photographien größtenteils in sehr gutem Erhaltungszustand, lediglich eine etwas verblichen und eine weitere stellenweise etwas berieben. Beiliegend ein Bestand von 12 Schwarzweiß-Abzügen mit Landschaftsaufnahmen rund um Wildalpen entlang der Gesäusestraße.
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Thimig, Hans, Schauspieler und Regisseur (1900-1991).
Teilnachlass. Korrespondenzen. 8 eigenh. Briefe mit U. ("Papa") und zahlreichen kleinen Zeichnungen. Wien, Salzburg und O. O., 1950-1958.
16 SS. auf 10 Bll. (Qu.-)8vo und 4to. Außerdem 17 eh. Briefe von Thimigs Tochter Heidemarie mit U. ("Heidi") und mit vielen Kinderzeichnungen illustriert, eine eh. Postkarte von Thimigs zweiter Tochter Henriette ("Netterl"). Die Briefe und Zeichnungen meist in Bleistift. Mit einer Beilage (s. u.). Humorvolle Briefe in Blockschrift mit zahlreichen kleinen Zeichnungen, die ähnlich einem Rebus einzelne Worte ersetzen, geschrieben für seine zweite Tochter Henriette mit anspornenden Worten, gesund zu werden, brav zu bleiben und gut zu essen, während sie sich im Sommerhaus in Wildalpen befindet. Im Brief vom 18. IX. 1953 mit dem Wunsch nach Neuigkeiten: "Bitte schreib mir bald wieder! Was die [Kuh] macht und die [Ziege]! und vor allem auch die [Enten]! Wieviele sind es denn noch? [...]". Der Brief vom 22. VII. 1958 zu übersandten Bildern: "Naserümpfpapa! Dein Wunsch ist mir Befehl! Liebe Netterl! Sei sehr bedankt für Deinen lieben Brief mit den tollen Zeichnungen! Die Strip-Tease Bilder sind aber für Jugendliche nicht geeignet, sodaß ich sie nur heimlich und ganz schnell angesehen habe [...]". - Die Kinderbriefe seiner Tochter Heidemarie an Mutter Helene (geb. Rauch) und Schwester Henriette mit zahlreichen kleinen und größeren Zeichnungen, meist zu schulischen Ereignissen, außerdem das Essen, Geschenke und Erlebnisse mit Papa Hans betreffend, wobei ein Brief der Schrift und dem Inhalt zufolge etwa in Heidemaries Jugendzeit zu datieren wäre. Die Postkarte der kleinen Henriette mit Zeichnung an Helene Thimig. Ebenfalls beiliegend eine weitere Zeichnung mit eh. Zeile der Haushälterin Irene. - Die Zeichnungen Heidemaries teilweise in Buntstift und Aquarell. Beiliegend ein gedr. Heft "Rolf Torrings Abenteuer" (Bd. 90) mit Besitzstempel "Netterl Thimig" am Titelblatt.
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Alajouanine, Théophile, Psychiater (1890-1980).
Eigenh. Brief mit U. und eh. Rezept mit U. Chalouze und [Paris], 15. V. 1934 und 29. VII., o. J.
2 SS. 4to. In französischer Sprache an den Schriftsteller und Verleger Maurice Delamain über die Erkrankung des Herrn Jacquéot und der Empfehlung, sich im Falle der Dringlichkeit an seinen Vertreter, Dr. Thurel, zu wenden, mit Freude über den verbesserten Gesundheitszustand von Delamains Tochter sowie Bedauern, dass diese nicht vollständig genesen sei: "Je pourrais, à ce moment, donner rendez vous à Monsieur Jacquéot, si son cas est urgent vous pourriez alors vous adresser à mon remplaçant le Dr. Thurel, 60, avenue Raymond Poincaré. Je suis heureux de savoir que l'etat de santé de Mademoiselle Delamain se maintient, tout en regrettant qu'elle n'était pas abordé à une amelioration plus complète [...]" (Chalouze, 29. VII., o. J.). Auf Briefpapier mit gedr. Briefkopf (die Adresse eh. korrigiert). - Therapieanweisungen für eine Patientin zur Einnahme von Tropfen und Tabletten insbesondere bei prämenstruellen Beschwerden: "1. Prendre une semaine sur deux, aux deux repas, trente gouttes d'Ionyl 2. Prendre la semaine suivante, avant les deux repas, un cachet d'Extrait surrénal total Choay 3. En cas d'exageration des troubles, par exemple, à la periode prémenstruelle, prendre le matin et au milieu de l'après-midi un comprimé de Valliol [...]" (120, Avenue Victor Hugo [Paris], 15. V. 1934). Auf Briefpapier mit gepr. Adresse. - Mit kleinen Randläsuren. Der Brief aus Chalouze mit einer Rostspur.
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Bernard, Jean, Hämatologe und Onkologe (1907-2006).
Eigenh. Brief mit U. 82, rue d'Assas [Paris], 9. X. 1981.
1½ SS. 4to. In französischer Sprache an einen Freund über die Scheuermann-Krankheit, eine Wachstumsstörung in der Pubertät, auf deren Gebiet er kein Experte sei, mit Verweis auf ein Zentrum für Kinderkrankheiten zur Therapie sowie der Bemerkung, dass man sicher auch eine andere Meinung einholen könne, die jedoch den Therapieverlauf kaum verändern werde, und mit Dank für gute Wünsche zum 50. Hochzeitstag: "Je n'ai pas de compétence particulière en matière de maladie de Scheuermann mais 1) le centre des Enfants malades est bon 2) la conduite prevue et très raisonnable. On pourrat certes demontrer un autre avis mais je ne pense pas que cet avis modifierat le programme prevu. Je vous remercie de vos amicales félicitations. Et oui un demi siècle déjà [...]". - Auf Briefpapier mit gepr. Briefkopf.
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Belmondo, Paul, French sculptor (1898-1982), father of Jean-Paul Belmondo.
Autograph letter signed and autogr. calling card. Paris, 22. XI. 1967.
Letter: 4to. ½ page. Calling card: 1 page. To a lady, inviting her to visit him "à mon atelier lors de votre passage a Paris". - His calling card, not addressed to anyone, also bears an invitation to his studio. - Both items with small rust stains.
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Ciry, Michel, Maler, Kupferstecher, Schriftsteller und Komponist (1919-2018).
Eigenh. Brief mit U. Chatou, 11. XI. 1961.
1 S. 4to. Mit eh. adr. Kuvert. In französischer Sprache an den Kunstsammler Edouard Chapet mit Dank für den schönen Abend, voller Freude, dass er sein Manager werde und Dr. Frémont an Bord geholt habe, den er bald kennenlernen wolle, und mit dem Hinweis, dass er sich der Gefahr, seine Handschrift seiner Frau Jeannine Chapet zu überlassen, bewusst sei - wohl eine Anspielung auf eine Tätigkeit Chapets als Graphologin: "En dépit des dangers que je cours en livrant mon écriture à la science de Janine Chapet, je n'hésite pas à vous envoyer ce mot pour vous dire tout d'abord que la soirée d'hier fut des plus agréable et que c'est à moi à vous remercier pour tant de gentillesse. Non content d'être un charmant ami vous devenez mon manager! Merci de tout coeur pour l'acquisition du Docteur Frémont que j'espère bientôt rencontrer [...]".
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Bigeard, Marcel, frz. Offizier (1916-2010).
Eigenh. Brief mit U. Paris, 22. III. [1975].
3 SS. auf 3 Bll. 4to. In französischer Sprache an General Buis und dessen Frau mit Überlegungen zur aktuellen Lage Frankreichs, darunter mit der Bemerkung, dass das Land eine Armee brauche, die seiner Bedeutung im Jahr 1975 als lediglich mittelgroße Macht unter Supermächten entspreche, sowie dem Bekenntnis, stets voller Glauben zu handeln, doch im Fall unüberwindbarer Hindernisse aufzugeben: "Je sais, je sais. Les idées furent de partout depuis des annés et chacun pretend détenir la vérité, en faite cela se traduit en 1975 par une année [...] pour retrouver un idéal, sa place dans la nation et surtout une certaine efficacité. Les choses sont plus simples qu'on ne le pense et tout est possible si le pays vient vraiment a être doté d'une armée correspondante à ce qu'est la France de 1975 - un demi grand parmi les Super [...] Ce qui est certain c'est qu'a ce qui me concerne j'agirai toujours avec foi [...] et prêt a décrocher si je me heurte à des obstacles insurmontables [...]". - Auf Briefpapier mit gedr. Briefkopf.
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Larrey, Dominique Jean, French surgeon and military doctor (1766-1842).
Autograph letter signed. Udine, "1er jour Complemen.re an 5eme" [17 Sept. 1797].
Folio. 1 p. In French. To the general and later Minister of War Henri-Jacques-Guillaume Clarke (1765-1818), announcing his sending a document via general Jacques-Pierre Orillard de Villemanzy (1751-1830) that Clarke "appeared to desire". Larrey's ultimate goal was for the document to be passed on to the "général en chef", Napoleon, who at the time was negotiating the Treaty of Campo Formio near Udine. - During Bonaparte's Italian campaign of 1796/97, Larrey, a professor of anatomy at the Val-de-Grâce military hospital in Paris, had served as surgeon-in-chief of the Revolutionary armies in Italy. The document in question was certainly connected to his work during the campaign, as Larrey announces that Clarke will "recognize many battle sites where you saw me dressing the wounded". With the peace treaty pending, Larrey apparently was thinking about his possible demobilization: "I am afraid of losing my post at the Val-de-Grâce". As he did not personally know Napoleon at the time, Larrey needed his "works to speak for him" in order to win Napoleon's "confidence and estimation". - The following years suggest that Larrey was successful in winning Napoleon's confidence. He took part in the Egyptian campaign from 1798, during which he established a medical school for military physicians in Cairo. In several later campaigns, Larrey served as chief surgeon, including the catastrophic invasion of Russia and the final Waterloo campaign. He was universally estimated for his bravery and commitment, personally saving many lives and modernizing battlefield medicine. - On Larrey's personal stationery as "Officier de santé en chef de l'Armée d'Italie" with engraved personification of "Humanité" (ca. 62 x 52 mm). A tear to the upper margin affecting the engraving, fairly strong foxing, and traces of former mounting.
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Benoit, Pierre, Schriftsteller (1886-1962).
27 eigenh. Briefe mit U. und ein ms. Brief mit U. Dabei: 6 ms. Briefe von Dritten an bzw. über Benoit. Angora, Beirut, Alexandria, Saint-Céré, Paris u. a. O., 1922-1940.
Zus. 43 SS. auf 13 Doppelbll. und 22 Einzelbll. 4to und (qu.-)8vo. Einige mit eh. Adresse verso. Umfangreiche berufliche Korrespondenz mit den Journalisten Jacques de Marsillac bzw. Pierre Guinier von der französischen Tageszeitung "Le Journal". Benoit verfasste diese Briefe während seiner ausgedehnten Reisen, von denen er immer wieder Beiträge für das Journal lieferte, darunter Artikelserien über Ägypten, Syrien, Australien und die Hebriden. Hauptthemen der Korrespondenz sind diese Artikel sowie Vorschläge zum Druck und zum Datum der Veröffentlichung, jedoch finden sich auch immer wieder interessante historische Details, darunter ein Hinweis auf Benoits Besuch beim ägyptischen Premierminister Saad Zaghloul: "Voici un nouvel article, le huitième, je crois, de la serie Syrie. Zaghloul Pacha a accepté de me recevoir. Je quitte donc Beyrouth pour me rendre au Caire […]" (Beirut, 4. V. o. J.). - Als historisches Zeugnis besonders hervorzuheben ist der Bericht eines nächtlichen Angriffs britischer Bomber auf das von Deutschland besetzte Norwegen im Mai 1940, den Benoit als Augenzeuge beobachtete: "Dans le silence de la nuit, j'ai vu une Escadre Britannique pénétrer dans un Fjord [...] et je pouvais, à onze heures du soir, de la plus haute passerelle dominer le spectacle d'une escadre en formation d'attaque. Les eaux et le ciel avaient la blancheur de la neige, seules apparaissent les masses sombres des destroyers [...] Il est minuit [...] La nature s'eveille alors. Et les Destroyers ouvrent le feu sur la Baie et ses rives [...]" (o. O., 14. V. 1940). Ferner finden sich wiederkehrende Anspielungen auf die Besetzung Frankreichs durch die Nationalsozialisten und die Schwierigkeit, die Besatzungszone zu verlassen, sowie lukrative Angebote einer anderen großen Zeitung, des "Petit Parisien": "J'ai eu l'autorisation de sortir de la zone occupée jusque au 10 Novembre [...] Or, depuis, le Petit Parisien m'a faut faire une nouvelle offre - Il me propose cent cinquante mille francs - j'ai repondu [...] que je voulais vous voir d'abord. D'où ma venue en zone libre, où j'esperai vous voir […]" (Vichy, 8. XI. o. J.). - Die ms. Gegenbriefe von Jacques de Marsillac mit Lob bzw. Kritik an Benoits Arbeit, so etwa an einem Artikel über die Hebriden, von dem er befürchtet, er könnte protestantische Leser verärgern: "A propos des Hébrides, nous sommes bien embarrassés par un article intitulé: 'Tartuffe aux Hébrides', article qui est [...] un des meilleurs de votre série, mais dont nous craignons l'effet sur le public. Nous avons de nombreux lecteurs protestants et [...] il serait bien difficile de les empêcher de voir là une attaque contre leur religion [...]" (o. O., 20. VII. 1928.). - 2 kurze ms. Briefe des Verlegers Michel Albin an Jacques de Marsillac, einer mit einer beiliegenden ms. Beschreibung des Werkes und der Reisen Benoits: "Voici le petit papier demandé sur Pierre Benoit. Bien entendu, vous pouvez le modifier à votre convenance […]" (Paris, 22. II. 1928). - Einige Briefe auf Briefpapier diverser Institutionen, darunter eine dekorative Ansicht des Collège St. Joseph in Antoura im Libanon, der ältesten französischen Schule im Nahen Osten. Einige Briefe mit Stempel des "Journal" sowie der "Archives Centrales". Zum Teil mit kleinen Randläsuren; vereinzelt Spuren alter Heftung.
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Buck, Pearl S[ydenstricker], American writer (1892-1973).
Autograph letter (fragment). [London], 18. IX. 1959.
8vo. 1 page. To the writer Jacques Bouteilleau, alias Jacques Chardonne, of the Paris publishing house Éditions Stock, with thanks for his invitation and about a business trip to Europe: "Thank you for your kind letter of the fourteenth, which reached me today. I should be happy to accept the invitations contained therein for September twenty fifth and twenty sixth. My son, Edgar Walsh, accompanies me on this journey [...]. The purpose of coming to Europe at this time is to arrange for the filming of my novel, Imperial Woman, and the production of my play, Desert Incident, in England [...]". - On headed stationery of the London Savoy Hotel. Fragment; slightly creased.
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Coppée, François, French poet and novelist (1842-1908).
Autograph calling card. 12, rue Oudinot [Paris], no date.
Calling card format. 1 page. In French. To a friend, cancelling his evening visit due to exhaustion: "Excusez moi pour ce soir, mon cher Ami, mais je suis brisé de fatigue. J'ai mené ces jours-ci une vie peu hygienique et il me faut un peu de repos [...]". - Somewhat brownstained.
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Thelen, Albert Vigoleis, Schriftsteller und Übersetzer (1903-1989).
4 ms. Gedichte, davon drei Gedichte mit eh. Korrekturen, jeweils mit eigenh. U. O. O., 1980, 1982 und o. D.
Zusammen 3½ SS. auf 4 Bll. 4to und folio. Das Gedicht "Thermopylenepigramm" zu vier Strophen und 16 Zeilen: "Kommst, Wanderer, du nicht nach Sparta, / dann bleibe lieber zuhaus, / zum Beispiel bei deiner Landgartha / oder sonst einem erotischen Schmaus [...]" blieb undatiert wie auch das einstrophige Poem zu 22 Zeilen "Alptraum" (Im Gläs der Worte: Gedichte, Claassen, 1979, 117). Das mit 10. XII. 1980 datierte Gedicht "Mutungswunsch zum Schichtwechsel 1980/81" zu drei Strophen und 14 Zeilen erschien in "Den Horen" (Bd. 29, K. Morawietz, 1984, 37) und wurden anlässlich des Jahreswechsels verfasst. So auch das Gedicht "Jahres-Obhut für 1983" zu zwei Strophen und acht Zeilen: "Wie chladnische Klangfiguren sich ordnend bilden, / je nach des Bogens Strich und der Platte Gestalt, / mögen die nahenden Zeiten milden / der Lose wie oft nicht blinde Gewalt [...]" (Dezember 1982). - Ein Gedicht mit stärkeren Läsuren am oberen Rand, ein Gedicht mit Kaffeerand sowie ein Gedicht mit kleinem braunen Fleck.
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Becker, Hugo, Cellist, Cellolehrer und Komponist (1863-1941).
Eigenh. Brief mit U. Frankfurt a. M., 20. VII. 1901.
3 SS. auf Doppelblatt. 8vo. An einen italienischen Dirigenten mit der Frage, ob es möglich sei, "noch ein Konzert außerhalb von Florenz für März zu organisieren" (Übers.). Offenbar plante Becker eine Konzertreise in Italien; neben Florenz findet auch Triest Erwähnung: "Non avendo avuto una tua risposta m'imagino che la mia lettera fu smarrita e lo prego di nuovo di voler avere la grande compiacenza di colermi rispondere al più presto possibile per che io posso rispondere a Piccolettis et a Trieste dovo vogliono anche avere mio merito". - Becker war von 1884 bis 1886 Solocellist am Frankfurter Opernhaus, 1890-1906 Mitglied des "Heermann-Quartetts", Lehrer am Hochschen Konservatorium in Frankfurt/Main und seit 1901 Solist der Londoner Montagskonzerte. 1896 zum kgl. preuß. Professor ernannt, wurde Becker 1902 in die Kgl. Schwedische Akademie Stockholm aufgenommen und 1909 Lehrer an der Kgl. Hochschule für Musik in Berlin. - Auf Briefpapier mit gepr. Briefkopf "La Villetta | Sandhofstrasse 17 | Frankfurt A/M." - Minimal gebräunt.
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Berlijn, Anton, Dutch composer (1817-1870).
Autograph letter signed. Amsterdam , 16. II. 1868.
8vo. 1¾ pp. on bifolium. To François-Joseph Fétis, director of the Royal Conservatory of Brussels, expressing his joy that his "ouverture" is programmed for the "3rd concert of the conservatory" and asking when the final rehearsal for this concert will be performed, as he plans to attend: "Cela sera pour moi un grand honneur si je pourrais être si heureux d'être présent à la dernière répétition, ainsi, l'exécution de la dite Ouverture, afin de l'entendre, sous votre habile direction". - It is not evident from the letter which ouverture was to be performed in Brussels. Anton Berlijn, a student of Louis Spohr and Ludwig Erk, was the long-term music director of the Amsterdam Stadsschouwburg theatre. Among his numerous compositions are nine operas, seven ballets, the oratory "Moses on Nebo", and a symphony. - With a note on the verso: "Vicomte Bernard Du Bus de Gisignies Mardi [?] 10", probably in Berlijn's hand. Minor ink damage. Collector's note in pencil.
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Blumenthal, Jacques, German pianist and composer (1829-1908).
Autograph letter signed. South Kensington (London), 11. VII. 1869.
12mo. 4 p. on bifolium. In Italian. To the Italian soprano Augusta Albertini-Baucardé, regretting that he has not yet managed to visit her and answering a question about the possibility of organizing concerts in London. Blumenthal underlines that it would be "most fortunate for London" to have a "singer of her merits, especially in concerts", but also points out that he "retired from the organisation of concerts" two years earlier, recommending instead to contact Julius Benedict, who "has virtually all concerts in his hands". - Today relatively little-known, the Hamburg-born Jacques Blumenthal settled in London in 1848, where he became the pianist to Queen Victoria. This position helped Blumenthal to establish himself among the sought-after piano teachers of London's high society. As a composer, his short piano pieces and songs achieved considerable popularity, though his efforts at larger pieces did not meet with similar success. - On stationery with printed letterhead "1, Queensberry Place | South Kensington. W.". Well preserved. With collector's note in pencil.
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Brink, Jules ten, Dutch composer (1838-1889).
Autograph letter signed. 9, rue de Douai [Paris], 1. III. 1888.
8vo. 1 p. on bifolium. To an unidentified editor, asking him to reprint an article from the French daily "L'Estafette" about the first concert of his son Henri ten Brink, a student of the Belgian violin virtuoso Martin-Pierre Marsick: "Mon fils Henri, élève de Marsick, vient de faire ses débuts dans le monde musical et a obtenu un beau succès. Je vous serais reconnaissant si vous vouliez bien reproduire le petit article ci-inclus et découpé dans l'Estafette". - Jules ten Brink was a student of Auguste Dupont in Brussels and Ernst Friedrich Richter in Leipzig. He worked as a bandmaster in Lyon from 1860 to 1868 and later as a piano teacher and composer in Paris. Ten Brink's compositions include an orchestral suite (1874), a symphonic poem (1876), a symphony, two violin concertos, as well as the comic operas Calonice (1869/1870) and Mascarille (1888). After his studies in Paris, Henri ten Brink (1856-1920) emigrated to South Africa, where he worked as a musician and composer. - Minor browning. Well preserved. With collector's notes in pencil (verso).
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