26 497 résultats
4to. (¾+½ =) 1¼ pp. on 2ff. Declaration of subtenancy of Lucas's New York apartment for one month by his cousin Marc Favrat, rented for 225 dollars: "Je sousigné, Christopher Lucas, certifie que Marc Favrat de Hohenzollern, m'a payé la somme de $225 [...] pour la souslocation de mon appartement [...]". Accompanied by an English declaration. - Marc Favrat had met Princess Elisabeth of Romania (1894-1956) in France, where she finally settled in Cannes some years after her expulsion from Romania in 1947 when the Romanian People's Republic had been proclaimed. The much younger aspiring artist Favrat became Elisabeth's lover, equerry (or Grand Chamberlain), and adopted son in the year of her death. - On stationery with printed letterhead "Associated Newspapers, Ltd.".
8vo and 12mo. Together 3 pp. With an autograph envelope. The earliest letter from 3 January 1901, on beautiful art nouveau stationery of the "Théatre Antoine", was to convey New Year's wishes to an unnamed "confrère" who had been present at a banquet that Antoine did not attend: "Nous avons renoncé à ce banquet; c'était beaucoup trop... mais j'ai vu votre aimable adhésion et je tiens à venir vous en remercier en vous présentant mes meilleurs vœux pour l'année qui s'ouvre". - On 18 September 1903, Antoine wrote Léon Marx, director of the Théâtre de Cluny, asking him for a box seat for a representation of Georges Courteline's "Bourbouroche" that same evening: "Je rentre et je me fais une fête d'aller voir notre Boubouroche ce soir. Est-il indiscret de vous demander une baignoire - Si oui, je la paierai et vous seriez bien aimable de me la faire réserver au contrôle". - The final letter, from a late period of Antoine's life, is addressed to Pierre Mortier, publisher of the weekly news magazine "Le Monde Illustré", wherein Antoine published criticisms. The letter suggests that there was an interruption for his "cronique" in the magazin, which might have been in connection with the Spanish Civil War that had started in July 1936. Antoine remarks that much would have been left to say "without taking sides yet" and refers to a Bidon, possibly the Spanish poet Luis Cernuda Bidón, who was "less prudent" and "went to war", closing with a possible reference to the conservative journalist Pierre Brisson: "Ma cronique chez vous m'a manqué ces jours-ci avec ces histoires du français. Il y avait tant de chose à dire sans prendre encore parti car il faut attendre les résultats de cette expérience - Bidon, moins prudent n'a pas hésité à partir en Guerre et j'attends le Brisson". - Well preserved.
8vo. Together 3½ pp. on bifolia. Both letters are addressed to a M. Kahn, probably the poet and critic Gustave Kahn. In a brief letter, De Max announces his departure for Monte Carlo together with his stage partner Sarah Bernhardt, with apologies to the recipient: "Je pars avec Sarah pour Monte-Carlo Lundi et nous ne rentrons que le 12. Croyez bien à tout mon vrai regret". - The longer letter concerns a forthcoming poetry recital organized by a M. Mendès, very likely the author and playwright Catull Mendès. De Max asks Kahn to relate to Mendès that he agrees to "La misère humaine" but would prefer to recite Victor Hugo's "Les Djinns" over Lord Byron's "Mazeppa": "Voulez vous avoir la bonté de dire à Mr Mendès que c'est entendu pour 'La misère humaine' mais qu'a la place de 'Mazeppa' je désirais dire 'Les Djinns' trouvant ce dernier poème plus dans mes cordes. À mon grand regret je ne puis rester à la répétition. Envoyez-moi un mot et le poème des 'Djinns'. Merci mon ami grand. Votre vieux dévoué". - While there is no established link between Édouard de Max and either Gustave Kahn or Catull Mendès, the two authors were indeed friends, making the identification plausible. - The letter concerning Mendès minimally creased.
12mo and postcard format. Together 6 pp. Lettercard with autograph address. The undated lettercard is addressed to a Mrs Frank-Duvernay who wants to sing a duet with Gabrielle Krauss. Krauss agrees and suggests to add another duet, "for example that from 'The Marriage of Figaro'", as the piece proposed by the recipient was very short: "Je serai enchantée de dire avec vous le Duo que vous me proposez: comme il est très court nous pourrions en ajouter un autre par exemple celui des Noces de Figaro où n'importe lequel vous voulez choisir [...]". - Responding to a similar request by an unnamed recipient, possibly the composer of the "three pieces" mentioned in the letter, Krauss declines, as she is starting rehearsals for the 1875 revival of Meyerbeer's "Les Huguenots" on the occasion of the inauguration of the Opéra Garnier and is auditioning for the premiere of Auguste Mermet's "Jeanne d'Arc": "C'est avec le plus grand regret que je me vois obligée à vous dire qu'il m'est absolumment impossible de vous rendre le petit service que vous m'avez demandé. Je commence demain à répéter les Huguenots et j'ai une audition chez moi de Jeanne d'Arc dont la principale rôle m'a été confié de sorte que je serai trop occupée pour avoir le temps nécéssaire de travailler les trois morceaux que vous m'avez envoyé". Mermet's "Jeanne d'Arc" premiered on 5 April 1876 at the Paris Opera with Gabrielle Krauss but was cancelled after only 15 performances. - A letter dated 7 June 1877 is written to an unnamed recipient, arranging a meeting for the purchase or sale of Sèvres porcelain: "Si vous voulez avoir l'obligéance de venir me parler pour les objets de Sèvres, vous me trouverez de midi à 2 heures [...]". - The letter from 1877 on mourning paper. The lettercard shows a horizontal pinch fold and is somewhat dust-stained. The letter from 1874/75 shows minimal foxing.
8vo. Altogether (2+1=) 3 pp. on 3 ff. To the English journalist and author John Arlott (1914-1991), the first on two poems for a possible broadcast on the BBC, expressing concern about reading both ("[...] they're very much alike in feeling and would give a monotonous effect - even if a reader read one of them and I the other [...] I suggest that only Poem In October is selected [...]", undated), the second inviting Arlott to lunch and admitting he had already told the host, his patron Margaret Taylor, that Arlott would attend, also mentioning that "I hope you get this note before you go Test-wards" (July 22, 1946). - Edges slightly frayed.
8vo. Altogether (1+2 =) 3 pp. on 3 ff. With 1 autogr. envelope. I: To a Cristina, on a performance of the Spanish violinist Pablo de Sarasate: "Cara Cristina se ti secchi di venire al concerto allora rifiuta, ma se sei curiosa di sentire er sor Sarasate, io ho un posto sul palco mio da offrirti [...]". - II: To a critic who had reviewed her work favourably, with congratulation for his wedding: "[...] Oggi, credo, ella sia di ritorno [dal viaggio di nozze] ed eccomi ultima fra le ultime ad augurarle tutte le cose buone che un cuore buono può augurare a una persona cui si vuol bene [...]". - I: Negligibly spotty. II: Rather stained; the reverse written in someone else's hand.
16mo. 6 pp. To an unknown recipient, apparently a wealthy music lover and possibly a patron of the composer. In one of the letters Liszt invites himself with a friend at the recipient's place for a moment of musical relaxation and returns 20 francs to him that he has paid too much for concert tickets. In the other letter the pianist transmits him programmes and tickets for a concert and proposes to "honour the sight of Madonna des Rosario" and to let his correspondent know. The composer's time seems to be filled with musical social commitments: "All of my week is planned until Friday". - Provenance: Robert Bory, musicologist.
Large 4to. Altogether 3 pp. on 2 ff. Comprehensive letters to the German artist Irmgard Hasenbach-Tavolato (née Seeling, 1899-1978), on the loss of his work (1948) and an exhibition (1952): "At least life is saved, although everything else is lost. What hurts me most, is the loss of my work, whole periods from 1905 onwards were smashed, a vast number of drawings irretrievably lost [...]" (Berlin, 31. III. 1948). - "Luckily all this fuss is now behind me. It proved very difficult to assemble all the necessary pictures for the exhibition, for most of my work has been lost. During the three weeks of the exhibition there were more than 6000 visitors, but nothing sold, not a single sheet - the people need their money for the bare necessities of life [...]" (15. III. 1952).
4to. Altogether (2½+2 =) 4½ pages. Each on bifolium with integral address panel. Armorial seal. 1) Levens writes to Monsieur Le Comte de Rochefort, concerning his motets and the questionability of their success as music without symphony by means of subscription, as Levens already has some experience in working with cathedral chapters, that would usually subscribe. Nevertheless he agrees on trying: "Vous croyés Monsieur la voyer des souscription praticable pour la musique sans symphonie, je doute du succés connoissant comme je fais les chapitres de la plupart des cathedrales qui sont ceux qui par preference devroient souscrire: mais enfin on peut tenter". Levens mentions the offer of a Parisian engraver, his idea of using smaller paper and the addition of 14 staves for further possible voices, such as two bass parts and small choirs in the choirs: "J'avois trouvé à Paris un graveur qui m'avoit promis de graver ma musique en symphonie [...]. Je ne say à quel prix on pourroit le faire en petit papier [...]. J'y ay mis 14 portées parce qu'il se trouve quelque fois deux Basses differentes ou des petits choeurs dans les choeurs". Levens ends his letter by recommending his 26-year-old son for the position of a "maitre de Musique" in Avignon, mentions his son's skills in composing and playing the violoncello, and that the chapter of Toulouse hasn't accepted him due to his young age: "Sa musique est de fort bon goût [...] il a d'ailleurs fort bien étudié et joué du violoncello comme il faut, tant pour l'accompagnement que pour des pieces. [...] Les Messieurs du Chapitre de Toulouse le trouvent trop jeune [...]". He gives a list of pieces of music: 12 masses, 24 Magnificat, 6 Dixit, 6 Beatus, etc. (Letter from 23. V. 1746). - 2) Levens gives a list of pieces of music without symphony. It is a list of 32 titles of religious music, followed by their numbers. Levens hopes that the count's efforts regarding his music are not in vain and states his concerns in cooperating with the chapters. Levens ends with mentioning his son's employment as "maitre de musique" at Saint-Étienne in Tolouse since August: "Les tems sont très mauvais et les chapitres, avec qui, il faudroit pour ainsi dire, avoir affaire, sont très difficiles [...]" (Letter from 10. X. 1746). - Both letters with traces of old folding, verso with traces of old montage and a small tear on fol. 2 due to breaking seal.
Large 8vo. Altogether 3 pp. on 2 fols. To his daughter Louise: "[...] It is time that this unfortunate war finally ends [...]" (June 24, 1917). - On stationery with printed letterhead; some small tears and damages to edges.
(Large) 8vo. Altogether 2 pp. on 2 ff. To one Ms. Lind, telling that he will arrive in Stockholm on Friday, and that she should keep ready to pose for portrait for a couple of weeks. - One letter somewhat wrinkled.
8vo. Together (2½+3 =) 5½ pp. on 2 bifolia. With autograph addresses. To Thorton Leigh Hunt, editor of The Daily Telegraph, about a misunderstanding: "I enclose my correspondence with Mr. Dunning to which I suppose your letter of yesterday's date refers. It is quite clear there has been some mistake or misrepresentation but I am content to leave the matter as it stands. If, however, you wish on Mr. Levy's [i.e., Joseph Moses Levy, the printer of The Daily Telegraph] part to make any explanation respecting it, you will find me here at 3 o'clock to-day [...]" (14 Jan., no year). - To the editor of the London newspaper "The Globe, marked "Private", asking him not to publish any notes about his upcoming tour of the United States: "Mr. Delane presents his Compliments to the Editor of the Globe and would be very much obliged if the Editor would exclude from his columns any notice which may appear in the American papers of a short tour which Mr. Delane thinks of making in the United States. Mr. Delane need not assure the Editor of the Globe [...] that he will [...] abstain from taking part in any public proceedings. Under these circumstances he hopes that the Globe will allow him to enjoy the ordinary privacy of an English tourist whatever nonsense may be written about him in the American papers. It may seem presumptuous to think such a request necessary but Mr. Delane has already seen in some of the Transatlantic journals paragraphs respecting his tour & its object which he should be very sorry to see reproduced in England [...]" (24 Sept. 1856). - Each with 2 small strips of old mounting tape on verso.
8vo and small 12mo. Together 5½ pp. With autograph envelope. The duodecimo letter with an envelope is addressed to the French journalist and bibliophile Pierre Dauze (1852-1913). Thanking him for unspecified information, Cain asks Dauze to lend him for some hours a catalogue that he would return "with his instructions". In closing, Cain apologizes for an undelivered earlier letter, assuring Dauze that the fault was not his, but that of the postal service: "Mille fois merci du bon renseignement que vous voulez me donner. Mettez je vous en prie le comble à votre obligeance et pretez moi ce catalogue pendant quelques heures. Après l'avoir parcouru je donnerai mes instructions le bas. Une chose me desole: vous n'avez pas reçu la lettre ou je vous remerciais devotre charmant envoi. La faute n'en est pas à moi, qui vous ai répondu comme je le devais, mais bien à la Poste [...]". - The second letter, to an unnamed recipient and dated 3 February, concerns business with a M. Koch who was "quite tough and set a veritable ultimatum" in a meeting with Cain just before the letter was written. Cain gives a summary of Koch's demands, apparantly for the resale of a work of art, and explains that Koch, who seemed "irritated and impatient", told him that he wrote the anonymous article in Le Figaro. Cain has no answer to his demands: "Nous n'avions rien à répondre - Que pourrait-on faire, c'est bien délicat!". - The second letter with small tears to the margins, some browning and stains.
Small 8vo. Altogether (2¾ +2½ =) 5¼ pp. on 4 leaves (2 bifolia). Comprehensive and personal letters to a countess (possibly Maria Christina, Countess Kinsky, born Princess of Liechtenstein), on the choice of a school for her son, recommending the Vienna Theresianum ("[...] au sujet du college Theresien, et de l'academie de Savoye, mais tout mes recherches de comparaison onts etes avantguues premier [...]", [23 Sept. 1775]), and on a forthcoming trip to Italy by his brother Leopold, his sister Maria Christina and her husband Prince Albert of Saxony, Duke of Teschen ([24 Sept. 1775]).
4to. (½+1 =) 1½ pages on 2 ff. With two autogr. envelopes. The musical quotation on 4 pages in-8 mimeographed concert programme. Several addenda. Interesting set addressed to the American commander of Garmisch, after the defeat of Germany. Major Herbert L. Snapp (1901-91) was the officer of the American occupation troops, appointed "Stadtcommandant" of Garmisch, where Strauss resided. - 1) Garmisch, 8 May 1945. On the very day of the armistice and the end of the war, Strauss greets Commander Snapp as the representative of the great American people ("als hiesiger Repräsentantendes grossen amerikanischen Volkes") on this day of peace ("zu dem heutigen Friedenstage") and warmly expresses the wish that America, friend to the arts, as it has delivered Germany from an undignified slavery, will in a beautiful future extend its protection to the descendants of Goethe and Wagner for the reconstruction of the country and its culture. - 2) Garmisch, 12 May 1945. Strauss asks for driving licenses and, for his son, daughter-in-law and grandson Richard, hunting licenses, so that his family can feed itself. - On a mimeographed concert programme, given by the students of the Music Department of St. Mary of the Springs on 12 April 1945, Richard Strauss inscribed a 3-bar quote from the beginning of the Rosenkavalier, with the inscription and signature. - Attached is an autograph letter from "Daddy" (i. e. Snapp) to his daughter Nancy, sending her, with comments, these documents, and a letter draft to Strauss in which the American military government makes three reassurances, "all of which will be in direct contrast to the period 1933-45" (written on the reverse of a stationery with printed letterhead of the Reichsministerium des Innern).
4to and 8vo. Altogether (1+1½+1=) 3½ pp. on 3 fols. To the editors of the "Österreichische Illustrierte Zeitung", who had invited him to compose a toast to himself for New Year's Eve: "Einen Toast auf Ziehrer? Mit tausend Freuden. | Ich kann den Herrn nämlich sehr gut leiden. | Er ist ein ruhiger Bürger und braver Wähler. | Zahlt pünktlich Steuer ... Aber er hat einen Fehler! | Den muß er am eigenen Leib zwar spüren | - denn er könnte das ruhigste Leben führen! - | Dennoch fröhnt [!] er dem Laster ganz ungeniert - | Sie wissen's ja Alle: - Er komponiert! | Er drückt den Verlegern lächelnd die Hände, | Bleibt in Premieren stets bis zum Ende, | Daheim kämpft er den verbitterten tristen | Verzweiflungskampf mit den Libretisten [!], | Die sich Alle, die neuen und alten | Für unübertrefflich und unfehlbar halten. | Bestätigt jedem Komiker, daß er ein Star ist, | Glaubt, daß was in Verträgen steht wahr ist | Und ist freudig bewegt und erregt u. entzückt, | Wenn er so einen lieben reizenden Director erblickt [...]". - During his lifetime, Ziehrer was one of the fiercest rivals of the Strauss family, especially Johann Strauss II and Eduard Strauss. "His rich musical heritage may not be comparable to the Strausses, who dominated for well over a century, but he was more prolific, having composed over 600 waltzes, polkas and marches, which are still performed today. Some of his works are even more Viennese in nature than that of the Strausses. His works are vigorous and forceful, with cheerful melodies written even near the end of the Habsburg dynasty" (Wikipedia). - The manuscript is somewhat dusty and has small inkstains as well as some red pencil notes. Letters on stationery with embossed letterhead.
4to, 8vo and 100 x 61 mm. Together (1½+2+1 =) 4½ pp. Recommending Marie Leconte: "[...] La diction de Marie Leconte est excellente. Et elle est fine et intelligente. C'est elle que je vous propose avant toute autre [...]". In the other letter Bailby regrets being unable to meet the recipient: "Je trouve votre aimable lettre en rentrant de Strasbourg ce matin. [...] nos vies sont bien occupées et j'ai peur qu'elles ne se rencontrent pas souvent! [...] J'espere être en Bretagne par la fin de l'été [...]" (4 June). - With slight paper flaws and traces of mounting.
8vo and oblong 12mo. Together (1+4+4 =) 9 pp. on 2 bifolia and 2 single sheets. With 2 autograph envelopes. About his forthcoming concert in the Netherlands, brought about by E. Zilcken, who had supported the establishment of a concert hall in The Hague since 1851, to which he greatly looks forward, as he has long desired to visit the country: "C'est donc le 2 Février et quatre du même mois que j'aurai l'honneur de me présenter devant le public Hollandais, désir que j'ai depuis long temps et que bien des obstacles ont semblé rendre d'une réalisation difficile. Monsieur Zilcken voudra bien me rendre cette justice qu'à son premier appel et sans conditions pour ainsi dire [...] J'ai dit un oui très empressé voulant témoigner toute ma bonne volonté à répondre à l'appel de Monsieur Zilcken [...]" (Mont de Marson, 26 Jan. 1881). On mourning paper. With a few pencil annotations. Corresponding envelope adressed to E. Zilcken in The Hague, who was probably expected to forward the letter to a newspaper. - To a friend about his visit to Madame Hollander, the delivery of a piano by the instrument maker Pierre Erard (1794-1855), the work number of a Beethoven piece, and in anticipation of a meeting on Tuesday: "Je m'empresse de vous dire que je serai chez Mme Hollander Mardi 14 Avril avant dix heures. En enverra de chez Erard un piano demi queue. Le trio de Beethoven porte le numéro d'oeuvre 38. Ce mardi donc, en attendant le plaisir de vous voir, je vous prie d'agréer Monsieur tous mes sentiments très distingués [...]" (no place, "Jeudi"). - About his experience performing at the Trocadéro in Paris, which strikes him as a little intimidating, a fact he dreads to admit to the concert organiser Philbert Bréban: "Je n'ai pas non plus oublié que j'ai eu le plaisir de connaître Monsieur Breban au Trocadéro et mon souvenir m'est resté très sympathique [...] Je crains de lui paraître bien ingras envers cette belle salle du Trocadéro où on fait de si belle musique, et où j'ai eu moi même le bonheur [...] d'obtenir les plus précieux succès qu'un artiste puisse ambitionner! Mais il faut bien que je lui avoue qu'au point de vue spécial de mon instrument [...] cette admirable salle m'inspire malgré tout, une certaine terreur! [...]" (Mont de Marson, 11 April 1887). On stationery with embossed address. - The second envelope, addressed to E. Zilcken in The Hague, does not apparently correspond to any letter at hand. Some small rust stains; the correspondence card somewhat waterstained as well. With remnants of old labels torn off.
(Oblong) 8vo and visiting card format. 3 pp. To a friend with congratulations on his work, of which he hopes to receive a copy: "Je suis très content de votre triomphe [...] Recevrai-je votre chef d'oeuvre?". - To a friend cancelling their meeting the next day, due to his promise to attend a performance of his opera "Louise", an appointment he had almost forgotten: "J'avai oublié que demain j'ai promis d'être à Louise - qui passe en soirée! [...] C'est un gros malheur! Je l'avais si peu prévu. Vous pardonnez à mon étourderie que vient de m'apparaitre tantôt dans toute la candeur [...]". On headed stationery of the Oeuvre de Mimi Pinson, an association providing the workingwomen of Paris with free theatre tickets, as well as free music and dance classes, founded by Charpentier in 1900. - A visiting card expressing his condolences: "Mon coeur bat avec le votre en ces douleureux moments. Mes hommages respectueux [...]". - Slightly creased; visiting card with small rust stains.
12mo. Altogether 4 pp. and 1 line. In the letter dated 2 December 1898 Mun congratulates a friend on a lecture given at the Académie Française and expresses his gratitude to be associated with his cause: "La nomination chez la [...] Commission d'Entrepreneurs m'a empêché, hier, d'aller à l'Académie où j'aurais voulu vous dire combien la note que vous avez mise à la première page de votre belle Confèrence m'avait touché. Je vous prie de trouver ici l'expression de ma gratitude: c'est un grand bonheur pour moi d'être ainsi associé à la grand cause que vous poursuivez avec tant d'éclat [...]". - The second letter was written ahead of a reception of the symbolist poet Henri de Régnier (1864-1936) at the Académie Française by Mun on 18 January 1912. Mun thanks the recipient for an article and his support in a campaign and announces that on the day of the reception he will for the first time wear on his chest a medal in commemoration of the Franco-Prussian war: "Votre témoignage, comme votre article, me sont de précieux encouragements dans la campagne d'opinion que je voudrais ardemment mener avec tous les bons Français. Jeudi, en recevant à l'Académie M. de Regnier, j'aurai, sur la poitrine, pour la première fois, la Medaille 'Couleur de deuil et d'espérance!' Puisse t-elle devenir un signe de ralliement [...]" (13 Jan. 1912). Adrien Albert de Mun's reception speach is notorious for his vehement criticism of Régnier's work. - The undated calling card was presented with a note of thanks: "avec tous mes remerciments". - Both letters on cards with lithographed letterheads. The earlier letter and the visiting card with mourning border. All items with traces of former mounting.
4to and oblong 8vo. Altogether 23 pp. on 13 ff. Many addenda (see below). To her brother William, Prince of Wied (1845-1907) and his wife Marie, née von Nassau, Princess of the Netherlands (1841-1910). Comprehensive letters that provide an insight into the feelings and thoughts of the Queen consort of Romania and also provide a wealth of information from the European aristocracy and the political events of that time. - Accompanied by 8 original portrait photographs (calling card format) of Queen Elizabeth and her little daughter, who died at the age of 4 years, and 33 mostly autograph letters, postcards, etc. (altogether 102¾ pp. on 64 ff.) from the estate of Elizabeth's sister in law, Marie, Princess of Wied, born Princess of the Netherlands (1841-1910), including letters of her husband William and other relatives of Marie, more noble and diplomatic correspondence files, a "compilation of expenditure for her Royal Highness, Princess of Wied, Princess of the Netherlands, for the fourth quarter of 1892 ", a letter-fragment with a view of Pelesch Castle, and an engraved portrait of the royal couple (inscribed by Elizabeth on the reverse). - Overall, a wealth of valuable material on the history of Romania, Queen Elizabeth and her family from the houses Wied and Nassau.
Various formats. Together 6½ pp. The longest letter in the collection is to refuse an invitation to the countryside due to professional obligations in Paris: "Mon regret est vif de ne pouvoir répondre selon votre désir à la demande que vous m'avez fait transmettre par mon amie Mme Rodocanachi, me voici prise par un très long travail et de tout l'hiver je ne devrai pas m'absenter de Paris. [...]". - The lettercard is an invitation to her friend Marguerite Amillet: "Si vous pouvez ma chère migonne venez demain Jeudi à 5½". As Bertet uses the same nickname "Mignonne" on the visiting card to thank her for flowers, it is likely that Marguerite Amillet was the recipient. - In a short letter dated "Lundi 19", Bertet asks a Mr Picard, possibly the dramatist André Picard, for a box seat in the theatre for that night: "Je voudrais bien avoir pour ce soir une loge n'importe laquelle mais comme je ne puis aller au théâtre, voulez vous avoir l'obligéance de la demander pour moi, de la glisser dans l'enveloppe ci jointe et de la faire porter immédiatement". - Minimal browning and stains. Well preserved.
Altogether 7 pp. on 1 bifolium and 6 single sheets. 4to, 8vo and 12mo. Interesting archive related to the early history of Tel Aviv, mainly discussing construction projects and the finances needed for their realisation, as well as objections to these plans. Records comprise: - 2 TLS by Meir Dizengoff, first mayor of Tel Aviv, one to Professor I. L. Magnes, asking for financial support for the expansion of the Mossinson town house, the other to Mr Horowitz, also about Mossinson House. On headed stationery of Mossinson House (27 Feb. and 20 April 1930). - ALS by the writer Chaim Nahman Bialik, to Tel Aviv City Council, supporting the objection of homeowners to the enlargement of Bialik Street in Tel Aviv, also signed by others [5 June 1927]. - 2 TLS by Israel Rokach, fourth mayor of Tel Aviv, to S. Pachter, on construction projects. On headed stationery of the Tel Aviv Municipal Corporation (14 Aug. 1940 and 22 Sept. 1943). - ALS by A. Z. Ben-Yishai, to Professor H. Sheveh of the Sha'ar Zion Hebrew Library, on the publication of a pamphlet on the library. On headed stationery of the News Network of Tel Aviv City Council (22 March [ca. 1931/32]). - Bearer debenture for a loan, Tel Aviv municipality (1957). - Several letters perforated. 2 somewhat creased, with marginal tears. All in all a well-preserved collection documenting the city's growth in the first decades of the 20th century.
4to and oblong 8vo. Altogether 4 pp. One letter with autograph address. To one Friedrich Ehrlich from Calve's bookstore in Prague. - One letter with small defect on f. 2 from opening the letter (negligible loss to text).
8vo. 2 pp. To the cellist and conductor Achille Kerrion (1868-1939) approving his idea to launch "modern concerts" with the purpose of providing an opportunity for young composers to perform, as well as to better meet the audience's wishes: "Cher Monsieur Kerrion, j'approuve naturellement votre projet de fonder des 'Concerts Modernes' dont le but me parait correspondre à un besoin ressenti à la fois par le public et les jeunes compositeurs qui trouvent trop rarement l'occasion de produire leurs oeuvres [...]" (9 Oct. 1897). - To the same with thanks to him and his sister, the singer Stéphanie Kerrion, as well as with a request to provide him with the names and addresses of the artists he saw perform that day, as he would like to send each of them a short note of approval: "Recevez aussi pour Mademoiselle votre soeur tous mes remerciements et je vous serai très obligé de me transmettre les noms et adresses de vos interprètes afin que je puisse leur écrire un petit mot en ayant pu les voir aujourd'hui [...]" ("Vendredi soir").