26 497 résultats
8vo. Together 1½ pp. In the earlier letter, Terrasse expresses his wish to meet the recipient, although he fears that it will be "difficult to talk usefully" on the "day of the premiere" at the Grand Théâtre in Lyon: "Il nous sera peut-être bien difficile de pouvoir parler utilement mardi, jour de première, mais je serai heureux de faire cotre connaissance, vous me trouverez vraisemblablement au Grand-Théâtre [...]". The premiere in question was undoubtably that of Terrasse's opera "Pantagruel" with a libretto by Alfred Jarry and Eugène Démolder, inspired by Rabelais. The premiere took place on 30 January 1911. Terrasse had previously composed incidental music for Jarry's famous "Ubu Roi". - In the letter from 16 April 1919, Terrasse asks an unnamed friend and collaborator to become a co-sponsor of his friend, the dramatist Marc Bonis-Charancle (1859-1939), in a society that Bonis-Charancle has recently joined, possibly the Société des auteurs, compositeurs et éditeurs de musique (SACEM), where Terrasse had been a member of since 1892: "Je viens de vous demander de vouloir bien être parrain avec moi pour un vieil ami qui vient d'être reçu sociétaire. Il s'appelle Bonis-Charancle - il est pour le moment en Angleterre [...]". - The letter from 1911 on stationery of the "Hôtel Terminus" in Lyon. This letter shows several tears partly affecting the letterhead, creases, some browning, and minimal foxing.
8vo. Together 2 pp. With autograph addresses and an envelope. To the German mezzo-soprano Mathilde Marchesi and her husband, the baritone Salvatore Marchesi de Castrone, concerning the dissolution of his household in Paris and a meeting. In the letter dated 22 May 1894, Türr informs Mathilde Marchesi that he will give up his apartment in Paris and recommends his housekeeper Giuseppina to her: "Non venendo che raremente à Parigi, perciò lascierò il mio apartamento e cosí devo anche licenziare la mia Giuseppina, chi mi a servito 3½ anni. Mi prendo la libertà di raccomandarvi, ella è una buena persona e abilissimo, ella parla tedesco, italiano, francese e greco [...]". - In the undated letter, Türr asks Salvatore Marchesi de Castrone to visit him the following day: "Ti prego di venire domani mattina alle 10 e un quarto da me [...]". - Following his long years of exile, fighting for Hungarian and later for Italian independence on the side of Giuseppe Garibaldi and advancing to the rank of a general during the Expedition of the Thousand, Türr was active as a diplomat, peace activist, and engineer. As such he was involved in the first Panama Canal project and the successful construction of the Corinth Canal from 1881 to 1893. Türr died in Berck in Northern France. - Traces of folds. The dated letter with an old repaired tear and a collector's note in ink.
Large 4to and small 4to. Altogether 1½ pages on 2 ff. One letter with autogr. address. To his editor Calve in Prague on billing issues for his "Bürgerliche Baukunde".
(Oblong) 8vo. 1½ pp. on on 3ff. Both letters probably to the librarian and editor of the "Journal musical" Baudouin La Londre, concerning forthcoming articles. In the earlier letter Malherbe apologizes for the delay of an article on the bibliography of Don Giovanni: "En vous envoyant le programme que vous m'avez demandé, je vous rassure au sujet de votre article, auquel je travaille en ce moment et qui m'a nécessité plus de recherches que je ne l'avais cru tout d'abord de là un retard que je vous prie d'excuser. Vendredi je peux être en mesure de vous adresser la chose. J'aurais voulu être complet dans mon étude bibliographique; mais il y faut énoncer surtout pour la publication étrangère qu'il s'agira donc de simples: Notes pour servir à la Bibliographie de Don Giovanni [...]". - The letter from 6 June 1897 was sent together with a finished article, apparently an abridged version of the preface of one of Malherbe's books: "Voici la préface. Il m'a suffi d'y pratiquer une coupure pour lui donner la forme ou du moins l'aspect [...]". In 1897 Malherbe had published "Le Centenaire de Donizetti et l'exposition de Bergame". - Well preserved.
8vo. Together 1¾ pp. on bifolia. With autograph addresses. A letter to a M. Laurent suggests that David played at the Comédie-Française for some time, as it is written on stationery of the theatre. In the letter, he asks Laurent to visit him the following day. - The second letter is addressed to the important director Anténor Joly (1799-1852) at the Théâtre Ventadour. David reminds Joly of his promise to "occupy himself with my return to the theatre" and remarks bitterly that "with a bit of kindness and goodwill and, above all, the oblivion of an old grudge" Joly could already have placed him in several performances: "Je crois qu'il est nécessaire que je rappelle a Monsieur Anténor que je suis encore de ce monde et qu'il m'a fait une promesse, celle de s'occuper de ma rentrée au théâtre. Avec un peu de bienveillance et de bon vouloir et surtou l'oublie d'une vielle rancune il aurait certes déjà pu me placer dans une des nombreuses pièces en répétition [...]". - Traces of folds and seal. The letter to Joly with embossed monogram, several tears and stronger browning to the address leaf.
8vo. Together 2 pp. One letter mounted on cardboard. Both to ask for theatre tickets, one addressed to a director: "Pouvez-vous me donner une loge pour ce soir? Si oui, merci, si non, merci encore et votre artiste toujours". - Henri Lafontaine performed on all the important stages of Paris, including the Comédie-Française, where he had his debut in 1856 and was elected sociétaire in 1863. However, Lafontaine was not satisfied with the roles that were given to him at the Comédie, and so he left the theatre in 1871 together with his wife Victoria, an equally acclaimed actor, and returned to changing engagements, starting off with a successful production of Victor Hugo's "Ruy Blas" at the Odéon in 1872. - With recipient's notes. Some browning.
12mo. Together 4½ pp. on bifolia. In an interesting letter to the composer Victor Massé, Marmontel congratulates his colleague at the Paris Conservatory on a cantata by his student Paul Puget: "Mes cordiales félicitations pour la belle Cantate de Puget. On reconnait dans l'ensemble et les détails de cette partition l'excellente direction du maître, et le brillant élève vous fait grand honneur. [...]". The cantata in question is very likely "Mazeppa", which won Puget the Prix de Rome in 1873. - The second letter to an unnamed administrator at the Conservatory concerns the organisation of upcoming auditions and the problem of "the sensitivity of the parents" during such events: "Voici sauf les rectifications qui vous paraitrons convenables et aussi l'intercalation [?] des trois morceaux chant, violon et chœur. Le classement des morceaux dans l'ordre me parait le plus avantageux. Les élèves de mon cher [...] débutèrent elles ? Dans ma lettre je lui laisse tout à fait le choix. Voyons à éviter les froissements d'amour propre, les susceptibilités des parents c'est là toujours l'écueil [?] des auditions, la plus part des élèves ayant la petite faiblesse de s'exagérer le mérite personnel [...]". - The letter concerning the audition with traces of former mounting and a tear affecting the text.
8vo. Together 2½ pp. The dated letter, written to an unnamed friend, was sent with tickets to a concert that the recipient had promised to attend: "Je viens vous rappeler la promesse que vous m'avez faite d'assister à mon concert, permettez moi donc de vous prier d'accepter quelques billets que je me fais un grand plaisir de vous offrir [...]". - The second letter to an unnamed female recipient, probably Lefébure-Wély's mother or another close relative, is humorously introduced as the "orthography of a student of the École des frères after 4 years, 4 months, 4 days, 4 hours, and 17 minutes of assiduous work" and continues in an imaginary phonetic French with an invitation to lunch: "Madam, je çuis onteu devoufer dégeuner aucito çamedit, met sais de votref aute, vous me gâté ci facileman qu’œuf se la me cèmble trait bon hé qu’œuf jàbus e. brefe [...]". A small ink drawing of a barrel organ near the bottom of the second page completes this charming document from Lefébure-Wély's youth. - Louis James Alfred Lefébure-Wély assisted his father as the organist of Saint-Roch in Paris from the age of 8. When he was 14 his father died, and he succeeded him as official organist of Saint-Roch. In 1832 he entered the Paris Conservatoire, studying organ and composition. As a performer, Lefébure-Wély played a major role in the development of the French symphonic organ style and was rated above eminent contemporaries including César Franck. - Dated letter somewhat brittle, with foxing and several tears. Both letters with traces of former mounting.
8vo and 12mo. Together 2½ pp. on bifolia. With one autograph address. In French. The earlier letter is addressed to the actor and playwright Louis Péricaud (1835-1909), urgently asking him for 25 francs: "You will get them back if we perform; if not ... merde". - In the letter from 10 March 1875, Karoly expresses frustration with herself concerning the delivery of a role and asks the unidentified author of the play to tell her whether she may keep it or not: "Votre pièce me trotte par la tête, et vous me voyez furieuse après-moi de vous avoir si sottement rendu votre rôle. Je n'ose vous le redemander, il est plus que probable, que vous étés en pleine répétition, et que toute marche à la merveille en fin ! que voulez-vous ? on m'a si cruellement laissé dans l'ombre, que je me suis prêté à douter de moi. Ne m'en voulez-pas, et j'aime à espérer que j'aurai une revanche à prendre avec vous [...]". - Caroline Duveau was a student of her later husband Maubant (1821-1902). Following a short engagement at the Odéon, Duveau celebrated her debut at the Comédie-Française on 8 September 1868, where she would play alongside Maubant. - Traces of folds. Minimal browning.
8vo. Together 2 pp. on 2 bifolia. With autograph addresses. To Monsieur Bardel about a 500 franc banknote he has kept for seven months to pay for his services, proposing to share the sum between the two of them: "J'ai un Billet parfaitement Bon à 7 mois - 500 f - pour vous puisque vous m'avez offert vos services. Me le faire negocier - vous garderez 150 f et vous me donnerez le reste [...]". On mourning paper. - To the chansonnier Pierre Dupont (1821-70), inviting him to give a performance on 4 October: "Faites donc avec votre belle voix dont vous faites tant de Choses une bonne action celui qui vous enprie est votre admirateur devoué [...] cette representation est pour vendredi 4 octobre prochain ce que vous devez avoir l'obligeance de chanter est fixée à 8 heures". On headed stationery of the Théâtre Historique. - With former collector's numbers "109" and "110" in pencil. The letter to Bardel with handwritten attribution to Dumas by a former collector. Traces of former mounting on reverse. Slightly creased. A blank sheet with traces of two stamps is loosely enclosed.
8vo. Together (1+1½ =) 2½ pp. With autogr. address. Both letters to the Comtesse de Beauregard (the wife Charles de Beauregard, editor of "La Gazette de France") discussing various matters and common friends: "Il m'été impossible de répéter avec Mlle Dietz [...]". In the second letter, he regrets being unable to attend an event due to his mother's illness: "une lettre que je reçois et qui m'apprend la maladie de ma mère me fait à partir immédiatement pour Lyon [...]". - One letter with traces of folding and a small tear in the inside crease.
8vo. Together (1+2 =) 3 pp. With autogr. addresses. Both letters to the Comtesse de Beauregard (the wife Charles de Beauregard, editor of "La Gazette de France"), who had invited him to an event which he is unable to attend, being otherwise engaged: "Mon engagement contracté puis plusieurs jours ne me permettre pas de me rendre [?] à l'aimable invitation que vous avez bien voulu faire pour Dimanche [...]". - Both letters in good condition.
8vo. Together (3+2 =) 5 pp. on 2 bifolia. To an acquaintance about several musical pieces she would like to have copied, mentioning the 288 scribes he provided her with during his time as director of the Gymnase Musical Militaire, a position he no longer holds, for which reason he refers her to the copying bureau of the Paris Opera and the librarian and professor of composition, Aimé Leborne (1799-1866), whom he deems the most knowledgeable musician in all of France: "Autrefois, lorsque j'étais Directeur du Gymnase Musical Militaire, je me serais empressé de mettre à votre disposition 288 copistes, tant bons, que médiocres, ou mauvais. Aujourd'hui, que j'ai l'honneur de n'être plus rien, je vous engage de vous adresser au bureau de copie à l'Opéra. Soyez assez bonne pour écrire deux lignes à mon bon ami Le Borne en lui disant que c'est de ma part. Vous lui adressez les Morceaux que vous voulez faire copier [...] Mr Aimé Le Borne, qui est bibliothécaire de l'Opéra, est, comme moi Professeur de Composition au Conservatoire, et à mon avis le plus savant Musicien de France [...]" (20 May 1849). - Probably to the same, praising her Agnus Dei and its elegant melody, mentioning minor changes he made to the harmony, and offering a Kyrie he composed for Gioachino Rossini, which, as it needs only the accompaniment of an organ, can easily be staged in the countryside: "Voici, Madame, votre Agnus Dei prosodié d'une manière plus humaine. Il est joli et la Mélodie en est fort élégante. Ainsi que vous m'en avez donné l'Ordre j'ai fait quelques petits changements dans l'harmonie; maintenant le tout est d'un accord parfait. Permettez moi de vous offrir un méchant Kyrie que j'ai composé pour mon ami Rossini. Comme il n'y a qu'un accompagnement d'Orgue seulement il vous [sera] facile de le faire exécuter à la campagne […]" (23 Dec. 1858). - With former collector's numbers "91" and "92" in pencil. Traces of former mounting on reverse. Slightly creased.
8vo. Together 2 pp. on 2 bifolia. One with autograph address verso. To the mayor of the second arrondissement in Paris, asking him to sign a document: "Voulez vous avoir la bonté de signer le certificat de vie ci joint. Je vous prie d'agreer mes remerciements et l'expression de mes sentiments dévoués [...]" (6 April 1826). - Mailing a theatre ticket to a friend, regretting his being unable to deliver them in person as he might be too late: "Je voulois, Madame, vous porter ce billet moi même et ne pas perdre une occasion de mettre à vos genoux mes respectueux hommages, mais craignant de ne pouvoir vous le porter que tard, je vous l'envoye d'avance afin que vous sachez sur quoi compter pour ce soir [...]" (24 Aug., no year). - With former collector's numbers "111" and "112" in pencil. Traces of former mounting on reverse.
(Oblong) 8vo. Together 2½ pp. on bifolium. One with autograph address verso. To M. du Chanoy about mistaking two letters from a mutual friend for his own: "Deux lettres de notre ami Du Fomanard [?] dont la signature m'a toujours paru être la vôtre ont causé mon erreur. Demain, j'irai chercher vos paroles, et vous portant les lettres remplies de ma faute, qui [...] font mal vers mes Conventions [...]". The date "22 Mars 1822" in another hand near top left corner. - To M. de Saint-Martin, declining an invitation, as he is preoccupied with important engagments from Saturday to Wednesday: "Aimable et Cher Amphytrion, je reçois à l'instant votre invitation. Et voilà que l'honneur me dit d'une soif aigre que j'ai du Samedi jusque au Mardi par certains engagements qu'on ne viole pas, que dupiez-vous me traiter comme un nègre je dois les respecter - j'obléis, mais, hélas! Loin d'un ancien ami [...] le plaisir des jours gras sera pour moi bien maigre [...]". - With former collector's numbers "106" and "115" in pencil. Traces of former mounting on reverse. The letter to de Saint-Martin somewhat creased.
8vo, and 4to. (1+2 =) 3 pp. on bifolia and single leaf. One of which with autogr. address verso. To the lawyer and painter Edmond Hédouin in Boulogne-sur-Mer about several problems that have arisen concerning the engraving of a musical publication which, with Duchambge's care, will hopefully be effected as planned, and she promises that Hédouin will receive his copies soon. Furthermore, Duchambge begs Hédouin's forgiveness for not having used his pretty verses because they did not appear sufficiently musical to be set to a song. Instead she promises to publish some of his poems in her annual album. Hédouin should suggest texts for a ballad of no more than four verses, and Monsieur Merle will take care of the matter: "Enfin, Monsieur, demain, vos exemplaires partiront - et j'espère que vous les recevrez promptemens - ce n'est pas ma faute je vous assure si les graveurs y ont mis tant de négligence [...]" (12 May 1835). Duchambge has severe financial problems, which she hopes the recipient - through the good offices of a Monsieur Merle - might help to ease by means of a recommendation to the Duke of Bassano, Hugues-Bernard Maret. Although Duchambge knows Maret as a generous man, she notes the fickleness of human nature, of which Montaigne was so well aware: "Je connais le duc de Bassano [...] mais, l'homme est ondoyant dit Montaigne - moi, j'ajoute que la fortune est oublieuse, et que les honneurs dessèchent par fois les coeurs [...]" (dated "Wednesday evening"). - One letter with blindstamped monogram and tear due to opening of the letter. The other letter with a small clipping.
8vo and 12mo. Together 1½ pp. on bifolium and single sheet. One with autograph address on verso. To the jurist Gustave Bascle Lagrèze (1811-91) in Paris about their plans to visit a friend on the weekend, asking whether he might be available on Sunday, as he has to attend a conference on Saturday: "Mme de Tascher me fait dire mon cher Lagrèze, qu'elle sera chez elle samedi et dimanche soir. Samedi j'ai une conference [...] Voyez si dimanche vous va et dans ce cas veuillez m'ecrire à quelle heure je devrai vous attendre [...]". - To the same, declining an invitation, as he has already agreed to attend a dinner and soirée at another house and will not be able to leave early, but promising to meet on one of the following nights: "Je vous remercie, mon cher Lagrèze de votre bon souvenir, mais j'ai le regret de ne pouvoir profiter de votre aimable engagement. Je dine dimanche dans une maison où ce même jour il y a soirée ce que rendrait désobligeante une évasion trop hatée, mais j'entends bien que le plaisir de passer une soirée avec vous ne sera néanmoins que differé et j'irai vous prendre un de ces soirs [...]". - Traces of former mounting on verso.
8vo. Together 3 pp. on 2 bifolia. To the singer Mme. du Chanoy, surprised at not having seen her at their reunions, suspecting she might not have received the invitation, and hoping she will attend the rehearsal at the Salle Érard in Paris the following day: "Dans mon étonnement de ne plus vous voir à nos réunions, il me vient la pensée que vous n'avez peut-être pas reçu de convocation imprimée. C'est pourquoi je me permets de vous écrire ne vous demandant pour toute réponse que votre présence à la répetition de demain 4 heures Salle Erard [...]" (Paris, 3 Feb. 1874). On headed stationery of the Société Académique de Musique Sacrée. - Probably to the same, inviting her to perform at a soirée in St Germain the following night despite her being in mourning, pointing out that she will not be the only one wearing black, as several other people, including himself, are also mourning, encouraging her attendance by mentioning the shortage of altos as well as her lovely voice, and giving her the date and time of the rehearsal: "Vous seriez bien aimable de ne pas manquer demain à la soirée qui aura lieu à 9 heures ou Ministère rue de Grenelle St. Germain No 110. Je sais que vous êtes en grand deuil, mais vous ne serez pas seule en noir car plusieurs personnes sont en deuil comme moi du reste. Nous serons très heureux de vous avoir, car vous savez que les altos sont en minorité et nous regretterions bien l'absence de votre bonne voix et de votre talent de musicienne. Il y a répétition demain à 4 heures au ministère [...]" (undated). - The 1874 letter with former collector's number "78" in pencil; small marginal flaws. Both letters with traces of former mounting on reverse.
4to. Together (2½+2½ =) 5 pp. on 2 bifolia. With autograph address verso. Amicable correspondence from his early career to John de Bossey, who stayed with Talma's father in London, later with Talma in Paris. - Reflecting on Jean-Balthazar d'Adhémar (1736-90), who will continue to serve as French ambassador in London, which destroys Talma's own plans to go to Smyrna as consul, hence turning to theatre instead, and hoping to obtain a letter of recommendation to present to Emmanuel Félicité de Durfort (1715-89), the director of the Comédie Française: "Vous savez sans doute que Monsieur le Comte d'Adhemar continue toujours son ambassade, de moins c'est ce qu'on ma positivement affirmé ici. Ainsi voilà tous nos projets detruits. Mon consulat à Smirne et ma sous lieutenance de hussard à tous les diables, c'est bien dommage en vérité car je crois que le bonnet et la cravate noire au sixième bouton ne m'auraient été point mal du tout [...] J'ai besoin d'un lettre pour le Marechal de Duras ou qelqu'un qui me recommande vivement à lui. N'auriez vous personne de connaissance à Paris qui pût me rendre ce bon office? [...]" (Paris, 12 Dec. 1785). - About his sister Anne-Euphrosine being sent to London, with the correction of a book title he asks him to buy, thanking for the letter of recommendation to Durfort that he is impatiently awaiting, and about a possible engagement of the actor Maurice-François Rochet, known as Volange (1756-1808), in London: "Mille remerciements d'avance pour votre lettre, pour le Marechal Duras. Je l'attends avec impatience [...] Volange est sur le point de s'engager pour d'autres villes [...] Si on avait 50 louis à donner à Volange pour son voyage, je crois, en vérité, qu'il partirait. L'envie d'aller à Londres le poignarde [...]" (Paris, 16 Jan. 1786). - Includes an ALS by Edward Hamilton to John de Bossey's father, discussing John's struggle to make his way in London, where he is staying with Talma's father, whom he cannot pay, as his father will send him neither money nor recommendations: "Il est chez Talma, le plus honnête des hommes [...] Vous le savez ici 2 Ans, dans la misère, le chagrin, l'humiliation, ne demandant que travailler. Et vous ne lui envoyez ni argent ni recommendation, ni vous n'agissez pour lui en aucune façon [...]" (London, 27 March 1786, 4to, 6½ pp. on 2 bifolia). - Slight marginal flaws.
8vo. Together 2½ pp. on bifolia. One letter with autograph address and traces of seal. The letter from 23 February 1855 is addressed to a M. Désir at the Théâtre des Variétés, asking him for two tickets. - In the second letter, dated 23 November with no year, Paul Ernest asks a recipient named Eugène to contact a third person who had offered a job at the theatre to Ernest's cousin: "Je vous serais bien reconnaissant de vous informer auprès de Mr Lannau si la petite place de son contrôle est touours libre et si dans ce cas, il serait toujours possible disposé `la donner a Mr Weber un cousin à moi et un brave graçon qui a déjà été dans le théâtre comme inspecteur [...]". - Paul Ernest is only known in connection with the Théâtre du Vaudeville in Paris, which he directed sometime between 1842 and 1851. - The letter from 23 November on stationery with stamped letterhead "Cercle de Paris". Both letters with bent corners; some browning.
8vo. Together 3 pp. In French. The dated letter to an unidentified lady concerns her subscription to a concert series of the Paris conservatory and the closing of the conservatory's concert hall in Rue Bergère (Rue du Conservatoire). Viguier informs the recipient that he met his friend, the cellist and conservatory professor Hippolyte Rabaud, who assured him of the continuation of her subscription. He laments the closing of the concert hall, where he had been a "soloist and member of the society" for so long. Viguier doubts plans to reconstruct the concert hall on the site of military barracks: "Like you, I believe that we will never regain what we have lost". - In the undated letter Viguier announces that he will send a concert programme. - Both letters with traces of former mounting. The letter from 1897 with some foxing.
8vo. Together (1+1 =) 2 pp. To his friend, the theatrical agent Jean-Baptiste Porcher (1792-1864), concerning his play "Paul Jones": "Il est [...] entendu que la vente faite de Paul Jones ne porte aucune atteinte à votre propriété de moitié [...] Il est bien entendu que les billets vous appartiennent en toute propriété [...]" (Paris, 10 April 1847). In the other letter, probably written to Porcher's wife, he thanks for a souvenir: "Maintenant mille merci Madame de votre bon et cher souvenir - oui j'aime fort le pate de lapin [...]". - Enclosed is a printed circular "A ses concitoyens de Seine-et-Oise. Alexandre Dumas. Candidat a la représantation nationale".
8vo. 2 pp. on 2 bifolia. One with autograph address verso. To the tenor Alexis Dupont (1796-1874) about his anticipated return to the stage and the opera "Les Huguenots", mailing the part of Témoin for him to study, a part he can either keep singing or exchange for the couplets of Bois Rosé, hoping he will perform the following Monday: "J'espère, mon cher Alexis, que vous ne priverez pas plus longtems les Huguenots de votre présence & de votre talent. Je vous envois avec cette lettre le septuor, en vous priant d'apprendre le plus tôt qu'il vous sera possible la partie de Témoin, que vous chanterez à l'avenir, soit que vous consentiez à alterner pour les couplets de Bois rosé soit que vous préfériez chanter toujours cette partie de Témoin. Veuillez donc, mon cher Alexis, vous en occuper, et faites moi savoir aussi, je vous prie, si vous chanterez Lundi, je l'espère [...]" (Paris, 26 March, no year). On headed stationery of the Académie Royale de Musique. - To M. Asseline about a message for a talented artist, which he is to deliver the following morning through the Comte de Paris, making sure to praise and recommend the young man to him, and promising to visit Asseline after successfully completing that task: "Cher Asseline, je reçois votre message pour le jeune St. Jaim, & je m'empresserai de le lui apporter demain matin de la grace du Comte de Paris, quoique vous me disiez, en lui donnant les éloges qui mérite notre petit artiste. Je lui transmetterai aussi les votres [...] J'irai vous voir, pour vous rendre compte de ma mission [...]" ("Dimanche"). Handwritten note regarding the former collector and donor of the autograph: "donné par M. Asseline". - With former collector's numbers "89" and "90" in pencil. Traces of former mounting on verso.
8vo. Together 4 pp. on 2 bifolia. One with autograph address verso. To Madame du Chanoy about a rehearsal at her place, mentioning her having reminded two other participants to arrive on time: "Chère Dame, la répétition aura lieu chez vous Dimanche de onze heures à une heure. Je ne voudrais pas vous faire manquer le vrai plaisir du conservatoire. Je viens d'écrire à Anschutz [?] et à Septinelli [?] [...] de se trouver de bonne heure chez vous et j'irai [...]". On stationery with engraved initials. - Likely to the same, regretting to see her leave and being unable to listen to her play the piano or the organ in the morning any more, and about having left her flat to go to Versailles, where she hopes to find a way to get to Eaux-de-Pouguets to benefit her health: "Vous êtes mille fois aimable, chère Madame, de ne m'avoir pas oubliée, mais vous m'apprenez une fort triste nouvelle, celle de votre départ de la maison [...] Je n'en reviens pas, et je vous regrette de tout coeur. Je ne sais plus, moi même, ce que je veux faire, car mon appartement fort agréable à la vue est par le fait inhabitable en cas de maladie, je viens d'en faire la très pénible expérience. Il est de Versailles que je vous écris, je m'y suis réfugié, où que j'ai été un peu mieux portante, je suis venue y [...] pour m'aider à gagner les eaux de Pougues où je vais aller faire une session. Je sais que vous jugez dans nos environs, mais ce n'est plus la même chose, je ne vous entendrai plus le matin, sur le piano ou sur l'orgue, redire de divines mélodies qui gagnent encore sous vos doigts habiles [...]". - With former collector's numbers "117" and "118" in pencil. Traces of former mounting on reverse; a few small marginal flaws.
4to. Together 1½ pp. on bifolia. With autograph addresses. Interesting letters of recommendation for the revolutionary and educator Marc-Antoine Jullien de Paris (1775-1848), who had been exiled to Italy at Napoleon's orders. One of the letters is addressed to the archaeloogist Filippo Aurelio Visconti, a member of the "Commission des monuments publics". Martorelli asks Visconti to provide Jullien with access to the archaeological treasures administrated by the commission. - The second letter is addressed to François Palombi, "membre de la legion d'honneur", as Martorelli "knows for certain" that Palombi "has the kindness to make him feel the effects of our friendship". - Marc-Antoine Jullien de Paris, who is introduced by Martorelli as a "highly learned man, author of various highly esteemed works", was a follower of Robespierre during the Revolution and was imprisoned for a year following Robespierre's downfall. He fought under Napoleon in the Italian and Egyptian campaigns but had to return to France due to illness in 1798. After brief imprisonment in 1798, when the Directory suspected him of Jacobin sympathies, and having served in various military positions, Jullien received the cross of the Légion d'honneur in 1803. A visit to Madame de Staël in 1810 raised Napoleon's suspicions of Jullien, who was briefly exiled to Italy and, back in France, was arrested in 1813 for his opposition to Napoleon's rule. During the Restoration, Jullien was primarly active as an oppositional publisher and educator. Today he is best known as the founder of comparative pedagogy. - Largely unknown today, Luigi Martorelli was a member of the "Commission des monuments publics" in Rome and published several works, including a history of the Vatican clergy (1792) and a history of usury (1809). - Traces of folds. With very light stains.