26 497 résultats
8vo. Together (3+1½ =) 4½ pp. To the aesthete, Symbolist poet, art collector and dandy Robert de Montesquiou (1855-1921), accusing one of his domestic workers of stealing a money box. Heredia writes he was composing a letter for Montesquiou and turned his back on Montesquiou's servant, later finding the box gone: "Le jeune domestique que vous m'avez envoyé Mercredi pour me demander les invitations pour Versailles attendait ma réponse dans l'antichambre. Un envoyé du Ministère était avec moi dans mon Cabinet. Dès qu'il fut sorti, je fis entrer votre valet pendant que je vous répondais. Je lui tournais le dos écrivant à mon bureau [...] Une heure plus tard, je voulus prendre un timbre poste dans la boîte d'argent où je les mets et qui est toujours dans une coupe basse sur ma cheminée. La boîte avait disparu [...]" ("Lundi soir"). It appears that Heredia's accusations upset Montesquiou, for in the next letter he apologizes for them: "Je suis fort étonné de la lettre que je reçois de vous et que je trouve, de vous à moi, d'un ton fâcheux. J'ignorais que vous fussiez aussi sur de votre domestique, que je prenais pour un valet quelconque, comme il en est tant. Je ne pouvais m'imaginer qu'une lettre toute confidentelle on je vous où je vous faisais part, comme à un ami, de soupçons que je ne pouvais communiquer au'à vous seul, vous pût être désagréable. Elle semble vous avoir blessé. Je n'en ai jamais eu l'intention et je ne puis que le regretter. Quant aux billets, j'ai fait tout mon possible pour vous obliger. Je n'y ai pas réussi. Je ne puis que le regretter aussi [...]" (Paris, 15 Oct. 1896). - Somewhat creased and browned.
8vo. Together 2½ pp. on 6 ff. In a letter dated 16 December, Neveux congratulates a fellow writer on his election and assures him that he merited this choice and that "it will not produce a single jealous person among the irritable tribe of novelists". As Neveux addresses the recipient as his "confrère", he might have written to a new member of the Académie Goncourt where Neveux held the second seat since 1924. He also announces his support for the writer Édouard Estaunié in an undisclosed affair: "Trouvez-ici je vous prie, l'expression de mes plus chaleureuses félicitations. Nul plus que moi n'applaudit à une choix si justement méritée et qui ne fera pas un jaloux dans l'irritable tribu des romanciers. Maintenant calmez vos scrupules, vous n'avez pris la place de personne. Et je vous promets de faire en Janvier tout l'impossible pour votre ami M. Estaunié, dont j'admire aussi vivement que vous le probe et solide talent [...]". - In the second letter, Neveux expresses his admiration for the writer Louis Lumet, requesting that the recipient arrange a meeting for which Lumet had asked. Neveux mentions that he has reached an agreement with the socialist politician Fernand Chapsal (1862-1939) and begs the recipient to obtain two tickets for Wagner's "Valkyrie" for him and his wife: "Vous savez quelle profonde sympathie artistique j'ai pour votre ami Louis Lumet. Dites-lui que je serai ravi de m'entretenir avec lui Mardi prochain vers dix heures et demie - ou le même jour a son gré autour de quatre heures - Je me suis mis d'accord avec Chapsal et Lundi prochain je comte aller remercier Monsieur le Ministre. Voulez-vous prier Farin d'essayer de m'obtenir deux fauteuils [...] pour la Valkyre Lundi. Ma femme est desolée d'avoir manqué la reprise et en insistant vous m'obligeriez grandement. Mais, en verité, j'abuse [...]". - Both letters on stationery of the Ministry of Public Education. The letter dated 16 December with traces of folds. Some browning and traces of former mounting.
8vo. Together 3 pp. The letter from 1896 to the musicologist Jacques-Gabriel Prod'homme, thanking him for a copy of his book on Berlioz's "La Damnation de Faust" and for a favourable article on Lamoureux: "Je viens vous remercie de m'avoir envoyé votre très intéressant et remarquable volume sur 'La Damnation de Faust' de Berlioz et la notice que vous avez publiée sur moi dans l'Enclos du mois de Juillet 1895. Je tiens à vous dire que je suis très sensible à votre gracieuse pensée et profondément touché de votre bienveillance". - The second letter to the music publisher Carl Enoch, concerning the upcoming stage premiere of Emmanuel Chabrier's unfinished last opera Briséïs. Lamoureux had conducted the first concert staging of the piece in 1897 and expresses his joy that it will soon be staged at the opera, mentioning the flutist Paul Taffanel and the opera director Pedro Gailhard as being involved in the project. He also mentions that Chabrier's widow "essentially thinks that it is she who directs the piece", as she is "the interpreter of the feelings of her poor husband". Briséïs premiered on 8 May 1899 at the Paris Opera, a few months later than Lamoureux had expected. The interesting letter in full: "J'apprends avec plaisir par plusieurs personnes, que les études de Briséïs à l'opéra sont commencées, et que l'on espère passer en Janvier. Je voudrais en causer avec vous. Malheureusement je suis encore cloué dans mon lit et dans l'impossibilité de sortir. Pouvez-vous me dire si Taffanel suit les répétitions au piano ? Vous savez que Mme Chabrier tient essentiellement à ce que ce soit lui qui dirige l'ouvrage. Elle est, en cela, l'interprète des sentiments de son pauvre mari. Mr Bertrand doit se souvenir, du reste, que je lui dit lorsque j'ai eu l'occasion de le voir avec vous, et Mr Gailhard, lui-même, ne doit pas avoir oublié que cela a été convenu dans les entrevues que nous avons eues avec lui dans le cabinet directorial de l'Opéra [...]". - Minor foxing. The letter from 1898 with traces of former mounting.
Large 4to. (1+1 =) 2 pp. on 2 ff. With 1 autogr. envelope. To Jean Lessay, concerning, among other matters, a translation of Georg Büchner's "Lenz" (1973): "Merci de votre carte galloise. Nous ne sommes restés que quelques jours à Londres mais ils furent si pleins que nous avons l'impression d'y avoir fait un long séjour l'inoubliable Brown ale ! Seule tache : la fermeture des pubs à 23 h. Si on les laissait ouverts toute la nuit, je ne serais pas rentré en France. L'Angleterre aurait pu assimiler un immigrant de plus, un " Asian " quelque peu pâle. Nous avons assisté à une scène suprêmement balkanique dont l'acteur principal était un chef de gare hindou. On vous racontera tout ça en septembre. Nous partons demain pour Crams-su-Sierre (Poste Restante) où nous resterons une dizaine de jours. Quel dommage que vous n'ayez pas vous embarquer pour l'Islande ! Vous en auriez emporté mille anecdotes et-qui sait ? -quelques solutions au problème le plus tragique et le plus gratuit depuis exactement dix siècles. Dans le numéro spécial publié avant la guerre, des Cahiers du Sud, sur le romantisme allemand, il existe un texte : Lenz de Georg Büchner (traduite par Albert Béguin) qui pourrait être utile à Franck. On y décrit ou plutôt, on imagine la déchéance d'un poète fou, ce Lenz qui ressemble par certains côtés à John Clare. Le texte de Büchner est traduit également en anglais, du moins je le crois. Bien affectueusement à vous tous".
4to. 2 pp. on 2 ff. With autograph envelope. To Marquis Marc de Favrat in Cannes, asking for news of Princess Elisabeth of Romania, former Queen of Greece, who was in hospital, apparently dwindling away, and trying to find out whether and how it might be possible to write to Elisabeth: "Je vous en prie je voudrais bien des nouvelles de Sa Majesté [...] dites moi si Je puis lui écrire - ou à qui?" (23 Aug. 1956). Again asking for news and expressing his worries about Elisabeth's state of health: "Je pense beaucoup à elle, mais je suis inquiète [...]" (undated). - Elisabeth of Romania (1894-1956) settled in Cannes some years after her expulsion from Romania in 1947, when the Romanian People's Republic was proclaimed. In France, she met the much younger aspiring artist Marc Favrat, who became her lover, whom she made her equerry and adopted in the year of her death. - With letterhead of the "Société Internationale de Recherches Contre la Tuberculose et le Cancer" and "Fondation Marie de Roumanie [...] Docteur Briault".
8vo and 4to. Together (1¾+1=) 2¾ pp. To a "compatriote" in Riom concerning financial matters. Dulaure expects interest payments from the politician Jean-Baptiste Enjelvin (1758-1815): "Je vous remercie de tout ce que vous avez fait pour mes interets avec M. Enjelvin. Je ne connais point assez ces affaires, vous savez mieux que moi ce qui m'est utile en cette circomstance, je n'ai point de conseil à vous donner, je n'ai que de la reconnaissance à vous témoigner. Je serai payé avec le temps, dites vous; mais quel temps? [...] M. Enjelvin vous a promis de me payer exactement les interets; jusqu'à présent je n'ai [...] vu les effets de cette promesse [...]" (26 Nov. 1820). The second letter (14 Sept. 1829) is written to the scholar Pierre-Joseph-Antoine Leboux de La Mésangère (1797-1831), whose "Dictionnaire des proverbes" Dulaure has received: "[...] jusqu'à present il ne m'a été permis d'arriver à la moitié du volume [...]". - Somewhat creased and slightly browned.
12mo. 2 pp. To the playwright and theater director Hilarion Ballande (1820-87), thanking for his invitation to one of his "Matinées littéraires", suggesting that he recite Molière's "Tartuffe", as he is confident that he knows it better than anyone, but is ready to prepare any other work as well: "Je suis très flatté de votre bonne demande & j'accepte ce qu'elle m'offre. Sur quoi conférer cependant? Voulez vous que ce fois sur Tartuffe, dont, je puis le dire, je sais l'histoire mieux que personne? Parlez, je suis à vous, si Tartuffe est déjà donné. Dites à moi ce qui ne l'est pas. Je serai prêt [...]". - Likely to the same, promising to present Molières "The Bourgeois Gentleman", calling it one his most anecdotic works, planning to capture the atmosphere leading to the creation of the play in his speech: "C'est entendu, comptez sur moi pour le Bourgeois gentilhomme, & avec une conférence toute neuve, et très neuve, je crois: avec toutes les origines de la Circonstance qui fit naitre la pièce, & de la pièce même. C'est une des plus curieuses conférences qu'on puisse faire, cette comédie de Molière étant une de ses plus anecdotiques [...]". - Both on stationery with embossed initials. With traces of former mounting on verso.
8vo and oblong 12mo. Together 3 pp. The earlier letter was written to thank an admired artist: "Je pense bien fidèlement à vous, mon cher Maître et ami et je vous redis ma profonde et constante gratitude". - The second letter was to offer a box for a representation of Ambroise Thomas' Mignon at the Opéra-Comique to an unnamed woman. - Louis Beydt was among the last composers of the traditional French operetta and a prolific composer of incidental music and film music. His short directorate of the Opéra-Comique from 1952 to 1952 was marked by the 50th anniversary production of Debussy's Pelléas et Mélisande and the first French production of The Rake's Progress. - The letter from 1931 somewhat creased, on stationery with embossed letterhead "34. Rue de Liège, VIIIe". The letter from 1952 on stationery of the Opéra-Comique.
4to. Together (1½+1½ =) 3 pp. Interesting letters about two of Pagnol's most important works. The first letter concerns his 1938 drama "La femme du boulanger" ("The Baker's Wife"); while the recipient wishes to rewrite the film for the stage, Pagnol doubts whether this would work due to the many close-ups: "Je ne sais pas si la femme de boulanger est une bonne pièce de théâtre, car c'est un film de gros plans. Peut-être faudrait-il, dans la mise en scène, suivre le Boulanger avec un projecteur, comme au music-hall? Si vous allez voir la représentation de Guy Alland, pensez-y [...]" (Paris, 23 Nov. 1964). In fact, the film even became the basis of an American musical in 1989. - The second letter refers to his play "Topaze" from 1928. The comedy in four acts was filmed in 1936 under the same title, and 1966 saw a TV adaptation. Pagnol is pleased with the success: "Jamais aucune de mes pièces n'a eu tant de publicité, et si bien placée: je vous en suis particulièrement reconnaissant, et la montée presque continue des recettes me réjouit; non pas à cause du succès d'argent: il me semple que notre réussite, près de quarante ans après la création, est beaucoup plus importante qu'un triomphe de générale [...]" (Paris, 1 Dec. 1966). - On stationery with printed name. Traces of folding, some stains, otherwise in very good condition.
4to. Together 3¼ pp. The earlier letter is addressed to the director of the Opéra-Comique, either Jacques Rouché or Henri Büsser, and concerns the death of Thiriet's father-in-law, the architect Charles-Auguste Risler, and the future of his recently premiered opera "Le Bourgeois Falaise". Thiriet expresses his concern that no further performances of the piece are scheduled and speculates about possible reasons for the relatively cold reception of the most recent performance, including "worries about the last metro" and the queue at the wardrobe, which should not lead to its removal from the programme: "Je crois que le peu de chaleur du public après la dernière représentation tenait surtout du souci du 'dernier métro' et la ruée au vestiaire; peut-être les gens sont-ils moins disposés à rire après la mort de Mimi qu'avant ? Toujours est-il que le public a paru s'amuser au cours de la représentation et à quatre endroits différents à applaudi ! Puis-je espérer que mon petit acte n'a pas été frappé d'un arrêt trop impitoyable et dont je ne m'expliquerais mal la sévérité?" Thiriet also announces the libretto and score for his opera "La Véridique Histoire du Docteur". - The later letter is addressed to a radio host who was supposed to present a recording of "Le Bourgeois de Falaise" a few days later. Thiriet offers the recipient to listen to the recording beforehand and mentions plans for a reprise at the Opéra-Comique that were supported by Jacques Jaujard: "Monsieur Gressier me fait savoir que vous avez bien voulu accepter de présenter la diffusion du 'Bourgeois de Falaise' qui sera donnée par la Radio vendredi prochain 25 Février à 20 heures, chaîne Nationale. Je vous en remercie très cordialement et ne pouvais espérer d'honneur et d'agrément plus grandes en cette circonstance. Si vos occupations vous le permettent, je serais heureuse que vous puissiez écouter cette exécution, qui s'annonce excellente [...]". - The earlier letter on mourning paper with recipient's marks in crayon, several tears, and somewhat creased. The later letter with traces of folds.
(2+1 =) 3 pp. on single leaf and bifolium. 4to. To the politician Chevalier Emmanuel Arago concerning a permission sought, in an earlier letter by M. Perulli, to dedicate to the queen a composition by a composer named Niglia (?) who has finally completed his piece of music, and about a petition concerning a passport for one M. Colombi whose identity Serracapriola was to investigate. Colombi claims to be Neapolitan; Serracapriola cannot provide him with a Neapolitan passport but may grant him a visa if a French passport is issued: "Je profite de cette occasion pour Vous transmettre la petition de M. Colombi que Vous m'avez laissé pour vous fournir des éclaircissemens sur cet individu [...]" (19 June 1843, with stamp and handwritten response on the verso). Serracapriola introduces Chevalier Quadri, an ophthalmologist who wishes to make Arago's acquaintance: "Le Chevalier Quadri oculiste renommé desire avoir l'avantage de faire votre connoissance, et sachant combien Vous apreciez les personnes aussi distinguées [...]" (6 March 1843).
4to. 1½ pp. on 2 ff. With 2 autograph envelopes. Both to his friend Henri Bloch, concerning the reception of a legacy by the soprano Félia Litvinne, which Bloch and his sister plan to donate to the "Musée de l'Opéra". Hahn promises to address a thank-you letter for this contribution to the opera's literary archive: "Des occupations sans nombre m'ont jusqu'à présent empêché de faire prendre chez vous les reliques de la pauvre Félia dont votre soeur et vous avez bien voulu me faire don pour le Musée de l'Opéra [...]" (8 Jan. 1946). - In the second letter Hahn gratefully mentions, more generally and poetically, the range of items donated from the soprano's former property as "glowing vestiges". Hahn also inquires which name he should set in the inscription installed over Brunhild's weapons: "Le public sera certainement heureux, comme nous le somme nous-mêmes, de pouvoir contempler ces beaux objets, si évocateurs d'une des plus belles incarnations dramatiques et lyriques dont s'enorgueillisse notre théâtre, et ces vestiges éclatants contribueront à perpétuer le souvenir de la grande artiste que fût notre chère Félia Litvinne [...]" (9 Feb. 1946). - Both letters with printed letterhead and vignette of the "Académie Nationale de Musiqe et de Danse".
8vo, and 4to. Together (1+3 =) 4 pp. on 2 bifolia. With autograph addresses. To the composer Auguste Matthieu Panseron, requesting an appointment to introduce a young music student in search for a teacher: "Une jeune personne, qui fait Son état de la Musique à Nancy est venue passer quelques mois à Paris dans l'intention de prendre des leçons des meilleurs maitres [...]" (8 Sept. 1828). - To the violinist Pierre Baillot, asking his opinion on Azaïs's articles on acoustics in the "Revue Musicale", published by the composer François-Joseph Fétis. Furthermore, Azaïs proposes a cooperation to Baillot, who could himself perform Azaïs's music or direct such a performance. They would - Azaïs seems certain of it - create something different and successfully avant-garde: "Vous recevez vraisemblablement l'utile est estimable Recueil que Mr. Fétis publie sous le titre de Revue Musical. Vous avez pu y voir quelques lettres de moi sur l'Acoustique j'ai eu la douceur d'apprendre qu'elles avaient intéressé plusieurs Musiciens. C'est votre suffrage surtout que j'ai désiré [...] En entremêlant mes improvisations de Morceaux de Musique choisis et exécutés par vous, ou, sous votre direction, par des personnes dignes de vous être associées, nous ferions une chose neuve, variée, susceptible de développement, et qui le me semble, mériterait des succès [...]" (8 Jan. 1832). - With traces of old mounting and a marginal tear from opening the letter. - Interesting documents of musical entrepreneurship, informed by the general social awakening during the years immediately before and after the July Revolution.
8vo. Together 2 pp. on single leaves. Inviting an unidentified recipient and asking him for the address of a M. Vail, probably the French-American painter Eugène Lawrence Vail: "Voici une invitation pour lundi. Que faites-vous de nouveau? Voilez vous m'indiquer l'adresse de votre ami Vail? Vous me feriez le plus vif plaisir [...]". - To a fellow poet, announcing a review of the recipient's latest book in Fuster's journal "Semeur" and asking whether there are any new or forthcoming publications: "Dans le dernier No. du Semeur, j'ai eu le plaisir de dire un mot de votre livre. J'en reparlerai sinon dans ma chronique de l'Estafette, du moins dans le prochain volume de l'Année des Poètes. Avez vous publié, ou allez-vous publier autre chose? [...]". - The letter of invitation on stationery with printed letterhead of the bi-monthly journal "La Vie". The second letter with recipient's note. Slightly smudged with traces of former mounting.
8vo. Together (1+2 =) 3 pp. on 2 bifolia. To a collector of autographs: "I have the pleasure of complying with your request for my autograph by subscribing myself [...]" (14 Nov. 1882). On mourning paper with embossed address. - To the engineer and railway pioneer Daniel Gooch (1816-89) about his son: "I am extremely obliged by your friendly letter communicating to me the reason why my son was not elected to fill the recent vacancy on the Guard of the Local Gate and Directorate. I fully appreciate the grounds of the selection made, and am most sensible of your kind intentions towards my son [...]" (21 Jan. 1883). On stationery with the emblem of Belvoir Castle. - Both letters somewhat browned; with signs of former mounting on verso. Includes an engraved portrait of Manners studying a book.
8vo. Together 4 pp. on 2 bifolia. To the scholar Théodore de la Rive. Bordeaux regrets he will be unable to visit him as he has to return to his wife, whom he left to tend to her ill mother, but hopes to welcome him in Paris shortly. He mentions working on his "chronique dramatique", which kept him from reading de la Rive's book on the bishop Francis de Sales (1567-1622), titled "Un saint gentilhomme", promising to read it as soon as possible, and announces a conference he is to give about the correspondence of the Saint: "C'était bien mon sujet de vous aller demander l'hospitalité précisément le 2 au soir. Mais j'ai laissé ma femme fatiguée à Cognin auprès de sa mère malade elle même. De sorte que j'ai réduit mon voyage ici à une visite à mes chères tantes, et je repars tout de suite [...] C'est à Paris que je vous attends [...] et que je me réjois de vous recevoir. A mon retour de Paris, j'ai du écrire ma chronique dramatique et n'ai rien lu encore. Mais je vais lire Un saint gentilhomme avec d'autant plus d'intérêt que je vais [...] faire aussi à Lyon et à Bruxelles une conférence sur la correspondance de votre saint de que vous me montrez [...] vos précieux models. Je vous en écrirai bientôt [...]" (1 Nov., no year). On the headed stationery of his father, the lawyer Louis Bordeaux. - To the same, with an invitation to his lecture on Louise de Charmoisy, a close friend and student of Francis de Sales: "C'est le 9 décembre, un mercredi, et le soir, que je ferai mon conférence à Lyon: La vie intérieure. Mme de Charmoisy ou la Philothée de St François de Sales. Je ne sais encore ni le lieu ni l'heure exacte (8h ½ suppose). Il me serait un grand honneur de vous avoir par auditeur. Mais je crains de ne pas mériter un tel déplacement [...]" (24 Nov. 1908). On mourning paper.
8vo. Together 4 pp. on bifolia. Historically significant letters by the president of the "Società nazionale italiana" to the Italian revolutionary and member of the society, Livio Zambeccari, just months before Garibaldi's Expedition of the Thousand. The earlier letter, written on the first of January 1860, is a fervent call to action against Angelo Brofferio's democratic unification society "Liberi Comizi". The comitia were founded in 1859 with the goal of uniting the left and liberal factions in Turin and strengthening the government of Alfonso Ferrero La Marmora and Urbano Rattazzi in order to prevent a new premiership of Camillo Benso di Cavour. On 31 December 1859, Garibaldi accepted the presidency of the "Liberi Comizi" under the condition that they changed their name to "Nazione Armata" - a huge symbolic victory for Brofferio. The "Società nazionale italiana" was in support of Cavour and thus in direct opposition to the "Liberi Comizi". In the letter, La Farina accuses Brofferio of "burying the national question and with it Cavour" and of instrumentalizing Garibaldi, with hints at his fraught relationship with Cavour and La Farina: "When public opinion was rising with great energy, they looked for a name that would serve as a lightning rod, and they took that of Garibaldi. They surround and deceive Garibaldi, detach him from me, seemingly based on a bit of resentment for my conduct in Bologna, exploit his resentment for the governments of central Italy, and induce him to resign from the presidency of the Società italiana and to accept the presidency of the Free Comitia, which assumes the sufficiently ridiculous name of Nazione Armata! [...]" (transl.). Despite Brofferio's coup, La Farina sees the public on their side, ridiculing the "Liberi Comizi" and the "Stendardo Italiano", wherein Brofferio had published several articles: "The country is completely with us and will show it in the next election: the entire press of liberal opinion, the Gazzetta del Popolo, except for the famous Stendardo, are with us [...]. To slander Cavour, to call yourself Nazione Armata, deify Garibaldi, and make the panegyric of La Marmora, wanting the entire nation to take up arms and shake hands with the minister who disarms Piedmont!" Nevertheless, Giuseppe La Farina calls on Zambeccari to "double his usual zeal for the national cause" and to inform the local president of the Società italiana in Bologna, Rinaldo Simonetti. - On 21 January 1860, the weakened government of La Marmora resigned and Cavour was called to the premiership. Despite this important success, the second letter from 23 February 1860 strikes a similar tone. La Farina expresses his sorrow as Zambeccari had lost his bid for the election of the Bologna communal council. His main concern, however, is the Società, probably in the context of a conflict with Giuseppe Mazzini's "Partito d'Azione" that was also competing for Garibaldi's endorsement: "In our Society at least the various liberals have to close ranks and the fatal ancient divisions of moderates and fanatics must disappear. But not everyone understands this truth; every day I should like to gnaw at my liver seeing my words wasted, and the project of concord ruined, for which I have spent my life day and night [...]". La Farina informs Zambeccari that Carlo Michele Buscalioni, the secretary of the Società Italiana, had been charged with settling the affair and thanks him for being a loyal member of the society. - On stationery of the "Società nazionale italiana". With recipient's notes in ink. Traces of folds; the letter from 1 January somewhat brittle along the folds of the second leaf, with tears slightly affecting the text and some browning.
Altogether 3 pp. 8vo. The first letter (Vienna, 17 Jan. 1869) in French, addressed to a Mr. Kaiser, concerning an article he wrote about him and an upcoming ball for which he should like to have a ticket. - In the second, undated letter, addressed to the same, he asks (in English): "Will the white card you gave me admit my wife and myself to your ball on Sunday evening? If not, will you kindly let your doorkeepers have orders to admit me on presenting my visit-card? I have made up my mind to go through the horrors of dressing myself & my wife up in unaccustomed gear in order to witness the fun at your Ball, & to do you justice in the English Press […]".
8vo. A total of 6 pp. Thanking recipients for letters received, with apologies for his late response.
8vo. Together 3 pp. on 2 bifolia. One with autograph address. To the editor of the Boston Traveller: "I send you the promised Christmas story to-day. I had to make it a little longer than I intended; these things get the better of me sometimes, but I suppose you will not object to this sort of fault. If you need it condensed however, be so kind as to let me do it. I don't like to have anyone else tinker my work: do you? [...]" (14 Nov. 1882). - To a Pittsfield lady, sending her a shad, or Alosa herring: "This is to introduce Mr. S. Shad: a Finnish gentleman whom I hear you have never met. He is a person of old family, though rather scaly; but he has always been in the swim; he has explored unknown depths, and has a great deal of Attic salt in his constitution, and much good taste. He needs to be accomodated with a cold bath all night, and martyred like St. Anthony in the morning. If you should alleviate his woes then with the crême de la crême, or even the milk of human unkindness, poured upon his cremated body, you will find him grateful (to the palate) [...] I trust you will be able to recommend him to Pittsfield society, as he has long been an important constituent of the Connecticut legislature [...]". - Each with 2 small strips of old mounting tape on verso. The letter of 1882 a little brownstained.
8vo. Together (3+3 =) 6 pp. on 2 bifolia. With 2 autograph envelopes. To the French violin maker and art historian Albert Jacquot (1853-1915) in Nancy about the ongoing deliberations of the jury of the 1889 Paris world fair, regarding the reward Jacquot is to receive for his exhibited instruments, meetings Ambroise was unable fully to attend due to his duties at the conservatory: "J'ai eu le regret de ne pouvoir prendre part aux dernières délibérations du Jury de la Classe 13, les concours publics du Conservatoire ne me l'ont pas permis. Il m'était donc difficile, après coup, de combattre les décisions de mes collègues de ce Jury. Mais j'ai lieu d'espèrer que Messieurs Gand [i. e. the violin maker Gautrot Gand] et Thibouville [i. e. the instrument maker Jérôme Thibouville-Lamy] seraient comme moi favorables à toute proposition tendant à élever votre récompense [...]" (Île Illiec, 5. Sept. 1889). - To the same in Paris, happy to find that one of his compositions, a religious march, was skillfully performed during a mass at St. Cécile in Nancy, with thanks for Jacquot's tireless efforts to support his art, as well as congratulations to Jacquot's father, who was recently awarded the cross of the League of Honour: "Vous avez eu l'obligence de m'annoncer que (grace à vous, j'en suis sur) on avait placé une ancienne marche religieuse de moi dans le programme de la Messe de Ste Cécile remarquablement exécutée récemment à la Cathédrale de Nancy. Je vous sais gré de votre zèle et du Concours dévoué que vous ne cessez de donner aux intérêts de l'Art. Tous doivent l'apprécier. Vous m'informez aussi que Monsieur votre père vient enfin d'obtenir la distinction qui vous tenait tant au coeur: La Croix de la Légion d'Honneur. Je vous en félicite, vous et lui [...]" (Paris, 17 Nov. 1892). On headed stationery of the Conservatoire National. - One letter with small marginal tears, partly rebacked with strips of paper. One envelope rather worn around the edges.
4to. French manuscripts on pink paper. Together 4 pp. Two manuscripts for Gautier's monthly series on thrillers and detective stories, "Un roman policier par mois", written for the literary supplement of "Le Figaro". Gautier reviewed Charles Exbrayat's "Pour Bellinda" (Librairie des Champs-Elysées, 1967) and the French translation of Donald E. Westlake's (aka Richard Stark) "Green Eagle Score" by Noël Chassériau, entitled "Le divan indiscret" (Gallimard, 1968). The beginning of the review of "Le divan indiscrète" is programmatic: "Without having to search very long, I found more than one thriller in a month that is worthy to be brought to our readers' attention. I hesitated for a moment considering the right approach: should I discuss several of them at once but afford each less space, which would not do justice to their quality; or report on only one... and keep the others in reserve." In the reviews, Gaultier considers the author's plot and character building but also makes general statements about the characteristics and literary values of the genre, probably in view of an audience that is accustomed to high-brow literature and might consider thrillers a lesser genre. - Both manuscripts show several autograph cancellations and emendations as well as editorial notes in red crayon and red felt pen. The two leaves of both manuscripts are joined with an old paper clip each in the right margin, leaving marks and minor tears. The review of "Pour Belinda" has a tear to the lower right corner of both pages, affecting Gautier's signature, and two minor tears. The review of "Le divan indiscret" shows traces of adhesive tape to the upper right margin. Very slight browning.
4to. 2 vols. (1), 314, (1) pp.; 2 ff. of equations inserted loosely. 260 [but 248: page count jumps from 229 to 240; 1 revised leaf removed by author after numbering the pages], (3) pp. Black ink on squared paper, occasional additions and notes in pencil and red or blue crayon. Includes numerous diagrams (some nearly full-page). Contemp. half calf with giltstamped spine title "Vorlesungen Mechanik I. [bzw. II.] F.H.". All edges red. Hasenöhrl's Mechanics lecture manuscripts, used and revised throughout the great physicist's last seven years of work, mainly composed in 1907/08 and bound for the author around that time. His name is on the flyleaf in his own hand: "Prof. Dr. F. Hasenöhrl / Wien, Universität". The volumes comprise the complete first two lectures (Mechanics and Continuum Mechanics) of Hasenöhrl's four-year cycle, which also included Electrodynamics, Theory of Heat, and Optics. - Volume 1 contains "Vorlesung über Mechanik der starren Systeme. Gehalten fünfstündig im Wintersemester 1907/8 (vom Beginn 24. X, bis 14. II.)" (a piece of information that contradicts Bittner's statement [p. 335] that Hasenöhrl did not teach that winter semester). The first session was Hasenöhrl's inaugural lecture at Vienna University. He inherited Boltzmann's chair, who had taken his life in Duino in the fall of 1906. In the appointment process for the successor to Boltzmann, Hasenöhrl had prevailed against his older colleagues Max Planck and Wilhelm Wien. Appropriately, this inaugural lecture, the only one largely written in shorthand, is an obituary of his predecessor (not identical with his Boltzmann obituary published in "Elektrotechnik und Maschinenbau" 41 [1906]). The remaining 28 chapters include "Kinematik des Punktes", Lagrange's equations, "Hamiltons partielle Differentialgleichung", and the theories of relative and cyclical movement. Red crayon markings indicate the progress made from session to session; individual problems are marked as having been treated in the seminary course rather than in the lecture hall. At the end (p. 305 ff.), Hasenöhrl has included the changes made for the 1910/11 winter semester (according to Bittner, Hasenöhrl again repeated the lecture in 1913/14). - Volume II contains the two-semester "Vorlesung über Mechanik der deformablen Körper" (winter semester of 1907/08: Elasticity; summer semester of 1908: Hydromechanics, of which latter course two weeks were lost due to the great student strike). Hasenöhrl prefixed a motto from Guido Ubaldi's "Paraphrasis in duos Archimedis aequeponderantium libros" (1588): "Quapropter ad Archimedem confugiendum est, si vera huius scientiae principia perdiscere cupimus." This volume likewise contains final changes made in 1911, constituting a thorough revision of pp. 90-101. In the summer of 1914 he revised the "slipshod pages 183 ff." about ray formation, which are partly struck out (p. 183f.), partly removed altogether (p. 185f.; the leaf is missing save for a narrow guard); these notes are followed by the sections "Allgemeines über Bewegung mit Rotationssym[m]etrie" and "Kreisförmige Wirbel" (13 pp. in total). Shortly before the end of the semester, the First World War erupted. Hasenöhrl, whose mother was descended from the old military nobility, volunteered for the infantry and was decorated after an injury in July 1915. In a battle near Folgaria he was killed by a shell splinter to his head on 7 October. - Although Hasenöhrl always spoke freely during his lectures (cf. Bittner, 198), rather than reading out a written text, as many of his colleagues did, it is clear that his presentation was based on minutely prepared notes. So closely did he compress the subject matter of his lectures that each session usually comprises a mere four to six pages in the manuscript; and still, we find in the text many tidily formulated paragraphs, including digressions on themes such as Sven Hedin's observations on the rivers of Tibet, which, when flowing south-north, are deflected eastwards - a practical example of relative movement. In his 1933 Nobel Prize acceptance speech, Erwin Schrödinger looked back on the gift of his teacher Hasenöhrl to discuss a subject matter in the lecture hall both extensively and closely: "The lecture cycle, which spanned eight semesters of five periods per week, treated the advanced theories of mechanics as well as the eigenvalue problems of continuum physics with the degree of detail that I would later need dearly - I have never been able to study from books with any ease [... He died in the War], and a feeling tells me that, but for that, it would be he who would be receiving this honor in my place today." In his 1904 treatise "On the Theory of Radiation in Moving Bodies", Hasenöhrl had applied the concept of "electromagnetic mass" to a cavity filled with radiation, arguing that any kind of thermal radiation provides such a body with an apparent increase of mass. This achievement, which makes the connection of energy and mass and - in its most radically compressed form "m = E/c²" - seems to anticipate Einstein's special theory of relativity, won Hasenöhrl the 1905 Haitinger Prize (at Boltzmann's suggestion) and was the basis for his appointment to the Vienna Chair of Physics the following year. In 1905, Einstein generalised Hasenöhrl's equation (which the latter had applied only to cavity radiation) and managed to embed it within an encompassing theory, thus arriving at the iconic "E=mc²" equation (for Hasenöhrl's role in the development of the equation cf. Stephen Boughn's recent article, "Fritz Hasenöhrl and E=mc²", in: The European Physical Journal H 38/1 [Jan. 2013], p. 1-18). Incidentally, Hasenöhrl taught Einstein's theory of relativity in his lectures - a highly uncommon course topic for the time. In 1911, Hasenöhrl participated in the historic first "Conseil Solvay", the invitation-only Brussels conference that united the world's elite of experimental and theoretical physicists to discuss the fundamental problems of their field. Themed "La théorie du rayonnement et les quanta", that first conference tackled the various approaches of classical physics and the emerging quantum theory; among the other participants were Einstein, Marie Curie, Ernest Rutherford, H. A. Lorentz, Wilhelm Wien, Heike Kamerlingh Onnes, and Henri Poincaré. Hasenöhrl also participated in the second Solvay Conference in 1913. - Edges slightly frayed and dusty, otherwise perfect. Of the utmost rarity: Hasenöhrl manuscripts are considered virtually unobtainable; auction records since 1975 list not a single leaf of writing in his hand (in contrast with more than 1000 records for Albert Einstein, more than 100 of which are manuscripts). The Göttingen State Library holds a 17-page transcript of Hasenöhrl's lecture on spherical functions (Cod. Ms. G. Herglotz E 15) in the hand of the student Gustav Herglotz (1881-1953), later professor of Mathematics at Leipzig and Göttingen. The Austrian Central Library of Physics keeps an archive of Hasenöhrl material: a single-box corpus containing mainly photographs, offprints, and photocopies of personal documents, but no manuscripts at all (with the exception of a single page of equations on the reverse of a letter from a bookseller). Several letters by Hasenöhrl are to be found in the personal archives of scholars (e. g., to Prof. Stefan Meyer, in the Archives of the Institute for Radium Research, Austrian Academy of Sciences). Cf. Lotte Bittner, Geschichte des Studienfaches Physik an der Wiener Universität in den letzten hundert Jahren (Vienna, Ph.D. thesis 1949), pp. 193-202 and 335-337. Cf. Stephen Boughn, "Fritz Hasenöhrl and E=mc²", in: The European Physical Journal H 38/1 [Jan. 2013], p. 1-18.
8vo. Altogether 2 pp. With autograph address. To one Madame Brettauer in Vienna, telling her that she would make a visit after her convalescence. - One card with punched holes in the upper margin (slightly touching letters).
Oblong small 8vo. 2 ff. On the fragment of a cigarette box, Derain records a book written by Agathe Godard, "Pousse avec ton pain", and draws a small sketch on the reverse; the other piece is a bill from the café "Les Deux Magots", on which reverse Derain has drawn something like a face or the sun.