Beschreibung:

FRENCH THEATRE -- 19th/20th CENTURY. A collection of ten autograph letters signed by actors, dancers, singers and musicians including: Jean CORALLI (to [Edouard] Deldevez, asking him to finish the score of the pas-de-deux of Mlle Dubignon); Carlotta GRISI (to [Alphonse] Leduc], asking him to arrange the distribution of her cartes de visite on her departure); Lucien PETIPA (to Deldevez congratulating him on becoming 'premier chef des concerts du Conservatoire ... justice vous est donc rendue', 1872); RACHEL, i.e. Elisabeth Rachel Félix (to an admirer informing him of her address in Brussels, and urging him to join her, 'Je t'agrée pour toute ta vie près de moi, mais là tout prés '); Giulia GRISI (to Countess Merlin, explaining her absence from a soirée because she has a concert and is singing in Othello the next day); Jacques OFFENBACH (to a duchess promising her a box for the premières of his productions but not a second one); RÉJANE, i.e. Gabrielle-Charlotte Réju (to Clemenceau, appreciating his support; to Calmet, and an inscribed and signed card); Jean-Louis BARRAULT (to Sartre, asking permission for himself and Madeleine Renaud (his wife) to put on Huis Clos [Sartre's existentialist play famously concluding that 'Hell is other people'] in Lyon and in Switzerland the following January [1948]). (10)
FRENCH THEATRE -- 19th/20th CENTURY. A collection of ten autograph letters signed by actors, dancers, singers and musicians including: Jean CORALLI (to [Edouard] Deldevez, asking him to finish the score of the pas-de-deux of Mlle Dubignon); Carlotta GRISI (to [Alphonse] Leduc], asking him to arrange the distribution of her cartes de visite on her departure); Lucien PETIPA (to Deldevez congratulating him on becoming 'premier chef des concerts du Conservatoire ... justice vous est donc rendue', 1872); RACHEL, i.e. Elisabeth Rachel Félix (to an admirer informing him of her address in Brussels, and urging him to join her, 'Je t'agrée pour toute ta vie près de moi, mais là tout prés '); Giulia GRISI (to Countess Merlin, explaining her absence from a soirée because she has a concert and is singing in Othello the next day); Jacques OFFENBACH (to a duchess promising her a box for the premières of his productions but not a second one); RÉJANE, i.e. Gabrielle-Charlotte Réju (to Clemenceau, appreciating his support; to Calmet, and an inscribed and signed card); Jean-Louis BARRAULT (to Sartre, asking permission for himself and Madeleine Renaud (his wife) to put on Huis Clos [Sartre's existentialist play famously concluding that 'Hell is other people'] in Lyon and in Switzerland the following January [1948]). (10)