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Legouvé, Ernest, 1807-1903. Autographed poem entitled, "Le jeu, le jeu lui-même," ca. 1855-1856.

Title: Autographed poem entitled, "Le jeu, le jeu lui-même," ca. 1855-1856.

ArchivalResource: 1 leaf.

http://www.worldcat.org/oclc/155887971 View

Berlioz, Hector, 1803-1869. Autograph letters signed (3), dated : [n.p., Paris], 20 March [1864], 13 May 1864, and 8 January [1864?], to his son, Louis, [1864] Jan. 8, Mar. 20, and May 13, and [n.y.].

Title: Autograph letters signed (3), dated : [n.p., Paris], 20 March [1864], 13 May 1864, and 8 January [1864?], to his son, Louis, [1864] Jan. 8, Mar. 20, and May 13, and [n.y.].

Saying he just saw Gounod's Mireille--he left when, at 12:30 AM, Act 5 had not yet begun: "C'est un mélange de belles choses et de choses vulgaires, usées, petites"--, adding that Mme Carvalho, Ismael, and Morini all sang "trop haut," sending greetings from M. Morel, mentioning d'Ortigue, M. and Mme Rhoné, Legouvé, the grand duke of Weimar, Benazet, Meyerbeer, Heine, [Auguste] Mermet's Roland [à Roncevaux] at the Opéra ("quelle farce! jouer un opéra en cinq actes d'un amateur qui n'a jamais rien fait et qui, dit-il, travaille jour et nuit le traité d'instrumentation de Berlioz!"), Salmon, Damke [i.e. Berthold Damcke], Kreuzer [i.e. Léon Charles François Kreutzer?], etc.

ArchivalResource: 3 items (8 p.) ; (8vo)

http://www.worldcat.org/oclc/270672404 View

Autograph File, L, 1641-1976.

Title: Autograph File, L, 1641-1976.

The Autograph File is an alphabetically arranged collection of single letters, manuscripts, and drawings received from various sources at various times. Additions continue to be made.

ArchivalResource: 11 boxes (5.5 linear ft.)

http://id.lib.harvard.edu/ead/hou01435/catalog View

Schoelcher, Victor, 1804-1893. Autograph letter signed, dated : Milan, 30 April 1849, to Camille [Pleyel?], 1849 Apr. 30.

Title: Autograph letter signed, dated : Milan, 30 April 1849, to Camille [Pleyel?], 1849 Apr. 30.

Expressing regret that he was not present for the discussion "de la loi coloniale," commenting on the future of the law, discussing his travel plans, saying that "Cette vilaine femme que je déteste a eu l'audace et la déloyauté de donner un concert public. Vous avez certes mieux que moi encore grace au Ciel cher bon Camille pour vous fortifier contre ces profanations de votre name si pur," mentioning [Eugène?] Sue, Legouvé, Chaillon, etc.

ArchivalResource: 1 item (3 p.) ; (16mo)

http://www.worldcat.org/oclc/270873705 View

Berlioz, Hector, 1803-1869. Autograph letter signed, dated : Paris, 10 July 1864, to [Madame Rhoné], 1864 July 10.

Title: Autograph letter signed, dated : Paris, 10 July 1864, to [Madame Rhoné], 1864 July 10.

Saying that he has just heard from M. Legouvé that the recipient has written to M. Goyetch, saying he is touched by her kindness and at the promptness which she has again shown in granting his son, [Louis,] her gracious protection, etc.

ArchivalResource: 1 item (2 p.) ; (12mo)

http://www.worldcat.org/oclc/270672659 View

Delacroix, Eugène, 1798-1863. Eugène Delacroix correspondence and working notes, circa 1814-1863.

Title: Eugène Delacroix correspondence and working notes, circa 1814-1863.

Letters of Delacroix dating mostly from the last fifteen years of his life, thirteen letters received, portions of a school notebook and two sheets of working notes, circa 1838 and undated. In the letters, Delacroix writes of his paintings for the Salon de la Paix of the Hôtel de Ville and for the Chapelle des Anges of Saint-Sulpice; his roles as an occasional member of the Salon jury, as City Councillor of Paris (1851), and as a member of the Academy (1857); his exhibition at the Exposition Universelle of 1855; the remodeling and maintenance of his studios in Paris and at Champrosay, the restoration of his paintings, the critical response to his work; and his social life, friendships, illnesses, and experience of aging. While most are unreflective, few fail to mention his work or activities in some detail. Only eight of the letters have been published. The collection includes two sheets of working notes, one on anatomy and another relating to subjects for the decorations in the library of the Chambre des députés. Series I. Letters to various correspondents, 1826-1963 (Box 1, Folders 1-11). In the letters arranged by chronological order, Delacroix frequently comments on the great effort required for the decorative projects and expresses elation upon completion of work. He also refers to the framing of his painting (to Haro, 1850), the restoration of the Death of Sardanapalus and other works (to Chennevières, 1856; Verninac, 1855); the hanging of his show in 1855 and a projected exhibition in Limoges (1861). His notes to critics include specific response to their reviews (to Astruc, 1860; Buloz, 1854; Chesneau, 1861; Cuvillier-Fleury, 1855; Gautier, 1860; Thore, 1861). On two occasions, he rails against biography as a form of art criticism, but also assesses several biographical articles on himself (unidentified correspondent, 1861; Arnoux, undated). In 1851, a frequent theme is the futility of his efforts as City Councillor of Paris; in 1856-57, it is the advancement of his candidature for the Institut (to Bixio, J. Duret, Baron Taylor, et al). Of special interest are letters to the cellist Batta about his wife's translations (1857); to an official at the Hôtel de Ville requesting special viewing conditions for Clement de Ris who will write about Delacroix's paintings; to Charles Blanc thanking him for his role in obtaining the Saint-Sulpice commission (1861); to F. Lamey commenting on Haussmann's Paris (1855); to Buloz concerning Planche's article on the Salon de la Paix, with a comment on Ingres (1854); to the Roche, on Delacroix's brother's tomb and on personal matters; to George Sand and her son, Maurice, about Maurice's marriage (1862); to Savignac on religious questions and commenting in some detail on a painting by Savignac (1862); to Soulier touching on both artistic and personal matters (1826, 1853-57); and to the Comte de Forbin arranging for Tomasz Oskar, Comte de Sosnowski to copy a painting in the Luxembourg Museum (1836). Other correspondents include Eugène Isabey (undated), Mlle. Seligman (1861), M. Souty (undated, 1852), M. Pingard (1857), and Antoine? Etex (undated). Important letters already published are to Astruc (1859), Blanc (1861), Chesneau (1861), Gautier (1860), F. Guillemardet (1828), Huet (1858), Soulier (1826, 1853, 1857), and Baron Taylor (1856). Series II. Letters to Jules Laroche, 1857-1861 (Box 1, Folder 12). Delacroix moved in 1857 into the studio and apartment at 6 rue de Furstemberg (now the Musée Delacroix), so that he could be within easy walking distance of his work in progress at Saint-Sulpice. The following summer he bought a house at Champrosay that he had rented since 1852. He hired Jules Laroche, an architect at Corbeil, near Champrosay, to remodel both properties. The twelve letters concern the work done by Laroche for Delacroix. Series III. Letters received, 1822-1839 (Box 1, Folder 13). Thirteen letters from several correspondents, including Achille Deveria and Elisa Boulanger, discussing intimate personal matters and mutual acquaintances. Series IV. School notes, circa 1814-1815 (Box 1, Folder 14). A portion of a school notebook dating from the period when Delacroix was a pupil at the Lycée Louis le Grand. It consists of exercises in Greek and Latin and short essays in French (heavily corrected). Delacroix experiments with forms of his signature in the margins. Includes a small sketch of a horse in silhouette. Series V. Working notes, circa 1838 and undated (Box 1, Folder 15; Box 2*). The working notes comprise 2 items: a list of subjects (Box 2*) and a sheet with notations on colors (Box 1, Folder 15). The first is a large sheet (circa 1838), written in pencil on both sides, listing subjects by branches of knowledge, figural personifications and historical anecdotes, with some comment on Delacroix's larger thematic intentions and with a pen sketch of a man on a horse. This most likely represents some of the artist's first reflections on the iconographic scheme for the decoration of the library of the Chambre des députés.

ArchivalResource: circa 144 items.

http://www.worldcat.org/oclc/80554352 View

Académie française autograph album, 1722-1891.

Title: Académie française autograph album, 1722-1891.

Autographs of members of the French Academy, Paris.

ArchivalResource: 1 v. (.1 linear ft.)

http://id.lib.harvard.edu/ead/hou00984/catalog View

Pierre-Jules Hetzel, Papiers. NAF 16932-17152., XIXe s.

Title: Pierre-Jules Hetzel . Papiers. XIXe s.

ArchivalResource: 221 vol. dont 134 vol. reliés et 87 carnets.

http://archivesetmanuscrits.bnf.fr/ead.html?id=FRBNFEAD000007039 View

Lablache, Luigi, 1794-1858. Autograph letter signed : [n.p., Paris?], to M. [Ernest?] Legouvé, [n.d.].

Title: Autograph letter signed : [n.p., Paris?], to M. [Ernest?] Legouvé, [n.d.].

Declining an invitation, saying that he is engaged for that evening, and for after the performance with Mme Truihard.

ArchivalResource: 1 item (1 p.) ; (8vo)

http://www.worldcat.org/oclc/270666561 View

Olfers. Frauenkampf : Lustspiel in 3 Akten, ca. 1865-1886.

Title: Frauenkampf : Lustspiel in 3 Akten, ca. 1865-1886.

The German play, which was first published in 1851, is an adaptation of the French play Bataille de dames, by Scribe and Legouvé. The file contains materials related to rehearsal and performance, including a published copy (Berlin: Eduard Bloch, L. Lassar's Buchhandlung, n.d.; second edition), which has been annotated as a prompt-book, with a sketch of the set noted on the inside back cover and a list of props on the back fly-leaf; and 2 handwritten role books, for the following parts: Gräfin von Autreval; and Henri von Flavigneul. (The play has 4 additional roles: Leonie von Villegontier; Gustav von Grignon; Baron von Montrichard; ein Unteroffizier; and ein Bedienter.) The published copy dates from around the mid 1860s. (On the title page the author is given only as "Olfers"; the online Achivdatenbank des Goethe- und Schiller-Archivs, Weimar, attributes authorship of this work to Marie von Olfers, 1826-1924). On the page with the list of characters 2 sets of cast member names are noted. One set corresponds to the cast that performed the play at Germania Theater, Philadelphia, in Oct. 1878, as documented in a theater newspaper (see folder 703). The names in the other set are familiar from the casts of other German-language plays in Philadelphia, and reflect a cast that probably would have performed in the period 1880-1886. Names of the actresses and actors who played the parts are written on the covers of the role books, reflecting two casts, one of which is the 1878 cast. The other names on the role books could not be deciphered and seem to stem from a performance prior to 1878. All the items are marked by hand as the property of Theodor Bloch, who was active in German-language theater in Philadelphia, first as an actor and later as a prompter, from the early 1870s until the mid 1890s, and who also ran a theater lending library.

ArchivalResource: 3 items.

http://www.worldcat.org/oclc/155866252 View

Legouvé, Ernest, 1807-1903. Medea. Act 3d and last.

Title: Medea. Act 3d and last. [1868?]

ArchivalResource: 1 v. (unpaged) ; 34 cm.

http://www.worldcat.org/oclc/46736749 View