Holographs and typescripts. Papers include holograph copies and some originals of letters from Serge Diaghilev to various correspondents; letters sent to Diaghilev and others from various correspondents; and documents contracts and receipts relating to Diaghilev and les Ballets Russes. Letters from Diaghilev include ones written to Michel Fokine, Guido Gatti, Desiré Inghelbrecht, Sergei Grigoriev, Serge Lifar, and Alicia Markova.
This collection relates primarily to the last ten years of les Ballets Russes of Serge Dyagilev. There are a few items from 1910-1911 regarding Michel Fokine. The Papers have been divided into three sections and arranged chronologically. The first comprises holograph copies and some originals of letters written by Dyagilev to various correspondents, such as Michel Fokine, Guido Gatti, Désiré Inghelbrecht, Sergei Grigoriev, Serge Lifar, and Alicia Markova. The second section consists of letters from various correspondents to Dyagilev, as well as letters relating to Dyagilev but neither written to nor by him. The last section contains documents, contracts, and receipts. Some of the material concerns the process in judicial cases brought against Dyagilev by Rastorgoueff, Mme. Bewicke, Gulbenkian, and Nijinsky—various artists of les Ballets Russes—for failure to execute contracts. Other pieces are, by contrast, relative to the cases brought by Dyagilev against Fokine and de Palignac.
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around 1,350 items (81 boxes, 91 linear feet).
This collection is comprised in large part of printed music, widely representing 18th century Italian and 19th century Russian operatic music. Includes rare pre-revolutionary editions of Russian folk songs, annotated performance scores of Stravinsky, Mussorgsky, Rimsky-Korsakov, Gounod, Cimarosa. Non-musical materials include three letters from S. Prokofiev to S. Diaghilev, rare editions of books on music, literature and theater, libretti and synopses, souvenir books and programs and photographs. Several of the programs and photographs show Léon Bakst's set and costume designs. Non-musical materials also include Diaghilev's personal notebook, containing entries in French, Russian and English written from 1926 to 1929.
Originals letters, holographs and typescripts, written primarily to Serge Diaghilev, covering many aspects of his life. The focal points of the collection are letters from Lady Juliet Duff and a group of letters from Lady Rothermere and Lord Rothermere business associates, Ernest Outhwaite and William Luck Warden. These letters show how Diaghilev fiananced his company, particularly the 1928 and 1929 London seasons.
Collection of material related to careers of composer Igor Stravinsky and Ballets Russes founder Serge Diaghilev, assembled by the Stravinsky-Diaghilev Foundation founder and president, Parmenia Migel Ekstrom.
Projects notes, newsletters, auction and exhibition catalogs, offprints of articles and clippings, programs and invitations to exhibitions and receptions, and other material assembled by the Stravinsky-Diaghilev Foundation for reference.
Sergei Denham is most prominently known as the director of the Ballet Russe de Monte Carlo. The Sergei Denham Papers consist of correspondence, legal, financial, and personal papers that document his life outside of his work with the Ballet Russe, predominantly his career in the banking world.
Serge Lifar, dancer, choreographer and author, was born in Kiev, Russia in 1905. He studied with Bronislava Nijinska, who brought him to Paris in 1923 where he joined Diaghilev's Ballets Russes. He became a protege of Diaghilev, was named premiere danseur in 1925, and remained with the company through it s last season in 1929. These letters were written by Lifar toDiaghilev when Lifar was 19 to 23 years old. Sotheby's described the contents of the collection: "The letters are in Russian and are about Lifar's education in Italy, supervised by Diaghilev, and his ballet studies including his lessons with Enrico Cecchetti in Turin, reporting Ceccehtti's changes in his arm movements... his problems with his hands, consultations with doctors, his attempts to learn French, his visits to Florence, Fiesole, Milan and...Venice, his impressions on seeing the works of Raphael, Botticelli, Mantegna, and Michelangelo... his relationship with Diaghilev...his opinions of other dancers ... his own ... Read More