BAKST, Léon (1866-1924). Eleven autograph letters signed to an unidentified correspondent [Gabriel Astruc, director of the Théâtre des Champs-Elysées], Paris, Baden-Baden, London and n.p., 23 March 1911 - 2 July 1913 and n.d., 12 pages, 8vo and 3 pages, 4to (one written in pencil and one on squared paper, several date-stamped by the recipient); and a document (receipt) signed and an autograph note signed (in pencil) by Jean Cocteau Paris, 18 January 1911 and n.d., 2 pages, 8vo , and two other items.
BAKST, Léon (1866-1924). Eleven autograph letters signed to an unidentified correspondent [Gabriel Astruc, director of the Théâtre des Champs-Elysées], Paris, Baden-Baden, London and n.p., 23 March 1911 - 2 July 1913 and n.d., 12 pages, 8vo and 3 pages, 4to (one written in pencil and one on squared paper, several date-stamped by the recipient); and a document (receipt) signed and an autograph note signed (in pencil) by Jean Cocteau Paris, 18 January 1911 and n.d., 2 pages, 8vo , and two other items. THE HEYDAY OF THE BALLETS RUSSES. An evocative group of letters referring particularly to Bakst's work for Les Péris , Boris Godounov and Le Dieu Bleu , the exotic spectacular for which Diaghilev engaged Bakst as designer, Cocteau as librettist, Fokine as choreographer and Reynaldo Hahn for the music. Nijinsky and Karsavina were the principal dancers. Bakst recommends Cocteau to do the posters [for Le Dieu Bleu ]: 'Il a beaucoup de talent pour le dessin et il fera un Nijinsky épatant... Je crois que Diaghileff sera de mon avis'; 'J'ai expedie à Diaghileff esquisse [...] costumes de Péri, quand à Dieu-Bleu -- j'attends une mise-en-scène sans laquelle je ne peux pas avancer beaucoup ce ballet'; one letter complains furiously that two particular curtains for Péri are lost, and demands an enquiry because Diaghilev will want the full decor restored. Several letters refer to money, one protesting the reasonableness of his bill (amounting to Fr 4570) for 'les decors de la fontaine de Boris' and pointing out that he has given 'un prix d'ami'. The production has a 'succès fou' in London and -- unlike Paris -- the Opera enjoys the same favour as the Ballet: 'Temps splendide, animation extra-ordinaire, en somme, Londres est une merveilleus- ville'. Cocteau's receipt is for his contract for 'le Dieu Bleu'; the note asks asks about the return of his Russian posters. (13)
BAKST, Léon (1866-1924). Eleven autograph letters signed to an unidentified correspondent [Gabriel Astruc, director of the Théâtre des Champs-Elysées], Paris, Baden-Baden, London and n.p., 23 March 1911 - 2 July 1913 and n.d., 12 pages, 8vo and 3 pages, 4to (one written in pencil and one on squared paper, several date-stamped by the recipient); and a document (receipt) signed and an autograph note signed (in pencil) by Jean Cocteau Paris, 18 January 1911 and n.d., 2 pages, 8vo , and two other items.
BAKST, Léon (1866-1924). Eleven autograph letters signed to an unidentified correspondent [Gabriel Astruc, director of the Théâtre des Champs-Elysées], Paris, Baden-Baden, London and n.p., 23 March 1911 - 2 July 1913 and n.d., 12 pages, 8vo and 3 pages, 4to (one written in pencil and one on squared paper, several date-stamped by the recipient); and a document (receipt) signed and an autograph note signed (in pencil) by Jean Cocteau Paris, 18 January 1911 and n.d., 2 pages, 8vo , and two other items. THE HEYDAY OF THE BALLETS RUSSES. An evocative group of letters referring particularly to Bakst's work for Les Péris , Boris Godounov and Le Dieu Bleu , the exotic spectacular for which Diaghilev engaged Bakst as designer, Cocteau as librettist, Fokine as choreographer and Reynaldo Hahn for the music. Nijinsky and Karsavina were the principal dancers. Bakst recommends Cocteau to do the posters [for Le Dieu Bleu ]: 'Il a beaucoup de talent pour le dessin et il fera un Nijinsky épatant... Je crois que Diaghileff sera de mon avis'; 'J'ai expedie à Diaghileff esquisse [...] costumes de Péri, quand à Dieu-Bleu -- j'attends une mise-en-scène sans laquelle je ne peux pas avancer beaucoup ce ballet'; one letter complains furiously that two particular curtains for Péri are lost, and demands an enquiry because Diaghilev will want the full decor restored. Several letters refer to money, one protesting the reasonableness of his bill (amounting to Fr 4570) for 'les decors de la fontaine de Boris' and pointing out that he has given 'un prix d'ami'. The production has a 'succès fou' in London and -- unlike Paris -- the Opera enjoys the same favour as the Ballet: 'Temps splendide, animation extra-ordinaire, en somme, Londres est une merveilleus- ville'. Cocteau's receipt is for his contract for 'le Dieu Bleu'; the note asks asks about the return of his Russian posters. (13)
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
