Russian art critic, patron, and ballet impresario (1872-1929). Autograph postcard signed „Serge D.“. no place, no year. Oblong-small-8vo. 1 p. With a stamp of Serge Lifar.
$ 2,949 / 2.500 €
(103524)
Rare postcard written to Serge Lifar. „My dear Serge, I will be in Moscow on the 29th. I am leaving here (from Petrograd) at 9:25 in the morning and will arrive in Moscow at 3:35 in the afternoon. Please buy me a second-class ticket and meet me at the station at 10:50 in the morning. You will arrive in Moscow at 1:30 in the afternoon; if you can, wait for me at the station so that we can go together to the rehearsal. I am sending the money for the ticket today. Please take care of it immediately.
Many thanks and kisses, Serge Diaghilev“. - Russian art critic, patron, and ballet impresario (1872-1929) who was the founder of the Ballets Russes, from which many famous dancers and choreographers would arise..
Russian art critic, patron, and ballet impresario (1872-1929). Autograph postcard signed „Serge D.“. Monte Carlo. Oblong-small-8vo. 2 pp. With a stamp of Serge Lifar.
$ 3,539 / 3.000 €
(103525)
In this warm and reflective postcard, written from Monte Carlo, Serge Diaghilev writes to his protégé Serge Lifar, expressing both affection and concern. Diaghilev comments on their artistic work, logistical matters, and shared acquaintances. The tone—personal, direct, and at times mentoring—reveals the depth of the relationship between the great impresario of the Ballets Russes and his young star dancer and choreographer. „I received your letter at my new address, and today I’m writing to you from Monte Carlo, where I arrived this morning.
Ruda and Pusha send you their regards. Tcherepnin feels much better now—he had suffered from nervous exhaustion, which I think came from overwork. I am now completely immersed in literary matters—our performances in Paris and Biarritz went wonderfully well. Your absence has been deeply felt; everything would have gone even better if you had been here. Please write to me at this address until further notice. I have just received a letter from our Florence agent, who writes about Massine’s unreliability, and says that Ronald has once again made something inappropriate and unprofessional (his behavior is intolerable!). We think our troupe will leave around the 15th–20th of April, so please tell me whether you will be able to join us then or not. If you cannot, perhaps you could come to Monte Carlo for 4–5 days at least. You would be a great help.“ The references to Massine (Léonide Massine) and Ronald (possibly Ronald D. Coates or another company member) reflect internal Ballets Russes tensions of the late 1920s. Diaghilev’s concern for Lifar’s presence underlines how crucial Lifar had become to the company’s creative and moral stability in its final years..
Russian art critic, patron, and ballet impresario (1872-1929). Autograph postcard signed „Serge D.“. no place, no date. Oblong-small-8vo. 2 pp. With a stamp of Serge Lifar.
$ 5,663 / 4.800 €
(103526)
In this intimate and detailed letter, written on a Saturday, Serge Diaghilev expresses concern about Lifar’s silence and shares updates about mutual acquaintances, artistic preparations, and upcoming travel plans. The tone is affectionate but tinged with anxiety — Diaghilev’s typical mixture of mentorship, authority, and dependence on his young collaborator. He writes about the Ballets Russes’ artistic life in Monte Carlo, American contacts, and literary figures in Paris, revealing his constant networking and restless mind. „Why haven’t you written? It’s bad that you remain silent — I was beginning to think something was wrong.
Have you received my last letter? I’m writing to tell you that the preparations and rehearsals here are all going well. The “old man” still hasn’t arrived in Monte Carlo, but I think he’ll come soon, when everything is ready. You must take care of yourself — I’m told you’ve lost a lot of weight and are weak, you must get some fresh air! Keep working but don’t exhaust yourself. I’m doing the same every day, but often have to rush between rehearsals, meetings, and dinners with writers like Delacostelle, Kessel, Radiguet, Proust, and others. I hope you’ll soon come here to Monte Carlo. Americans are beginning to arrive — I think it would be useful for you to come too. Perhaps not for long, just for two days. Among them is Professor Carpenter, who gives lectures in Chicago — an interesting man, very cultured and educated. At the end of the month I plan to go to Milan to finalize some engagements; then I’ll be back here again for 8–10 days, after which I’ll go to Paris. Please write to me more often — your letters bring me great joy.“ This letter was likely written in the late 1920s, during Diaghilev’s final years, when his health was declining but his artistic energy remained intense. The references to Radiguet and Proust evoke his literary circles in Paris, while his mention of Monte Carlo and American contacts highlights the Ballets Russes’ international reach — and Diaghilev’s tireless drive to sustain it..
Russian art critic, patron, and ballet impresario (1872-1929). Autograph postcard signed „Sergei D.“. Venice. Oblong-small-8vo. 2 pp. With a stamp of Serge Lifar.
$ 4,129 / 3.500 €
(103527)
In this letter, written from Venice on a Saturday, Serge Diaghilev informs Serge Lifar about his arrival and the start of preparations there. The tone is affectionate and practical, showing both Diaghilev’s dependence on Lifar’s involvement and his characteristic mixture of managerial focus and personal concern. He speaks of work, company matters, and his wish for Lifar to rejoin him soon — revealing again their close collaboration in the Ballets Russes’ final years. „Yesterday I finally arrived in Venice and found our house charming.
I’m very happy with everything here — the weather is wonderful, and the mood is cheerful. Only one thing troubles me: your silence. I absolutely need to hear from you. Please pay attention to this! Write to me soon, tell me if you have begun rehearsals in Paris, and whether you are preparing the costumes and sets. Tcherepnin’s lessons have gone very well, but there is still much to be done. I’m worried about your health — they tell me you’ve been feeling tired again. Try to rest a little and recover. Everything is going beautifully in Monte Carlo so far; I’m waiting impatiently for news from you. Tell me if Branson’s ballet will be ready soon, and whether you plan to come to Venice. People here keep asking about you — they all miss you terribly. I’m writing this just after breakfast — the weather in Venice is glorious, the air mild, and the water glittering. Everything here brings peace and calm, and I’m already working on some new ideas for next season.“ This letter was likely written in the late 1920s, when Diaghilev was living in Venice between Ballets Russes seasons. His reference to rehearsals in Paris and to Tcherepnin (composer Nikolai Tcherepnin) places it in the company’s later period, when both Diaghilev’s health and finances were declining, yet his creative spirit — and attachment to Lifar — remained deeply alive..