GEORGE (Marguerite-Joséphine Weimer, known... - Lot 4 - Osenat

Lot 4
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300 - 400 EUR
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Result : 438EUR
GEORGE (Marguerite-Joséphine Weimer, known... - Lot 4 - Osenat
GEORGE (Marguerite-Joséphine Weimer, known as Mademoiselle). 3 autograph letters signed. - To the actor Louis-Basile Vaucorbeil dit Ferville. S.l., [date of receipt of May 17, 1836 from another hand of the time]. "Now that the troops are formed, I have come to ask you to take care of me. I am rested enough to set out on my journey, and I look forward to a happy outcome from your good will. So don't waste a minute, I'm already bored with my inactivity... "(1 p. in-8, address on the back, collector's stamp). - To his nurse Marianne Le Vasseur. Prague, May 18, 1841. "I often receive news of you, through the good Aimée, I have just written to her from Breslau to ask her to give you 30 f. Be at peace, old woman, you will never lack anything. If you want to give me a great pleasure, my dear and good nurse, you will try to find lodging near the good and excellent beloved. There I would be calmer on you, if you were ill... I beg you, my dear maid, do this for me, Aimée will find you a pretty room, you know that she gets along well there, and at least I will EMPIRE THEM TO YOU AT FONTAINEBLEAU MONDAY 22 MARCH 2021 8 know you will be near my friends, and you will not be delivered to foreign hands. So do this for me. If you want something, write to me in Dresden... Farewell, my good old woman, think of me, and always believe that I am watching over you whom I love with all my heart. Don't be embarrassed for yourself. Feed yourself well. Take care of yourself as much as possible to live a long life. Goodbye, my dear, good friend. Everybody hugs you. Your good daughter George... "(2 pp. 1/4 in-8, address on the back). - To a theatre manager. Paris, July 9, 1845. "Having a leave of absence, I have the honor to offer you a few performances at your theater. Please be so kind as to inform me if you can receive me, in which case, let me know your time and conditions. Mine are usually half revenue after expenses have been deducted. If you may need a lead role...], I would be accompanied by an Odeon artist who would play for a small fee. You can choose in MY DIRECTORY : LA TOUR DE NESLES [BY ALEXANDRE DUMAS], LUCRÈCE BORGIA [BY VICTOR HUGO], MARIE TUDOR [OF THE SAME], Le Manoir de Montlouvier [by Joseph-Bernard Rosier], La Chambre ardente [by Anne-Honoré-Joseph Duveyrier dit Mélesville and Jean-François-Alfred Bayard], La Folle de la cité [by Charles-Lafont], Léon [by Michel-Nicolas Balisson de RougemOnt], La None sanglante [by Anicet Bourgeois and Julien de Mallian], Jane Gray [by Alexandre de Ferrière], Phèdre [by Jean Racine], Les Pharaons (nouveaux) [by Ferdinand Dugué], Une Fête de Néron [by Alexandre Soumet], Mérope [by Voltaire]... "(2 pp. in-8). ONE OF THE GREATEST FRENCH COMEDIANS OF THE FIRST THIRD OF THE 19th CENTURY, MADEMOISELLE GEORGE (1787-1867) was a child of the ball whose precocious talent was discovered and favoured by Miss Raucourt and François-Joseph Talma. Famous from her debut at the Comédie-Française, at the age of sixteen, her beauty attracted the favours of men, and SHE WAS THE MASTER OF LUCIEN BONAPARTE, NAPOLÉON BONAPARTE, THE FINANCIER OUVRARD, THE TSAR ALEXANDER I... Riddled with debt, in 1808 she won St. Petersburg with the Russian diplomat Konstantin von Beckendorff and achieved great success there on the stage of the Imperial Theatre. Following the war between France and Russia, she won Sweden, where Bernadotte received her, then Wetsphalia, where she was hosted by King Jerome, to join Napoleon I in Dresden: she played for him with Talma, and was reintegrated into the troupe of the Frenchman. During the First Restoration, she was among those of the "party of the bees" with the same Talma and Mademoiselle Mars, and, in the Hundred Days, greeted the return of the Emperor who showered her with favours. Excluded from the Comédie-Française in 1817, she toured abroad, but resumed her Parisian career in 1821, first at the Odéon and then at Porte-Saint-Martin. From 1829 onwards, she distinguished herself in the Romantic repertoire, notably in the leading roles in works by Alexandre Dumas and Victor Hugo. However, as she grew older and became overweight, she experienced a difficult end to her career and, after 1849, a miserable retirement. She left memoirs, probably arranged by a professional writer, which were not published until 1912.
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