Jerome Robbins Dance Division

Resources (66)

• Furthermore, under such headings as "Russian Ballet," "Ballet—Russia to 1917," "Ballet—U.S.S.R.," and "Ballet Russe," the catalogue often has scores of entries, including photographs, motion pictures, scrapbooks, clippings, programs, and oral interviews. For virtually every Russian/Soviet ballet (i.e., with music, choreography, or libretto by Russian/Soviet artists) there are again materials. Thus, not only does the library hold large quantities of items for such standards as "Swan Lake" and the "Nutcracker," but it also has photos and a motion picture for "The Little Humpbacked Horse."

• Agnes De Mille (b. 1918)

  5 notebooks and 3 folders of material. American dancer, choreographer, and writer. Correspondence, scenarios, choreographic notes, and other writings. "Russian journals" kept by De Mille in 1966 and 1969, the latter diary from her trip to Moscow by invitation to judge an international ballet competition, handwritten and typed. The finished 1969 diary appeared as "Judgment in Moscow" in Dance Perspectives (New York, 1970, no. 44, Winter). Permission required.

• Agrippina Yakovlevna Vaganova (1879-1951)

  Miscellaneous manuscripts, in French.

• Aleksandra Dionisievna Danilova (b. 1904)

  Russian-born ballerina. Miscellaneous manuscripts; scrapbooks, 15 vols., of clippings, programs, and photos from 1937–56; scrapbook of clippings from U.S. tours, 1954–56; and photo scrapbook from a 1957 tour of Japan. Plus microfilm copies of the scrapbooks.

• Alexsandre Nicolaivich Benois (1870-1960)

  Painter and writer. Watercolor, signed twice in ink, of a set design for scene II of "Le Pavilion d'Armide" (St. Petersburg, 1908); the ballet's libretto was also by Benois.

• Alicia Markova (b. 1910)

  British dancer. Miscellaneous manuscripts, including a holograph letter, 22 July 1941, to Cyril Beaumont discussing her first summer at Jacob's Pillow, Anton Dolin, Mikhail Fokin, Antony Tudor, and a revival of B. Nijinska's "The Beloved." (Real name: Alice Marks)

• Allan Ross Macdougall (1893-1957)

  65 folders, ca. 250 items. Collection of holographs, typescripts, and photographs, especially notes and drafts for his biography of Isadora Duncan entitled Isadora: A Revolutionary in Art and Love (New York, 1960). Also correspondence about the work, including letters to him from Irma Duncan concerning the Isadora Duncan School in Moscow, 1928, from Sergei Essenine, typed copy, and copies of original Isadora Duncan letters in the Irma Duncan Collection (q.v.).

• Andre Bauchant (1873-1958)

  Miscellaneous manuscripts, in French, including letters to Aleksandr Shervashidze.

• Anna Evreinoff

  Papers include a TLS, 7 July 1964, which speaks of Pedro Pruna's designs for L. Massine's ballet Matelots.

• Anna Pavlova (1882-1931)

  Dancer. 2 scrapbooks, 1917–24, of the ballerina with photos and clippings (in French, Russian, Italian, and German) articles, programs, and postcards; extensive collection of photographs; a dry-point etching, signed, of Pavlova by Troy Kinney (New York, ca. 1930), also bearing the dancer's autograph; charcoal drawing with gouache highlights, signed, by Francis A. Haviland (London, 1910)—in the Cia Fornaroli Collection; and Pavlova's bronze death-mask (The Hague, 1931), from the original plaster now in London.

• Ballets performed at the Maryinsky Theatre, Leningrad, 1800-1903

  New York? 194-?, 14 11.

• Ballets produced Jan. 1, 1945-April 18, 1954 by Ballet Russe de Monte Carlo,

  Ballet Theatre and New York City Ballet (Ballet Society). New York, 1955?, 20 11.

• Bronislava Nijinska (1891-1970)

  Sister of Vaslav Nijinsky, dancer, and choreographer. An ALS to Richard Pleasant about working again with his Ballet Theatre (Hollywood, 1940). (Isadora Bennett Collection)

• Cesare, Enrico and Giuseppe Cecchetti

  Several ALS and signed postcards are from Enrico Cecchetti (1850–1928) to his pupil and godchild, Gisella Caccialanza, Milan, 1926–28; his manuscript book "Manuel des exercices de danse theatrale a pratiquer chaque jour de la semaine a l'usage de mes eleves" (St. Petersburg, 1894), 102 pp., with a chapter on dance notation; there is also his volume, unpaged, entitled "Elenco delle allieve della Accademia di Ballo del Teatro alia Scala di Milano, 1925–1928" [Milan, 1928]. A TLS in Italian from Cesare Cecchetti to Cia Fornaroli (Milan, 13 December 1928) concerns Anna Pavlova. (In the Walter Toscanini Collection/ Cia Fornaroli Collection)

• David Lichine (1910-1972)

  Papers, in French and Russian. Includes photocopy of his holograph notebook on Graduation ball, with his description of the choreography, illustrated by small drawings throughout. This was the first ballet choreography accepted for copyright in the U.S.

• Edward Gordon Craig (1872-1966)

  Craig-Duncan Collection, 1901–57, 360 folders. Theater artist and author. Material relating to the dancer Isadora Duncan includes correspondence, 1904–1905, from Duncan when she appeared in St. Petersburg and Moscow. Special handling. Published register: Bulletin of the NYPL, 76 (1972), pp. 180–98. (NUCMC 72–256)

• Francis Steegmuller (b. 1906)

  Author. Correspondence, 1974-present, including some from Irma Duncan and Natalia Roslavleva relating to Isadora Duncan, especially her times in Russia. Also, papers relating to his book "Your Isadora," 1972–75, 94 folders. Includes correspondence with Irma Duncan and the Soviet dance historians Vera Krasovskaia and Natalia Roslavleva (pseud.). Permission required for the second collection.

• Gabriel Astruc (1864-1938)

  Papers, 1904–25, 123 folders, ca. 1,300 items. French impresario, journalist, publisher, and director of the Theatre des Champs-Elysees (Paris) in 1913. Includes correspondence, financial papers, inventories, notes and plans, programs, contract drafts, reports, and clippings. Much relates to the early activities of Sergei Diaghilev, who brought Russian ballet and opera to Western Europe. Most items are from 1907–14, none from 1915–24. Astruc and Diaghilev became close collaborators. The collection has detailed information about the first Saison Russe of Diaghilev at the Theatre du Chatelet in Paris, 1909, including inventories of costumes and scenery and even Astruc's report to Baron Frederiks, minister of the Russian court. Among correspondents and others mentioned in the papers are Ida Rubinstein, Natasha Trouhanova, Baron Dmitri Giinzburg, Vaslav Nijinsky, Anna Pavlova, Fedor Shaliapin, and Boris Shidlovskii. Requires special handling. Published register: Bulletin of the NYPL, 75 (Oct. 1971). (NUCMC 72–255)

• Galina Ulanova (b. 1910)

  Dancer. Photos of her teaching, in "Romeo and Juliet" (ca. 1960), and as "Giselle" (Moscow, 1960–61), taken by Albert E. Kahn. Kahn took hundreds of photos of her professional and private life for his 1962 monograph. Permission required. (Robert W. Dowling Collection)

• George Balanchine (Georgii Melitonovich Balanchivadze) (b. 1896)

  A rare ALS to S. Diaghilev, Paris, 1925, discusses recruitment of dancers in Latvia and Germany among Russian exiles, in Russian, but signed in French; a telegram from Igor Stravinsky to Balanchine, 1957, concerns the first performance of "Agon" by the New York City Ballet; photo by Gjon Mili of the Stravinsky-Balanchine "Movements for Ballet and Orchestra" (New York, 1963); and the complete working correspondence between the painter Eugene Berman in Rome and Balanchine in New York during their collaboration on "Pulcinella," 1971–72. (Collections such as that of Jose Limon hold letters and other items to, from, and about Balanchine.)

• Gleb Derujinsky (b. 1888)

  Artist. Sculpture —a bronze portrait figurine—of the American dancer Ruth Page, Chicago, ca. 1930.

• Helen Tamiris (1905-1966)

  Ca. 190 folders. In folders 40 and 41 there are get well wishes to Tamiris, 1966, from, among others, Valentina Litvinoff.

• Igor Youskevitch (b. 1912)

  Miscellaneous manuscripts.

• Irene Lidova

  Miscellaneous manuscripts, in process.

• Irma Duncan Collection of Isadora Duncan Materials

  183 folders, ca. 300 items. Manuscripts, photographs, programs, correspondence, memorabilia, and clippings relating to the lives and careers of Isadora and Irma Duncan. 1 group of manuscripts relates primarily to the years Isadora Duncan spent in Russia, 1921–24. Among the correspondents are Gordon Craig, Sergei Esenin (Isadora Duncan's husband), Eleanora Duse, Ellen Terry, Ivy Low Litvinova (Moscow, 1921), and Anatolii Lunacharskii. Permission required. Unpublished register.

• Irving Deakin (1894-1958)

  Correspondence, 1934–55, 83 folders, ca. 1,245 items. In holograph, manuscript, and typescript, primarily relating to Deakin's work in association with Hurok Attractions and as general manager of the San Francisco Civic Ballet, 1947–48. Arranged chronologically, the letters concern Deakin's relations with the Original Ballet Russe, the Ballet Russe de Monte Carlo, Tamara Toumanova, and Adol'f Bolm. Unpublished register.

• Isadora Duncan (1877-1927)

  Miscellaneous manuscripts, including a letter to Augustin Duncan in which she discusses the Duncan School in Moscow. Note: There is much Isadora Duncan material in other collections such as the Edward Gordon Craig papers.

• Jean Borlin (1893-1930)

  Holograph letter, signed, to Michel Fokine, 17 June 1918; Copenhagen, 1 p., in French, asking to study with Fokine.

• Jean Cocteau (1889-1963)

  2 posters (colored lithograph by Verneau and Cochoin) of V. Nijinsky and T. Karsavina, designed by the poet and draftsman to advertise the third Diaghilev season in Paris (Paris, 1911); and a signed holograph article by Cocteau on the third season of the Ballets Russes (Paris, 1911)—in the Lincoln Kirstein Collection.

• Joan Miro (b. 1893)

  Painter. Miscellaneous manuscripts, including 2 ALS to Serge Grigorieff, regisseur of Le Ballet Russe de Monte Carlo, concerning the company's productions, Barcelona, 1933–34.

• Joseph Schillinger (1895-1943)

  Composer and author. Holograph and typescript of his "Graph method of dance notation" [ca. 1934 and 1942], ca. 17 11. plus diagrams.

• Leon Bakst (Lev Samoilovich Rosenberg) (1866-1924)

  Manuscripts include several autograph letters, signed, 1917–21, some to George Wague in Paris, which discuss costumes, S. Diaghilev, his designs for the ballet Sleeping Beauty, and his designs for the ballet Firebird. There are also his pencil and watercolor sketch, signed in pencil, of a "Man in Spanish Costume," St. Petersburg, 1902–1903, and his Cretan Sketch Book, Greece, ca. 1907. The latter, in pencil and watercolor, is annotated. Bakst sketched the palace of Knossos on Crete, the site of major archeological discoveries just at this time. Hellenic inspiration showed in 3 of his ballet collaborations in 1912: M. Fokine's "Narcisse" and "Daphnis et Chloe" and V. Nijinsky's "Faune."

• Leonid Mikhailovich Lavrovski (1905-1967)

  Manuscripts in Russian (in process). Includes letter to G. Oswald.

• Leonide Massine (1896-1979)

  Choreographer. Miscellaneous manuscripts; photographs; motion pictures; oral history interviews; and a typescript ballet scenario—the prompt-book (with manuscript notes) for La boutique fantastique [New York, 192-?], 16 11., performed at the Alhambra Theatre, London, 5 June 1919. Permission required for some items.

• Lillian Moore (1911-1967)

  Papers, ca. 1936–67, 20 drawers. Dance historian and critic. Includes correspondence between Moore and 2 Soviet colleagues, Natalia Roslavleva (pseud.) and Vera Krasovskaia.

• Lincoln Kirstein (b. 1907)

  Besides important Diaghilev materials, this collection also contains such additional items as the autograph manuscript, 42 pp., bound, of Kirstein's biography Fokine (New York, 1932), requested by the British critic Arnold Haskell. Although Fokin dictated much of the material in a series of interviews, he did not care much for the end product, which was published in London in 1934. (Kirstein had studied under Fokin briefly in 1931–32 in order to write the book.) There is also a bronze portrait head of Fokin rendered by Emanuelle Ordono Rosales (New York, 1929?).

• Maia Mikhailovna Plisetskaia (b. 1925)

  Dancer. Programs; photos; 2 interviews, 1966, 1 with M. Horosko (15 min.) and the other with W. Terry (20 min.), the second concerning the Bolshoi Ballet.

• Marilyn La Vine collection of Rudolf Nureyev materials (1939-2008)

  15.94 linear feet (50 boxes). Marilyn J. La Vine (1931-2009) was a dance enthusiast who dedicated her life to researching and promoting the legacy of Russian dancer Rudolf Nureyev (1938-1993). The Marilyn La Vine collection of Rudolf Nureyev materials (1939-2008) holds research files and photographs relating to the life and career of Rudolf Nureyev. The research files contain a master copy of La Vine’s compilation of volumes of clippings relating to Nureyev, as well as correspondence, ephemera, and scrapbooks. The photographs date from 1939 until after Nureyev’s death in 1993, and give a comprehensive representation of his dancing career. Finding aid available: http://archives.nypl.org/dan/19090

• Marius Ivanovich Petipa (1819-1910)

  Choreographer. Miscellaneous manuscripts, in French, including a photostat of a letter, signed, to an unknown correspondent, 31 March 1870, mentioning a Leon (probably Leon Espinosa).

• Mary Wigman (1886-1973)

  Miscellaneous manuscripts, including a poetic essay, signed, in remembrance of Anna Pavlova.

• Mathilde Kshessinska (1872-1971)

  Ballerina. Photographs, at least 1 autographed.

• Mikhail Mikhailovich Fokin (Fokine) (1880-1942)

  Papers, 1914–41, 52 items in 14 folders. Choreographer, dancer, and teacher. Includes letters from Arnold L. Haskell, Cyril W. Beaumont, Sara Yancey Belknap, Alexander Levitoff, and others; essays and articles by Fokin and others; bookplates; calling cards; hotel bills; an invitation from Ruth St. Denis; and miscellaneous items, holograph and typescript, in English, French, and Russian. Subjects covered in the papers: Mary Wigman, Isadora Duncan, the evolution of modern dance, Fokin's ideals when creating, Sergei Diaghilev, Les Ballets Russes, and Les Ballets Russes at Teatro Colon (Buenos Aires). Special handling. Unpublished register and folder list.

• Mstislav Valerianovich Dobuzhinskii (Dobujinsky) (1875-1957)

  Stage designer. Miscellaneous manuscripts, including letters to Sol Hurok and David Lichine concerning Graduation ball, a list of Russian stage artists, a list of stage designers before 1900 and in later years, before and after the Revolution in Russia and abroad, and stage decoration sketches.

• Nancy Sifton collection on Rudolf Nureyev (1960-2013)

  20.36 linear feet (43 boxes, 2 oversized folders, 9 tubes). Rudolf Nureyev (1938-1993) was a Soviet born ballet dancer and choreographer who attained political asylum in France, and spent much of his career performing in Western Europe and the United States. The Nancy Sifton collection on Rudolf Nureyev chronicles the dance career and posthumous acclaim of Nureyev through photographs, clippings, posters, and programs compiled by author, researcher, and dance enthusiast, Nancy Sifton. Finding aid available: http://archives.nypl.org/dan/23899

• Natalia Roslavleva, pseud. Isadora Duncan Collection

  Mainly 1904–1905, 322 items in 22 folders. Soviet dance historian. Reviews and material relating primarily to Duncan's performances in St. Petersburg and Moscow. Typescript and holograph copies of Russian newspaper and periodical articles, most with English translation, obtained from Russian archives and sent to Francis Steegmuller for his book "Your Isadora": The Love Story of Isadora Duncan and Edward Gordon Craig (1974). Unpublished register.

• Oral Interviews with Dancers

  Tape recorded interviews with such figures as Alicia Markova ("The Art of Ballet," 80 min.), Natalia Dudinskaia (with Marian Horosko, 25 min., about the Kirov Ballet and the training of dancers), Olga Spessivtzeva and Tamara Karsavina (M. Horosko, 12 min.), I. Youskevitch and L. Danielian (M. Horosko, 25 min.), and Leonide Massine (M. Horosko, 23 min., about S. Diaghilev, E. Cecchetti's system of teaching, American modern dance, and Isadora Duncan). (Oral History Archives)

• Pablo Picasso (1881-1973)

  Painter. 2 ALS to Jean Cocteau, Paris, 1917, about the Ballets Russes, S. Diaghilev, and his own work on the ballet "Parade."

• Pavel Tchelitchev (1898-1957)

  Artist. Signed costume designs, Paris, 1933, in gouache and pen and gouache for the Balanchine-Schubert-Koechlin ballet "L'Errante": Hero and child, and Hero companions.

• Pavley-Oukrainsky Ballet Russe

  Records, 1915–50, 5 folders, 73 items. Holographs, typescripts, business records, itineraries, and correspondence of Serge Oukrainsky and Adolf Schmidt among others. Includes a small notebook with income and expense records for 3 tours of the company between December 1927 and January 1929.

• Rene Blum (1878-1942?)

  Miscellaneous manuscripts, including an ALS, 26 August 1936, which mentions the de Basil Ballet Russe de Monte Carlo, Karinska, and Yurek Shabel'evsky.

• Rudolf Nureyev (b. 1938)

  Dancer. Charcoal and conte crayon drawing of him by Lisa Rhana (New York, 1966?).

• Rudolf Nureyev photographic scrapbooks (ca. 1956-1993)

  34 albums, 5 document boxes, 1 oversize box. The collection was compiled by Robert Burns Gable to document the career of dancer Rudolf Nureyev. Included are performance photographs, studio shots, candid photographs, and reproductions of photographs, reviews, and feature articles from magazines and newspapers. Finding aid available: http://archives.nypl.org/dan/19772

• Rudolf Nureyev photographs (1963-1993)

  11 boxes (5.5 linear feet). Robert Burns Gable was born in Hollidaysburg, Pennsylvania in 1918. A lifelong dance enthusiast, he studied tap dancing and while a student at art school, performed as a clown and traveled with the Cole Brothers Circus. He graduated from the Philadelphia Museum of Art School, was a veteran of World War II and an artist by profession. Gable later relocated to New York. Gable saw Nureyev perform in most of his roles throughout his career and met him on numerous occasions. His collection of photographs, reviews and clippings is considered one of the most comprehensive collections on Rudolf Nureyev in the world. Gable died at the age of 89 in 2008. Over 1,700 photographs (black and white and color), primarily of dance performances and rehearsals, but also many informal photos and portraits of ballet dancer and choreographer Rudolf Nureyev, from his early U.S. performances in the 1960s, to an exhibition in Vienna in 1993, collected by Robert Burns Gable. Dance companies represented include the Royal Ballet, the Paris Opera Ballet, the National Ballet of Canada, the Australian Ballet, and the Martha Graham Dance Company. There are also several window cards, movie posters and programs for some of Nureyev's screen appearances, including Romeo and Juliet (1966), I am a dancer (1972), Valentino (1977), and Exposed (1983). Numerous photos include Dame Margot Fonteyn with Nureyev, and there is also a color, autographed informal photo of her. Finding aid available: http://archives.nypl.org/dan/23173

• Serge Grigoriev (Grigorieff)

  Regisseur of the Diaghilev (Ballets Russes), De Basil, and other ballet companies, 1909–52. 8 exercise books, ca. 1,100 pp., in Russian, contain journals of all performances of the companies. Included are statistics on all performers, production notes, and information about more than 50 Diaghilev shows (49 ballets) from 1916–29. Grigoriev used these basic sources for his book on the Diaghilev Ballet, 1909–29 (London, 1953).

• Serge Lifar (b. 1905)

  Dancer. Miscellaneous manuscripts, in French.

• Sergei Dyagilev

  See under Sergei Diaghilev.

• Sergei Ismailoff (b. 1912)

  Papers, 1929–47, ca. 50 items. Dancer and teacher. Includes letters from Bronislava Nijinska, N. Singaevsky, S. J. Denham, and the Marquis de Cuevas; contracts; biographical notes; identity cards; and memorabilia, in English and Russian. Unpublished register and folder list.

• Sergei Pavlovich Diaghilev (Dyagilev) (1872-1929)

  Papers, ca. 1909–29, 600 items. Impresario. Correspondence, 19187–29, 195 items, with such people as Lady Juliet Duff, Lady Rothermere, Ernest Outhwaite, and William Luck Warden (on the financing of his company, especially in 1928–29), Dorothy Archer, Cyril William Beaumont, Gerald Hugh Tyrwhitt-Wilson (Baron Berners), Irene Frances Adza Denison Mountbatten (Marchioness of Carisbrooke), John Alden Carpenter, Mario Castelnuovo-Tedesco, Sybil Halsey (Lady Colefax), Diana (Manners) Cooper (Viscountess Norwich), Elizabeth Theresa Frances Courtauld, Dorothee Coxon, Edward Gordon Craig, Anton Dolin, Rupert Doone, Elinor Dunsmuir, Powys Evans, Diana Isobel Erskine (Lady Fitzherbert), Sir Eugene Goossens, Felicity Gray, Ruth Holland, Sir Randle Fynes Wilson Holme, Gordon Jacob, Evelyn James, Sir Geoffrey Langdon Keynes, Constant Lambert, Berkeley John Talbot Levett, Ena Wertheimer Mathias, Violet Florence Mabel (Goetze) Melchett, Rose Schiff Morley, Celia Brunei James (Lady Noble), Sir Saxton Noble, Margot Asquith (Countess of Oxford and Asquith), Ruth Page, Aimee Phipps, Cole Porter, Walter Archibald Propert, Henry Prunieres, Philip John Sampey Richardson, Harold Sidney Harmsworth (Viscount Rothermere), Florence Emily Henderson Grenfell (Baroness St. Just), Elinor Shan, Sacheverell Sitwell, Odette Tchernine, Sir Basil Home Thomson, George Herbert Thring, Countess Sophia de Torby, Sir William Turner Walton, Herbert Francis Wauthier, Mary Hoyt Wiborg, and Laura Wilson. The letters are in French, English, and Russian, holographs and typescripts, business and personal. They concern his ballets, dancers (e.g., V. Nijinsky), and social life. The Black exercise book, in Diaghilev's holograph, was written in St. Petersburg, Paris, and elsewhere, 1909–11. In great detail it reveals his business and artistic negotiations, casts and programs for planned ballets and operas, financial records, budgets and plans for the 1910–11 season, lists of members of the Ballets Russes de Diaghilev, projected schedules through 1913, salaries, matters of decor and costume, etc.—with his doodles on many pages, 177 pp. Mostly in Russian, it is written in pencil and ink. (The contents are described by Brian Blackwood in the NYPL Bulletin, vol. 75, no. 8 [October 1971].) A microfilm of this book is also available. Diaghilev's small brown notebook, London-Paris, 1921–23/24, also in his autograph, contains notes on programs, schedules, finances, and many names. Some 400 letters and documents accompany these 2 notebooks, bearing the signatures of Leon Bakst, George Balanchine, Vaslav Nijinsky, Igor Stravinsky, and others. In addition, there are photos of Diaghilev's ballet companies, various productions, the 1916/17 American tour, and individual dancers. Finally, the collection has 2 autograph schedules for ballets and rehearsals, for London in 1921 ("La Belle au Bois Dormant") and for Paris, 1924. Special handling. Unpublished register. (Lincoln Kirstein Collection)

• Sophie Fedorovitch (1893-1953)

  Costume-sketch in watercolor and pencil, unsigned, for Sir Frederick Ashton's ballet "A Child of Light" ("Dante Sonata" music of Lizst), London, 1940.

• Tamara Platonovna Karsavina (b. 1885)

  Dancer. Among the papers is a receipt for final payment from Sergei Diaghilev of all claims of back salary due Karsavina up to 1921.

• Tamara Toumanova (b. 1919)

  Dancer. Chalk and charcoal drawing of her by August von Munchhausen, New York, 1941. (Irving Deakin Collection)

• Tatiana Chamie

  Papers, 1926–50, ca. 100 items. Photos, letters, notebooks, diaries, contract, and cards. Dancer, teacher, and choreographer. Items on the Ballet Russe de Monte Carlo and her own ballets, in Russian, English, and French. Unpublished register and folder list.

• Vaslav Nijinsky (1890-1950)

  Dancer. Assorted manuscripts, in French, including a signed receipt, 22 September 1917, for payment from S. Diaghilev and sheets of jottings from 1948; Nijinsky's red and blue wax crayon design (ca. 1922, Switzerland) entitled "A Mask of God"; documents relating to his association with Les Ballets Russes; photographs, including 1 from 1908 supposedly taken on the day of his graduation from the Imperial Dancing Academy in St. Petersburg; and a bronze portrait head of him by Una, Lady Troubridge, London, 1913, in the Lincoln Kirstein Collection.

• Victor Dandre (d. 1944)

  Correspondence of Dandre, the husband of Anna Pavlova, includes 4 holograph letters signed, 1913–28, 3 in French and 1 in Italian to Cia Fornaroli (in the Walter Toscanini Collection/Cia Fornaroli Collection); and an ALS dated 7 February 1931, in reply to a letter of condolence on Pavlova's death.

• Vladimir Dukelsky (1903-1969)

  Composer. Various items, including an autograph letter, signed, giving a brief biography and his ideas on music.

• Walter Toscanini Collection of Research Materials in Dance

  Ca. 30 vols. Contains a holograph letter, signed, of Ayenara Alexeyeva and Holger Alexeyev to Arturo Toscanini, 2 pp., 31 October 1927; a holograph letter, signed, from Ileana Leonidoff, Rome, 30 December 1930, 1 p., in Italian; a typescript telegram of Anna Pavlova to Fano Teatrale in Milan, 2 October 1913, in French; and 4 letters of Olga Iosifovna Preobrazhenskaia, 1912–22, 3 holographs, all signed. (Cia Fornaroli Collection)