Geïllustreerd, Literatuur, Theater, liedjes - Aantal: 3 - Geillustreerd met 4 gravures
|Object:||Boek (Meer kavels)|
|Onderwerp:||Geïllustreerd, Literatuur, Theater, liedjes|
|Auteur/ Illustrator:||Charles Collé|
|Boektitel:||Théâtre de Société|
|Publicatiejaar oudste item:||1777|
|Extra's:||Geillustreerd met 4 gravures|
Charles Collé - Théâtre de Société - La Haye, and Paris, by P. Fr. Gueffier, 1777 - (4) ff, XXIV pp, 450 pp, 508 pp, 208 pp, 190 pp - full period calfskin - in-12 - 10.5 x 17.5 cm.
Condition: Headcap, tail, joints, and corners in good condition, smooth spine decorated with gilded floral patterns and garnet Morocco leather title and volume number pieces, some foxing and borwing, red text block. Complete in 3 volumes.
Book illustrated with 4 out of text engravings of Rousseau, Simonet based on Gravelot and several black musical staves.
Charles Collé, born in Paris on April 14 1709 and died in the same city on November 3 1783, was a French singer, playwright and member of a singing society.
He was the son of a substitute procurer to the king at the Paris Chatelet and cousin to the playwrite Jean- Francoi Regnard. His father wanted him to study law, but he turned away from it it to devote himself to singing, which nevertheless did not stop him from leading a successful business career.
He attached himself to several of the most famous songwriters of his time: Alexis Piron, Pierre Gallet and, through him, Charles-François Panard. He began by composing amphigoric verses, then tied himself to Crébillon, the younger, and became one of the top members in the Société du Caveau (famous for its cheerfulness) in 1729.
At the same time, he was first connected with a rich financier for nearly twenty years, M. de Meulan, general receiver of the Paris generality, then with the Duc D’Orlean, lover of music and society theatre, who named him his reader and secretary. This position earned him interest on farms, as well as some gratuities that rounded out his fortune.
Collé composed numerous songs, often bawdy, of which he published the least daring in successful collections entitles “Chansons joyeuse, mises au jour par un âne onyme, onissime.” Melchior Grimm, in his Correspondence littéraire (February 1763), isn’t shy about comparing him to Anacreon. Occasionally, he composed patriotic songs, the most famous of which is “La prise de Port-Mahon” (1756), which earned him a pension of 600 pounds.
Later in his career, he composed a myriad of joyful plays and parades for the Duc d’Orléans’ theatre, which earned him the nickname “le Corneille de la parade,” many of which were also later collected in the Théâtre des Boulevards (1756).
Even later in his life, he created more ambitious, though still lighthearted, comedies, which were longer and more highly crafted, elegant, and true such as Le Galant Escro or La Vérité dans le vin. Hi wife, whom he married late in life (in 1757) encouraged him in this new endeavour. She wanted him to become a real writer.
Finally, Collé sought to escape the restrictive bounds of society theatre and had one of his plays accepted at the Comédie-Française, Dupuis et Desronais, tearful comedy that enjoyed 17 performances in 1763. His second work in this genre, La Partie de Chasse de Henri IV, though performed at his protector’s home in 1762, was forbidden in Paris until the death of Louis XV in 1774. This play, which was at the apex of his Théâtre de société, was highly successful despite its blackllisting after the accession of Louis XVI and remains even today his most famous work. In this comedy can be found the song, “Vive Henri IV”, which was quite popular for decades.
Collé’s career suffered from the change in tone that occurred in about 1777 within the Duc d’Orleans’ society following the latter’s liaison with Madame de Montesson. A question of his respectability began to distance him, while Carmontelle triumphed. His play “La Veuve” failed at the Comédie-Française in 1770. This situation, along with the death of his wife, saddened his old age.
In his Journal historique ou Mémoires littéraires (Paris, 1807, 3 volumes in-8), published after his death but covering the period 1748-1772, he settled the score with his competitors and his enemies. He presented himself as a libertine and happy person on the surface, but deep down he was bitter and conservative, hating actors, philosophers, the Académie française, Voltaire and Rousseau.
Very nice copy, perfectly bound.
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