![IBSEN, Henrik (1828-1906). Lettre autographe signée, en norvégien, [adressée à son traducteur français le Comte Maurice Prozor], à Munich le 8 septembre 1890.](https://www.christies.com/img/LotImages/2019/PAR/2019_PAR_18565_0090_000(ibsen_henrik_lettre_autographe_signee_en_norvegien_adressee_a_son_trad044337).jpg?w=1)
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IBSEN, Henrik (1828-1906). Lettre autographe signée, en norvégien, [adressée à son traducteur français le Comte Maurice Prozor], à Munich le 8 septembre 1890.
4 pp. (111 x 148 mm) sur un double feuillet, à l’encre brune (quelques taches brunes sur la première page).
Ibsen remercie Prozor pour son action dans la promotion de ses travaux, en France notamment : « Quant à l'autorisation de traduire et de mettre votre version française de La Maison de poupée en Italie, je vous demande d'agir en toute indépendance ». Un écrivain italien originaire de Milan, Vottorio Avoni, a été en contact sur le même sujet et a suggéré de mettre les deux en contact. Ibsen s'avoue surpris de découvrir l’existence d’accords sur les droits d’auteur entre la France et la Norvège, découlant d’un traité commercial de 1832 : il en ignorait l’existence jusqu’à ce que les auteurs et compositeurs des Cloches de Corneville réclament des honoraires au Théâtre de Kristiania. Prozor propose un entretien avec Ibsen, ce dont l’écrivain se réjouit d’avance : « Pour mon nouveau projet, je dois rester à Munich durant tout l’automne ».
Le diplomate russe Maurice Prozor (1849-1928) était, avec son épouse d’origine suédoise Marta, responsable des traductions en français de bon nombre des œuvres d’Ibsen. La rencontre proposée avec Ibsen eut effectivement lieu à Munich (le domicile d'Ibsen depuis 1875) plus tard en 1890, et les Prozor entreprirent par la suite la traduction du travail en cours Hedda Gabler d'Ibsen.
Translation :
IBSEN, Henrik (1828-1906). Autograph letter signed (‘Henrik Ibsen’) to [his French translator, Count Maurice Prozor], Munich, 8 September 1890.
In Norwegian, four pages, (111 x 148 mm) (some brown spotting to first page).
Ibsen thanks Prozor for all his kind services (in promoting his works, in France especially): ‘As for the permission to translate and put on your French version of A Doll's House in Italy, I ask you to act completely independently’. An Italian writer, Vittorio Avoni from Milan, has been in touch on the same subject and he has suggested putting the two in contact. Ibsen has been surprised to discover that a copyright agreement exists between France and Norway, under a commercial treaty of 1832: he was unaware of its operation until the authors and composer of Les cloches de Corneville demanded fees from the theatre in Kristiania. Prozor has suggested a meeting with Ibsen, to which the writer looks forward with great pleasure: ‘For the sake of my new work, I have to stay here in Munich for the whole autumn’.
Moritz Prozor (1849-1928) was a French-educated Russian diplomat, who together with his Swedish-born wife, Marta, was responsible for translating a number of Ibsen’s works into French. The proposed meeting with Ibsen did indeed take place in Munich (Ibsen’s home since 1875) later in 1890, and the Prozors subsequently undertook the translation of Ibsen’s work-in-progress, Hedda Gabler.
Translation (not for inclusion in catalogue)
If I only now respond to your highly treasured letter of 9 August , I can only state in apology that Count Snoilsky during his stay here told me you were absent from Dresden and were at present on a trip in Sweden. I do not know if you have already returned. But I don't dare to wait any longer before sending this letter, and I hope it will reach you by some means or other. I am most grateful to you for forwarding me Mr Porel's letter, and I take this opportunity to return it.
Your generous messages from France have given me great pleasure, and I feel heartily thankful for this as for everything else.
As for the permission to translate and put on your French version of A Doll's Body in Italy, I ask you to act completely independently. Another Italian literator, Dr Vittorio Avoni from Milan, who has contacted me for the same purposes, has allowed me to refer to you. I don't know if you heard anything further from him.
As far as a literary convention between France and Norway is concerned, an excellent Norwegian lawyer recently made me aware in a letter that such a thing currently exists. In the trade and shipping treaty concluded between France and the United Scandinavian kingdoms on 12 May 1832, there is the following additional article: The High Contracting Parties agree that, pending the conclusion of a
4 pp. (111 x 148 mm) sur un double feuillet, à l’encre brune (quelques taches brunes sur la première page).
Ibsen remercie Prozor pour son action dans la promotion de ses travaux, en France notamment : « Quant à l'autorisation de traduire et de mettre votre version française de La Maison de poupée en Italie, je vous demande d'agir en toute indépendance ». Un écrivain italien originaire de Milan, Vottorio Avoni, a été en contact sur le même sujet et a suggéré de mettre les deux en contact. Ibsen s'avoue surpris de découvrir l’existence d’accords sur les droits d’auteur entre la France et la Norvège, découlant d’un traité commercial de 1832 : il en ignorait l’existence jusqu’à ce que les auteurs et compositeurs des Cloches de Corneville réclament des honoraires au Théâtre de Kristiania. Prozor propose un entretien avec Ibsen, ce dont l’écrivain se réjouit d’avance : « Pour mon nouveau projet, je dois rester à Munich durant tout l’automne ».
Le diplomate russe Maurice Prozor (1849-1928) était, avec son épouse d’origine suédoise Marta, responsable des traductions en français de bon nombre des œuvres d’Ibsen. La rencontre proposée avec Ibsen eut effectivement lieu à Munich (le domicile d'Ibsen depuis 1875) plus tard en 1890, et les Prozor entreprirent par la suite la traduction du travail en cours Hedda Gabler d'Ibsen.
Translation :
IBSEN, Henrik (1828-1906). Autograph letter signed (‘Henrik Ibsen’) to [his French translator, Count Maurice Prozor], Munich, 8 September 1890.
In Norwegian, four pages, (111 x 148 mm) (some brown spotting to first page).
Ibsen thanks Prozor for all his kind services (in promoting his works, in France especially): ‘As for the permission to translate and put on your French version of A Doll's House in Italy, I ask you to act completely independently’. An Italian writer, Vittorio Avoni from Milan, has been in touch on the same subject and he has suggested putting the two in contact. Ibsen has been surprised to discover that a copyright agreement exists between France and Norway, under a commercial treaty of 1832: he was unaware of its operation until the authors and composer of Les cloches de Corneville demanded fees from the theatre in Kristiania. Prozor has suggested a meeting with Ibsen, to which the writer looks forward with great pleasure: ‘For the sake of my new work, I have to stay here in Munich for the whole autumn’.
Moritz Prozor (1849-1928) was a French-educated Russian diplomat, who together with his Swedish-born wife, Marta, was responsible for translating a number of Ibsen’s works into French. The proposed meeting with Ibsen did indeed take place in Munich (Ibsen’s home since 1875) later in 1890, and the Prozors subsequently undertook the translation of Ibsen’s work-in-progress, Hedda Gabler.
Translation (not for inclusion in catalogue)
If I only now respond to your highly treasured letter of 9 August , I can only state in apology that Count Snoilsky during his stay here told me you were absent from Dresden and were at present on a trip in Sweden. I do not know if you have already returned. But I don't dare to wait any longer before sending this letter, and I hope it will reach you by some means or other. I am most grateful to you for forwarding me Mr Porel's letter, and I take this opportunity to return it.
Your generous messages from France have given me great pleasure, and I feel heartily thankful for this as for everything else.
As for the permission to translate and put on your French version of A Doll's Body in Italy, I ask you to act completely independently. Another Italian literator, Dr Vittorio Avoni from Milan, who has contacted me for the same purposes, has allowed me to refer to you. I don't know if you heard anything further from him.
As far as a literary convention between France and Norway is concerned, an excellent Norwegian lawyer recently made me aware in a letter that such a thing currently exists. In the trade and shipping treaty concluded between France and the United Scandinavian kingdoms on 12 May 1832, there is the following additional article: The High Contracting Parties agree that, pending the conclusion of a