In 1912 he made friends with Post-Impressionist painter Nils von Dardel who was not particularly well off, but imaginative and talented, while de Maré was enthusiastic and had money.

[1] De Maré created in 1920 the Ballets Suédois at the Théâtre des Champs-Élysées in Paris of which Börlin was first dancer and choreographer.

In the autumn of 1924 Giorgio de Chirico curated the scenography and costumes for Pirandello's La Giara.

After the World War the archives had grown too large for a private person to maintain, de Maré closed his business in Paris and donated parts of the collections — some 6,000 books, engravings and other items, all concerned mainly with Western dance — to the French government which placed them at the museum and library of the Paris Opera.

The various, concrete collectibles de Maré amassed and that exist today as the bedrock of Stockholm's Dance Museum, illuminate our picture of him as archivist and art collector, all the while they question his role as a connoisseur of a theater based on the art of dancing.