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Art, Architecture, and Design
710. Audubon: Virginia Rail Lithograph. Original hand-colored
lithograph from The Birds of America series by John James Audubon, 25.75 x 20.25, double elephant folio edition, issued as Plate CCV, No. 41, entitled “Virginia Rail, Rallus Virginianus,” which depicts three birds: a male hunting an insect, a female wading into water, and a juvenile with autumnal plumage. Captions to lower left and right corners read: “Drawn from Nature by J. J. Audubon, F.R.S. F.L.S.” and “Engraved, Printed, & Colored, by R. Havell, 1834.” Matted to an overall size of 28 x 22.5. In very good to fine condition, with scattered light foxing and toning. Starting Bid $200
712. Jacques-Louis David Autograph Letter Signed.
French painter (1748–1825) and master of the Neoclassical style whose most famous works include ‘The Death of Marat’ and several portraits of Napoleon Bonaparte. ALS in French, signed “David,” one page, 4.5 x 6.75, no date. Handwritten letter by Jacques-Louis David to his to his employee Dubois. The greatest and most powerful of Napoleon’s artists gives instructions to his assistant on the manner by which he desires the interior of his house to be repainted. In part (translated): “I would like my dear Dubois to have the staircase and different rooms repainted in my house in the Rue du Cocq, but I think that some small freezings could still occur and that could cause some bad work because the glue would be eaten and then the colors would detach themselves from the wall.” In fine condition. Starting Bid $200 714. Juan Gris Autograph Letter Signed. Spanish
painter and sculptor (1887–1927) associated with Cubism. Scarce ALS in French, one page, 5 x 8, February 2, 1920. Letter to influential art critic Louis Vauxcelles, who is credited with coining the terms ‘Fauvism’ and ‘Cubism.’ In part (translated): “Having to face not only the indifference, but I would even say the injustice of the press in general toward me, your attitude on my behalf touches me and your present sympathy is a great encouragement. I would be all too happy to see you to speak with you about artistic things.” In fine condition, with a rough top edge. An important letter associating a then-unrecognized artist with a major critic. Starting Bid $200
Significant artistic content in a handwritten letter from Gauguin to Pissarro: “The masters or the greats, as you call them, painted pictures...Our era becomes very difficult for us: painting in the grand manner no longer has a reason to exist”
713. Paul Gauguin Autograph Letter Signed. ALS in
French, signed “P. Gauguin,” three pages on two sheets, 5.25 x 8.25, no date but likely circa May–June 1882. Fascinating handwritten letter to his friend and mentor Camille Pissarro, commenting on many fellow painters and discussing his own future as an artist. In part (translated): “The masters or the greats, as you call them, painted pictureImportant ALS in French, signed “P. Gauguin,” three pages on two sheets, 5.25 x 8.25, no date but likely circa May–June 1882. Fascinating handwritten letter to his friend and mentor Camille Pissarro, commenting on many fellow painters and discussing his own future as an artist. In part (translated): “The masters or the greats, as you call them, painted pictures; in that statement there are two things to be examined: the first depends on what one understands by picture (exactly like beauty) it is relative—the second, and what I want to discuss, is how did the masters do their pictures.
They began their education young for the most part. I mean by that that they learned all the ways of returning to a formula (a formula which at certain periods tends to transform itself)—they thus reach a certain age with a sure hand [and] a precise memory [ready] to make pictures. Some, like Delacroix, searched a lot for themselves, but you should be aware nonetheless that, apart from methods, color, etc… Delacroix after all remained the painter as before [i.e. in the grand tradition] of his compositions. He undoubtedly has a certain style of his own (he is a man of genius) which makes itself felt, but there remains always the same manner of composing.
Certain things, like the decorations for the Chambre de Députés, can be found in the paintings of Rubens [Here, Gauguin may be referring to Delacroix’s commission to paint the Salon du Roi in the Chambre des Députés at the Palais Bourbon in Paris between 1833-1837.] In sum, the picture belongs to painting in the grand manner, which is also of literature. Our era becomes very difficult for us: painting in the grand manner no longer has a reason to exist, or else it becomes episodic, as in battle paintings. There remains for us genre or landscape—and indeed it is in this latter direction that all the painting of the last masters has been moving—look at Courbet, Corot, Millet—
As for what concerns you, I believe it is time (if it accords with your temperament) to do more in the studio, but with ideas matured in advance from the point of view of the composition and of the subject. In this way of thinking, you have only to devote all you have learned before to what you will do, and not to look for a new vision of nature, and you will improve at once. Otherwise, continue to look for other things; but in that case you will need a dose of youth and determination which might weary you, particularly through dissatisfaction. Do not worry about what Renoir & Co. may say. I know why they talk like that (we will chat about it next time).
I would do well to see you at Pontoise, but I become jealous of my Sundays. I have so little time to lose… I must use my day, otherwise I will reproach myself during the week for the lost time.
I can’t decide whether to remain all my life in finance and as an amateur painter. I have got it into my head that I would become a painter. As soon as I can discern a less obscured horizon, and that I shall be able to earn my living by it, I will put it into effect straight away…
One should do that at the current hour, hands down. You other old ones and Guillaumin and me [are] sufficiently equipped to live while he and me, we count less than the least damsel. Above all, we must put one foot in the stirrup
Try to come next Sunday. I have many things which I’ve started to show you. I hope that it will interest you… Good wishes to Madame Pissarro; your little daughter is well, I hope. Why doesn’t Madame Pissarro come one day to Paris with the baby.” In fine condition, with some light stains to the first page. Accompanied by a custom-made quarter-leather clamshell case. Starting Bid $5000
Magritte titles a surrealist work: “It has to be reproduced in America under the title ‘The Presence of Mind’”
715. Rene Magritte Autograph Letter Signed. ALS in French, one page, 5.25
x 8, September 31, 1960. Letter to a friend regarding the titles of artworks, in part (translated): “Enclosed herewith is the document duly filled out. We could name the streetlight with a rose ‘The Necessities of the Cause’—because the title must not name the picture we had thought of: it has to be reproduced in America under the title ‘The Presence of Mind.’ It could be complicated to change anything now that the printing is in progress. Besides, known as ‘The Presence of Mind’ thanks to important publicity, wouldn’t it be difficult to call the painting anything else for an art show or in a book that would again reproduce the picture?…P.S. ‘The Good Word’ would also work quite well for the streetlight with the rose. You choose. Do you want to upper case the words for the titles in the catalogue?” In fine condition. Starting Bid $200
While painting in London, Monet encounters a “fog that made it impossible to see anything”
716. Claude Monet Autograph Letter Signed. ALS in French, signed twice, “Claude,” four pages on two adjoining sheets, 5 x 8, Savoy Hotel letterhead, [dated 1900 in another hand]. Letter home to his wife from London, in part (translated): “This morning and yesterday, there was a fog that made it impossible to see anything. I had to stand my watch, as you know. The fog has just lifted, and nevertheless, I don’t want to leave you without a few lines. I’m well. I haven’t seen Michel again since breakfast Sunday morning. This morning I had a visit from Mr. Dewhurst...I’m going to the hospital to make some sketches.” He adds a lengthy postscript, signing again at the conclusion: “I almost forgot. Yesterday there arrived at the hotel a letter from the Savoy’s shipping agent. You sent a package to Butler during our stay here. It hasn’t been delivered because there’s 50 francs of customs duty to pay, which Butler no doubt refused to pay...I don’t know how to reply.” In fine condition. Starting Bid $300
Subscription form for Claude Monet’s national campaign to donate Edouard Manet’s ‘Olympia’ to the Louvre
717. Claude Monet Signed Subscription Form. Significant partly-printed
subscription form, signed “Claude Monet,” one page, 5.25 x 8.25, February 4, 1890. Sent to fellow painter Henri-Charles Guerard, a form relating to Monet’s campaign to buy Edouard Manet’s ‘Olympia’ for the French National Museum. In full: “As the subscription for the purchase of the Olympia has closed and the offer must be made to the State, I am requesting that you kindly send me the sum of two hundred francs that you commissioned me to set down under your name.” In fine condition. Starting Bid $300
Monet writes from Giverny to his loyal friend Gustave Geffroy: “Clemenceau has just left full of enthusiasm for what I do”
718. Claude Monet Autograph Letter Signed. ALS in
French, three pages on two adjoining sheets, 5 x 8, Giverny par Vernon letterhead, November 13, 1916. Letter to art critic Gustave Geffroy, one of the earliest historians of the Impressionist art movement and a loyal champion of Monet. In full (translated): “Clemenceau has just left full of enthusiasm for what I do. I told him how happy I was to have your advice about this tremendous work which to be honest is madness. Briefly, it is agreed he will take you by car to lunch and will return eagerly. He will get on well with you. I hope under these conditions that you will not make me wait too long for your arrival. You know how much pleasure your visit will give and at the same time how happy I am to have advice on my work.” He adds a postscript, “P.S. Tomorrow, I enter my 77th year.” In fine condition. Accompanied by the original mailing envelope, addressed in Monet’s hand. Starting Bid $200
one page, 4.5 x 7, 182 rue de l’Universite letterhead (the address of his studio), no date. Untranslated handwritten letter to a friend. In fine condition. Starting Bid $200
Lautrec accepts an 1887 exhibition invitation from fellow painter Theo van Rysselberghe
720. Henri de Toulouse-Lautrec Autograph Letter Signed. ALS in French, signed “H. de T. Lautrec,” four black-bordered pages on two adjoining sheets, 4.5 x 7, no date [November 1887, Paris]. Handwritten letter to the Belgian neo-impressionist painter Theo van Rysselberghe, in part (translated): “I want to thank you for the invitation that I owe obviously a lot more to your recommendation than to my own worth. I have urged Forant to send things to you most probably and I hope so because his work is a real delight. Now I must ask to make a request without wanting to exaggerate or to count too much on your kindness. One of my good comrades Albert Adolphe who has shown at the exhibition of the eintransigeants in Paris has asked me to ask you if there is still some room for new invitations and please think about it. He would be very happy to show his painting with yours and mine. I send you his request asking to do for him what you have done so kindly for us all. Now to thank you in advance. I ask you to believe me very cordially yours.” Lautrec also adds his address. In fine condition. An exquisite letter from Lautrec, unknown at the time and flattered by Van Rysselberghe’s invitation to a popular Parisian exhibition. Most letters from Latrec are directed to his mother, with this uncommon, beautifully signed example, which boasts wonderful artistic connections, the first of a recorded 10 sent to Van Rysselberghe.Starting Bid $500
Wright adds a musical touch to his ‘Usonian’ plot and house plans
721. Frank Lloyd Wright Blueprints (2) for the ‘House for Mr. and Mrs. Duey E.
Wright’. Hand-drawn designs of the “House for Mr. and Mrs. Duey E. Wright” executed under Wright’s oversight at his studio, consisting of two pages for “Plot Plan & Planting” and “General Plan,” 43 x 29.5 and 45 x 29.5, with the inside of the hand-drawn red ‘Taliesen’ box at the bottom of the latter signed in pencil by Frank Lloyd Wright, “FLLW, May 57.” Identified as “Sheet 1A,” the “Plot Plan & Planting” sheet shows a detailed overview of the house, property, and surrounding landscape, with A and B planting areas scattered with various shrubs, pines, plants, and trees.
The “General Plan” sheet, identified as “Sheet No. 3,” displays the full Duey House layout: viewed from the sky, the house resembles a musical note—an ode to the client’s ownership of a local music store. Sections are marked “Workspace,” “Living Room,” “Entry,” “Library,” “Bath #1,” “Carport,” “Gallery,” and bedrooms 1 through 4. Rolled and in overall fine condition, with unobtrusive creasing and edgewear; the “General Plan” bears inoffensive and scattered light stains. Starting Bid $1000
