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Lot 167
Set of 9 original vintage art exhibition advertising posters. 1. Karsh A Birthday Celebration - An exhibition organised by the International Center of Photography, New York, and sponsored by Merill Lynch Europe Limited 25 February to 24 April 1988 at the Barbican Art Gallery, featuring a 1954 black and white photograph by an Armenian-Canadian photographer Yousuf Karsh (1908-2002) depicting an English actor and director Laurence Olivier in an elegant suit and tie holding a drink as he looks over his shoulder directly at the viewer. Good condition, folds, creasing, tears on edges, minor staining, pinholes. Country of issue: UK, designer: Yousuf Karsh, size (cm): 76x51, year of printing: 1988; 2. Turner: The Second Decade 1800-1810 exhibition at The Tate Gallery 10 January - 27 March 1989, featuring an artwork by Joseph Mallord William Turner (1775-1851) titled Kew Bridge c.1805, depicting a bridge over Thames river, with Brentford Eyot in the foreground and Strand-on-Green seen through the arches. Good condition, folds, minor creasing, pinholes, small paper losses on left corners and image. Country of issue: UK, designer: Unknown, size (cm): 76x51, year of printing: 1989; 3. Paint & Painting At The Tate Gallery London 9 June - 18 July 1982, an exhibition about colour and technique in painting and the artists' colourmen's trade. A Working Studio on the lawn with free, practical advice on watercolours, oils, acrylic, alkyds, brushes, grounds and media. - featuring a detail of Claude Monet Painting at the Edge of a Wood, c.1887 by John Singer Sargent. Produced by Richmond Towers Public Relations Ltd., London. Good condition, folds, creasing, pinholes, minor staining. Country of issue: UK, designer: Unknown, size (cm): 76x51, year of printing: 1982; 4. Victoria & Albert Museum British Art and Design 1900-1960 artwork exhibition presented with assistance from The Baring Foundation featuring a photograph of 'Mindlsave' a 1934 sculpture by Leon Underwood (1890-1975), a British artist, sculptor, printmaker, painter, an influential teacher and promoter of African art. Fair condition, folds, crease marks , tears on edges. Country of issue: UK, designer: , size (cm): 76x51, year of printing: 1983.; 5. What's new at the Victoria & Albert Museum? Spring 1987 featuring announcements of various art exhibitions - Art and Design in Europe and America 1800-1900, Towards a Bigger Picture: Contemporary British Photographs, Painters and The Derby China Works 1785-1848, Fashion Tracks Designer Clothes for the 1985 Pirelli Calendar, Hand Coloured British Prints - English Artists' Paper: Renaissance to Regency. Good condition, creasing, folds, pinholes. Country of issue: UK, designer: , size (cm): 76x51, year of printing: 1987.; 6. Romantic Lebanon The European View 1700-1900 An exhibition of oil paintings, watercolours, prints and photographs at Leighton House, London 10 February - 8 March 1986, featuring a stunning artwork depicting men gathered at the feet of an ancient building framed with mountains and trees. Good condition, folds, creasing. Country of issue: UK, designer: , size (cm): 76x51, year of printing: 1986.; 7. Four Rooms an Arts Council Exhibition at Liberty, London that took place February 10 - March 10 1984, devised by Howard Hodgkin, Marc Camille Chaimowicz, Richard Hamilton, Anthony Caro, featuring a collage of photographs by John Badminton depicting different rooms in the house. Good condition, folds, creasing. Country of issue: UK, designer: , size (cm): 76x51, year of printing: 1984.; 8. Studio Ceramics Today 25th Anniversary of the Craftsmen Potters Association of Great Britain 5 October until 27 November 1983 at the Victoria & Albert Museum, featuring a photograph of various pots, vases, bowls, jugs, plates on tables set over light background with colourful frame of symbols and signatures. Good condition, creasing, folds, pinholes. Country of issue: UK, designer: , size (cm): 76x51, year of printing: 1983.; 9. English pottery manufacturer and ceramic chemist Master Potter Bernard Moore (1850-1935) exhibition at Victoria & Albert Museum 15 December 1982 - 6 February 1983, featuring a photograph of a red flambe glaze vase. Good condition, creasing, folds, pinholes, tears on edges. Country of issue: UK, designer: , size (cm): 76x51, year of printing: 1983.
Lot 68
A quantity of mainly cultured pearl jewellery, to include a long string of grey pearls, green and cream pearls, blue tumbled stones interspersed with pearls, a carnelian glass bangle, amethyst nugget bracelet, Monet gold tone chain, amethyst briolette drop earrings, circular silver pendant with textured finish, 3cmD etc
Lot 56
A distinctive pair of commemorative souvenir spoons, each adorned with intricate relief work and Latin inscriptions. The first spoon features a sculpted handle with a shell-like finial and classical motifs, with the bowl inscribed with the phrases "Pro Deo Et Patria 1739" and "Monet Reipub," suggesting a connection to a republic’s monetary system. The second spoon, with a twisted handle and an elaborate key-shaped finial, bears the inscription "Post Tenebras Lux 21" and "Respublic Geneves," historically linked to Geneva and the Protestant Reformation. The combination of detailed engravings and decorative elements adds to their historical intrigue and collectible appeal. These spoons, rich in symbolic and historical significance, make an excellent addition to any collection of numismatic or commemorative artifacts. Largest spoon measures 4.75"L.Issued: c. 18th-20th centuryDimensions: See DescriptionCondition: Age related wear.
Lot 25
This vintage Monet butterfly necklace and brooch set features elegant detailing with sparkling rhinestones and enamel accents. The gold-tone brooch is designed as a textured butterfly with clear rhinestone embellishments, adding a touch of glamour. The butterfly pendant necklace showcases a vibrant multicolored enamel design with a central faceted purple stone, accented by additional rhinestones. The necklace chain includes purple glass beads and bears the Monet signature tag. A beautiful addition to any vintage costume jewelry collection. Brooch measures 2.5"L. Butterfly necklace measures 10.5"L.Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.
Lot 14
This 2-piece Monet brooch set features elegant gold-tone designs with faux pearls and crystal embellishments. One brooch showcases a twisted rope bow motif with two suspended faux pearls, while the other is a floral-inspired piece adorned with pave-set crystals and a central faux pearl. Both brooches exhibit Monet’s signature high-quality craftsmanship and are stamped ©Monet on the reverse. The largest piece measures 2"L.Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.
Lot 154
From the Collection of Catherine Leaney, "Voice of Cartier": a pair of Goossens style gold tone earrings with stones, a Michael Kors bag & three pieces of Kors gold tone jewellery, Assya jade style three piece suite, purchased at Notting Hill, a Sara Miller watch, a Rita Frascione Florence necklace, a pair of Royal Opera House eyeglasses, Monet designer costume jewellery & other items
Lot 473
Henry Moret, 1856 Cherbourg – 1913 ParisL‘ÉGLISE DE LANDÉVENNECÖl auf Leinwand.73,7 x 61 cm.Rechts unten signiert und datiert „1895“.Beigegeben ein Foto-Zertifikat mit Bestätigung von Jean-Yves Rolland, vom 18. November 2023, in Kopie.Der Hauptgegenstand des Bildtitels tritt hinter der wirkungsvollen impressionistischen Stilistik zurück: Das Kirchengebäude steht hinter den herbstlich rot verfärbten Baumkronen zurück. Rot und Grün beherrschen den Bildcharakter und überdecken das Grau des Kirchenbaus und des Turms. Der breite Weg, in Rot getaucht, führt dynamisch nach vorne und wird durch die schwarz-weiß gefleckten Kühe belebt. Links oben findet die Farbpalette ihren Kontrast im Blau und Weiß des Himmels. Der Maler beweist sich hier als hervorragender Vertreter des Post-Impressionismus. Er kam schon früh mit Corot und Courbet in Berührung, noch bevor er 1876 in Paris das Studium an der École des Beaux-Arts begann. Er widmete sich der Freilichtmalerei und arbeitete im Atelier von Rudolf Lehmann. Erstmals stellte er 1880 im Pariser Salon aus, damals noch in der Tradition der Schule von Barbizon. Seit 1880 war er in Pont-Aven, beeinflusst von Malern wie Monet und Gauguin. Ab 1891 entwickelte er seinen eigenen Stil, eine Symbiose seines bisherigen Schaffens. 1895 stand er in Kontakt mit dem berühmten Galeristen Paul Durand-Ruel, für den er über 600 Gemälde schuf, darunter auch das hier vorliegende Werk, von denen einige im Salon des Indépendants ausgestellt wurden.Der Künstler studierte 1876 an der École des Beaux-Arts in Paris und später, ab etwa 1880, bei dem Geschichtsmaler Jean-Paul Laurens (1838-1921) an der Académie Julian. 1880 stellte er erstmals auf dem Pariser Salon aus. Im selben Jahr kam er nach Pont-Aven, wo er eine Reihe von Künstlern anzog, darunter Paul Gauguin (1848-1903). Nach 1900 tauchte Moret tiefer in den Impressionismus ein und setzte zunehmend kleine Farbflecken auf seine Werke. Zunehmend konzentrierte er sich dabei auf Landschaften, in denen Lichteffekte zu sehen sind.Provenienz: Galerie Durand-Ruel, Paris, dort im Archiv dokumentiert unter der Referenznr. 3629-13326.Privatsammlung, Frankreich.Galerie Daniel Malingue, Paris.Privatsammlung, Frankreich.Galerie de la Présidence, Paris.Privatsammlung, Frankreich. Literatur:Obituary, Henry Moret, in: American Art News, Bd. 11, Nr. 31, New York 1913, S. 2.Vgl. Catherine Puget, Henry Moret, aquarelles et peintures 1856-1913, Le Musée de Pont-Aven, 26. Juni-26. September 1988, Ausstellungskatalog, Pont-Aven 1988.Vgl. Jean-Yves Rolland und Marie-Bénédicte Baranger, Henry Moret, 1856-1913, Plomelin 2002.Ausstellungen:Musée des beaux-arts Quimper, Henry Moret, un paysagiste de l‘École de Pont-Aven, 27. Juni - 19. Oktober 1998, mit Farbabb., S. 40, Nr. 28. (1431112) (11) (†)Henry Moret,1856 Cherbourg – 1913 ParisL’ÉGLISE DE LANDÉVENNEC Oil on canvas.73.7 x 61 cm.Signed and dated “1895” lower right.Accompanied by a photographic certificate of authenticity by von Jean-Yves Rolland, dated 18 November 2023, in copy. Provenance: Galerie Durand-Ruel, Paris (documented there in the archive under reference no. 3629-13326).Private collection, France. Galerie Daniel Malingue, Paris.Private collection, France. Galerie de la Présidence, Paris.Private collection, France. Literature:Obituary - Henry Moret, in: American Art News, vol. 11, no. 31, New York 17 May 1913, p. 2 (text archive – online).cf. Catherine Puget, Henry Moret, aquarelles et peintures 1856 - 1913, Le Musée Pont-Aven 1988 (catalogue for an exhibition at the Musée de Pont-Aven, 26 June - 26 September 1988, with bibliographical references).cf. Jean-Yves Rolland, Marie-Bénédicte Baranger, Henry Moret, 1856 -1913, Plomelin 2002.Exhibitions:Musée des beaux-arts de Quimper: Henry Moret: Un paysagiste de l’École de Pont-Aven, 27 June - 19 October 1998, catalogue with colour illustration of the painting, no. 28, p. 40.
Lot 471
Ivar T. Holth white enamel Norway earrings, in silver with a Rune Tennesmed Sweden pewter brooch, a pair of 800 silver hematite earrings, and two pair of Monet earrings, with one box all earrings are for non pierced earsCondition Report: silver gross weight 41 grams signs of wear commensurate with age.
Lot 56
Erna Hoppe-Kinross, German/British 1875-1964 - Portrait of Mrs Chambers; oil on canvas, signed lower right 'E.Hoppe Kinross', titled to label on the reverse 'Portrait of Mrs Chambers', 72 x 92 cm (ARR)Provenance:the Family of the Artists Grace English and Erna Hoppe-Kinross Exhibited: Chelsea, 1919 (according to the Artist's label attached to the reverse)Note:Hoppe-Kinross lived in Paris from 1906-14, where she exhibited at the Salons and at the Societe Nationale des Beaux-Arts. The present lot has been recorded to have been exhibited at Salon in 1907. She met her husband Charles Kinross there and they married. They had a holiday home at Giverny where they befriended Claude Monet - under his influence this was to become her most important period of painting.
Lot 2
Philip Wilson Steer OM, British 1860-1942 - Harwich Estuary with Shipping, 1913; oil on canvas, signed and dated lower left 'P W Steer 1913', 66.5 x 91.5 cm Provenance: Sir Gervase Beckett; Mrs. Bathurst Norman; with Thomas Agnew & Sons, London, no.28942, 1968 (label attached to the reverse of the frame); The Collection of Professor W. M. Ballantyne (1922-2021) and thence by descent Exhibited: The Fine Art Society, London, 'A Barrister's Collection: A Lifetime of Collecting by Professor W. M. Ballantyne', 5th-21st March 2014, cat. no.48, illus. no.8 Literature: Bruce Laughton, 'Philip Wilson Steer 1860-1942', Oxford, 1971, no.492 Note: Steer painted a number of works at Harwich in 1913, including 'Misty Evening, Harwich, 1913' now in the collection of Manchester Art Gallery and 'Sunset, Harwich Harbour, 1913' which was features in the major touring exhibition 'Philip Wilson Steer 1860-1942: Paintings and Drawings' organised by the Arts Council in 1986. In the catalogue for the Arts Council show, these works are defined by the 'constant traffic of fishing vessels...and the changing moods of the vast, open sky'. As such, these works demonstrate Steer's complete mastery of impressionism and the examples of the great masters, Turner, Whistler and Monet, in his depiction of the transitory effects of light on water.
Lot 57
Erna Hoppe-Kinross,German/British 1875-1964 - Jouant aux sables (Playing in the sands); oil on board, signed lower left 'E Hoppe', titled to artist's label on the reverse, 21 x 19.3 cm: together with 3 other works by the same artist of a similar size and smaller, including 'Boulevard', 'St. Briac' and an etching on paper 'Breton women' (4) (ARR) Provenance:the Family of the Artists Grace English and Erna Hoppe-Kinross Note:Hoppe-Kinross lived in Paris from 1906-14, where she exhibited at the Salons and at the Societe Nationale des Beaux-Arts. The present lot has been recorded to have been exhibited at Salon in 1907. She met her husband Charles Kinross there and they married. They had a holiday home at Giverny where they befriended Claude Monet - under his influence this was to become her most important period of painting.
Lot 1562
Konvolut Mappen zu moderner Kunst, u.a. G.F. Hartlaub, „Die Fauves“, Paris 1950; „Franz Marc“ mit zehn Farbtaf., München 1948; „Oskar Schlemmer“, Verlag Dieter Keller Stuttgart 1948; „Cezanne“, Edition du Chêne, Paris 1950, „Monet“, Edition Holbein Basel 1947 sowie Jean Arp- und Hans Richter-Broschüren.
Lot 11
Frühstücksservice für mindestens sieben Personen, Limoges, 69-teilig. Blau-gelbes Dekor. Bestehend aus: Teegedecken (sieben Tassen, 13 Untertassen, elf Desserttellern), Kaffeegedecken (zwölf Tassen, elf Untertassen, zehn Dessertteller), zwei Kannen, Zuckerdose, Sahnegießer und Kuchenplatte. Teils best. und berieben. Entwurf Charles Field Haviland. Stempelmarke Limoges mit Zusatz Musee Claude Monet Giverny, 20. Jh. Dessertteller D. 17 bis 22 cm.
Lot 12
Speiseservice für mind. neun Personen, Limoges, 38-teilig. Blau-gelbes Dekor. Bestehend aus: Zwölf Platz- bzw. 13 Speisetellern (4x best.), neun Salatschüsseln (2x best.), zwei Servierschalen (1x best.) und zwei ovalen Platten. Teils l. berieben. Entwurf Charles Field Haviland. Stempelmarke Limoges mit Zusatz Musee Claude Monet Giverny, 20. Jh. Speiseteller D. 27,5 cm.
Lot 356
§ John Myatt (1945-) after Van Gogh Starry Night with Drawbridge at Arlesfacsimile inscribed 'Vincent' (lower right); further signed by the artist and numbered 11/95 to the reversehand embellished giclée on canvas59.5 x 74cmProvenance:With Washington Green Fine Art and accompanied by a certificate of authenticityOn February 13th, 1999, John Myatt was sentenced to a year in prison for what was described by Scotland Yard as "the biggest art fraud of the 20th century". A former secondary school teacher, it was not until 1983, when he was aged 38, that Myatt discovered his gift for artistic imitation and began selling his reproductions as a means to support himself and his two young children. After placing an advert in Private Eye offering “Genuine Fakes” from £150 a piece, Myatt was contacted by John Drewe, who would become a regular customer and, ultimately, his co-conspirator and mastermind of the fraudulent plot. Although initially forthcoming about the nature of his reproductions, after Drewe was successful in passing Myatt’s works through major auction houses as original works, Myatt soon became a willing accomplice, producing around 200 forgeries by artists including Giacometti, Monet, Matisse, Chagall, and Ben Nicholson, between 1986 and 1994. Since his release, Myatt’s copies, all now clearly signed ‘Myatt’, have become collectable in their own right.Frame appears in nice condition throughout, as does the work itself.
Lot 33
EARDLEY KNOLLYS (BRITISH 1902-1991) ⊕ EARDLEY KNOLLYS (BRITISH 1902-1991) MOUNTAIN LANDSCAPE signed with initials lower left; numbered 45 on the reverse oil on canvas 30.5 x 40.5cm; 12 x 16in 45 x 54.5cm; 17 3/4 x 21 1/2in (framed) EARDLEY KNOLLYS (LOTS 33-39) Introduction SUCH COURAGEOUS ENTHUSIASM… he is one of the purest painters I know. Duncan Grant Artist, gallerist, dealer, advertising executive and aspiring Hollywood director are just a handful of the activities Eardley Knollys pursued during his life. A descendant of the Earls of Banbury, after Christ Church College, Oxford, he worked for Lever Brothers and J Walter Thompson before travelling to America to work on silent films in California. On his return to London he was appointed private secretary to Lord Hambleden, and in 1936 joined the Storran Gallery opposite Harrods on the Brompton Road where his partner, the artist Frank Coombs, was assistant to the owner Ala Story. After buying out Story, Knollys and Coombs consolidated the Storran Gallery into a hub of avant-garde art, building up a culturally influential network in both London and Paris. Their deceptively prosaic opening exhibition Flower Paintings featured works by Gauguin, Vlaminck, Modigliani and Monet. The show explored the innovative ways such everyday subject matter had been reinterpreted in modern art (something which would come to influence Knollys’ own work – see lot 38). They welcomed a raft of esteemed collectors to their premises, including Lady Ottoline Morrell, Duncan Grant and others of the Bloomsbury set as well as the influential George Eumorfopoulos. But the tragic death of Coombs in an air raid in 1941 whilst serving in the Royal Navy in Belfast signalled the end of The Storran Gallery’s activities. Knollys lost his enthusiasm for the venture and closed it for good shortly after the end of the War. Thereafter he took a job with the nascent National Trust and moved to live near Wimborne in Dorset. At the Trust he worked as assistant to the secretary, Donald Macleod Matheson. He joined James Lee-Milne on his visits to estates and country houses across Wessex and Wales and served as the South-West representative for the National Trust for some fifteen years. At Crichel House near Wimborne he set up a communal menage with the music critics Edward Sackville-West and Desmond Shawe-Taylor, later joined by the literary critic of the New Statesman Raymond Mortimer. Crichel became a house for creatives and intellectuals. Lees-Milne came to regard it as a second home, and visitors ranged from the interior designer Sybil Colefax to film director Anthony Asquith; writers included Nancy Mitford and Laurie Lee; among visiting artists were Graham Sutherland and Ben Nicholson; musicians included the composer Benjamin Britten and soprano Elisabeth Schumann.It was thus only in his fifties that Knollys began his career as a painter when he was encouraged by the artist Edward Le Bas during a holiday in Brittany. As a dealer, Knollys had encountered a wide range of contemporary art and developed a particular love for vibrant colour and pattern through his encounters with Post-Impressionism and Fauvism, stating that ‘I have always loved bright strong colours – muddy ones seem to me symbols of gloom’. Often sketching en plein air to be later translated to canvas in his studio, or from memories of his travels in Spain, France and Italy, Knollys deployed colour to build space and form (lots 34 & 35). He had his first solo exhibition in 1960 at the Minories, Colchester and a plethora of subsequent shows including with Michael Parkin in London and Achim Moeller in New York and at Southampton City Art Gallery. Remembered by his peers for his charm and sense of humour, Frances Partridge recalled that ‘everyone loved Eardley, you couldn’t help it’. Knolly’s joie de vivre left a mark on his contemporaries which continues to radiate from his playful and typically colourful works today.
Lot 960
MONET CLAUDE: (1840-1926) French Impressionist painter. A poignant A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 27th May 1899, to Francois Depeaux, written in the artist´s characteristic purple ink on black bordered mourning stationery. In the months following the death of his fellow Impressionist artist, Alfred Sisley, Monet writes with concern for Sisley´s children and their finances, in full, ´Je comprens parfaitement que vos occupations d´affaires ne vous laissent pas tout le loisir que vous voudriez, mais il y a l´affaire des enfants Sisley à laquelle nous nous sommes attachés et qu´il faudrait terminer une fois pour toutes. Il ne faudrait pas que ces enfants s´habituent à demander de l´argent chez M. Chevalier au fur et à mesure de leurs besoins et se figurent qu´ils ont un capital inépuisable. Vous etes de cet avis je le sais, mais il faudrait qu´ils soient mis au plus tot au courant de leur situation. Je n´ai pas qualité pour m´occuper de cela, et j´ai du reste assez payé de ma personne pour vous prier de ne pas perdre de vue le role final de nos efforts communs. Je sais que Pierre Sisley ne travaille que d´une facon intermittente, ce qui est facheux et cela peut etre parce qu´il ne sent pas pris par la nécessité. Il y a aussi à s´assurer que toutes dettes sont payées. Enfin mon grand souci c´est la responsabilité qui nous fait un devoir de conseiller ces enfants et de placer leur avoir en de bonnes conditions. J´ai beau vouloir n´y pas penser, c´est plus fort que moi et je trouve que nous devons au plus vite régulariser tout cela. C´est urgent selon moi et c´est ce qui me fait insister à vous demander un entretien qui me procurera le plaisir de vous voir. Bien en hate et avec l´espoir de votre prochaine venue´ (Translation: ´I fully understand that your business commitments do not leave you all the time you would like, but there is the matter of the Sisley children to which we have become attached and which must be settled once and for all. These children should not get into the habit of asking Mr Chevalier for money as and when they need it and imagine that they have an inexhaustible supply. I know you are of this opinion, but they should be made aware of their situation as soon as possible. I am not qualified to deal with this, and I have already put in enough personal time and effort, so please do not lose sight of the ultimate goal of our joint efforts. I know that Pierre Sisley only works intermittently, which is annoying and it may be because he doesn't feel driven by necessity. There is also the matter of ensuring that all debts are paid. Finally, my main concern is the responsibility that makes it our duty to advise these children and to place their assets in good conditions. I can try as I might not to think about it, but I can't help it and I think we need to sort all this out as quickly as possible. I think it's urgent and that's why I'm insisting on asking you for an interview, which will give me the pleasure of seeing you. I look forward to it and hope you will come again soon´). A letter of fine and compassionate content. Some light creasing and one small tear (repaired to a very high standard and not affecting the text or signature). About VGFrancois Depeaux (1853-1920) French industrialist, art collector and patron.Alfred Sisley (1839-1899) British Impressionist landscape painter, a friend of Monet and Pierre-Auguste Renoir. Together the three artist would paint landscapes en plein air rather than a studio. Sisley died on 29th January 1899, just a few months after his wife had passed away, leaving two children, a son, Pierre, and a daughter, Jeanne.
Lot 959
MONET CLAUDE: (1840-1926) French Impressionist painter. An interesting A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 12th October 1921, to Monsieur [Lucien] Moline, in French. The artist writes in bold pencil and states that he has just returned from a trip and ´trouve une lettre de Madame Donop de Monchy qui s´étonne aussi que je ne reconnaisse pas cette toile de la gare d´Argenteuil, bien qu´elle me dise qu´elle est peut-être de Manet (Ce que je ne crois pas) que de Bellio lui a toujours dit qu´il la tenait de moi´ (Translation: ´found a letter from Mrs Donop de Monchy, who was also surprised that I did not recognise this painting of Argenteuil station, although she told me that it might be by Manet (which I do not believe) that de Bellio had always told her he got it from me. It is possible and it might be by me´), further remarking ´Je suis vieux, ma mémoire peut me faire défaut et dans ce cas ma conscience m´oblige à refuser de mettre mon nom au bas de cette toile dont je n´ai pas souvenance. Ne voyez , je vous prie, aucune mauvaise part dans ma decisión et croyez à tous mes regrets´ (Translation: ´I am old, my memory may fail me and in that case my conscience compels me to refuse to put my name at the bottom of this canvas of which I have no recollection. Please do not see any bad part in my decision and believe me when I say how sorry I am´). Together with an original vintage 6.5 x 4.5 (approximately 16.5 x 11 cm) photograph of the painting to which Monet refers in his letter, being La gare d´Argenteuil (1872), signed and inscribed by Monet in blue ink to the verso, ´La toile que reproduit m´a tout l´air d´être de moi, sans oser l´affirmer. C´est si lointain vers 1872 ou 1873. Claude Monet´ (Translation: ´The canvas that is being reproduced looks to me as if it were all mine, without daring to say so. It is so distant, around 1872 or 1873. Claude Monet´). A fascinating letter and accompanying photograph, which was indeed a painting by Monet created in 1872. The letter in very good condition and the photograph with some light age wear, a couple of surface creases, and some foxing to the verso, G to VG, 2Lucien Moline was a well known French art dealer and agent, who also represented the sculptor Auguste Rodin, and operated from a gallery on Rue Laffitte in Paris.La gare d´Argenteuil (1872) is an oil painting that appears in Daniel Wildenstein´s catalogue raisonné of Monet. The artist sold the painting to the Durand-Ruel Gallery in 1872 and was possibly restored to Monet since there is no reference to it in Durand-Ruel´s ledgers. It was subsequently sold to De Bellio in June 1876, and then to Madame Donop de Monchy (the catalogue raisonée indicating that she acquired the painting in around 1940, although the present letter demonstrating that she owned it at least several decades earlier). On 25th May 1986 it appeared at auction and was acquired by the Conseil Général of the Val-d´Oise department, and subsequently entrusted to the Musée Tavet-Delacour in Pontoise.Many art historians believe that Monet, out of all of the notable 19th century artists, made the most paintings of trains in his lifetime.
Lot 962
MONET CLAUDE: (1840-1926) French Impressionist painter. An important collection of three outstanding A.Ls.S. by Monet to various correspondents, including Suzanne Manet and Camille Pissarro, regarding the raising of funds by public subscription for the acquisition of Edouard Manet´s famous masterpiece, the oil painting Olympia (1863). The collection comprises (in chronological order) -(i) A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 26th August 1889, to [Jean-Baptiste] Faure (´Mon cher Faure´), in French. Monet writes in his characteristic bold purple ink and states, in full, ´Je viens vous demander si vous voulez participer à la souscription que nous faisons entre amis et admirateurs de Manet pour acheter l´Olympia de Manet et l´offrir au Louvre. Nous serions très heureux de vous compter parmi nous pour cette manifestation toute artistique. Je sais bien que ce tableau de Manet n´est pas votre préféré mais si nous l´avons choisi c´est surtout parce qu´il appartient à Madame Manet à laquelle nous voulons discrètement venir en aide, et aussi parce qu´il était le tableau préféré de Manet. C´est un bel hommage à rendre à l´artiste et j´espère bien que vous me ferez une réponse favorable. Vous priant de me dire pour quelle somme je dois vous inscrire. Je vous adresse la liste des souscriptions à ce jour´ (Translation: ´I have come to ask you if you would like to take part in the subscription that we, Manet's friends and admirers, are making to buy Manet's Olympia and offer it to the Louvre. We would be very happy to count you among us for this artistic event. I know that Manet's painting is not your favourite, but we have chosen it mainly because it belongs to Madame Manet, whom we wish to discreetly help, and also because it was Manet's favourite painting. It is a fine tribute to pay to the artist and I very much hope that you will give me a favourable response. Please let me know the amount I should register you for. I am sending you the list of subscriptions to date´). Some light age wear and a lengthy, neat split to the central vertical fold of the bifolium.Jean-Baptiste Faure (1830-1914) French baritone and art collector. An enthusiastic and avid collector of Impressionist art, Faure sat for multiple portraits by Edouard Manet, and owned more than sixty paintings by the artist (including another masterpiece Le déjeuner sur l´herbe). Faure´s collection also featured works by Monet, Edgar Degas, Alfred Sisley, and Camille Pissarro.(ii) A.L.S., Claude Monet, four pages, 8vo, Giverny par Vernon, Eure, 13th November 1889, to [Suzanne Manet] (´Chère Madame´), in French. Monet states that he has received his correspondent´s kind letter, and was happy to have been able to please her, continuing to remark ´Vous savez combien j´aimais votre cher mari et combien je serai fier d´avoir pu contribuir à lui faire obtener la place à laquelle il a tant de droits´ (Translation: ´You know how much I loved your dear husband and how proud I will be to have been able to help him obtain the position to which he is so entitled´) and further writing ´Il ne faut pas nous illusioner car ce qui vous parait si naturel parait à d´autres bien audacieux et ce qui est triste à dire il y a encore des ennemis qui refusent de se rendre, mais pour ma part je puis vous assurer que je ne me rebuterai pas et que je ferai tout pour arriver au but que nous voulons´ (Translation: ´We must not delude ourselves because what seems so natural to you seems very bold to others and sadly there are still enemies who refuse to give in, but for my part I can assure you that I will not be discouraged and that I will do everything to achieve our goal´) and concluding by adding ´Mr. Portier que vous avez vu, m´ecrit pour me demander ce que vous devez faire de l´Olympia. Je crois que le mieux , si l´on vous aporte d´autres tableaux, de prendre également l´Olympia chez vous… à moins cependant que vous le mettez chez Madame Eugène Manet [Berthe Morisot], mais il ne faut pas douter… que nous avons encore un mois de pourparlers avant d´obtenir satisfaction et dont je vous mettrai au courant´ (Translation: ´Mr Portier, whom you saw, has written to ask me what you should do with the Olympia. I think that the best thing, if we bring you other paintings, is to also take the Olympia to your place... unless, of course, you put it at Madame Eugène Manet's [Berthe Morisot], but there's no doubt about it... that we still have a month of talks before we get satisfaction, and I will keep you informed´). Some light overall age toning, evidently a result of the letter having previously been framed, the text of two pages (including the final one, with Monet´s signature) somewhat faded, although still legible. One small area of paper loss to a corner, professionally repaired to a satisfactory standard.Suzanne Manet (1829-1906) Dutch pianist, the wife of Edouard Manet, for whom she frequently modelled. Berthe Morisot (1841-1895) French Impressionist painter, the wife of Eugène Manet, brother of her friend and fellow artist Edouard Manet.(iii) A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 23rd November 1889, to Camille Pissarro (´Mon cher Pissarro´), in French. Writing in his characteristic bold purple ink, Monet acknowledges receipt of his friend´s letter and their contribution of 50 francs in the form of a money order to the Manet subscription fund, although adding that there was no urgency. Monet also explains that the fund now holds 18,500 francs and that he hopes to reach a round figure very soon, however the painter continues to state ´Mais il reste le plus difficile, l´admission de notre don par l´état et je sais déjà que pendant que je travaille à arriver au résultat, d´autres travaillent aussi mais en sens inverse et pour faire avorter notre oeuvre. Proust le premier m´a écrit, tout en souscrivant, qu´il ne voulait pas se charger de faire accepter ce tableau par l´état, considérant L´Olympia coome un des moins bons Manet´ (Translation: ´But the most difficult part remains, convincing the state to accept our gift, and I already know that while I am working to achieve the result, others are also working, but in the opposite direction and to abort our work. Proust was the first to write to me, and although subscribing, he does not want to take charge of making the state accept this painting, considering L'Olympia as one of Manet's least good works´) further describing Proust´s reaction as silly and comical. In concluding Monet remarks ´Mais je crois qu´il est du devoir des artistas de pousser cette affaire, quant à moi je ferai tout pour arriver à notre but´ (Translation: ´But I believe it is the duty of artists to push this matter, and for my part I will do everything to achieve our goal´).Camille Pissarro (1830-1903) French Impressionist painter. An absolutely remarkable trio of letters relating to one of the most famous and iconic paintings in the history of Impressionist art. G to VG, 3Autograph letters by Monet on the subject of Olympia, most of which were addressed to friends in his artistic circle, are highly desirable and each of the present three examples display individual merits in both their exceptional content and associations.
Lot 956
MONET CLAUDE: (1840-1926) French Impressionist painter. Concluding page of an A.L.S., ton Monet qui t´aime, one page, 8vo, (Christiania, i.e. Oslo, Norway), n.d. (February 1895), to [Alice Hoschede], in French. Monet writes, in full, ´te sera difficile de me donner de tes nouvelles apres le recu de ces lignes, cependant je vais tacher de m´arranger pour savoir ou je descendrai a Hambourg et quel jour tu pourrais m´y ecrire a bientot ma bonne cherie quelle joie pour moi je t´envoie toutes ma tendresse et baisers pour tou, ton Monet qui t´aime´ (Translation: ´It will be difficult for you to give me any news after receiving these lines, but I will try to find out where I am going to stay in Hamburg and what day you could write to me there. See you soon, my dear, what a joy for me I send you all my love and kisses for you, your Monet who loves you´) and in a postscript added in the evening the artist further adds ´Me voici arrive a Christiana ou je suis au Grand Hotel. Sans doute jusqu´a dimanche. Demain a lieu la promenade en bateau. Baisers a tous´ (Translation: ´I have arrived in Christiana where I am staying at the Grand Hotel. Probably until Sunday. Tomorrow is the boat trip. Kisses to all´). A couple of minor creases and one very light stain, not affecting the text or signature, otherwise VGAlice Hoschede Monet (1844-1911) French artists' model, wife of the art collector Ernest Hoschede and later of the Impressionist painter Claude Monet (from 1892).Claude Monet’s trip to Norway in 1895 was perhaps the most physically taxing of all his many painting campaigns. Touring the country with his stepson Jacques Hoschedé, who lived in Christiania, he was awestruck but initially frustrated in his search for good subjects amid the snow. Despite this discontent, Monet painted twenty-nine Norwegian scenes during his two-month stay.
![[MONET CLAUDE]: (1840-1926) French Impressionist painter. MIRBEAU OCTAVE (1848-1917) French novelist and art critic. An excel](https://cdn.globalauctionplatform.com/45b0b23d-f22f-42d7-a7e3-b28a016ddfe5/1611ba74-bc18-4697-adbb-b28b012f3175/468x382.jpg)
Lot 955
[MONET CLAUDE]: (1840-1926) French Impressionist painter. MIRBEAU OCTAVE (1848-1917) French novelist and art critic. An excellent A.L.S., Octave Mirbeau, three pages, 8vo, n.p., n.d., to Claude Monet, in French. Mirbeau commences his letter by thanking Monet a thousand times for a gift (possibly a painting?) and a portrait photograph, remarking ´Les oliviers que je connaissais sont superbes de lumière en dessous, et je me retrouve là-bas, sous leurs branches que j´aime tant. Et quant à votre photographie, qui m´a été aussi une surprise exquise, c´est un chef d´oeuvre. Vous etes, vous tout entier, male, puissant, avec votre oeil qui dompte le soleil.....´ (Translation: ´The olive trees that I knew are superb in the light below, and I find myself there, under their branches that I love so much. And as for your photograph, which was also an exquisite surprise for me, it is a masterpiece. You are, all of you, male, powerful, with your eye taming the sun...´) and continues by trying to lift his friend´s spirits, ´Maintenant, parlons de vous en peu. Est-ce que vraiment vous allez devenir fou, vous? Et vous laisser abattre comme un vulgaire bonhomme? Comment, jamais vous n´avez été en possession de votre art, comme maintenant, et parce que, cette année, le temps vous a contrarié, vous allez tout envoyer promener! Vous le retrouverez le temps qu´il vous faut; et vous ferez d´admirables chefs d´oeuvre. Nom d´un chien, mais c´est enrageant, ce qui vous prend; et cette énergie dont vous avez donné tant de preuves, où donc est-elle maintenant?´ (Translation: ´Now, let's talk about you for a bit. Are you really going to go mad? And let yourself be brought down like a common man? How can you, when you have never been in possession of your art like you are now, and because the weather has upset you this year, you are going to throw it all away! You will find it again in time; and you will produce admirable masterpieces. Damn it, it's infuriating, what's got into you; and that energy of which you have given so much proof, where is it now?´), further writing ´Voulez-vous que je vous dise, mon ami?.......Mais, écoutez-moi bien, il y a aussi une cause purement physique;........les lubies - passagères d´ailleurs - prennent l´homme le mieux trempé. Mais cést pas grave. Il faut vous secouer; et la pire des choses pour vous, est de rester couché des journées entières, comme vous me dites. Il faut secouer cela, rigoureusement. Vous avez eu le plus grand tort de ne pas venir ici. Si vous ne vous sentez pas en veine de travail, encore, il ne faut pas vous acagnarder.........Remuez, voyagez, allez de l´un á l´autre. Vous savez que la maison ici est votre. Pourquoi ne venez-vous pas passer quelques jours?......Venez. Nous causerons de Monet; nous ferons l´article ensemble. Ca ne va pas, non plus, cette affaire-là? Et bien, nous tacherons de la faire aller. J´ai un ami puissant dans le gouvernement, un homme qui deviendra peut-etre, Napoleon.....il nous aidera. Voyons, mon cher Monet, je vous en prie, retrouvez votre belle energie des beaux jours. Moquez-vous de cet idiot de Wolff. Il n´empechera pas que vous etes un grand artiste, et que votre succès se ralentisse. Car vous avez franchi les dures portes, et vous etes en plein horizon. Cela est mathématique. Rien ne peut vous faire perdre les positions conquises, rien que votre découragement et votre inertie´ (Translation: ´Do you want me to tell you, my friend?.......But, listen to me carefully, there is also a purely physical cause;........whims - passing whimss at that - take even the steeliest man. But it doesn't matter. You have to shake yourself awake; and the worst thing for you is to lie in bed for days on end, as you tell me. You have to shake it off, rigorously. You were very wrong not to come here. If you don't feel like working, again, you mustn't hide away.........Stir yourself, travel, go from one to the other. You know that the house here is yours. Why don't you come and spend a few days?......Come. We'll talk about Monet; we'll do the article together. That's not going well either, is it? Well, we'll try to make it work. I have a powerful friend in the government, a man who may become Napoleon... he'll help us. Come now, my dear Monet, I beg you, rediscover your wonderful energy of the good times. Make fun of that idiot Wolff. He will not prevent you from being a great artist, and your success from slowing down. For you have passed through the difficult doors, and you are in full view. This is mathematical. Nothing can make you lose the positions you have conquered, only your discouragement and your inertia´). Mirbeau encourages Monet to write to him soon and let him know that he is feeling better, and also writes of his own current work, ´Mon roman se poursuit; le temps ne me derange guère, et cést stupide ce que je fais. Mais je crois que je deviens philosophe. Je regrette de ne pas faire mieux; mais puisque je ne peux pas, je me fais à la place, une raison. Vous verrez ca bientot, en effet; ce que je vous demanderai, ce sera de ne pas trop me blaguer. Il y avait un péril très grand dans mon livre, c´etait de tomber dans l´enfantillage. Or j´y suis tombé, naturellement´ (Translation: ´My novel is continuing; time doesn't bother me much, and what I'm doing is stupid. But I think I'm becoming philosophical. I regret not doing better; but since I can't, I'll make myself a reason instead. You'll see that soon enough; what I'll ask of you is not to joke too much with me. There was a very great danger in my book, which was to fall into childishness. Well, I fell into it, naturally´) and concludes his letter by again writing with positivity, ´Ce que je vous dis est la vérité pure. Mde. Hoschedé a du vous le dire certainement. Le seul danger, c´est de vous laisser aller à des découragements, que vous n´avez pas le droit d´avoir. Voyons, quand venez-vous? Toute de suite, hein! Je vous embrasse tendrement; me femme qui vient de lire ma lettre, dit qu´elle est illisible, et écrite betement; mais, tout de meme, elle l´approuve. Merci encore, mon cher ami, de votre superbe et trop magnifique don, merci de votre photographie. Et méditez ce que je vous raconte dans ma lettre, qui est, en effet, stupidement tournée, mais qui est, tout de meme, un che f´oeuvre de raison´ (Translation: ´What I'm telling you is the absolute truth. Mrs Hoschedé must have told you that. The only danger is that you will become discouraged, which you have no right to do. Come on, when are you coming? Right away, eh! I send you my warmest regards; my wife, who has just read my letter, says it is illegible and badly written, but she approves it all the same. Thank you again, my dear friend, for your superb and magnificent gift, thank you for your photograph. And meditate on what I tell you in my letter, which is, indeed, stupidly worded, but which is, all the same, a masterpiece of reason´). A letter of excellent content and association from Mirbeau to Monet, the artist whom he sang the praises of. VGMirbeau´s mention of Napoleon in the present letter is evidently a reference to Georges Clemenceau (1841-1929) French Prime Minister 1906-09, 1917-20. Clemenceau was a long-time friend and supporter of the impressionist painter, writing a short biography on the artist, and was also instrumental in persuading Monet to have a cataract operation in 1923.The source of Monet´s apparent depression may well have been the French writer and art critic Albert Wolff (1825-1891), mentioned in the present letter. Wolff strongly opposed Impressionism and an 1876 Impressionist Exhibition (at which Monet displayed eighteen paintings).
Lot 961
MONET CLAUDE: (1840-1926) French Impressionist painter. A fine A.L.S., Claude Monet, three pages, 8vo, Etretat, 27th October 1885, to Camille Pissarro (´Mon cher Pissarro´), on the printed stationery of the Hotel Blanquet, in French. Monet states that he has been meaning to write to Pissarro for some time and send his news, ´mais vous savez ce que c´est, etant toujours dehors a travailler, on est fatigue le soir et un peu paresseux pour ecrire´ (Translation: ´but you know how it is, being out all the time working, you're tired in the evening and a bit lazy to write´), remarking ´Je pensais rester moins longtemps ici, mais je suis si peu favorise par le temps que c´est le diable de pouvoir terminer quelque chose. J´ai eu beau faire mettre des toiles pour tous les temps, je n´en viens pas a bout d´une, entre les changements de maree, les bateaux qui ne sont jamais a la meme place´ (Translation: ´I thought I'd stay here for less time, but I'm so short of time that it's the devil to get anything done. No matter how many times I've had canvases put up for all weathers, I can't finish one, between the changes in the weather and the boats that are never in the same place´) explaining that he will remain at Etretat for a while longer, in order to make the most of his trip, and therefore won´t be able to attend the next dinners with Pissarro, ´Vous voudrez bien m´en excusre aupres des amis, et leur faire mes amities. Et vous, que faites-vous, et Renoir, Cezanne, Sisley et Durand les affaires, en tout cela un mot et vous serez bien aimable de me mettre un peu au courant´ (Translation: ´I apologise to my friends for this, and send them my regards. And you, what are you doing, and Renoir, Cezanne, Sisley and Durand, the business, in all this a word and you will be very kind to give me some information´). In concluding Monet states that he hopes Pissarro is in good health, that matters are going well for him, and asking for his compliments to be given to Pissarro´s wife and their son Lucien. A letter of good association and fine content, not least for its references to Monet´s work, but also for the mention of a number of other Impressionist artists. Some very light, extremely minor age wear, VGCamille Pissarro (1830-1903) French Impressionist painter whose eldest son was Lucien Pissarro (1863-1944) French landscape painter, printmaker, wood engraver, designer, and printer of fine books.Pierre-Auguste Renoir (1841-1919) French Impressionist artist. Paul Cezanne (1839-1906) French Post-Impressionist painter.Alfred Sisley (1839-1899) British Impressionist landscape painter.Paul Durand-Ruel (1831-1922) French art dealer associated with the Impressionists, and the first to support Pissarro, Monet and Renoir.Etretat is located in the Normandy region of Northwestern France and is famous for its chalk cliffs, including three natural arches. These landmarks and the associated resort beach attracted not only Monet, but other artists including Eugene Boudin and Gustave Courbet. Monet´s paintings created at Etretat in 1885 include The Cliffs at Etretat and Sailboats behind the needle at Etretat.
Lot 963
MANET EDOUARD: (18[32-1883) French Painter. Manet is widely regarded as the founder of Impressionism painting. A good A.L.S., `E. Manet´, one page, n.p., n.d. [`Friday´], to Claude Monet, in French. Manet writes to his good friend and colleague Monet, in full, ‘Merci mon cher Monet, mais je vous croyais plus... que cela. Pour moi c´est comme un cauter sur une jambe de bois. Je suis fâché de vous savoir malade, j´espère que cela ne sera rien, amitiés´ (Translation: "Thank you my dear Monet, but I thought you were more... than that. For me it is like a cautery on a wooden leg. I am sorry to know that you are ill, I hope it will be nothing, I send you my friendly regards"). Paper with atermark. VGClaude Monet (1840-1926) French Impressionist Painter.
Lot 957
MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, two pages, 8vo, Giverny par Vernon, Eure, 24th March 1914, to a gentleman, on black bordered mourning stationery, in French. Monet states that he is angry to have known his correspondent was in Giverny on Sunday but did not pay him a visit, explaining ´Le mauvais temps m´ayant empeche de m´absenter comme je le pensais´ (Translation: ´The bad weather prevented me from getting away as I thought I would´) and continuing to remark ´Mais comme il faut absolument en terminer au mieux de chacun voulez vous me faire savoir quand il vous sera possible de venir jusqu´ici sauf samedi prochain en me faisant......l´heure de votre venue´ (Translation: ´But as we absolutely must get this over with to the best of everyone's ability, would you please let me know when it will be possible for you to come here, except next Saturday, and let me know......the time of your arrival´). With integral leaf (on which Monet´s signature appears). Some light creasing and with a small, neat split at the base of the central vertical fold of the bifolium, and the central horizontal fold to the blank integral leaf has at some stage suffered a longer, neat split, which has since been strengthened and repaired, GThe present letter is written in a significant year of the artist´s life. Jean Monet (1867-1914), the painter´s elder son, had passed away on 10th February 1914. His death, coupled with that of Monet´s second wife, Alice, just a few years earlier in 1911, left Monet in a state of depression. It was also during this period that Monet began to develop the first signs of possible cataracts. 1914 was also the year in which Monet drew up plans to construct a new, large studio that he could use to create a ´decorative cycle of paintings devoted to the water garden´ at Giverny which, of course, included several paintings of water lilies.
Lot 958
MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, four pages, 8vo, Fresselines, 28th March 1889, to Gustave Geffroy, in French. Monet apologises for not having sent his friend some news earlier, ´mais comme vous le pensez bien tous mes instants sont pris, et malgré un temps de chien je travaille sans arrêt´ (Translation: ´but as you can imagine, I am very busy, and despite the awful weather, I am working non-stop´), adding that he doesn´t know when he will be able to go to Crozant, and further remarking ´J´ai beaucoup de mal à faire ce pays, tout ce que j´ai fait en arrivant est absurde et bête, je croyais qu´ayant été frappé par cette nature j´allais faire des choses du premier coup, et bien oui, ce n´est qu´à présent que je commence à voir, aussi suis-je bien embêté à cause du peu de temps que j´ai devant moi, il faudrait rester ici des mois pour pouvoir en faire quelque chose de bien´ (Translation: ´I find it very difficult to make this country, everything I did when I arrived is absurd and stupid, I thought that having been struck by this nature I was going to do things right away, well yes, it is only now that I am beginning to see, so I am quite annoyed because of the little time I have ahead of me, I would need to stay here for months to be able to do something good with it´), again writing of the problems he is facing with the weather, ´J´ai beaucoup de choses en train mais comme toujours je suis à la merci du temps, et s´il survient un beau soleil, l´un será fait de plusieures choses sombres et tristes que je tenais surtout à faire´ (Translation: ´I have a lot of things in the pipeline but as always I am at the mercy of the weather, and if the sun comes out, one of the many dark and sad things that I particularly wanted to do will be done´), commenting on his hosts in Fresselines, ´Nous nous entendons très bien Rollinot et moi, et c´est pour moi un regal quand.... j´aurai faite, il se met au piano. Tous deux sont charmants pour moi et j´emporterai un bien bon souvenir de mon séjour ici´ (Translation: ´We get on very well, Rollinot and I, and it's a real treat for me when... he gets on the piano. They're both charming to me and I'll take away some very good memories of my stay here´) and concluding by mentioning a planned exhibition, ´Je voudrais vous donner de bonnes nouvelles de l´exposition Petit mais c´est toujours en suspend. Petit a en vue une grosse affaire, la vente Secrétaire si elle a lieu, nous ne pourrions ouvrir que plus tard, mais alors dans des conditions très douces. Petit a vu Rodin et si cette vente n´a pas lieu, ouvririons le 15 Juin´ (Translation: ´I would like to give you some good news about the exhibition Petit but it is still up in the air. Petit has a big deal in mind, the sale of the Secretary if it takes place, we could only open later, but then under very favourable conditions. Petit has seen Rodin and if this sale does not take place, we would open on 15 June´). Accompanied by the original envelope hand addressed by Monet. A letter of good content and association. A few neat splits to some edges, not affecting the text or signature, about VGGustave Geffroy (1885-1926) French journalist, art critic and historian, a friend and champion of Monet.Georges Petit (1856-1920) French art dealer, a key figure in the Paris art world and an important promoter of Impressionist artists.Auguste Rodin (1840-1917) French sculptor who exhibited The Kiss at Petit´s gallery in 1887.The joint exhibition by Monet and Rodin at Petit´s gallery in 1889 served to seal Rodin’s position as France’s premier sculptor and opened doors to collections and museums around the world.Monet stayed for three months at Fresselines, in the spring of 1889, at the home of the French poet and musician Maurice Rollinat (1846-1903).
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