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MONET CLAUDE: (1840-1926) French Impressionist painter.
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MONET CLAUDE: (1840-1926) French Impressionist painter. An excellent, small series of three A.Ls.S. by Claude Monet to members of the Bernheim family, owners of one of the oldest art galleries in Paris, the Bernheim-Jeune gallery. Monet makes reference to his friend Sacha Guitry in each of the letters, and the correspondence comprises -(i) A.L.S., Claude Monet, two pages, 8vo, Giverney par Vernon, Eure, n.d. (c.1912/14), to a lady (most likely Mathilde Adler, the wife of Josse Bernheim), on black-bordered mourning stationery, in French. Monet writes in his characteristic bold purple ink and states, in full, ´Mille fois merci de votre si aimable invitation à laquelle malgré la sauvagerie que vous me connaissez, je ne manquerai pas de me rendre et ce me sera un double plaisir de revoir et d’applaudir Monsieur et Madame Sacha Guitry.Merci encore à vous quatre et recevez chère Madame mes affectueux hommages´ (Translation: ´A thousand thanks for your kind invitation, which, despite my well-known savagery, I will not fail to accept. It will be a double pleasure for me to see and applaud Mr. and Mrs. Sacha Guitry again. Thank you again to all four of you. Please accept, dear Madam, my affectionate regards´). With blank integral leaf.(ii) A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, 6th April n.y. (´Lundi´; c. 1912/14), to Josse [Bernheim] (´Cher Monsieur Josse´), on black-bordered mourning stationery, in French. Monet thanks Bernheim for having kept him informed each day with news about Sacha Guitry, remarking ´Je suis confus de vous donner cette peine mais vous comprendrez mon désir d’être tenu au c[ouran]t. Pauvre Sacha et pauvre Lysès que je le plains et comme je pense à elle, mais que je serai donc heureux lorsque vous m’annoncerez un mieux sensible´ (Translation: ´I am sorry to cause you so much trouble, but you will understand my desire to be kept informed. Poor Sacha and poor Lysès, I feel so sorry for her, and how I think of her, but I will be so happy when you tell me that he is feeling better´) and also informing his correspondent ´Après demain mercredi je me rendrai à Joinville pour y faire des plantations afin que lors de la convalescence de Sacha ils trouvent un peu de plaisir dans leur nouveau jardin´ (Translation: ´The day after tomorrow, Wednesday, I will go to Joinville to do some planting so that when Sacha recovers, they will find some pleasure in their new garden´). Monet conclues by sending his best regards to Bernheim´s brother and their wives, and in a postscript makes a reference to his paintings, ´Savez-vous si Monsieur Leprieur a décidé de prendre mes [tableaux], au cas contraire je serai bien aise à ne pas les voir s’égarer dans les greniers du Louvre´ (Translation: ´Do you know if Monsieur Leprieur has decided to take my [paintings]. If not, I would be very glad not to see them lost in the attics of the Louvre´).(iii) A.L.S., Claude Monet, two pages (written to the first and third sides of the bifolium), Giverny par Vernon, Eure, n.d. (´Vendredi 10´; c.1912/14), to ´Messieurs et chers amis´ [Josse and Gaston Bernheim], on black-bordered mourning stationery, in French. Monet writes in response to having been informed of some positive news concerning Sacha Guitry, ´Je n'ai pas besoin de vous dire comme j'étais heureux hier matin en recevant votre bonne dépêche et plus heureux encore aujourd'hui de savoir qu'enfin qu'il n'y a plus d'inquiétude à avoir, je m'en réjouis comme vous pour ces bons amis et vous remercie mille fois d'avoir bien voulu me tenir au courant´ (Translation: ´I don't need to tell you how happy I was yesterday morning when I received your kind dispatch, and even happier today to know that there is finally no more cause for concern. I rejoice with you for these good friends and thank you a thousand times for keeping me informed´) further adding ´Je compte venir voir Sacha la semaine prochaine. Je ne viendrai que pour quelques heures, ainsi m'arrangerai pour aller vous dire bonjour´ (Translation: ´. I plan to come and see Sacha next week. I will only be there for a few hours, so I will arrange to drop in and say hello´) and concluding by sending his warmest regards to his correspondent´s wives.A fine series of letters, each with good content and associations, VG, 3The brothers Josse (1870-1941) and Gaston (1870-1953) Bernheim-Jeune were two of the most prominent contemporary art dealers in Paris during the early 20th century. Working for the gallery their father, Alexandre Bernheim (1839-1915), had established in 1863, together they organised the first major exhibition of paintings by Vincent van Gogh in Paris in 1901. Earlier in the gallery´s history, Bernheim had promoted the first Impressionist and Post-Impressionist artists with exhibitions in 1874.Josse married his cousin, Mathilde Adler (1882-1963) in 1901, while Josse´s brother, Gaston, would marry Mathilde´s sister, Suzanne (1883-1961). In September 1901 Pierre-Auguste Renoir was commissioned by the Bernheim-Jeune brothers to paint a portrait of their young fiancées, and in 1910 the artist would again paint a portrait of Mathilde accompanied by her young son, Henry Dauberville (1907-1988).The Russian-born French stage actor, film actor, director, screenwriter, and playwright Sacha Guitry (1885-1957) had first met Claude Monet in the summer of 1911 when they were introduced to each other by the Bernheim-Jeune brothers at their villa ´Bois Lurette´ in Villers-sur-Mer. The two men developed a close friendship and in 1915 Monet was one of the subjects of Guitry´s first cinematic film Ceux de chez nous (´Those of our home´). The twenty-two minute silent movie was first shown at the Théatre des Variétés on 22nd November 1915 and is often heralded as the first film about the process of art-making itself and thus the first true artist documentary. The film includes two- to three-minute-long appearances by Claude Monet and Pierre-Auguste Renoir (both then around seventy-five years old), among other greats of the late nineteenth- and early twentieth-century French art scene, including the sculptor Auguste Rodin, the actors Sarah Bernhardt, André Antoine, and Lucien Guitry, the composer Camille Saint-Saëns, and the writers Anatole France, Octave Mirbeau, and Edmond Rostand. Guitry’s film helped immortalise Monet at a time when cinema was still in its infancy, and the footage gives modern viewers a rare glimpse of Monet in motion, painting in his beloved garden at Giverny. Guitry was married five times, firstly to the actress Charlotte Lysès (1877-1956) whom Monet also mentions in the present letters. Guitry and Lysès were married in 1907 and later divorced in 1915. Paul Leprieur (1860-1918) was a curator of the Louvre Museum in Paris.Monet´s reference to not wishing to have his paintings ´lost in the attics of the Louvre´ was perhaps made a little playfully. The artist´s works were first exhibited at the museum in 1883 as part of the Exposition des impressionnistes (Exhibition of the Impressionists). As a result Monet achieved the respect of more established museums almost a decade after his works had been shown in the first Impressionist exhibition of 1874. OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.
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MONET CLAUDE: (1840-1926) French Impressionist painter. An excellent, small series of three A.Ls.S. by Claude Monet to members of the Bernheim family, owners of one of the oldest art galleries in Paris, the Bernheim-Jeune gallery. Monet makes reference to his friend Sacha Guitry in each of the letters, and the correspondence comprises -(i) A.L.S., Claude Monet, two pages, 8vo, Giverney par Vernon, Eure, n.d. (c.1912/14), to a lady (most likely Mathilde Adler, the wife of Josse Bernheim), on black-bordered mourning stationery, in French. Monet writes in his characteristic bold purple ink and states, in full, ´Mille fois merci de votre si aimable invitation à laquelle malgré la sauvagerie que vous me connaissez, je ne manquerai pas de me rendre et ce me sera un double plaisir de revoir et d’applaudir Monsieur et Madame Sacha Guitry.Merci encore à vous quatre et recevez chère Madame mes affectueux hommages´ (Translation: ´A thousand thanks for your kind invitation, which, despite my well-known savagery, I will not fail to accept. It will be a double pleasure for me to see and applaud Mr. and Mrs. Sacha Guitry again. Thank you again to all four of you. Please accept, dear Madam, my affectionate regards´). With blank integral leaf.(ii) A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, 6th April n.y. (´Lundi´; c. 1912/14), to Josse [Bernheim] (´Cher Monsieur Josse´), on black-bordered mourning stationery, in French. Monet thanks Bernheim for having kept him informed each day with news about Sacha Guitry, remarking ´Je suis confus de vous donner cette peine mais vous comprendrez mon désir d’être tenu au c[ouran]t. Pauvre Sacha et pauvre Lysès que je le plains et comme je pense à elle, mais que je serai donc heureux lorsque vous m’annoncerez un mieux sensible´ (Translation: ´I am sorry to cause you so much trouble, but you will understand my desire to be kept informed. Poor Sacha and poor Lysès, I feel so sorry for her, and how I think of her, but I will be so happy when you tell me that he is feeling better´) and also informing his correspondent ´Après demain mercredi je me rendrai à Joinville pour y faire des plantations afin que lors de la convalescence de Sacha ils trouvent un peu de plaisir dans leur nouveau jardin´ (Translation: ´The day after tomorrow, Wednesday, I will go to Joinville to do some planting so that when Sacha recovers, they will find some pleasure in their new garden´). Monet conclues by sending his best regards to Bernheim´s brother and their wives, and in a postscript makes a reference to his paintings, ´Savez-vous si Monsieur Leprieur a décidé de prendre mes [tableaux], au cas contraire je serai bien aise à ne pas les voir s’égarer dans les greniers du Louvre´ (Translation: ´Do you know if Monsieur Leprieur has decided to take my [paintings]. If not, I would be very glad not to see them lost in the attics of the Louvre´).(iii) A.L.S., Claude Monet, two pages (written to the first and third sides of the bifolium), Giverny par Vernon, Eure, n.d. (´Vendredi 10´; c.1912/14), to ´Messieurs et chers amis´ [Josse and Gaston Bernheim], on black-bordered mourning stationery, in French. Monet writes in response to having been informed of some positive news concerning Sacha Guitry, ´Je n'ai pas besoin de vous dire comme j'étais heureux hier matin en recevant votre bonne dépêche et plus heureux encore aujourd'hui de savoir qu'enfin qu'il n'y a plus d'inquiétude à avoir, je m'en réjouis comme vous pour ces bons amis et vous remercie mille fois d'avoir bien voulu me tenir au courant´ (Translation: ´I don't need to tell you how happy I was yesterday morning when I received your kind dispatch, and even happier today to know that there is finally no more cause for concern. I rejoice with you for these good friends and thank you a thousand times for keeping me informed´) further adding ´Je compte venir voir Sacha la semaine prochaine. Je ne viendrai que pour quelques heures, ainsi m'arrangerai pour aller vous dire bonjour´ (Translation: ´. I plan to come and see Sacha next week. I will only be there for a few hours, so I will arrange to drop in and say hello´) and concluding by sending his warmest regards to his correspondent´s wives.A fine series of letters, each with good content and associations, VG, 3The brothers Josse (1870-1941) and Gaston (1870-1953) Bernheim-Jeune were two of the most prominent contemporary art dealers in Paris during the early 20th century. Working for the gallery their father, Alexandre Bernheim (1839-1915), had established in 1863, together they organised the first major exhibition of paintings by Vincent van Gogh in Paris in 1901. Earlier in the gallery´s history, Bernheim had promoted the first Impressionist and Post-Impressionist artists with exhibitions in 1874.Josse married his cousin, Mathilde Adler (1882-1963) in 1901, while Josse´s brother, Gaston, would marry Mathilde´s sister, Suzanne (1883-1961). In September 1901 Pierre-Auguste Renoir was commissioned by the Bernheim-Jeune brothers to paint a portrait of their young fiancées, and in 1910 the artist would again paint a portrait of Mathilde accompanied by her young son, Henry Dauberville (1907-1988).The Russian-born French stage actor, film actor, director, screenwriter, and playwright Sacha Guitry (1885-1957) had first met Claude Monet in the summer of 1911 when they were introduced to each other by the Bernheim-Jeune brothers at their villa ´Bois Lurette´ in Villers-sur-Mer. The two men developed a close friendship and in 1915 Monet was one of the subjects of Guitry´s first cinematic film Ceux de chez nous (´Those of our home´). The twenty-two minute silent movie was first shown at the Théatre des Variétés on 22nd November 1915 and is often heralded as the first film about the process of art-making itself and thus the first true artist documentary. The film includes two- to three-minute-long appearances by Claude Monet and Pierre-Auguste Renoir (both then around seventy-five years old), among other greats of the late nineteenth- and early twentieth-century French art scene, including the sculptor Auguste Rodin, the actors Sarah Bernhardt, André Antoine, and Lucien Guitry, the composer Camille Saint-Saëns, and the writers Anatole France, Octave Mirbeau, and Edmond Rostand. Guitry’s film helped immortalise Monet at a time when cinema was still in its infancy, and the footage gives modern viewers a rare glimpse of Monet in motion, painting in his beloved garden at Giverny. Guitry was married five times, firstly to the actress Charlotte Lysès (1877-1956) whom Monet also mentions in the present letters. Guitry and Lysès were married in 1907 and later divorced in 1915. Paul Leprieur (1860-1918) was a curator of the Louvre Museum in Paris.Monet´s reference to not wishing to have his paintings ´lost in the attics of the Louvre´ was perhaps made a little playfully. The artist´s works were first exhibited at the museum in 1883 as part of the Exposition des impressionnistes (Exhibition of the Impressionists). As a result Monet achieved the respect of more established museums almost a decade after his works had been shown in the first Impressionist exhibition of 1874. OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.
Autograph Letters, Manuscripts & Historical Documents Auction featuring the Collection of a Leicestershire Gentleman Part I
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