We found 4256 price guide item(s) matching your search

Charming vintage brooch by Monet, crafted in silver tone metal and shaped as a twin-flower spray. The piece is adorned with rich hand-applied purple and green enamel, accented with sparkling rhinestones at the floral centers and along the leaves. The highly reflective enamel and textured detailing lend depth and vibrancy to the design. Back is marked MONET, identifying it as a piece from the well-known costume jewelry house noted for mid-century elegance and quality. A beautiful example of Monet's floral motifs, perfect for collectors and vintage fashion enthusiasts alike.Dimensions: 2.25"LCondition: Age related wear.

Ten leather bound volumes of 'The Masters' featuring artists such as Monet, Michael-Angelo, Picasso and many more.

Seven art prints including works by Van Gogh, Monet, Munch and Turner, all 28 x 36cm / AN57

AN ASSORTMENT OF JEWELLERY, to include a large 'Monet' chain bracelet, a 'Monet' cleopatra style necklace, an 'Exquisite' leaf and acorn brooch, a pair of 'Trifari' clip on earrings, a pair of 'Barcs' clip on earrings, a 'Wedgewood' fob brooch, a white metal and marcasite bracelet, stamped 925, approximate gross weight 21.6 grams. a double strand necklace of imitation pearls, fitted with a gold plated pearl clasp, stamped 925, two pairs of imitation pearl earrings, and an imitation pearl and cubic zirconia ring, (condition report: general moderate wear, overall condition good)

A SMALL QUANTITY OF PICTURES AND PRINTS, to include a framed oil on board 'Down Wapping Way' by Norman Ruscoe, frame size 97cm x 66cm (a few small areas of paint loss, possible repainting and marks), and a framed print 'Westminster Lights' after Ronald Norman Folland (British 1932-1999), frame size 66cm x 123cm, Jonathan Roberts 'Only Fools and Horses' print, Monet poster prints, an oak and glass tea tray with a cottage garden scene to the centre, a Singapore gem picture of an exotic bird, other prints etc

CLAUDE MONET. After. LLE JARDIN A SAINTE ADDRESSE, LE HAVRE. Oil on Canvas, 90cms x 66cms, Framed.

A group of vintage and later costume jewellery, including simulated pearls with paste clasps, brooches, Monet gold plated box link chain, and a mid century paste collar necklace with integral pendant.

A selection of vintage costume jewellery and a Thomas Sabo silver ring,the costume jewellery includes a Lea Stein cat celluloid brooch, a Monet gold tone cuff bangle, a reverse painted flower lucite brooch, a Cilea Paris orange fruit brooch, a pair of Kershaw Tivoli green bakelite opera binoculars and a black enamelled marcasite set Stratton compact mirror,the Thomas Sabo ring is set with orange and yellow cubic zirconia's, stamped "TS 925", size M, approx. 12g gross, boxed

Late 20th Century costume jewellery to include Monet and an Etruscan revival necklace, unsigned in the Vendome style and a pair of Sphinx clip on earrings in the Victorian mourning styleLocation:If there is no condition report shown, please request

A late 20th Century jewellery chest and contents to include a Monet gold tone necklace and other 1980's gold tone costume jewellery, gold tone chains, mixed cufflinks, simulated pearl necklaces and vintage broochesLocation: TableIf there is no condition report, please request

A quantity of mainly 1960's and later costume jewellery to include a Monet tri-gold tone rope twist necklace, a Sarah Coventry gold tone bracelet, a large decorative Sphinx gold tone pendant with inset white crystals and purple cabochons, a Damascene style hinged bangle, filigree jewellery and a white metal engraved locket together with a Kigu compactLocation:If there is no condition report shown, please request

A mixed lot of costume jewellery, to include Monet, Dryberg Kern and Bulatti, (qty)

A large collection of costume jewellery, to include two boxed MONET necklace earring sets; various simulated pearl necklaces; various silver brooches, etc etc. (quantity)

Three boxed limited edition Halcyon Days enamel boxes with famous paintings to the hinged covers, comprising L.S. Lowry 'Coming from the Mill', no.120/ 200, Edith Helena Adie 'The Swimming Pool, Dyffryn' no.31/250, both width 8.5cm x depth 6.5cm and a square box Claude Monet 'Madame Monet and Child' no.31/250, 5.5cm (3)

MONET CLAUDE: (1840-1926) French Impressionist painter. An exceptional A.L.S., Claude Monet, one page, 8vo, Giverny par Vernon, Eure, n.d. (´Mardi soir´; 10th December 1895), to Gustave Geffroy, in French. Monet commences his letter by enquiring ´Et puis mon cher Geffroy, qu´est-ce que cette histoire de Claude Lantier qui n´est pas plus Cézanne que Manet bien que Zola ait eu la pensée de peindre ce dernier et d´en faire un raté´ (Translation: ´And then, my dear Geffroy, what is this story about Claude Lantier, who is no more Cézanne than Manet, even though Zola had the idea of painting the latter and making him a failure?´) and continues to remark ´Plus j´y pense plus je vois là pour vous matière à un superbe article rétablissant en fait et rendant justice au pur artiste qu´est Cezanne. Mais je suis certain que vous avez pensé comme moi´ (Translation: ´The more I think about it, the more I see material here for a superb article restoring the facts and doing justice to the pure artist that Cézanne was. But I'm sure you've thought the same as me´). With blank integral leaf. Accompanied by the original envelope hand addressed by Monet. A letter of wonderful content in praise and defence of Paul Cézanne. VGGustave Geffroy (1885-1926) French journalist, art critic and historian, a friend and champion of Monet.Paul Cézanne (1839-1906) French Post-Impressionist painter.The French novelist Emile Zola (1840-1902) had been a childhood friend of Cézanne, encouraging the artist in the pursuit of his chosen career. Cézanne was best man at Zola´s wedding in Paris in May 1870, however by the end of the decade the two men were growing more distant and the unassuming Cézanne, aware of his inadequacies, began to doubt himself. In 1886 Zola, who had become to regard his friend as a failure, published his roman à clef. L´Oeuvre, the fourteenth novel of hus Rougon-Macquart series. The protagonist of the work is Claude Lantier, a revolutionary artist whose work is misunderstood by an art-going public hidebound by traditional subjects, techniques and representations. Lantier does not achieve the realisation of his goals and commits suicide. The book is often blamed for ending the friendship between Cézanne and Zola. The story of a groundbreaking artist unable to live up to his potential must have seemed intensely personal to Cézanne; no correspondence exists between the two after a letter in which Cézanne thanks Zola for sending him the novel.

MONET CLAUDE: (1840-1926) French Impressionist painter. An exceptional illustrated A.L.S., Claude Monet, two pages (written to the first and third sides of the bifolium), 8vo, Giverny par Vernon, Eure, 11th January 1918, to Madame [Barillon], a supplier of artists´ materials, in French. Monet, writing in bold pencil, makes an urgent request of his correspondent, ´Je viens vous prier de me procurer une douzaine de brosses plates de bonne qualité de 11 - 23 dont voici du reste la dimensions exacte. Trouvez les j´en ai absolument besoin et le plus vite possible´ (Translation: ´I am writing to ask you to procure a dozen good quality flat brushes, sizes 11-23, the exact dimensions of which are given below. Please find them as I need them urgently´), adding to the lower left corner of the page an original illustration of the head of a paint brush, the simple, yet effective and visually appealing sketch (approximately 4.5 x 6 cm) showing the most important part of a paint brush, the bristles, incorporating the toe, belly and heel, as well as part of the ferrule. The artist continues to write ´ D´autre part je vous demande de m´envoyer les dimensions des deux pieces de toile que vous m´avez reservées. J´ai égaré votre lettre où elles étaient mentionées et j´en ai besoin pour vous faire une commande chassie réponse le plus tôt possible´ (Translation: ´I would also ask you to send me the dimensions of the two pieces of canvas you have reserved for me. I have misplaced the letter in which they were mentioned, and I need them to place an order as soon as possible´). To the second side of the bifolium appears a pencil annotation, evidently in the hand of the art supplier, recording the measurements of the two canvasses requested by Monet as being 20 m and 16 m 30. A wonderful letter, enhanced by the extremely rare illustration. Two file holes to the left edge, only very slightly affecting a couple of words of text, and not the illustration or signature. The final page has some light, uniform age toning, and a small area of paper loss to the upper right corner. One small, neat split to the lower edge of the central vertical fold of the bifolium. Two small, light, thumb-sized smudges appear to the first page, quite possibly created by Monet himself as a result of residue collected on his hands from having handled one of his brushes in order to accurately complete the drawing of it in his letter. About VGAutograph letters by Monet in which he discusses his art materials, including brushes and canvasses, are uncommon. As Ashok Roy observes in Monet´s Palette in the Twentieth Century: ´Water-Lilies´ and ´Irises´ (National Gallery Technical Bulletin, Volume 28, 2007), ´...in spite of many contemporary accounts of Monet´s activities, documented interviews with the artist, correspondence and photographs taken in the studio.....there is frustratingly little on Monet´s specific choices of painting materials´. The fact that the present letter also features an original illustration in Monet´s hand makes it an even greater rarity. There are, for example, no illustrated letters by Monet recorded in either The Illustrated Letter (1987) by Charles Hamilton, or Artists´ Letters (2019) by Michael Bird.At the time of the present letter Monet was working on a number of paintings of his famous water-lily pond within the garden at Giverny, as well as several other paintings depicting a weeping willow tree growing at the edge of his water garden pond.

MONET CLAUDE: (1840-1926) French Impressionist painter. A fine A.L.S., Claude Monet, two pages (written to the first and final sides of the bifolium), n.p. (Rouen), n.d. (´Mardi soir, 9h 1/2´, 1892/93), to [Alice Hoschedé] (´Ma cherie´), in French. Monet states that he is sending a few lines so that his wife doesn´t worry and informs her that he has just finished dinner at Deauville (?), remarking that he had promised to go at 6.30pm, but ´J´étais encore devant ma cathedrale, fievreux et assoncé de fatigue´ (Translation: ´I was still in front of my cathedral, feverish and overcome with fatigue´) and adding ´Ce ne sera pas faute d´energie si je n´en tire pas quelque chose. Mais que de mal malgré cet admirable temps´ (Translation: ´It won't be for lack of energy if I don't get something out of it. But what a pain, despite the wonderful weather´). Monet also thanks his wife for all the trouble she is taking over an unfortunate piece of land and expresses his hope that the permission will be finally given to close it. The artist concludes his letter in affectionate terms and in a postscript makes a reference to his stepdaughter, ´C´est demain le retour de Marthe que de choses elle aura à raconter´ (Translation: ´Marthe is coming back tomorrow; she will have so much to tell´). A letter of excellent content, conjuring up a wonderful image of Monet at work on one of his famous series of paintings of Rouen Cathedral. About EXAlice Hoschedé Monet (1844-1911) French artists' model, wife of the art collector Ernest Hoschedé and later of the Impressionist painter Claude Monet (from 1892).Marthe Hoschedé Butler (1864-1925) was the daughter of Alice and Ernest Hoschedé. In 1900 Marthe married Claude Monet´s friend, the American Impressionist painter Theodore Earl Butler (1861-1936). Butler had previously been married to Marthe´s sister, Suzanne, from 1892 until her death in 1899. The famous series of paintings Monet made of Rouen Cathedral - more than thirty in total - were created between 1892 and 1893 and then reworked in Monet´s studio in 1894, before being exhibited in Paris the following year. Each of the paintings capture the facade of the cathedral at different times of the day and year and reflect changes in its appearance under different lighting conditions. Historically, the series was well-timed. In the early 1890s, France was seeing a revival of interest in Catholicism and the subject of one of its major cathedrals was well received. Apart from its religious significance, Rouen Cathedral - built in the Gothic style - could be seen as representing all that was best in French history and culture.

MONET CLAUDE: (1840-1926) French Impressionist painter. A very fine and lengthy A.L.S., Claude Monet, six pages, 8vo, Sandviken (Norway), 5th March 1895, to his wife, Alice Hoschedé (´Ma bonne femme chérie´), in French. Monet states that he had been beginning to worry about his wife´s silence, ´car depuis 4 jours nous attendions le courrier en vain tous en retard causée par le mauvais temps, sont aussi pénibles pour toi que pour moi´ (Translation: ´because for the last four days we had been waiting in vain for the post, all late due to the bad weather. This is as difficult for you as it is for me´) adding that he finally received her letters of 28th February and 2nd March, remarking ´je ne te cache pas que lorsque un jour passe sans lettre de toi je suis sans courage, car j’ai plus que jamais besoin d’appui, d’encouragement´ (Translation: ´I can't hide from you that when a day goes by without a letter from you I am discouraged, because I need support and encouragement more than ever´) and continuing to provide news of his painting and the conditions he faces, ´Je travaille, mais que de perte de temps. Bon dieu, chaque jour c’est un incident un contre-temps imprévu. Comme chaque jour je vois de plus belles choses, il a refait très froid après ces dernières chutes de neige, mais aujourd’hui c’est comme un dégel. Le soleil devient d’une ardeur extraordinaire et les jours grandissent d’une manière inconnue chez nous et cela se concoit puisqu´en juin il n’y aura pour ainsi dire plus de nuit. Je ne sais vraiment pas si j’arriverai à faire une seule toile possible. J’en commence toujours sans jamais retrouver une seconde séance et cependant je sais bien que je vois et comprends mieux comment rendre cette nature. Mais il faudrait des mois pour cela, et je redoute que d’un jour à l’autre le dégel soit complet. Ce qu’il y a de bête et de regretable c’est de m’être mis dans la tête de rapporter quelque chose, on ne vient pas ainsi dans un pays si différent se mettre à le peindre de but en blanc´ (Translation: ´I work, but what a waste of time. Good Lord, every day there is an incident, an unforeseen setback. Because each day I see new beautiful things. It has become very cold again after the last snowfall, but today it is like a thaw. The sun has become extraordinarily intense and the days are lengthening in a way we don't experience at home, and this makes sense since there will be no more nighttimes to come in June, so to speak. I really don't know if I'll be able to paint even a single canvas. I keep starting them, then find I can’t take them into a second session, despite the knowledge I know I’ve gained in how to better render this nature. But it could take months to master, and I fear that from one day to the next the thaw will end. What is stupid and regrettable is that I got it into my head that I was going to bring something back with me, but you can’t just turn up in a country as different as this and find yourself able to start painting it at the drop of a hat’), further lamenting the fact that he will have seen very little of Norway, and only a small area surrounding Christiania (i.e. Oslo), and expressing his innermost thoughts, ´Pardonnez-moi de ne pas pouvoir t´écrire que je suis dans la joie et content de ce que je fais.....mais tu me connais je ne puis dissimuler et à qui confier mes pensées mes impressions si ce n’est à toi et je te demande de m´écrire le plus souvent possible. j’ai besoin de ton soutien pour me remonter et puis ne te décourage pas peut-être demain serais-je plus satisfait plus heureux, hier je voyais tout d’un bon œil....´ (Translation: ´Forgive me for not being able to write saying that I am happy and content with what I am doing......but as you know, I’m not capable of hiding my thoughts and impressions, and with whom could I share them if not you, and I ask you to write to me as often as possible. I need your support to cheer me up and so don't be discouraged, maybes tomorrow I will be more satisfied, happier, yesterday I saw everything with a keen eye...´). Monet further writes of his health, and that of his son-in-law Jacques Hoschede (with whom he was travelling in Norway), makes a reference to his daughter-in-law, Suzanne Hoschede, and also displays a certain longing for his wife and home´ De nos santés tu n´as pas à t´inquiéter nous nous portons tres bien. Quand à notre chère Suzanne ne te décourage pas il lui faut le beau temps......et toi avec tous tes ennuis comment es-tu, tu ne me parles jamais de ta santé. Ecris-moi longuement et n´ai jamais de remords si une lettre est en retard ou perdue, car tu me dis n´avais pas recu de nouvelles de moi du lundi au samedi et c´est impossible, puis je t´en pris ne m´adresse pas des lignes si courtes que celle du 28 fev si laconique, une demie page, et qui ressemble a une punition et c´en est une je t´assure. Je t’aime ma chérie et pense sans cesse à toi à vous tous ne m’en veux donc pas d’être malheureux tu sais mon énergie mon courage, lorsque je suis au moins un peu favorisé par le temps. Cela peut venir encore peut-etre. Si j´avais la déveine d´ici quelques jours de voir le temps mauvais.....et enfin si je voyais l´impossibilite matérielle de rien faire et bien je songerai au départ´ (Translation: ´You don't have to worry about our health. We are doing very well. As for our dear Suzanne, don't be discouraged. She needs good weather......And you, with all your troubles, how are you? You never talk to me about your health. Write to me at length and never feel guilty if a letter is late or lost, because you tell me you hadn't heard from me from Monday to Saturday and that's impossible, so please don't write me such short lines as the one on 28 February, so laconic, half a page, and which feels like a punishment and it is one, I assure you. I love you, my darling, and think of you and all of you constantly, so don't be cross with me for being unhappy. You know my energy and my courage when I'm at least a little favoured by the weather. It may come again, maybe. If I am unlucky and the weather turns bad in a few days' time... and if I realise that it is materially impossible for me to do anything, well, I will think about leaving´). The artist concludes his letter in affectionate terms, ´Je t´embrasse et t´envoi toute mes pensées tout mon coeur baisers a tous a ma petite a ma grande.....´ (Translation: ´I send you all my love and all my best wishes, kisses to everyone, to my little one, to my big one...´). A letter of excellent content, not least for its references to the difficulties Monet endured during his painting expedition in Norway. Some very light, extremely minor age wear, VGAlice Hoschedé Monet (1844-1911) French artists' model, wife of the art collector Ernest Hoschede and later of the Impressionist painter Claude Monet (from 1892).Suzanne Hoschedé (1868-1899) was the stepdaughter and favourite model of Monet, and was the subject of his painting The Woman with a Parasol (1886).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 as the present letter suggests. Despite this discontent, Monet painted twenty-nine Norwegian scenes during his two-month stay.

MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, two pages (written to the first and third sides of the bifolium), 8vo, Giverny par Vernon, Eure, 22nd October 1892, to Gustave Geffroy (´Cher ami´), in French. Monet writes in his characteristic, bold purple ink and apologises to Geffroy for not having thanked him earlier ´de votre obligeance pour le fameux échange du bouquin de botanique qui s’est fait à la joie des jeunes gens´ (Translation: ´for your kindness in exchanging the botany book, which was greatly appreciated by the young people´), remarking ´Je suis un paresseux, vous le savez et ne m’en voudrez pas´ (Translation: ´I am lazy, as you know, and I hope you will not hold it against me´). The artist further expresses his desire to see Geffroy in Paris, where he believes he has permanently settled, and continues ´en attendant j’ai un service, un renseignement à vous demander. Nous faisons ici une pétition pour obtenir du Ministère des postes une seconde distribution de lettres. Ne m’avez-vous pas dit dans le temps que Pelletan était parent un ami du dit ministre. Bref, voyez-vous la possibilité de faire appuyer ou remettre la dite pétition. Vous serez bien aimable de m’écrire un mot à ce sujet le plus tôt possible en m’indiquant ce qu’il faut faire´ (Translation: ´In the meantime, I have a favour to ask of you. We are here collecting signatures for a petition to the Ministry of Post to obtain a second delivery of letters. Did you not tell me some time ago that Pelletan was related to a friend of the said minister? In short, do you see any possibility of getting support for or submitting the petition? I would be very grateful if you could write to me about this as soon as possible and let me know what needs to be done´). In a postscript Monet informs Geffroy ´Mirbeau va quitter Pont de l’Arche pour aller près de Paris où il acheté une grande propriété´ (Translation: ´Mirbeau was leaving Pont de l'Arche to move to the Paris area, where he had bought a large property´). Accompanied by the original envelope hand addressed by Monet. VGGustave Geffroy (1885-1926) French journalist, art critic and historian, a friend and champion of Monet.Camille Pelletan (1846-1915) French politician, historian and journalist.Octave Mirbeau (1848-1917) French novelist and art critic, a close friend of Monet. Mirbeau had lived in Les Damps, close to Pont-de-l’Arche, and not far from Giverny, from 1889. 1892, the year in which the present letter was written, had been a significant one for Monet; the artist completed twenty-six of his famous paintings of Rouen Cathedral, and it was also the year in which Monet married Alice Hoschede (in July 1892), following the death of her estranged husband a year earlier.

MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, two pages (written to the first and third sides of the bifolium), 8vo, Giverny par Vernon, Eure, 9th May 1885, to [Georges] Petit (´Cher Monsieur Petit´), in French. Monet states that he has received his correspondent´s letter, which had given him great pleasure, and continues ´Je serai venu dès demain vous voir mais j’ai quelque chose à terminer qui ne se peut pas remettre, mais mardi matin, je prendrai le premier train et serai chez vous dans la matinée vers 10 h.´ (Translation: ´I would have come to see you tomorrow, but I have something to finish that cannot be postponed. However, on Tuesday morning, I will take the first train and will be at your place around 10 a.m´). One light central vertical fold, VGGeorges Petit (1856-1920) French art dealer, a key figure in the Paris art world and an important promoter of Impressionist artists.Despite the relatively routine nature in the content of Monet´s letter, it is not without some significance, and evidently relates to a meeting with Petit to finalise details around the International Exhibition, which would open less than a week later. As Daniel Wildenstein states in his biography of Monet, ´Ever since 1882, when [Monet] had seen Paris society crowding around the paintings at the International Exhibition, he had been attracted to the very beautiful Georges Petit Gallery at 8 Rue de Sèze. At the time, there had been no question of Monet taking part in this important event, which had been confined to twelve artists, including the inevitable (three) members of the Institut de France. In 1885.....connections, which played an important part in this self-elected assembly, worked in Monet´s favour; he was supported by Cazin, who seems to have been on excellent terms with Georges Petit. On the other hand, Georges Petit´s interest in Monet might equally explain how the latter came to be invited to take part in the fifth International Exhibition. Of the ten works of Monet´s listed in the catalogue, five were of the Normandy coast, three were views from the Giverny area and two were souvenirs of his Mediterranean trip. The exhibition was opened to the public on 15 May, on which date appeared the review most feared by the critics, that of Albert Wolff of Le Figaro......the famous critic devoted his last paragraph to Claude Monet, whom he acknowledged to have "much talent" as a landscape artist......It was seascapes, however, at which Monet particularly excelled, in Wolff´s view, the best of his selection being a view from Étretat and another from Cap Martin......The International Exhibition made it clear to everyone that Monet was of interest to a major art dealer other than Durand-Ruel, namely Georges Petit´ (from Monet - The Triumph of Impressionism, 2023 edition published by Taschen, pp. 258-259). It is also worth noting events between Monet and Petit (as well as Durand-Ruel) that occurred towards the end of 1885. To return to Monet´s biography, Wildenstein writes ´After 1st of November 1885, Monet was alone at Étretat. But even now he could not devote all his time to painting, as he had to attend to his correspondence.....His relations with Georges Petit were closer now....and Monet was the more tempted by a policy of sharing his production between Durand-Ruel and Petit as "Durand" had set out on a veritable crusade against forged pictures and was making many enemies among his fellow art dealers. His isolation meant that he was selling some paintings at a loss, and Monet was furious with him, accusing him of making "one blunder after another"......On 10 December 1885, some days before returning to Giverny, Monet had to sit down and write a very awkward letter; he had to inform Durand-Ruel that he was defecting to Georges Petit. Petit had brought him to this by a discreet form of blackmail, proposing to buy several paintings immediately and then offering Monet a place in the next International Exhibition on the express condition that no paintings belonging to Durand-Ruel be included. By accepting Petit´s dictate, Monet quite simply betrayed the man to whom he owed his living for the past five years´. (ibid, pp. 264-266).

MONET CLAUDE: (1840-1926) French Impressionist painter. A good A.L.S., Claude Monet, two pages (written to the first and third sides of the bifoilium), 8vo, Giverney par Vernon, Eure, 5th September 1924, to [Félix] Fénéon, in French. Monet writes to furnish his correspondent with some information regarding his paintings and photographs, in full, ´Voila les renseignements que je puis vous donner le croquis. La Cotelette, si je ne me trompe est de ma toute jeunesse. 55 ou 56. L´autre croquis (marine) est fait à Pourville en 83. Quand aux photos l´une est fait a Argenteuil vers 73 ou 74 et l´autre la seine a Vetheuil, hiver de 79´ (Translation: ´Here is the information I can give you about the sketch. La Cotelette, if I'm not mistaken, is from my youth. 55 or 56. The other sketch (seascape) was done in Pourville in 83. As for the photos, one was taken in Argenteuil around 73 or 74 and the other on the Seine in Vetheuil in the winter of 79´). A couple of very small, minor neat tears to the right edges of the central horizontal fold, and some extremely light age wear, VGFélix Fénéron (1861-1944) French art critic, gallery owner, writer, and anarchist who coined the term Neo-Impressionism.Monet´s La Cotelette (´The Cutlet´) is listed in Daniel Wildenstein´s Catalogue raisonné of Monet´s works as having been painted by the artist in November 1862 upon his arrival in Paris. The artist made numerous paintings of the cliffs, beach and sea at Pourville in 1882, and had earlier lived at Argenteuil with his family from 1871. The family moved to the village of Vetheuil in the autumn of 1878 where they shared a house with the family of Ernest Hoschedé, a patron of the arts who had commissioned four paintings from Monet.

MONET CLAUDE: (1840-1926) French Impressionist painter. A good A.L.S., Claude Monet, two pages (written to the first and final sides of the bifolium), 8vo, Giverny par Vernon, Eure, 10th July 1891, to Mr. Knoedler, in French. Monet acknowledges receipt of his correspondent´s telegram and letter, and continues ´Je ne puis que vous répéter ce que je vous ai deja ecrit, qu´il m´est impossible de faire une nouvelle concession que si vous voulez garder la création c´est au prix de quatre milles. Si vous ne le pouvez pas, il faut me la renvoyer´ (Translation: ´I can only repeat what I have already written to you, that it is impossible for me to make any further concession, that if you want to keep the painting it will be at the price of four thousand. If you cannot do that, you must send it back to me´), and in a postscript further remarks ´Etant bien que cela fait douze mille pour les deux toiles prix offert par vous, j´ai du principe´ (Translation: ´Although it makes twelve thousand for the two paintings, the price offered by you, I have to act on principle´). With a contemporary blue pencil annotation to the upper left corner. A few random words within the text of the letter are somewhat light. VGM. Knoedler & Co. was an art dealership established in New York in 1846. The business was originally managed by Michel (Michael) Knoedler (1823-1878) before being passed to his sons, Roland (1856-1932), Edmond and Charles. When the gallery controversially closed in 2011 it was one of the oldest commercial art galleries in the United States, having been in operation for 165 years.

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.

HOSCHEDÉ ALICE: (1844-1911) French artists' model, wife of the art collector Ernest Hoschedé and later of the Impressionist painter Claude Monet. A.L.S., Alice Hoschedé, two pages (written to the first and third sides of the bifolium), 8vo, Giverny, 28th August 1891, to Paul Gallimard, on black-bordered mourning stationery, in French. Hoschedé writes on the instructions of Monet and states, in full, ´Monsieur Monet me charge de vous prevenir qu´il vous expédie aujourd´hui 1 panier de prunes en gare Trouville-Deauville. J´espère que vous et votre famille êtes en bonne santé et vous prie de recevoir mes meilleurs souvenirs´ (Translation: ´Mr. Monet has asked me to inform you that he is sending you one basket of plums today to Trouville-Deauville station. I hope you and your family are well and send you my best regards´). Accompanied by the original envelope hand addressed by Hoschedé. About EXPaul Gallimard (1850-1929) French art collector, bibliophile and theatre owner, the father of the publisher Gaston Gallimard.

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.

MONET CLAUDE: (1840-1926) French Impressionist painter. A poignant A.L.S., Claude Monet, two pages (written to the first and third sides of the bifolium), 8vo, Rue Moncey (Paris), n.d., to a gentleman, in French. The artist, down on his luck, writes an anguished letter, commencing ´Je suis confus et vous demande un peu d´indulgence pour un pauvre sans-le-sou mais je ne sais vraiment pas où donner de la tête et je viens vous demander de vouloir bien me prendre une ou deux de mes croûtes que je vous laisserai au prix que vous voudrez mettre, 50 fr, 40 ce que vous pourrez car je ne puis attendre plus longtemps´ (Translation: ´I am confused and ask you for a little indulgence for a poor man without a penny, but I really don't know where to turn and I have come to ask you to kindly take one or two of my ugly paintings, which I will leave with you for whatever price you wish to pay, 50 francs, 40, whatever you can afford, as I cannot wait any longer´) and continuing ´Je serai chez moi demain samedi a Rue Moncey dès 3h et j´espère bien que vous ne me refuserez pas de venir. Excusez je vous en prie mon indiscrètion et croyez à mes sentiments d´estimé´ (Translation: ´I will be at home tomorrow, Saturday, at Rue Moncey from 3pm, and I hope you will not refuse me. Please excuse my indiscretion and accept my sincere regards´). A letter of moving content. A couple of very small, neat splits to the right edges of the central horizontal fold. VGMonet had moved into his small apartment and studio at Rue Moncey, near the Saint-Lazare train station, in January 1877 with the assistance of Gustave Caillebotte who paid the annual rent of 700 francs.

DURAND-RUEL PAUL: (1831-1922) French art dealer associated with the Impressionists and the Barbizon School, and an early champion of the artists Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir. A.L.S., Durand-Ruel, one page (square graph paper), 8vo, Paris, 23rd September 1886. to a lady [Alice Hoschedé], in French. Durand-Ruel announces ´Je vous envoi cinq cents francs que Mr. Monet me charge de vous faire remettre´ (Translation: ´I am sending you five hundred francs that Mr. Monet has asked me to give you´) and asks that she acknowledge receipt of the payment. A few small, minor tears to the upper and lower edges, VGClaude Monet (1840-1926) French Impressionist painter.Alice Hoschedé (1844-1911) French artists' model, wife of the art collector Ernest Hoschede and later of the Impressionist painter Claude Monet.

MONET CLAUDE: (1840-1926) French Impressionist painter. A fine pair of A.Ls.S. by Monet to Josse Bernheim and members of his family, owners of one of the oldest art galleries in Paris, the Bernheim-Jeune gallery. The two letters, written close to each other at a significant time in 1914, serve to demonstrate both Monet´s ill temper and his warm generosity, two personality traits for which the painter is well-known.(i) A lengthy A.L.S., Claude Monet, seven pages, 8vo, Giverny par Vernon, Eure, 2nd March 1914, to Josse Bernheim, on black bordered mourning stationery, in French. Monet states that, now he has resumed his activities, ´Je viens répondre à votre lettre du 6 février relative à la question Georges Bernheim, question que dans ma précédente lettre, je qualifierais d’affaire, bien que dès le début il ne fut question grâce à votre aimable intervention que d’une gracieuse obligeance pour éviter un gros chagrin à ma femme´ (Translation: ´I am writing in response to your letter of 6th February concerning the Georges Bernheim matter, which I described in my previous letter as a ‘case’, although from the outset, thanks to your kind intervention, it was merely a matter of gracious obligation to spare my wife considerable distress´), and explaining ´Vous m’avez communiqué l’aimable lettre pour laquelle votre cousin consentait à me rétrocéder les toiles qu’il tenait de Monsieur J. Hoschedé au prix qu’il les avait payées, soit 2000 frs que je vous ai aussitôt adressées en vous chargeant et remercier Monsieur G. Bernheim de sa si courtoise obligeance à ce moment j’aurai dû comme je le devais et comme c’était mon devoir envoyer un souvenir une esquisse de moi les tourments et les chagrins qui m’ont accablés à cette époque m’en ont seuls empêché´ (Translation: ´You sent me the kind letter in which your cousin agreed to sell me the paintings he had acquired from Mr J. Hoschedé for the price he had paid for them, i.e. 2,000 francs, which I immediately sent to you, asking you to thank Mr G. Bernheim for his kind kindness. At that time, I should have, as was my duty, sent you a souvenir, a sketch of myself, but the torments and sorrows that overwhelmed me at that time prevented me from doing so´). Monet further writes, ´Le temps passa avec d’autres inquiétudes pour ma vue lorsqu’un jour vous m’informiez que vous aviez bien du souci avec votre cousin à cause de moi. Vous me le répétez plus tard en me priant de vous adresser un mot que vous pourriez lui montrer et par lequel je promettais une toile et cela est un pré-engagement que vous m’aurez fait reconnaissant et signé car jusque-là je n’étais redevable de rien absolument, que d’un manque de reconnaissance que seul j’avais à juger. J’ai donc eu le droit de traiter l’affaire, ce qui jusque-là, j’avais jugé courtoise obligeance´ (Translation: ´Time passed with other worries about my eyesight when one day you informed me that you were very concerned about your cousin because of me. You repeated this to me later, asking me to send you a note that you could show him, in which I promised a painting, and this is a preliminary commitment that you will have made me grateful for and signed, because until then I was not indebted to you in any way, except for a lack of gratitude that only I could judge. I therefore felt entitled to deal with the matter, which until then I had considered a courteous obligation´), adding that he hopes his account of the matter is entirely fair and accurate, and remarking ´Quant à fixer moi-même de ce que vous appelez une indemnité je m’y refuse absolument.Que Mr. G. Bernheim le dise lui-même et si selon ce qu’il exigera je le lui adresserai aussitôt où bien les choses resteront telles, il me restera un grand regret d’avoir accepté un service et en plus grand de vous avoir causé tous ces ennuis´ (Translation: ´As for setting what you call compensation myself, I absolutely refuse to do so. Let Mr. G. Bernheim say it himself, and if he makes a demand, I will send it to him immediately, or else things will remain as they are, and I will be left with great regret for having accepted a service and, even more so, for having caused you all this trouble´). The artist closes his letter by writing ´Croyez mon cher ami à tous mes regrets de vous parler si brutalement, mais moi aussi j’ai été très attristé et de m’être trompé´ (Translation: ´Believe me, my dear friend, I am very sorry to speak to you so bluntly, but I too have been very saddened and disappointed to have been mistaken´). Accompanied by the original envelope hand addressed by Monet. Two small pinholes to the upper left corners of the pages, and with a few small, minor tears and creases to the black borders.(ii) A.L.S., Claude Monet, two pages, 8vo, Giverny par Vernon, Eure, 1st April (1914), to ´Chers amis´ [Josse and Gaston Bernheim], on black-bordered mourning stationery, in French. Monet writes in a sympathetic manner, in full, ´Je voudrais bien avoir plus souvent des nouvelles du pauvre Sacha bien que j’en ai par Lysès mais la pauvre femme doit être si diminué que je n’ose abuser. Je vous demande donc d’avoir l’amitié de me tenir un peu au courant et de me dire ce qu’il en est. Michel, qui est à Paris Aujourd’hui a du aller prendre des nouvelles qu’il me rapportera ce soir, mais demain vous voudrez bien m’envoyer un mot n’est ce pas. Je les aime tant tous les deux. Merci d´avance et toutes mes amitiés pour ces dames et vous´ (Translation: ´I would like to hear more often from poor Sacha, although I do receive news from Lysès, but the poor woman must be so weakened that I dare not take advantage of her. I therefore ask you to kindly keep me informed and let me know how things are going. Michel, who is in Paris today, had to go and get some news, which he will bring me this evening, but tomorrow you will send me a note, won't you? I love them both so much. Thank you in advance and best wishes to the ladies and to you´). In a postscript Monet returns to the subject of Georges Bernheim and his earlier letter, remarking ´Ç´en est enfin terminé avec votre cousin. Il ne peut en effet se plaindre´ (Translation: ´It is finally over with your cousin. He really has nothing to complain about´).Two interesting letters, contrasting in their contents, and written in the year in which Monet suffered a number of personal setbacks in his life, although also returned to work on his famous series of water lily paintings. Generally VG, 2The 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.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. 

MONET CLAUDE: (1840-1926) French Impressionist painter. A good A.L.S., Claude Monet, two pages (written to the first and fourth sides of the bifolium), 8vo, n.p. (Rouen), n.d. (7th April 1893), to Alice Hoschedé, in French. Monet states that he will send a few words ´car il est tard et mon frère m´attend au café´ (Translation: ´because it's late and my brother is waiting for me at the café´), lamenting the fact that he may have hurt her feelings, but is aware of his condition, ´J´ai un orgueil et un amour propre du diable´ (Translation: ´ I have an ego and self-esteem like hell´). Monet continues to write of his current work on the famous series of Rouen Cathedral paintings, ´Je veux faire mieux et voudrais que ces cathédrales soient très bien, et je ne peux pas. Je tatonne et m´acharne aux memes recherches, au détriment de beaucoup de choses, et quand il me faut constater après des journées de travail, que je n´avance pas d´un pas, il faut bien me rendre à l´évidence. C´est bien triste, et me ronge. Il a fait un temps superbe aujourd´hui et j´ai travaillé comme un acharné. Si le temps continue je me donne 8 jours et s´il n´y a pas progrès je lache´ (Translation: ´I want to do better and want these cathedrals to be very good, and I can't. I flounder and struggle with the same searches, to the detriment of many things, and when I have to admit after days of work that I haven't made any progress, I have to face the facts. It's very sad, and it's eating away at me. The weather was superb today and I worked like a Trojan. If the weather holds, I'll give it eight days, and if there's no progress, I'll give up´). In concluding the artist confirms that he will be in Vernon early the following morning, unless the weather turns grey, and sends his kisses and best wishes to all. A couple of small, minor ink blots to the text. VGAlice Hoschedé Monet (1844-1911) French artists' model, wife of the art collector Ernest Hoschedé and later of the Impressionist painter Claude Monet (from 1892).The famous series of paintings Monet made of Rouen Cathedral - more than thirty in total - were created between 1892 and 1893 and then reworked in Monet´s studio in 1894, before being exhibited in Paris the following year. Each of the paintings capture the facade of the cathedral at different times of the day and year and reflect changes in its appearance under different lighting conditions. Historically, the series was well-timed. In the early 1890s, France was seeing a revival of interest in Catholicism and the subject of one of its major cathedrals was well received. Apart from its religious significance, Rouen Cathedral - built in the Gothic style - could be seen as representing all that was best in French history and culture. The present letter is also of interest for its reference to Monet´s little-known elder brother, Léon Monet (1836-1917). Léon Monet, a chemist and industrialist with a factory in Rouen, was one of the first patrons of the Impressionist movement who not only supported his brother when he was poor and struggling to make his name, but also assisted other painters including Pierre-Auguste Renoir, Camille Pissarro, and Alfred Sisley. Léon Monet built a remarkable collection of art and had his portrait painted by Claude Monet in 1874.

MONET CLAUDE: (1840-1926) French Impressionist painter. An excellent A.L.S., Claude Monet, two pages (written to the first and final sides of the bifolium), 8vo, Giverny par Vernon, Eure, 17th October 1889, to [Henri] Guérard, in French. Monet writes in his characteristic bold purple ink and states, in full, ´Je m´occupe d´une souscription que nous faisons entre amis et admirateurs de Manet pour acheter son Olympia et l´offrir au Louvre. C´est le plus bel hommage que nous puissions rendre à la memoire de notre ami et c´est en meme temps une facon discrète de venir en aide a Madame Manet puisque c´est à elle qu´appartient l´Olympia, J´ai pensé que vous seriez heureux de vous joindre a nous en prenant part a cette manifestation. Je vous demande donc de me repondre le plus tot possible en me disant pour quelle somme. Je dois vous inscrire et si de votre coté vous connaissez d´autres personnes suceptibles de souscrire vous seriez bien aimable de vous en occuper ou de me donner leurs adresses. Car il se peut que j´ai oublié des noms´ (Translation: ´I am in charge of a subscription that we, friends and admirers of Manet, are making to buy his Olympia and offer it to the Louvre. It is the finest tribute we can pay to the memory of our friend and at the same time a discreet way of helping Madame Manet, since she is the owner of the Olympia. I thought you would be happy to join us in this endeavour. Please let me know as soon as possible how much you would like to contribute. I have to register you and if you know of anyone else who might be interested in subscribing, please take care of it or give me their addresses. I may have forgotten some names´) and in a postscript further adds ´Inclue la liste des souscriptions a ce jour. La somme à réaliser est 20,000 fr´ (Translation: ´Included is the list of subscriptions to date. The target amount is 20,000 francs´). Together with Monet´s autograph list of subscribers, one page, 4to, headed ´Souscription pour acheter l´Olympia à Madame Manet et l´offrir au Louvre´ (Translation: ´Subscription to buy the Olympia from Mrs Manet and offer it to the Louvre´) and featuring an alphabetical list of thirty-four subscribers and the individual amounts that they have donated, totalling some 15,025 Francs at the date of the letter, 17th October 1889. Among the subscribers are Monet himself, who is recorded as having given 1,000 Francs, as well as other artists, writers, art collectors and gallery owners including Paul-Albert Besnard (100 Francs), Jacques-Émile Blanche (500 Francs), Giovanni Boldini (1,000 Francs), Félix Bracquemond (50 Francs), Gustave Caillebotte (1,000 Francs), Louis-Robert Carrier-Belleuse (50 Francs), Emmanuel Chabrier (50 Francs), Jules Chéret (100 Francs), Théodore Duret (1,000 Francs), Paul Durand-Ruel (200 Francs), Gustave Geffroy (25 Francs), Paul Gallimard (200 Francs), Joris-Karl Huysmans (25 Francs), Octave Mirbeau (300 Francs), Étienne Moreau-Nélaton (500 Francs), Pierre Puvis de Chavannes (300 Francs), Jean-Francois Raffaelli (100 Francs), Alfred Philippe Roll (500 Francs), Henri Rouart (1,000 Francs), John Singer Sargent (1,000 Francs) and others. A letter of fine content accompanied by the historically important list of subscribers solicited by Monet. The letter with a neat split to the upper edge of the central vertical fold of the bifolium and the manuscript list with a couple of similar neat splits to the edges of the folds and with some light dust staining and minor creases to the edges. About VG, 2Henri Guérard (1846-1897) French painter and printmaker. A friend of Edouard Manet, Guérard posed for one of the artist´s paintings, Au Café, with the actress Ellen Andrée in 1879. Manet´s Olympia (1863) was first exhibited at the 1865 Paris Salon where it immediately caused controversy. The subject of the painting, Olympia, is a white prostitute, seen reclining in a full-length naked pose on her bed, while being attended to by her black maid. Olympia´s confrontational gaze towards the viewer sparked shock amongst the public in 1865, however the painting later became appreciated as one of Manet´s masterpieces. This was certainly the opinion of Monet, who played the greatest part in the campaign intended to have Olympia purchased through subscription and then to have it accepted by the French government for display in the Louvre. Monet´s campaign commenced in 1889 and by February 1890 the artist had raised around 20,000 francs for the acquisition of the painting. However, French law prevented the Louvre from exhibiting works until their creators were ten years deceased (Manet died in 1883) and therefore Olympia was first kept in the Musée du Luxembourg. It finally entered the Louvre in 1907, fulfilling Monet´s wishes.

MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, two pages (written to the first and third sides of the bifolium, in Monet´s characteristic bold purple ink), 8vo, Giverny par Vernon, Eure, 21st March 1906, to Messrs. Perivier and Ollendorff of Gil Blas, in French. Monet writes, in part, ´ En réponse à votre lettre du 15 ct j´ai l´honneur de vous répondre qu´il ne m´est pas possible de participer à la tombola que vous organisez en faveur des sinistrés du Courrieres et n´ayant rien de possible à donner je vous ferai donc de recevoir ce modeste billet de cent fr. qui vous prouvera mon bon vouloir et la part que je prends à cette terrible catastrophe´ (Translation: ´ In reply to your letter of the 15th inst. I have the honour to inform you that it is not possible for me to take part in the raffle that you are organising in aid of the victims of the Courrieres disaster and as I have nothing to give, please accept this modest banknote for one hundred francs as proof of my goodwill and my sympathy in the face of this terrible catastrophe´). One very tiny pinhole to the upper edge of each page, VGGil Blas was a Parisian literary periodical founded in 1879 which serialised novels by Emile Zola and others, as well as publishing many short stories of Guy de Maupassant for the first time.On 10th March 1906 Europe´s worst mining accident had occurred when the Courrieres mining disaster caused the death of 1,099 miners in Northern France.

RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist artist. A good A.L.S., Renoir, one page, 8vo, n.p., 3rd October 1909, to [Claude Monet] (´Mon cher ami´), in French. Renoir writes, in full, ´La photographie d´après le dessin que j´ai fait de toi est terminée. Ce dessin qui est chez Vollard est donc à ta disposition. Tu n´auras qu´à dire qu´il te l´envoie. Je ne l´ai pas fait encore ne sachent pas si tu est chez toi, ou parti pour Venise´ (Translation: ´The photograph based on the sketch I made of you is finished. The sketch, which is at Vollard's, is therefore at your disposal. Just ask him to send it to you. I haven't done so yet as I don't know whether you are at home or have left for Venice´). A letter of fine content and wonderful association. VGClaude Monet (1840-1926) French Impressionist painter.Ambroise Vollard (1866-1939) French art dealer and collector, one of the most important dealers in French contemporary art at the beginning of the 20th century.Renoir´s work was influenced by Monet´s Impressionist style, and vice versa, as the two friends worked together, developing their techniques, particularly during the Impressionist movement´s early years. Renoir not only painted with Monet, but also portrayed Monet and his family six times. These works include Claude Monet Reading (1872), Monet Painting in His Garden at Argenteuil (also 1872) as well as another portrait completed in 1875. In the autumn of 1906 Monet visited Paris, where Renoir made pencil drawings of his roughly bearded, smiling, congenial friend, and it is probable that one of these later works is the subject of the present letter.

MONET CLAUDE: (1840-1926) French Impressionist painter. A fine A.L.S., Claude Monet, two pages (written to the first and fourth sides of the bifolium), 8vo, Giverny par Vernon, Eure, 20th September 1897, to [Jacques Daurelle] (´Cher Monsieur´), in French. Monet writes in his characteristic bold purple ink and apologises for the delay in his reply, explaining that pressing work and a short absence had prevented him from responding earlier, continuing ´Je suis du reste fort gêné pour vous répondre [probablement en réponse aux questions de Daurelle] n’admettant pas qu’il soit question de ma personnalité en dehors de mes œuvres qui seules s’adressent au public´ (Translation: ´I am also very embarrassed to respond [assumedly to Daurelle’s questions] as I do not believe that my personality should be discussed outside of my works, the works being the only things intended for public consumption’) and also remarking ´Et puis je vous dirai franchement que tout en étant passionné de fleurs je ne vois pas bien l’intérêt que cela peut avoir pour les lecteurs du Figaro, et je ne saurai vraiment pas que vous dire à ce sujet vous fournissant matière à article´ (Translation: ´Furthermore, I must admit that, although I am passionate about flowers, I do not see how this could be of interest to readers of Le Figaro, and I would not know what to say to you on the subject to provide you with material for an article´). A letter of good content demonstrating Monet´s desire for a private life, and only to have his paintings exposed to the public, and also expressing his affection for plants. A few very light, extremely minor creases, VGJacques Daurelle (1863-1940) French writer and art critic who published a series of articles entitled Chez les jeunes peintres.Monet´s passion for flowers and the outdoors is, of course, well known. At Giverny, where the artist lived and painted for 43 years, he spent many years transforming his gardens and planting thousands of flowers. Monet believed that it was important to surround himself with nature, and his gardens served as a major inspiration for his paintings. Indeed, his flower garden became the main focus of his artistic production during the last 31 years of his life, not least recorded in his famous series of water lily paintings. Of his botanical passion, Monet once observed ´What can you say about me, I ask you, a man who is interested in nothing in the world except his painting - and also his garden and his flowers´.

MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 4th January 1910, to Gustave Geffroy (´Mon cher ami´), in French. Monet writes in his characteristic purple ink and commences his letter stating ´ Vous etes bien a Paris et devez avoir recu ma lettre (adressee il y a plusieurs semaines deja) puisque vous m´avez adresse votre beau volume de Louvre, ce dont je vous remercie bien´ (Translation: ´ You are in Paris and must have received my letter (sent several weeks ago already) since you sent me your beautiful volume of the Louvre, for which I thank you very much´) and continues ´ Mais cela ne me suffit pas et serai bien aise de recevoir un mot de donnant de vos nouvelles.....je veux esperer que vous allez bien vous et les votres´ (Translation: ´ But that is not enough for me and I would be very happy to receive a note from you giving some news..... I hope that you and yours are well´). Monet also sends his own news, ´ Ici l´annee ne commence guere bien, ma femme assez souffrante vient d´etre appelee au chevet d´une de ses soeurs….. Bref des soucis des inquietudes; c´est le lot de tous ceux qui avancent en age. Je ne pense plus du tout au travail et vois tout en noir´ (Translation: ´ The year is not starting well here, my wife, who is quite ill, has just been called to the bedside of one of her sisters….. In short, worries and concerns; it's the lot of everyone as they get older. I no longer think about work at all and see everything in black´) before concluding ´ Comme je serai content de savoir qu´il n´en est pas de meme pour vous. C´est ce que je vous souhaite de tout Coeur´ (Translation: ´ I'd be delighted to know that it's not the same for you. That's what I wish you from the bottom of my heart´). Accompanied by the original envelope hand addressed by Monet. Some very light, extremely minor age wear, VGGustave Geffroy (1855-1926) French journalist and art critic, a friend of Monet and one of the first historians of the Impressionist art movement. His book Le palais du Louvre: Architecture-mobilier-objets had been published in 1909.

MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, one page, 8vo, Giverny par Vernon, Eure, 20th December 1892, to Gustave Geffory (´Cher ami´), in French. Writing in his characteristic bold purple ink, Monet writes, in full, ´Entendu pour jeudi je passerai vous prendre à La Justice entre 6 et 6 ½´ (Translation: ´Agreed for Thursday I will pick you up at La Justice between 6 and 6.30´) and in a postscript remarks ´Tachez que Chéret soit des nôtres´ (Translation: ´Make sure Chéret is with us´). With blank integral leaf. Accompanied by the original envelope hand addressed by Monet. About EXGustave Geffroy (1885-1926) French journalist, art critic and historian, a friend and champion of Monet. Geffroy, noted as one of the first historians of the Impressionist art movement, had published his Histoire de l'impressionnisme in 1892, the same year as the present letter.Jules Chéret (1836-1932) French painter and lithographer, a master of Belle Epoque poster art who is considered the father of the modern poster.The present letter is written towards the end of 1892, which had been a productive year for Monet, completing twenty-six paintings of Rouen Cathedral. It was also the year in which Monet married Alice Hoschede (in July 1892), following the death of her estranged husband a year earlier.

A Vintage Bracelet Signed for 'Monet, Jewelers' having Various Tokens and Coins Etc, 18cms Long

A large Monet brooch, a nursing brooch, and other vintage/antique brooches

JOHN MYATT (BRITISH 1945) 'SUMMER AFTERNOON, ARGENTEUIL', a hand embellished limited edition print on canvas, depicting a French landscape in the style of Claude Monet, signed and numbered 149/150 verso, with certificate, approximate size 56cm x 79cm, frame size 80cm x 102cm, Condition Report: good condition (artist resale rights apply)

A JEWELLERY BOX WITH ASSORTED SILVER/WHITE METAL AND COSTUME JEWELLERY PIECES, to include a silver polished drop pendant hallmarked Edinburgh, suspended from a black cord, a silver gilt garnet ring hallmarked Sheffield, approximate gross weight 20.3 grams, a white metal and agate cuff bangle stamped 925, a white metal labradorite ring stamped 925, a white metal open work wide band ring stamped 925, a white metal unmarked Celtic pattern ring, a pair of white metal garnet cluster stud earrings, a white metal hardstone set brooch, stamped 'Jerusalem 950', approximate gross weight 53.9 grams, a variety of costume jewellery chains names to include 'Monet, Trifari and Avon', two 'Monet' enamel bangles, earrings to include 'Monet', a very worn and discoloured chain bracelet with push piece clasp stamp mark worn signed 'Christian Dior', with a floral and owl pattern jewellery box and other assorted costume jewellery etc

A collection of gold tone vintage jewellery including Monet earrings, Trifari necklace and earrings, and three Coro Craft style bird brooches, unsigned

Pippel, Otto (Lodz 1878 - 1960 München, Schüler der KA Karlsruhe und Dresden, ab 1909 bei München tätiger Landschafts-, Stadtveduten-, Figuren- und Stilllebenmaler, bevorzugte einen pastosen Farbauftrag und eine impressionistische Lichtwirkung in seinen Gemälden),"Hofgartencafé in München", Öl auf Leinwand, doubliert, signiert links unten Otto Pippel, 60 x 50 cm.Mit impressionistischem Duktus und atmosphärischer Dichte fängt Otto Pippel in dieser Hofgarten-Szene ein zentrales Motiv seines Schaffens ein: das städtische Leben in München als Spiegel bürgerlicher Kultur der frühen Moderne. Der Hofgarten, seit dem 19. Jahrhundert beliebter Treffpunkt der Münchner Gesellschaft, wird hier zur Bühne für Licht und Farbe. Pippel, beeinflusst von französischen Impressionisten wie Claude Monet und Camille Pissarro, aber auch geschult an der Karlsruher Akademie und der Académie Julian in Paris, verbindet in seinem Werk französische Freiluftmalerei mit süddeutscher Maltradition. Die locker gesetzten Pinselstriche, die gezielte Lichtführung und die lebendige, doch harmonisch austarierte Farbpalette verleihen der Szene eine unmittelbare Sinnlichkeit.

A quantity of costume jewellery to include Trifari, Sarau, Coventry and Monet.

A collection of assorted vintage and fashion costume jewellery to include Monet gold-tone chains etc.

Framed poster reproduction of The Artist's Garden at Vetheuil by Claude Monet, issued by the National Gallery of Art. This vibrant Impressionist work captures the lush garden path outside Monet's home in Vetheuil, France, with children and floral abundance rendered in signature short, expressive brushstrokes. Claude Monet, a founder of French Impressionism, is renowned for his mastery of light and color in landscapes and domestic scenes. His work laid the foundation for modern visual art. The poster includes title and artist details printed below the image and is presented in a minimalist white frame under glass. Artist: After Claude Monet (French, 1840-1926)Issued: 2018Dimensions: 26"L x 38"H Country of Origin: France Condition: Age related wear.

Monet and Napier Branded Gold Plated 1980s Jewellery Collection. There are a variety of sizes. All stones intact, some wear to simulated pearl coating, clasps in working order. Weighs in total 229g

Collection of gold plated 1980s Monet necklaces inc. anchor link, graduated. There are a variety of sizes. All clasps in good condition. Weighs in total 347g

Monet, Napier and Trifari 1980s Gold Plated Jewellery Collection. There are a variety of sizes. Clasps in working order, all stones intact, enamel in good condition. Weighs in total 221g

Branded 1980s Gold Plated Necklace Collection inc. Napier, Monet. There are a variety of sizes. Some areas of plate wear, all clasps are in working order, all stones intact. Minimal wear to the enamel. Weighs in total 3.6g

RICHARD HAYLEY LEVER (AMERICAN 1876-1958) CHRYSANTHEMUMS IN A VASE oil on canvasboard 23 x 19cm; 9 x 7 1/2in 38 x 34cm; 15 x 13 1/2in (framed) Raised in Australia, Richard Hayley Lever acquired a sizeable inheritance on the death of his grandfather and travelled to Paris in 1894. There he attended the studio of René-Francois-Xavier Prinet, but was was more naturally inclined towards the plein air techniques of Monet and Pissarro. From France he moved to Cornwall in 1902 to join the St Ives School of Marine and Landscape Painting established by Julius Olsson and Louis Munro Grier. There, Ernest Lawson, a member of the avant-garde group of American Modern painters The Eight, invited Hayley-Lever to join Lawson’s endeavour to establish an American Impressionist movement. Persuaded that his work would be better suited to the big bold landscapes and audience of the United States, the artist moved to New York in 1912. He taught at the Art Students League in New York and in 1914 won the Carnegie Foundation Prize. In 1924 he was commissioned to paint the presidential yacht for Calvin Coolidge, the same year that he was granted US citizenship. Small areas of paint and canvas loss and small nick in lower right corner. Otherwise the work is in very good original condition. Held in an unglazed frame

A selection of jewellery, to include a 9ct gold cubic zirconia ring a/f, approx. 1.5g gross, a Pandora silver "YOU AND ME, ME AND YOU" Mother and Daughter charm necklace and costume jewellery to include a gold tone Monet necklace, rings, brooches, necklaces and bracelets

A collection of jewellery including Victorian locket, two damaged 9ct gold bracelets (3.3g), millefiori glass necklace, silver items including locket, coins, chains, Walt Disney necklace and earrings, pendants and curb link bracelet (59g), watches, Monet brooch, Millennium £5 coin, etc 

Eighteen rolled gold lockets/ brooches, Vulcanite pendant depicting a young woman, French jet necklace, Monet necklace, Sarah Coventry brooch, white metal bracelet, white metal coin bracelet turned into a love token engraved 1916, 9ct gold earrings, etc 

A collection of jewellery including Swarovski earrings and necklace, faux pearls, cultured pearls, Monet necklace and matching earrings, leopard brooch, earrings, etc 

A collection of jewellery including garnet necklace, mother of pearl, coral and shell necklaces, diamanté necklace and earrings, Wedgwood cufflinks, silver Caithness ring and pin, Monet brooch, Michaela Frey locket set with enamel, etc 

A collection of costume jewellery including silver rope twist necklace, silver bracelet, amethyst pendant, Monet necklaces and bracelet, Sarah Coventry pendant, brooches including silver, Art Deco and micro mosaic, micro mosaic bracelet, etc

Cunningham George, By George! My Childhood in Sheffield, signed 'Best Wishes George Cunningham, 1988', First Edition, published by Hibberts Brothers Ltd; another More George! Growing Up; The Story Continues...., signed 'Best Wishes George Cunningham', First Edition, printed by The Hallamshire Press;  Art Reference  books including The Lowry Lexicon, Monet, Matisse, Impressionist artists, Manet, reproduction art posters;   etc

Thomas Buford Meteyard (American, 1865-1928)A view of the coast at Scituate, Massachusetts, 'Les Brissants' signed lower left, oil on canvas, 38cm x 56cm Provenance: With The Redfern Gallery, Mayfair, London, no. 379 Purchased from the above by Mrs Geoffery HowardThomas Buford Meteyard was an American painter and graphic artist, who worked at the crossroads of some of the most important art movements of his day. After growing up in Rock Island, Illinois, and studying at Harvard (1885-87), Meteyard went to England where he encountered members of the Aesthetic Movement, notably designer Walter Crane and painter and illustrator Edward Burne-Jones. He then travelled to Paris, where Meteyard entered the atelier of Léon Bonnat, while also studying with Alfred Phillippe Roll andAuguste-Joseph Delecluse.Meteyard continued to travel, and in the early 1890s, joined the international artists’ colonyat Giverny, just north of Paris. Like so many other artists, including the Americans Robert Vonnoh, Lilla Cabot Perry, and John Leslie Breck, Meteyard was attracted to Giverny by its natural beauty and by the presence there of Claude Monet. Predictably, Meteyard was influenced by the Impressionists and, like them, took a keen interest in the aesthetics of Asian art. Meteyard flourished in Europe’s bohemian milieu and was one of the first Americans to have his work included in the early Post-Impressionist exhibitions.Meteyard moved to England once again in 1906, and after marrying British-born Isabel Barber in 1910, became a permanent resident. He continued to work as a landscape painter until his death. 

Thomas Buford Meteyard American (1865-1928) 'La vallee, Giverny' haystacks in a landscape, circa 1889, signed lower right, oil on canvas, 38cm x 56cm Provenance: With The Redfern Gallery, Mayfair, London Purchased from the above by Mrs Lees-Milne, 13th July 1956 Thomas Buford Meteyard was an American painter and graphic artist, who worked at the crossroads of some of the most important art movements of his day. After growing up in Rock Island, Illinois, and studying at Harvard (1885-87), Meteyard went to England where he encountered members of the Aesthetic Movement, notably designer Walter Crane and painter and illustrator Edward Burne-Jones. He then travelled to Paris, where Meteyard entered the atelier of Léon Bonnat, while also studying with Alfred Phillippe Roll andAuguste-Joseph Delecluse.Meteyard continued to travel, and in the early 1890s, joined the international artists’ colonyat Giverny, just north of Paris. Like so many other artists, including the Americans Robert Vonnoh, Lilla Cabot Perry, and John Leslie Breck, Meteyard was attracted to Giverny by its natural beauty and by the presence there of Claude Monet. Predictably, Meteyard was influenced by the Impressionists and, like them, took a keen interest in the aesthetics of Asian art. Meteyard flourished in Europe’s bohemian milieu and was one of the first Americans to have his work included in the early Post-Impressionist exhibitions.Meteyard moved to England once again in 1906, and after marrying British-born Isabel Barber in 1910, became a permanent resident. He continued to work as a landscape painter until his death. 

After Claude Monet (1840-1926), a framed impressionist style oil on canvas landscape titled 'Snow in Argenteuil'. H.33 W.38cm

A Claude Monet print and a watercolour The Tomb of Theron