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Magritte, René, Belgian surrealist artist (1898-1967).
Original drawing on autograph postcard signed ("Georgette et René Magritte"). N. p., 1955.
148:112 mm. A New Year's greeting, showing a tree and some leaves, executed in black and green.
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Maignan, Albert, peintre et illustrateur, médaille d'or à l'exposition universelle de 1889 (1845-1908).
2 P.A.S. S. l. n. d.
3p In-12 en tout (30 lignes environ). Les deux cartons sont adressés à Merson, l'un commençant par "cher Président". Le plus court concerne un rendez-vous qu'il donne à Merson dans la galerie des machines, ancienne salle Cormon du dernier salon et l'autre concerne les prix du tableau de son élève et du sien lors d'un salon organisé par Merson. Ce dernier carton a été plié en deux.
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Makart, Hans, Maler (1840-1884).
Eigenh. Brief mit U. Wien, 21. V. 1878.
1 S. 8vo. "Meine liebe Gräfin! Sende Ihnen die 2 Portraits, sie sind jedoch noch nicht ganz trocken, bitte aber zu achten. Nun die Ausstellung, waren Sie gerade dort, wenn nicht, treffe Sie mich Morgen ab 11 Uhr. Das Porträt gebe ich nicht her, gar an solche Krämer. Sie [er]wartend / Handkuß / Ihr ergebener / Hans Makart". - Etwas (Kaffee-)fleckig; minimale Randläsuren.
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Mâle, Emile, historien d'art (1862-1954).
CDV autographe. S. l. n. d.
1 ligne. "avec ses bien vifs remerciements". - Ancienne collection de Foville.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph letter fragment signed. Leningrad (St. Petersburg) [?], [between August 7 and 18, 1931].
8vo (125:130 mm). 1½ pp. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), about the chaos going on at the State People's Home (Gosnardom) at Alexandrovsky Park, Leningrad ("A complete refurbishment will be realised next year, so I have to work from 10 to 7 just to get the most urgent things done"), on plans to travel with Angelina, for which reason he wants to receive his wages much earlier than usual: "[...] I am going to bed now, can hardly stand on my feet anymore. After work is done, one has to run around for two hours to find something to eat. My canteen has been closed, and all that's left are shabby bars [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 25.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph letter signed. Nemchinovka, January 7/8, 192[6].
8vo. 3 pp. on 3 ff. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90): a lyrical letter about celebrating Christmas in Moscow (while she is in Leningrad) and how much he desires to live with her "in a new place", as "Leningrad has spoiled me" (transl.). Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Vol. 1, Moscow 2004, no. 1.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph letter signed. [Nemchinovk], between January 7 and 14, 1929.
8vo. 3 pp. on bifolium. Page 4 written by his daughter Una. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), about fighting against the AKhRR (Assotsiatsia Khudozhnikov Revolutsionnoi Rossii - Association of Artists of Revolutionary Russia), appointments with Kirill Ivanovich Shutko (with whom he talked about Dziga Vertov), Archangelski, M. P. Kristi, and Aleksei Gan, who wished to publish two essays by him. "A new AKhRR campaign against the new artistic currents has begun here, but it's their bad luck that now my camp is gaining the upper hand, and so they haven't a leg to stand on. I went to the Tretyakovka gallery and saw Kristi; on Friday I will be back there speaking about the new department and possibly about my works [...] I think I have already mentioned everything. I will receive my payment on Monday and then go and buy the tickets; I expect to be in Leningrad on Wednesday [...]". - In her postscript, Malevich's daughter Una (then aged nine) reports how happy she was that her father had come to celebrate Christmas with her. - K. I. Shutko (1884-1941) was editor-in-chief of the magazine "Soviet Cinema". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Vol. 1 (Moscow 2004), no. 8.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph letter signed. Nemchinovk, 10. IX. 1933.
2 pp. Large 4to. In Russian, a long letter to his third wife, Natalya Andreevna (née Manchenka, 1902-90), in which Malevich describes the terrible situation in which he finds himself: he has no money to receive medical treatment while his health is deteriorating, nor for the rent of his dacha; the landlord is urging him to sign the contract. Moreover, his relationship to his brother Myachislav has become very difficult, Myachislav having "transgressed all fraternal boundaries": "[...] We had no family relationship from our earliest years onwards, but now it has reached a level of indecency which is no longer tenable [...] He is thoroughly an official, and although he knows the situation in which I find myself, he has not left me a single piece of bread or sugar [...] and accuses me of having caused material damage to him by preventing him from marriage [...]". - Small pinhole, touching one letter, but without loss. Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 42.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph letter signed. Moscow, 14. V. 1929.
4to. 2 pp. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), about an experience during his journey to Moscow, his daily work, a proposed business trip abroad, his daughter Una, etc.: "[...] Today, on the 14th, I started working at the Tretyakova gallery. I was promised to sell a drawing soon [...] I called upon the Main Administration for Literary and Arts Affairs, but, as usual, they promised to make arrangements for a separate meeting and to talk to Shutko. Khvojnik sent me a note regarding my business trip abroad. It is all about not being willing to give one single Dollar in foreign currency [...] Khvojnik, who is head of the artistic department, is publishing character sketches of Russian artists and asks me to sit for him. In general, they all are quite kind well to me. My beloved Natalja, don't let yourself get bored, don't get upset, don't lose weight. During this journey I must do everything to lay in provisions for the winter [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Vol. 1, Moscow 2004, no. 10.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph letter signed. [Moscow, 21. II. 1927].
Large 8vo. 1½ pp. Written in blue and red ink. With autogr. envelope. To his third wife, Natalya Andreevna (née Manchenka, 1902-90), about his arrival in Moscow and negotiations concerning his payment, then already concluded: "[...] I arrived in Moscow. I was upset all day, even more so at the Glavnauka [Main Administration of Scientific, Artistic, and Museum institutions], the whole Glavnauka, all Main Administrations convinced me not to stay abroad, this is where my bread grows, they said ... It was decided to pay me the full 160 Rubles [...] The line of my life will proceed with you and will finally climb the height of art. Now I am completely by myself and united with you in one single force, and you will endure with me everything until the very end [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 2.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph letter signed. Moscow, 23. II. 1927.
Large 8vo. 1½ pp. Written in red ink. In Russian: a long letter to his third wife, Natalya Andreevna (née Manchenka, 1902-90), mentioning the making of a suprematistic movie, organising a shipment of his paintings and his trip to Poland: "[...] I'm totally upset now, more nervous than ever before, you realize that in everything I do. I ordered a box, for example, to put some paintings in, and it was quite useless; afterwards I ordered another, and again got the measurements all wrong. Finally, I managed, though just barely, wrapped the paintings and will ship them to the censorship office on Friday, and if I manage to do so I will buy a ticket, which costs 35 rubles to the border and another 35 rubles from there to Warsaw [...] My golden one, my beloved one, you're asleep and can't hear the tender words I whisper to you, but I repeat them every single night when I go to bed [...] I have to hurry to the studios. We are about to produce a suprematist movie. We have to work under pressure, as we will be joined by various animators [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 3.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph letter signed. [Moscow, spring 1929].
8vo. 2 pp. on bifolium, in pencil. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), about some of his paintings that were sold, his return to Moscow, where everyone is happy to see him, and a presentation he attended there: "[...] Yesterday I went to the Academy to hear a presentation by Shutko on Dziga Vertov. It was quite remarkable, and I also saw three performances by Vertov. Eisenstein sulked like a little girl. There was another presentation held by a German from Dessau, but I left before that. The people from ASNOVA [the Association of New Architects] want me to go to Moscow. Klyun will leave on Wednesday [...]". - Kirill Ivanovich Shutko (1884-1941) was editor-in-chief of the magazine "Soviet Cinema". - Somewhat wrinkled. Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 9.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph postcard signed. Moscow, [21. X. 1929].
Oblong 8vo. 1 p. With autograph address. To his third wife, Natalya Andreevna (née Manchenka, 1902-90), about his journey to Moscow: "[...] The trip was all right, I had a compartment of my own. The train was a fast one, so that I even shook from time to time. The weather here is fine, the sun is shining and I am heading straight for Nemchinovka [...]" (transl.). Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Vol. 1, Moscow 2004, no. 16.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph postcard signed. Kiev, 20. XII. 1929.
Oblong 8vo. 1 p. With autograph address. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), on being terribly busy, and some plans to meet her on the 25th: "[...] I bought the ticket via Moscow again, so if I do not stop over in Moscow for a day because of the matter with Glawiskusstwo and the porcelain, I will arrive on the morning of the 25th by fast train, or on the morning of the 26th if I must stay the day [...] Overshoes cannot be found here, they have only black ones, but only upon presentation of the receipt. Maybe I'll get some at Moscow [...] I don't know how it will work out in Kiev. There is a lot of trouble at the moment [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 22.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph postcard signed. [Moscow, 20. X. 1931].
Oblong 8vo. 1 p. With autograph address. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), about Unochka's recovery, sending money by money order, and about common friends: "[...] There is frost in Moscow. I went in a railway carriage on Wednesday, it was extremely cold since they do not heat yet [...] And then I shall have to be at the Maljarstroi [...]. I would have written a letter, but there was no paper [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 26.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph postcard signed. [Moscow and Nemchinovk], 9. II. 1932.
Oblong 8vo. 1¼ pp. With autograph address. In pencil. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), about a campaign against him raised by the AKhRR (Assotsiatsia Khudozhnikov Revolutsionnoi Rossii - Association of Artists of Revolutionary Russia), and on being accused of formalism: "I am running about; the matters stand so that one cannot speak of it; it turns out there is a government campaign [?] against me, labelling me a Formalist [...] Therefore, there is nothing for me anywhere, not even for my urn [...] but I shall sue and refute them [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 29.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph postcard signed. [Nemchinovk], 26. IV. 1932.
Oblong 8vo. 1 p. With autograph address. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), about a committee meeting which appreciated his project, and about the closure of several artists' associations. His nephew Edsik (brother of Malevich's brother Myachislav) will buy some tickets, and he himself expects an advance payment. "[...] As for the cottages, it looks quite bad. A shared bathroom between 400 and 500 rubles. Neli promises to get a room and a terrace from a friend [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 32.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph postcard signed. [Nemchinovk], 20. VII. 1932.
Oblong 8vo. 1 p. With autograph address. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), about his arrival at Moscow and Kirill Ivanovich Shutko (1884-1941), the editor-in-chief of the magazine "Soviet Cinema", who was earmarked as candidate for the office of Director of the GAKhN (State Academy of Artistic Sciences), a meeting place for avant-garde from 1923 to 1929. "[...] I had a long conversation with him and tried to convince him to accept this assignment. At the moment, he is heading for Rome, and will leave on July 27. He is now working on a book called 'Lenin and Culture' [...]". - Trace of vertical fold. Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 35.
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Malevich, Kazimir, Russian painter and art theoretician (1879-1935).
Autograph postcard signed. [Nemchinovk], 19. V. 1933.
Oblong 8vo. 1 p. With autograph address. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90): "I have received all your letters, it upsets me a good deal, everything is particularly difficult if you are upset, but I still cannot leave. It is very difficult to leave. I have taken steps through Narkompros [the People's Commissariat for Education] and obtained a ticket for May 23. I will arrive around 12 o'clock noon [...] Unfortunately, I cannot send any money for I have not drawn my salary [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Vol. 1, Moscow 2004, no. 38.
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Man Ray, i. e. Michael Rudnitzky, American artist (1890-1976).
Autograph manuscript (fragment?). N. p. o. d.
Large 8vo. 2 pp. "It is the nature of human esthetics to associate bright colors with gaeity [!], optimism, and all that is pleasant in life. In nature itself, these bright colors also exist but do not necessarily express the same idea as for men. The wings of a butterfly, the plunge of a bird may attract a mate, and at the same time an enemy. Prolific nature is not consistent in its details, however rigorous her general laws may be; she can afford contradictious inconsistencies wastefulness. But her goal is never estheticism. (Color is tragic) This tremendous effort with such miserable results. Almost no effort. Then an easy masterpiece. / An age in which size + weight dominate / Bever heard of anything being criticized for dying...". - In pencil.
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Man Ray, i. e. Michael Rudnitzky, American artist (1890-1976).
Self Portrait. With autograph inscription signed. Boston and Toronto, Atlantic Monthly Press / Little, Brown & Co., (1963).
Large 8vo. xiv, 402 SS. Publisher's cloth with title to spine. Original dust jacket. Inscribed "and for Sonali cordially Man Ray April 2 - 63 [...]" under the printed dedication "For Juliet".
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Manet, Édouard, French painter (1832-1883).
Autograph letter signed. N. p., [perhaps 1868].
125:100 mm. Single page on notepaper, five lines of text in black ink. To Jules Champfleury, informing him that a lithographic stone he has prepared is ready for collection, and that he expects that it will come out well. Manet illustrated "Les Chats" for the author.
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Manet, Édouard, painter (1832-1883).
Autograph letter signed ("E. Manet".) [Paris] 49 Rue St. Petersbourg, 8 December, no year.
Small 8vo. 1 p. on bifolium. Addressed to an unidentified recipient about sending him artist's proofs: "Monsieur, Je vous prie de m'envoyer les épreuves d'essai de la pierre qu'on est venu chercher chez moi il y a huit jours [...]". - Small spot and thumbprint in upper margin, usual folds. From the collection of Paige Rense Noland.
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Marc, Franz, German painter and printmaker, one of the key figures of the German Expressionist movement (1880-1916).
Autograph letter signed ("Fz. Marc"). Sindelsdorf, 18 April 1914.
Large 4to. 3¼ pp. on bifolium. Stamped letterhead, ruled paper. Fine letter to Hugo Ball (1886-1927), who was working then as a dramaturg at the Munich Kammerspiele. Marc refuses to realize a theatre project under their current circumstances: "I would rather wait until we can really create something new, with our own ensemble and with perfect freedom of movement. Otherwise, nothing solid comes to pass. Then we would have to engage Kokoschka, Kandinsky, Klee, and Macke, and as musicians we must get the Schoenberg circle (Schoenberg, Webern, Berg and others) [...]". - Furthermore, Marc mentions the Russian painter Vladimir Georgievitsch Bechteev (1878-1971), a member of the Neue Künstlervereinigung München ("Munich New Artist's Association"), who was friendly with the "Blaue Reiter" ("Blue Rider"). Bechteev was involved in the theatre project discussed by Hugo Ball, which fell apart, as did other plans with members of the "Blue Rider". In 1914, he went back to Russia, and was called up to the army. After WWII, he worked as a set designer and illustrator. Franz Marc. Briefe, Schriften, Aufzeichnungen (Leipzig 1989), p. 95.
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Marc, Franz, German painter and printmaker, one of the key figures of the German Expressionist movement (1880-1916).
Autograph letter signed and 3 autogr. postcards signed ("F. Marc"). Berlin, Sindelsdorf and Gendrin (East Prussia), 15. IX. 1912 to 23. VII. 1913 (mostly postmark) and n. p. o. d.
8vo. Altogether 6 pp. on 5 ff. With one enclosure (s. b.) and an autogr. envelope. To art historian Franz Stadler in Munich, on preparing an art exhibition ("Erster Deutscher Herbstsalon") (Berlin, 15. IX. 1912), sending congratulations on Stadler's betrothal (Sindelsdorf, 1. VI. 1913, a postcard from the press of "Der Sturm", showing Franz Marc's "Affenfries"), on plans for travelling to Berlin (Gendrin, undated), and, finally on Stadler's wedding (n. p., 23. VII. 1913). - Accompanied by an autogr. register in which Marc has put down the address of some galleries and artists in Paris such as Robert Delaunay, Wilhelm Uhde ("has got fine paintings of Rousseau, and cubists", transl. from the German original), and Le Fauconnier.
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Marchand, André, French painter of the new Paris school and one of the founder members of the Salon de Mai (1907-1997).
2 autograph pieces. [Paris, 20. IX. 1960].
Oblong small 8vo. 2 ff. On the fragment of a cigarette box, Derain records a book written by Agathe Godard, "Pousse avec ton pain", and draws a small sketch on the reverse; the other piece is a bill from the café "Les Deux Magots", on which reverse Derain has drawn something like a face or the sun.
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Mattes, Georg, Bildhauer (1874-1942).
Eigenh. Brief mit U. Pasing, 24. VII. 1929.
1 S. auf Doppelblatt 8vo. An einen namentlich nicht genannten Adressaten mit dem Ausdruck seiner Anteilnahme am Tod von dessen Gattin. - Auf Briefpapier mit schwarzem Trauerrand.
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Meissonier, Jean Louis Ernest, Maler (1815-1891).
Eigenh. Brief mit U. ("EMeissonier"). O. O. u. D.
¾ S. Gr.-8vo. An einen namentlich nicht genannten Adressaten mit der Mitteilung, daß er am kommenden Tag sehr beschäftigt sei und der Adressat daher besser am Freitag kommen möge: "Il ne peut que je demain je suis assez bien pour pouvoir aller a faire pour beaucoup de choses, ne venez donc pas, venez plustot venredi je pense que vous pourrez emporter le bonhomme [...] Vous n'avez donc pas encore envoye le tableau a Bingham?". - Papierbedingt leicht gebräunt und mit kleinen Randläsuren.
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Mentzel, Otto, österr. Bildhauer (1838-1901).
2 eigenh. Gedichte auf Postkarten. O. O. u. D.
2 SS. Qu.-8vo. "Wo hat das Erdeglück sein Jugendheim? / In eines Saatkerns winzgen Heim." und "Durch der Felder Morgenstille / Dringt ein mahnendes Geläut: / Mähe Landmann auf dein Heut! Das ist deines Schöpfers Wille." Vgl. Thieme/B. XXIV, 403.
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Menzel, Adolph von, Maler, Zeichner und Graphiker (1815-1905).
Eigenh. Visitenkarte mit U. ("der Obige"). O. O. u. D.
1 S. Visitkartenformat. "Beifolgend das Original der Tischkarte von vorgestern [...]". - In Bleistift; ohne die erwähnte Beilage.
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Menzel, Carl August, Architekt (1794-1853).
Eigenh. Brief mit U. Greifswald, 14. VI. 1838.
1 S. auf Doppelblatt. 4to. An die Redaktion der Wiener Theaterzeitung: "Der Unterzeichnete beehrt sich, beifolgend eine kleine Arbeit ergebenst zu übersenden: Des Dichters Erdenglück. Sollte eine löbliche Redaktion für obengenanntes Blatt Gebrauch davon machen können so bin ich bereit es derselben für das übliche Honorar zu überlassen. Im entgegengesetzten Falle bitte ich mir das manuscript baldmöglichst durch Buchhändlergelegenheit (C. A. Koch in Greifswald) zurückzusenden [...]". - Weiters über den Verbleib von zwei im Jahr zuvor gesandten Blättern, die ihm nicht zurückgesendet wurden und über die auch sonst keinerlei Nachricht erhalten habe. - C. A. Menzel war in den 1820er Jahren unter Karl Friedrich Schinkel als Hilfsarbeiter für die Oberbaudeputation in Berlin tätig und wurde 1832 Bauinspektor der Universität Greifswald "und der noch in der Planungsphase befindlichen Landwirtschaftsakademie in Eldena, deren nach seinen Plänen entstandenes Lehrgebäude (1849), wenn auch in veränderter Form, eines der wenigen von ihm verbliebenen Bauwerke darstellt [...] Die Ostseerandlage Greifswalds in der stark landwirtschaftlich geprägten Provinz Pommern brachte es mit sich, daß aus Gründen der Finanzknappheit mehr anspruchsvolle Planungen Menzels überliefert sind als tatsächliche Bauten. Und so liegt der Schwerpunkt und die Bedeutung seines Wirkens eher in seinem vielfältigen publizistischen Werk als Planer und Autor" (Wikipedia). Für die Stadt Greifswald erbaute er 1833/34 das 1951 abgerissene Steinbecker Tor. - Papierbedingt etwas gebräunt und mit stärkeren Gebrauchsspuren.
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Mérimée, Jean François Léonor, painter and chemist (1757-1836).
Autograph letter signed ("Mérimée"). Paris, 9 Feb. 1822.
4to. 1¾ pp. Bifolium with integral address panel. To M. de Varennes, on behalf of an inquiery he had promised to do: "J'ai bien des excuses à vous faire d'avoir été si longtems à répondre à la lettre que vous m'avés fait l'honneur de m'écrire. J'avais fait de suite la moitié de votre commission: j'étais allé demander à M. Chénard quelle devrait être la force d'un appareil propre à l'usage auquel vous le destinés et il m'avait dit que pour produire un grand effet il fallait 150 à 160 couples de plaques de 3 ponces de diamètre sur deux. Cette instruction acquise, restait à m'enquérir des prix. J'étais alors occupé d'une distribution prochaine qui eut lieu à notre Ecole le dimanche 27 Janvier et quand j'ai eu le loisir nécessaire j'avais oublié d'achever mon entreprise : enfin, hier, Coulonuriers [?] et Ses bons habitans m'étant revenus à la mémoire, J'ai couru chez Demotiez lui demander le prix de l'appareil tel que M. Chénard me l'avait désigné. Démotiez m'a répondu que pour qu'il fut plus solidement établi il fallait le faire en quatre parties de 40 couples; qu'en donnant une plus grande longueur aux bois il pourrait arriver que le gonflement fît casser le mastic qui scelle les autres. […]". - Some damage to edges and browned; fol. 2 with small tear due to breaking of seal (not touching text); seal remnant.
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Merson, Luc-Olivier, peintre, organisateur ou membre de jury de divers salons (Paris, Toulouse, Bordeaux…), médaille d'or à l'exposition universelle de 1889 (1846-1920).
Signature découpée et collée sur un petit carton. Sans date.
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Meunier, Constantin, Maler und Bildhauer (1831-1905).
Eigenh. Briefkarte mit U. ("CMeunier"). O. O., 25. XI. [?] 1904.
2 SS. Qu.-8vo. In französischer Sprache an einen namentlich nicht genannten Adressaten mit einer Preisauskunft zu seiner Plastik "Le pêcheur Ostendais". - Im rechten Rand gelocht (geringf. Buchstabenberührung); mit einer kleinen Rostspur.
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Meunier, Constantin, Maler und Bildhauer (1831-1905).
Eigenh. Briefkarte mit U. ("CMeunier"). Brüssel, 10. XII. 1904.
2 SS. Qu.-8vo. In französischer Sprache an einen namentlich nicht genannten Adressaten mit einer Preisauskunft zu seiner Plastik "Le pêcheur Ostendais". - Im rechten Rand gelocht (geringf. Buchstabenberührung).
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Meunier, Constantin, Maler und Bildhauer (1831-1905).
Eigenh. Briefkarte mit U. ("CMeunier"). Brüssel, 2. XII. 1904.
2 SS. Qu.-8vo. In französischer Sprache an einen namentlich nicht genannten Adressaten mit einer Preisauskunft zu seiner Plastik "Le pêcheur Ostendais". - Im linken Rand gelocht (geringf. Buchstabenberührung).
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Michalek, Ludwig, Maler und Stecher (1859-1942).
Eigenh. Albumblatt mit U. O. O., 1927.
1 S. Qu.-8vo. Beiliegend eine Visitkarte. "Immer Vorwärts! Nie zurück! | Die Arbeit ist des Menschen Glück!" - Ludwig Michalek war Lehrer an der Vereinigten Kunstschule für Frauen und Mädchen und später an der Graphischen Lehr- und Versuchsanstalt in Wien und schuf "hauptsächlich Porträts, u. a. Bildnisse von österreichischen Komponisten und Dichtern sowie von Kaiser Franz Joseph I. Er beteiligte sich an internationalen Kunstausstellungen und errang zahlreiche Auszeichnungen" (DBE).
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Millais, Sir John Everett, painter (1829-1896).
Autograph letter signed. Probably London, 30 March 1882.
8vo. 2 pp. on bifolium. To an unnamed addressee: "Dear Sir, I have every inclination to assist you, but my difficulty is to obtain a picture. The possessors of my works have so often obliged me in lending pictures for London and Country exhibitions that they are tired of obliging me [...] I will however endeavor to induce some of my friends to help you [...]". - On stationery with embossed address and black border; with stamp of the "Autograph Collection of Dr. Max Thorek | Chicago"; the reverse of f. 2 with small traces of former mounting
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Miró, Joan, Spanish-Catalan painter, sculptor, and ceramicist (1893-1983).
Autograph Note Signed. Palma de Mallorca, 30 June 1965.
Oblong large 8vo. 1 p. "Avec mes meilleure salutation á Miss Wilkie, | Miro". - Miro also included a "photo pour Mr. John Halverson [...] Milwaukee, Wisconsin". - From the Estate of Charles Williamson and Tucker Fleming. - On personal stationery; without the photo.
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Miró, Joan, Spanish-Catalan painter, sculptor, and ceramicist (1893-1983).
Typed letter signed. Barcelona, 10 Jan. 1950.
Half page, on quarto lettersheet of personal letterhead. With one correction and several insertions of accents in ink. Folded for mailing, else about fine. To "Mi distinguido Amigo" (the gallery owner Marcelo de Ridder in Buenos Aires). In part, Miro writes (in translation): "[...] I have just returned from Paris; Maeght and I think this exhibition should be postponed until the world comes out of this state of hysteria and madness. Since the paintings that we would send belong to private collections, and mine are being kept for my wife and daughter, we can not risk assuming such responsibility under the current circumstances. Please pass this information on to the Ambassador. I can only hope that the world will return to its senses, and in that case, I would be very honoured to do this exhibition, which, by the way, needs to be better organised [...]". Signed boldly "Miro".
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Monet, Claude, French painter (1840-1926).
Autograph letter signed. Giverny par Vernon-Eure, 21. X. 1920.
8vo. 2 pp. With original autograph transmittal envelope. In Pencil. Monet writes a short note to French novelist and critic Georges Lecomte, thanking him for the recent article in "The Renaissance": "Mon cher ami, Excusez-moi je vous en prie, de ne vous avoir encore remercié du bel article que vous m'avez consacré dans la Renaissance, mais j'avais seulement de revenir d'un petit séjour […] et je m'empresse de vous adresser avec mes remerciements mon souvenir de bonne amitié".
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Moore, Henry, English sculptor and artist (1898-1986).
Autograph letter signed ("Henry"). Hoglands, Perry Green, Much Hadam, Herts., 18 Oct. 1949.
8vo. 2 pp. To Barry Hart: "Dear Barry, Here are [the BASE] measurements for the Madonna & child sculpture I'm doing for Claydon Church [...] & a very poor photograph of my studio which might just give you a faint idea of the Madonna & child, it's half hidden by the white plaster Family group in front [...]". - Slight abrasion with loss of a few words.
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Moore, Henry, English sculptor and artist (1898-1986).
Autograph letter signed ("Henry"). Hoglands, Perry Green, Much Hadham, Hertfordshire, 25 Oct. 1949.
8vo. 1 p. To his friend and former teacher Barry Heart: "I've had this reply from the Hanton Stone people - & I've just written back to them agreeing with their suggestion of two 11 ½" pieces instead of one 1 ft 11 piece & have asked them to get on with the work as quickly as possible [...]". - With printed address.
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Morace, Ernest, Kupferstecher (1766-1806).
Eigenh. Brief mit U. Stuttgart, 8. II. 1792.
3 SS. auf Doppelblatt. 4to. An einen namentlich nicht genannten Adressaten: "Es wird Ihnen euserst [!] auffallen, wie ich mich an Sie wenden konnte, da ich noch nicht die Ehre habe, Ihnen bekannt zu seyn; ich hörte aber schon so viel zu Ihrem Lobe, weswegen ich mich entschlos [!], mit etwas von meinen geringen Arbeit Ihnen meine Ergebenheit zu bezeugen [...]". - Ernest Morace war ein Schüler Johann Gotthard von Müllers und war später als Hofkupferstecher tätig.
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Morisot, Berthe, French painter (1841-1895).
Autograph letter signed ("B. Manet"). N. p., undated (but likely 1892 or shortly thereafter).
160:95 mm. Two pages on a black bordered mourning card, twenty-two lines of text in black ink. To Monsieur Desormeaux. A rather lengthy note about business affairs, apparently pertaining to a tenant who lied to her about an arrangement he claimed to have made with her late husband (Manet's brother) before his death. - Neat central fold, a fine example.
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Morlon, Antony, peintre (1845-1905).
Lettre autographe signée. S. l., 4. VII. 1897.
2p In-12 (12 lignes). Morlon remercie son correspondant, Merson de lui avoir envoyé une invitation pour "l'exposition des Sables". Il regrette de ne pas pouvoir l'autoriser à prendre ses tableaux, ayant déjà donné l'ordre de les retirer de chez M. Ferret ("emballeur").
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Moser, Koloman, Maler und Graphiker (1868-1918).
Eigenh. Postkarte mit U. ("Kolo"). Salzburg, 30. I. 1916.
1½ SS. Qu.-8vo. Mit eh. Adresse. An seine Frau Ditha (1883-1969), geb. Mautner Markhof: "Gestern waren wir lang aus, daher Ditzi nicht mehr Zeit gehabt hat einen Brief zu dictiren. Vormittags waren wir am Nonnberg und Mönchsberg. Nachmittag in der Stadt, bei Tomaselli jausnen und dann im Kino [...]". - Mit winzigen Randläsuren.
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Müller, Richard, Maler und Graphiker (1874-1954).
Monogrammierte Aquarellzeichnung. O. O. u. D.
140 mm:92 mm. Sauber ausgeführtes Portrait eines Frauenkopfes im Profil. Auf einer von einem "Rudolf" halbseitig beschriebenen Postkarte, adressiert an Bauführer Wilhelm Köhler und aufgegeben in Frankfurt am 22. VIII. 1901.
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Munch, Edvard, Norwegian painter (1863-1944).
Collection of 4 autograph letters and 2 autogr. postcards, all signed. Kristiania (Oslo), Paris and undated, 1894-1926.
Various formats. Altogether 14 pp. Some minor wearing to the letters after being folded. Together with the calling card of Mengelberg, inscribed on reverse by him "Edvard Munch Kragerö in Norwegen". 7 items. To the German businessman and art collector Richard Mengelberg. 2 letters dated Kristiania (Oslo, undated and 10 June 1897), 2 dated Paris 10 January and 17 March 1897. The postcards dated Kristiania (Oslo) 29 July 1894 and undated but poststamped Oslo 24 May 1926. - Letter 1 (undated) deals with family matters and that everyone misses him. Munch adds that he regrets having been unable to paint Mengelberg's feverish dreams while in Stockholm. - Letter 2 (10 June 1897): Munch writes he wanted to send birthday greetings, but when he left Hamburg he was without money, unable even to afford a postcard. He has sent a lithograph, mentions that Hamsun and Ibsen just passed by his window, and adds he wishes to travel to Paris in the spring. - Letter 3 (10 Jan. 1897): mentions the artist Paul Durand-Ruel, stating that all he exhibits is not symbolic. He also plans to publish an album of lithographs, provided he managed to find more subscribers. - Letter 4 (17 March 1897): some chat on the spring; mentions an exhibition in Dresden. - Postcards: complaints that Mengelberg is a poor correspondent. - Richard Mengelberg (1853-1932) wrote, in 1894, an article on Munch's works for the Frankfurter Zeitung. He was father of Nora Mengelberg, whose portrait Munch painted in 1894. He also made an etching of Richard Mengelberg the same year, his first work as an graphic artist.
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[Napoleon on Saint Helena]. Aegidi, C.
Mariner's Artwork, with Manuscript Notes and Poems, and Seven Pencil Sketches, Including a View of Longwood House, Napoleon's Home-in-exile on St Helena. St Helena, May 1851.
Seven pencil sketches and eight works of poetry on album leaf, ca. 215:265 mm (8 ½ x 10 ½ in). Signed and dated in ink in the lower margin. Recently matted, and in very good condition. Album sheet with seven pencil sketches of a mariner's life including one of Longwood House, Napoleon's home-in-exile on St Helena. The drawings are supplemented with eight stanzas of poetry in German, and a note stating that the sketches were made by a sailor in May 1851 while on board the Prussian bark Mercur (1833). The ship was built in East Prussia and made a series of voyages along the Western coast of Africa and to Brazil, visiting Cape Verde Islands, Bahia and Rio de Janeiro in 1850-52; it was eventually sold to Norwegians in 1854. "Longwood House was the residence of Napoleon Bonaparte, during his exile on the island of Saint Helena, from 10 December 1815 until his death on 5 May 1821. It lies on a windswept plain some 6 km (3.7 mi) from Jamestown. Following Napoleon's death, Longwood House reverted to the East India Company and later to the Crown, and was used for agricultural purposes. Reports of its neglect reached Napoleon III who, from 1854, negotiated with the British Government for its transfer to France. In 1858 it was transferred to the French Government along with the Valley of the Tomb for a sum of £7,100. Since then they have been under the control of the French Foreign Ministry and a French Government representative has lived on the island and has been responsible for managing both properties" (Wikipedia).
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