Edgar degas painter (6 risultati)

Leather Bound. Condizione: New. In shrink wrap. Looks like an interesting title.

8vo. 2 pp. on bifolium. To Charles Ephrussi. Fine letter to his friend and critic Charles Ephrussi, director of the Gazette des Beaux-Arts, in which Degas discusses a misunderstanding with the art journal L'Art, thanks Ephrussi for his mediation, and alludes to his failing eyesight:"I did not think that L'Art expected an answer. Through your kind intervention, it had made its conditions and intentions known. It is you I had to thank, not them. I will nonetheless go and speak with him one day. Thank you for the armchair. I will go, though I am very tired with my damned eyes. I must press my things again. Many thanks."Degas also explains that the publication schedule had been delayed because printer André Salmon was occupied with the San Donato catalogue the great sale of Anatole Demidoff's collection. A fascinating letter touching on Degas's relations with Ephrussi and the Parisian art press, written in his later years, when eye strain increasingly hampered his work.…

8vo. 4 pp. on bifolium. Interesting letter to a friend, probably Louis Braquaval, declining an invitation to Saint-Valery-sur-Somme due to health concerns, criticizing the luxurious salon of mutual friends, and reporting on the similarly fragile health of his maid Zoé Closier, as both appear to have suffered from a food poisoning. Degas also muses that the recipient "only wants to impress" him, adding that it is also his own desire to be impressed and announcing that one day he will take his friend by surprise in order to see who he really is. In closing, Degas implies a possible visit to Saint Valery after Easter. - Edgar Degas met Louis Braquaval in 1896 in Saint-Valerie-sur-Somme and visited him several times thereafter. The two men became close friends and painting companions. In general, Degas was largely isolated in his later years, having lost many friends due to his difficult character. The letter gives testimony to Degas's peculiarities and his failing health. His maid Zoé Closier is known from a famous photographic self-portrait of Degas from ca. 1895 kept at the Metropolitan Museum of Art. - Professionally restored. Minor browning and stains.…

8vo. 2½ pp. on bifolium. To the lawyer and collector Paul-Arthur Chéramy (1840-1912) about the completion of three paintings promised to the baritone and collector Jean-Baptiste Faure, who had sued him, requiring another three months to finish the work, not daring to remind Faure of the sum of 500 francs per painting that he promised him earlier: "Vous m'avez demandé [.] quel temps il me faudrait, en allant au plus court et en faisant de l'ouvrage soigné, pour terminer les trois tableaux de Mr Faure. Les Grosses blanchisseuses, que Mr Faure a prises telles quelles et supportées chez lui pendant deux ans au moins, sont à peu près terminées. Le plus long à finir serait le Champ de Courses. La blanchisseuse en silhouette est en bon état, non compliqué, et peut être menée vite. Je demande trois mois pour satisfaire mon poursuivant [.] Il me semble que je vous avais parlé d'une somme de 500 F par tableau achevé que Mr Faure m'avait un peu promise, autrefois. Je ne tiens pas à lui rappeler cette offre. Mr Faure a été trop longtemps mon créancier. Je l'ai fait trop attendre pour ne pas en rester là. N'en disons donc rien [.]". - In 1874, Degas had asked Faure to buy back for him from Durand-Ruel six paintings with which he was dissatisfied, undertaking to paint four large compositions in exchange. Twelve years later, when Degas had not finished some of these paintings, Faure successfully sued him for delivery. Chéramy was Degas' lawyer in the proceedings. - With a few tiny piercings.…

8vo. ¾ p. on double leaf. Letter of introduction to Charles Deschamps, manager of Paul Durand-Ruel's London art gallery: Je vous présente votre compatriote Mr William Stott, mon ami. Vous devez le connaître certainement de réputation. Ayez la bonté de lui faire une bonne part de votre obligeance". By the late 1880s, Degas had already received international recognition as an important artist. In this letter, he introduces the burgeoning British painter William Stott-of-Oldham to Charles Deschamps, manager of the Galerie Durand-Ruel et Cie in Paris. Exhibiting Impressionist works at his own galleries despite critics' initial resistance, dealer Paul Durand-Ruel essentially created the market for Impressionism, establishing the biggest names in the movement, including Degas, Manet, Monet, Pissarro, and Renoir. A good word from one of his highly respected artists had the power to make a newcomer's career, and it did just that for Stott. In 1889, he held his first one-man show at the Galerie to great critical reception, pushing him into the international art world. The established artist speaking out on behalf of an up-and-comer, this is a wonderful note involving three major figures in art history. A light vertical fold through first letter of signature, a uniform shade of toning, a bit of trivial soiling, some stray ink flecks and a couple words a bit light due to decreased ink flow, otherwise fine condition. Sprache: fr. …

8vo. 1p. Card letter with autogr. address. To Monsieur Lalo in Paris, on an appointment and a meeting at Marchand: J'ai su, (non pas vous puisque vous n'écrirez qu'au temps) que vous ne pourriez encore joindre Marchand. Dans la semaine prochaine laissez moi encore Mercredi. Donc, en somme, tous les jours seront bons, mon cher Lalo, sauf Mercredi et Vendredi. [J]'attends. Amitiés| Degas".…