STAËL Nicolas de [Saint-Pétersbourg, 1914 - Antibes, 1955], peintre français d'origine russe

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4 000 - 6 000 EUR
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Result : 9 400 EUR

STAËL Nicolas de [Saint-Pétersbourg, 1914 - Antibes, 1955], peintre français d'origine russe

Rare correspondence of 4 signed autograph letters addressed to a bookseller (Mr. Lambert). 11 pages in-4°
- Autograph letter signed. Undated; 2 pages in-4°.
"Dearest bookseller, our history of scruples is absolutely unthinkable, but what do you want the world to be like that we never end with surprises. Thank you. Thank you.
Get me that book. Send me the money if you're embarrassed to have me send it back when you get the book, but you're screwed if you don't get the book without the money from me.
Protocol, Goldsmith, I don't mind, but get me that book, damn it.
You're not going to offend us just because it's hard to find. Then what?
Do as you wish. You can write to me directly in Antibes. [...] Now, if you're going to wait another month to get that money back, I don't see why you're offering it to me today. I'd like you as my banker, but for the book no other way.
Yours sincerely. Stael."
- Signed autograph letter addressed to Mr. Lambert. Undated; 3 pages in-4°. "You're kids in this book thing. Subscribing to a book means that you commit to buying it once the book is done and not something else. In my humble opinion you will never get from Jacques
Dubarry any payment whatsoever, especially one as ridiculous as two hundred and fifty thousand francs for a book that will cost us ten times as much to make before we have made the book. I may be wrong, but why on earth would you want him to think you need that money when you're willing to make it tenfold? That said, for Rosenberg not only will you not get any answers, but a man who sells huge amounts of paintings by a painter without any publicity other than his own name added to the painter's will take your story as an insult to his reputation and also to the reputation of the painter. That's for sure. So how do you want me to help you? I don't know, man. If Falaise does not have capital or bank credit, you won't get anywhere, it seems obvious to me. If you want Jacques Dubourg's name to the credit of the publishing house, that's easy for me, but if you're counting on my money to get started you don't stand a chance, he'll immediately sense that something in your shop organization isn't working."
- Signed autograph letter addressed to Mr. Lambert. Undated; 1 page in-4°. "I am forwarding your business letter to Jacques Dubourg. That's not my opinion, I hope it goes away on its own. Who knows! It is natural that you take responsibility for the text, if all this is done. As for harmful words, I still don't quite get it. It takes time."
- Signed autograph letter addressed to Mr. Lambert. Undated; 5 pages in-4°. "Well, then it's easy. I don't know if it was me who misunderstood or you who misspoke. Jacques Dubourg's purchase of books at publication closes, consider it done. Having said that, I am ready to see you whenever you want, but it would be more profitable for you and for me and for the book if the work were as advanced as possible.
What format have you adopted? Do you ever do black out of color? A painting on the absolute level is made of a certain colour, a certain tone which, in relation to the dimension of its sound, must be of such precision, such accuracy, of such exact volume that it is absurd to want to reproduce it in colour. The only valid reproductions from a purely artistic point of view would be black photographs coloured with printing ink by the painter who made the painting, or it would have to be painted with ink on coated paper and in the exact format of the reproduction. Are you planning to make a long text or a short text? How many pages do you have? Answer me this. I'll give you a list of paintings to reproduce. Biographical notes must remain notes because a painter's private life must always remain separate from his work. You are touching with your enthusiasm for colour reproductions, I admit I don't share your enthusiasm but it doesn't matter. Maybe we'd end up having the photograph served, but it's not said. For me it's hopeless. But what do you want, everyone wants it even as far as it serves the painting. Then so be it.
[...] I will tell you on one hundred pages all the major reasons to hate any reproduction whatsoever, especially those in colour. But good luck, do a good line. Read if you can the Life of Forms by Henri Focillon. Despite the vocabulary, it's one of the best books you can read. Besides, maybe it's just a search for vocabulary, but it's all about intelligence." He adds as a postscript: "What is important is the bibliography for serious people. There is a text by Denys Sutton in an issue of Signatures in English. There is a text by Patrick Waldberg in Transition, it exists in French and English. There are poems by Tudal, Charles Estienne, René Char, a preface to London by Sutton, a text by Courthion, I don't know, maybe several."
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