Gertrude Stein

American writer, 1874-1946

"Gertrude Stein was an American novelist, poet, playwright, and art collector. She moved to Paris in 1903, and made France her home for the remainder of her life. She hosted a Paris salon, where the leading figures of modernism in literature and art would meet. In 1933, Stein published a quasi-memoir of her Paris years, ""The Autobiography of Alice B. Toklas"", written in the voice of her life partner. The book became a literary bestseller and vaulted Stein from the relative obscurity of the cult-literature scene into the limelight of mainstream attention. The quote ""Rose is a rose is a rose is a rose"" from her 1922 poem ""Sacred Emily"" has become widely known."

Source: Wikipedia

Stein, Gertrude

American writer, poet and art collector (1874-1946). Autograph letter signed ("Gertrude Stein"). Bilignin. Large-8vo. 2 pp. With envelope.
$ 1,759 / 1.500 € (103037)

To the American writer Gertrude Atherton in San Francisco, enquiring about a mutual friend and hoping that she is well again: „I do not know that we enjoyed anything more than that nice rainy day in Marin County, with all of you you were alls o good and pleasant to us, we have been having a nice warm summer. I have been reading a lot and not making any plans at all […]“. - On stationery with embossed address.

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Stein, Gertrude

amerikanische Schriftstellerin, Verlegerin und Kunstsammlerin (1874-1946). Portraitpostkarte mit eigenh. Widmung und Unterschrift „To you all, always, Gertrude Stein, Paris, France, Oct. 48“. Paris. 140 : 90 mm.
$ 2,932 / 2.500 € (78159)

Blindprägung des Photographen „Photograph by Carl Van Vechten“ und vom Photographen annotiert „Gertrude Stein, ,Pigeons on the grass, alas!’ New York.“ - Leichte Oxidationsspuren, auf der Rückseite leichte Klebereste. - Sehr selten.

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Stein, Gertrude

amerikanische Schriftstellerin, Verlegerin und Kunstsammlerin (1874-1946). Eigenhändiger Brief mit Unterschrift. [Paris, Januar 1945] 5 rue Christine. 4to. 1 1/2 pp.
$ 2,111 / 1.800 € (81800)

An Leslie S. Brady, der die Autorin dankt, dass sie Bücher an Miss Villard geschickt hatte und für die Unterstützung für La Revue Franco-Américaine dankt. - Beiliegt: später gedr. Portrait der Autorin; Kopie des Gegenbriefes.

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Stein, Gertrude

American writer, poet and art collector (1874-1946). Autograph letter signed ("Gertrude Stein"). no place. 1 1/2 pages, 4to, written on recto and verso of a single sheet; minor loss to lower right corner, some retouching to day of week at upper right, remnants of mounting at corners verso, folds. With the original envelope.
$ 1,759 / 1.500 € (93447)

To Captain Rago, introducing [Sargeant Joe] Pollock and "Carmen" [probably Fredd Wayne], praising their show, recommending that it proceed to Paris and America, and believing that Rago could provide them with useful suggestions. "This is to introduce Pollock and Carmen of the Carmen show. I saw it the other night and I think they do get . . . the indecency, the gaiety, and the sadness, and I think it is very important that it should be given again in Paris and America, and they have plans but they want a little conversation and suggestions and I am sending them to you because I think you can give them some of both." On June 9, 1945, in Allied-occupied Germany, a troupe of G.I.s--many of whom were in drag--performed a burlesque version of Bizet's Carmen for the entertainment of the troops.

G.I. Carmen, as it came to be called, was organized by actor Fredd Wayne for the Army's Special Services; Wayne also performed as Carmen in the first performances. After over 140 shows throughout Germany, Austria, Italy, Belgium and France--whose audiences included many citizens such as Gertrude Stein--the final performance took place in early 1946 at Nuremberg..

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Stein, Gertrude

American writer, poet and art collector (1874-1946). Autograph letter signed ("Gertrude"). [Paris], "Rue de Fleurus". 27.12.1908. 8vo. 4 pp. on bifolium.
$ 4,105 / 3.500 € (47189/BN31933)

To "my dear people", i. e. Hortense (Guggenheimer) Moses and her son Dickey: "Many thanks for the three Dickies and the papa and the mama. Seems to me Dickey looks a good deal like his papa Jakie [...] Please say Merry Christmas to him [...] and did he eat too much candy like aunty Gertrude [...] Oh Dickey, you are going but we are never too young to learn. Dickey, Dickey listen to the words as they tumble off your wise auntie's pen, never, no never when the Merry Christmas time comes round don't you ever eat too much sweet cake and sweet candy and above all [...] don't ever mix up such sweet cake and sweet candy with salt pickles.

Dickey, a lady what never tells lies tells you that that's a bad way to do. She did it, her big brother did it [...]". - Stein refers to her older brother, Leo Stein, and to Hortense Guggenheimer Moses, the cousin of her close friend, Etta Cone (1870-1949), who with her sister Claribel, collected an important grouping of modern French art. Stein penned this letter about 6 years after her arrival from Baltimore to Paris where she established her renown salon [...]". - One short tear at center fold, otherwise in good condition, with holograph envelope..

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Stein, Gertrude

American writer, poet and art collector (1874-1946). Autograph letter signed ("Gertrude"). [Paris. 8vo. 8 pp. on bifolia. Includes autograph envelope. In a modern red quarter morocco linen folding case with gilt title to spine.
$ 4,105 / 3.500 € (95787/BN63586)

A charming private letter to Hortense Moses, née Guggenheimer (1876-1918), a close friend in Baltimore, with an interesting anecdote concerning the death of Henri Matisse's father and news from Leo Stein and Gertrude Stein's partner Alice B. Toklas. Stein first inquires whether some unspecified "pictures", probably paintings destined for the collection of the Cone sisters, reached Baltimore safely and asks for confirmation, speculating that a previous letter to this effect might have got lost in the mail.

She then discusses the sudden onset of winter from which Matisse tried to escape in Spain, but alas, "there was rain and snow in Madrid and no comfort excepting near the stove." The anecdote concerning Matisse's father Émile is worth quoting in full: "His father has just died and he was quite used up with the excitements of that event and the depressing effects of French mournings. I don't believe anyone can wear such terribly black mourning as French women do. He told me that he had seen his mother and his wife and daughter go down the street to be in mourning and then in the middle of the night he began to feel badly and he found himself saying 'I don't like crows, I don't like crows'. They had a very queer scene. The father had had his life insured and when the widow was told that she was to have the money she got very excited and she said she would throw the money in the face of anyone who offered it to her, she would never make money out of her husband's death. Finally, she said she was willing to have her two sons […] share it, whereupon Matisse's wife got excited and said she would never speak to her husband again if he took his mother's money which she ought to have to live well with and so Matisse said it was difficult as his mother would not have the money because her husband was dead and the son could not have it because the mother was living". - With respect to her brother Leo, Stein mentions that changes in the house with a new atelier provided him with a "very comfortable room", which also allowed for to a "better arrangement" of their famous art collection. Alice, on the other hand, was spending "all her evenings in the kitchen", being excited about her new "gas stove" and had Gertrude ask Hortense Moses for "good recipes for corn bread and beaten biscuit". - In closing, she mentions her fondness for Hortense's son Richard (Dickey), to whom she sends "three kisses", as symbolized by three small dotted circles; home-sickness for family and friends in Baltimore, their cook Hélène who thinks that "America is very far away" and is a "pessimist", and her purchase of "a horse to keep company with my two cows. They look very handsome together". - The Steins met Hortense Guggenheim, a cousin of the Cone sisters, when attending John Hopkins Medical School in Baltimore (1897-1902) and remained close friends ever after..

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Stein, Gertrude

Autograph manuscript (fragment).
Autograph ist nicht mehr verfügbar

A large portion of her essay "Composition as Explanation", published in 1925. "And so there was the natural phenomena that was war, which had been, before war came, several generations behind the contemporary composition, because it became war and so completely needed to be contemporary became completely contemporary and so created the completed recognition of the contemporary composition. Every one but one may say every one became consciously became aware of the existence of the authenticity of the modern composition. This then the contemporary recognition, because of the academic thing known as war having been forced to become contemporary made every one not only contemporary in act not only contemporary in thought but contemporary in self-consciousness made every one contemporary with the modern composition. And so the art creation of the contemporary composition which would have been outlawed normally outlawed several generations more behind even than war, war having been brought so to speak up to date art so to speak was allowed not completely to be up to date, but nearly up to date, in other words we who created the expression of the modem composition were to be recognized before we were dead some of us even quite a long time before we were dead. And so war may be said to have advanced a general recognition of the expression of the contemporary composition by almost thirty years". - In her essay, Stein connects World War I’s influence on the evolution of warfare (and the shifting consciousness of the citizens and soldiers of those nations involved) to the role of Modernism in the evolution of the arts. - Slightly browned; in pencil.