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
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.
$ 2,664 / 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.
amerikanische Schriftstellerin, Verlegerin und Kunstsammlerin (1874-1946). Eigenhändiger Brief mit Unterschrift. [Paris, Januar 1945] 5 rue Christine. 4to. 1 1/2 pp.
$ 1,918 / 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.
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.
$ 1,598 / 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..
American writer, poet and art collector (1874-1946). Autograph letter signed ("Gertrude"). [Paris], "Rue de Fleurus". 27.12.1908. 8vo. 4 pp. on bifolium.
$ 3,730 / 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..
sold
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.