Braque, Georges, Marc Chagall, Aristide Maillol, Camille Corot and Paul Signac

SIGNAC, Paul. Two autograph letters signed, unpublished, one to an undefined correspondent ("Cher Monsieur"), probably Paul Durand Ruel, expressing his satisfaction with the reviews of his exhibition at the French merchant’s gallery, requesting an unsold Degas, 2 pages, 8vo (21 x 13.4cm.), Paris-Auteuil, 16 rue La Fontaine, 30 March 1899  

the other to Madame Else Lampe de Quita, proposing a meeting and expressing his gratitude for coming over; together with its envelope, labelled "Societée des Artistes Indépendants", 1 page, 4to (27.5  x 22 cm), [Paris] 16 rue la Fontaine, Lundi 29 mars [1909]



a letter by Maillol to an unidentified recipient, mentioning his friend and dealer Ambroise Vollard, commenting on some scale models of his monument to Blanqui, 3 pages, one folded leaf, 12mo (13.6 x 10.5cm.), Marly-le-Roi, 1910



an autograph letter signed ("C. Corot") to his friend and disciple, Eugene Lavieille, congratulating him on his success in Dijon, encouraging him in his work, 1 page, 8vo (20.9 x 13.4cm.), one folded leaf, integral address panel, Paris, 9 October 1858



a landscape postcard (8.9 x 13.9cm.) from Avignon signed by Georges Braque ("G Braque") and his wife Marcelle to the poet Paul Dermée and his wife the Dadaist writer Carolina Goldstein, 17 August [19]18



a typescript letter to the publisher Somogy, signed ("Marc Chagall"), about Aimery Somogy’s books on his work, announcing his upcoming stay and exhibition in Israel, expressing hope that it will released also in this country, 1 page on ochre watermarked Montgolfier paper, 4to, (27 x 21.2cm.), Vence, 9 June 1951

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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From 1894, Signac's journal documents frequent visits to Durand Ruel's Galerie. In these notes he also describes a common project that led to an exhibition in March 1899 where, to quote Signac, "nearly all those who for fifteen years have – outside the Official Salons - made some new effort" were represented. The groups were exhibited in their respective rooms, in conjunction with an exhibition of first-generation Impressionists. Unfortunately, this association was unproductive and Durand Ruel decided not to repeat the experiment never again. After this experience Signac concentrated his efforts on the annual reunion at the Salon des Indépendants.

Maillol concentrated almost exclusively on the nude female figure in the round. Although inspired by the Classical tradition of Greek and Roman sculpture, his figures have all the elemental sensuousness and dignity associated with the Mediterranean peasant. He also modelled small, bold nude figurines in terracotta, aiming at simplicity and density of construction. The dealer Ambroise Vollard (who gave Maillol his first exhibition, in 1902) made numerous bronze casts of them. His monument made as a memorial for the French socialist Louis-Auguste Blanqui shows a woman in chains.

In 1841 Corot accepted Eugene Lavieille at his workshop. The latter became one of his better, more faithful disciples and later a friend. In 1852, he went to Barbizon and participated to the fruitful École de Barbizon. Later, he painted in La Ferté-Milon where he lived from 1856 to 1859. Art critics such as Baudelaire or Théophile Gautier were very interested in him.