DURAND-RUEL Paul [Paris, 1831 - id., 1922],... - Lot 210 - Oger - Blanchet

Lot 210
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Estimation :
2000 - 3000 EUR
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Result : 4 000EUR
DURAND-RUEL Paul [Paris, 1831 - id., 1922],... - Lot 210 - Oger - Blanchet
DURAND-RUEL Paul [Paris, 1831 - id., 1922], art dealer. 30 autographed letters addressed to Hector Brame. Paris, November 2, 1869 - London, May 26, 1871; 76 pages in-8 or in-12, including 5 on his letterhead as an expert, rue Laffitte, and 10 on the letterhead of the Society of French Artists at the address of 168 New Bond Street in London. Very interesting correspondence concerning their association as art dealers during the war of 1870 and the siege of Paris, Durand-Ruel then moving to London and Brame to Brussels. Throughout these pages, a large number of artists are mentioned, whose paintings they owned or whose works they sought to acquire, either in their name or in common, "moderns" such as Corot, Daubigny, Fromentin, Jongkind, Millet, Théodore Rousseau, Alfred Stevens, Antoine-Louis Barye, Alexandre Bida, Édouard Cabane, Narcisse Diaz, Jules Dupré, Henri Leys, Constant Troyon, Émile Van Marcke, Félix Ziem, but also painters from previous schools such as David, Decamps, Delacroix, Géricault, Prud'hon or Hubert Robert Durand-Ruel informed Hector Brame of various transactions and discussed their financial affairs. In November 1869, he asked him for information about the collection of the Antillon family at the Château d'Armendarits in the Basses-Pyrénées. He told him of an offer from the collector Laurent-Richard: "6000 fr. plus his Rousseau and his Divine Vengeance by Prudhon for the Troyons. I refused outright" (June 24, 1870). Preparing his departure for London, he drew up a list of paintings that he sent to Brame, indicating the prices that he asked for those that belonged to him: "For those, as for mine, we will share the profit, do your best and sell for a high price if you can. When he arrived in England, Durand-Ruel asked Brame to negotiate the rental of the rue Laffitte with the owner M. de Girardin, to find Millet's address in Normandy, to send him some Troyons, which sold well in London. He was first welcomed by the dealer Thomas MacLean where he organized an exhibition that he intended to place "under the patronage of some French artists to fly a very national and very clear flag", before opening his own gallery, New Bond Street: "I will put few paintings there. The St. Sebastian [by Delacroix], the great Rousseau, the two Corots, the David [Marat] and a few large pieces if I can find them. I will try to borrow some paintings from Faure. Paintings were exchanged between London and Brussels, for example a crate containing "2 framed Stevens, Les Sables de Rousseau with the frame and 7 unframed paintings which are 2 Jongkind, 1 Diaz, 3 Daubigny and the Corot that M. Lebon had bought from me for 1400 fr" (15 October 1870). "I have not yet sent you the great Diaz, the great Daubigny, the great Fromentin, Mr. Lean tormenting me to exhibit them immediately and assuring me that they will be successful. Daubigny also advised me to do so. And in fact, I think it is better to avoid the expense of packing and transporting these paintings. (October 17). If Durand-Ruel spoke well of McLean, "the only one on whom one can count a little", he was not very tender towards most of the other dealers such as Adolphe Goupil, Ernest Gambart or Léon Gauchez, not hiding his anti-Semitism towards the Jew Wolff or the dealer Éverard, "like all his co-religionists, he is to be kept at a distance". He had to face these adversaries at the time of "a very important affair": the preparation of the international art exhibition that was to be held under the direction of the administrators of the Kensington Museum and the English government. Commissions had been appointed by France for each section of this exhibition but "as things stand, three quarters of the French members and especially M. Du Sommerard, general president, are stuck in Paris, nothing is being done and yet enormous expenses have been incurred at France's expense. [...]. It would therefore be a great misfortune not to take advantage of these expenses in the interest of our artists who are suffering so much at the moment" (January 23, 1871). And he is worried to learn that Goupil, Jérôme, Yvon and the famous baron Gudin want to take the hand on this company: "They declared that they represented France". He gives Brame various pieces of advice, to receive a certain Mr. Cutting who wishes to buy a Stevens and who could have influence on the Americans, or to take an interest in new artists such as Herminie Collard whose paintings are much admired in London: "While maintaining the greatest caution. Go, a little forward with the really strong artists". "Take your notes without saying anything about your intentions and as soon as I have money, I will write to you to buy. Don't tell anyone about what I do and what I will do. Let's keep all our information to ourselves.
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