Ernst Max Painter (6 results)

83, (1) pp. Printed original wrappers. 4to. Title page with autograph dedication, signature, and small hand-drawn sketch to Karin Bergqvist-Lindegren (19242012), widow of the Swedish poet and translator Erik Lindegren (19101968). A few years later, in 1977, Karin Lindegren herself became director of the Moderna Museet in Stockholm, where the Max Ernst exhibition had been shown from 13 Sept. to 2 Nov. 1969. - Binding loose.

443, (5) pp. 4to. Contemporary cloth. "À René Margritte. Prince san rire. / son ami / Max Ernst". With another inscription signed by the author Patrick Waldberg.

Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Heiter sei das Leben, Ernst die Kunst! [.]". - A member of the artists' colony in Goppen near Dresden, Pietschmann specialized in plein air painting, spent several years studying nude painting in Italy and Paris, and created popular chromolithographs of landscapes and genre scenes under the pseudonym "François Laubnitz" which were frequently used for interior decorations during the first half of the 20th century. - Traces of a postmark near upper left corner; small brown stain at lower margin; postmark on verso slightly showing through. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

GROßE GRAPHIK (mit Hut und Schirm ein Bild betrachtend, auf Karton, 32,5 x 25 cm, gedruckt) bezeichnet ATELIER-URSTELLIG mit am Unterrand in brauner Tinte 3-zeiliger Widmung, UNTERSCHRIFT Ernst Max Musfeld signiert.

4to. 2 pp. Highly interesting letter to the collector and critic Christian Zervos, asserting that Ernst will not emigrate to the U.S., probably following his brief internment in France as an "undesirable foreigner" at the beginning of World War II. Ernst thanks Zervos for forwarding a letter from his son Jimmy and for some issues of the Cahiers d'Art, before inviting him and his wife Yvonne Marion to his house in Saint-Martin-d'Ardèche for the summer. Emigration to the U.S. was already on the table, but Ernst writes that he has "no desire to leave" his house and therefore "will not go to live in America", preferring to "live and work" in France. In the second part of the letter, Ernst expresses his relief concerning the date of a coming exhibition in Zervos's art gallery MAI, as he much prefers "waiting until the fall" so as to "prepare a very beautiful exhibition in all tranquility". - The letter must have been written sometime between his release from French internment in Camp de Gurs around Christmas 1939 and the beginning of the German invasion of France. Soon into the German occupation, Ernst was arrested by the Gestapo but managed to escape. This time he would not return to his house in Saint-Martin-d'Ardèche, which his partner Leonora Carrington had "sold" to a neighbour for a bottle of cognac to save it from confiscation before fleeing herself. In this dangerous situation, Ernst accepted Peggy Guggenheim's offer to accompany her to New York. Jimmy Ernst had tried to secure U.S. visas for Max Ernst and his mother Luise Straus when they were interned in Gurs, but Straus would have had to remarry Ernst, which she refused to do. While Max Ernst obtained his visa in 1941, Luise Straus remained in France. She was deported to Auschwitz and murdered in 1944. - Traces of folds. Minor browning and three minimal tears to the upper margin.

4to. 2 pp. Enclosed is one handwritten envelope. To Jean Leymarie of the Musée National d'Art Moderne in Paris.1.6.1969 (ALS with signature Max Ernst"):Autograph letter to Monsieur Jean Leymarie of the Musée National d'Art Moderne: [] Vous me faites grand plaisir de consentir à preter Capricorne' pour Stockholm et Amsterdam et je vous remercie. Voici en change de bons procédés" le No. de ma retraite: le 41 à Seillans. Je vous prie de recommander aux emballeurs de prendre bons soins du con de Mme Capricorne. []" Max Ernst agrees to send his painting Capricorn to Amsterdam and to Stockholm. He asks the packers to take good care of Mrs. Capricorn as she is very fragile.Capricorn was Max Ernst's sculptural masterpiece, which he finished while living in Sedona, Arizona, where he lived with his wife Dorothea Tanning (1910-2012) from 1946 till 1953. They built the small, secluded house in the desert that they called Capricorn Hill. The plastic Capricorn came about when they got electricity and running water a year after they moved there. The concrete mixer they purchased was not only used to build houses. Max Ernst came into contact with the indigenous people, the Hopi, and studied their art. He was particularly interested in the kachina dolls and the ceremonial masks. He created a larger-than-life cement sculpture in 1948, inspired by folk art. When Chagall moved back to Europe in 1953 he took a copy of his work, which was the base for Capricorn.8.3.1971 (typed letter with signature Max Ernst"):[] J'étais enchanté de l'avant-propos que vous avez fait pour l'Orangerie. Je vous verrai surement dans cet endroit aux environs du 2 avril. Je me réjouis d'avance, de vous remercier de vive voix. []" Max Ernst writes that he was delighted with Jean Leymarie's foreword for the Orangerie, he is looking forward seeing him in April to thank him in person.A retrospective of 104 works spanning the years 19201968, drawn entirely from the Menil Collection, toured Europe from 1970 to 1972 and also were shown at Musée de l'Orangerie. The opening of the exhibition in Paris was augmented with 44 pieces from various collations and opened on 2 April 1971, Max Ernst's 80th birthday.