[BERGES (Joseph)]. - Lot 325

[BERGES (Joseph)]. IMPORTANT ARTISTIC CORRESPONDENCE ADDRESSED TO JOSEPH BERGES (1878–1956), trained at the École des Beaux-Arts in Toulouse, a student of Eugène Cormon and Léon Bonnat, 2nd Prix de Rome, Honorary Prize at the 1937 Salon, member of the jury for the Comité de la Société des Artistes Français and the Prix de Rome. Jules ADLER (1865–1952). A friendly letter in which he encourages him to “keep the spirit of your native land intact”; Spitz, Dubois, and Dobrée were by his side for the inauguration of the Luxeuil Museum; “I was delighted to read in a newspaper that you have a major commission to complete in Toulouse. Bravo! Bravo! Even through the subject matter that will no doubt be imposed on you, let your heart still shine through (…).” A detailed account of the Normandy beaches in August 1939, where mobilization caught him by surprise. An annotated business card in which he recommends Duvent and Désiré Lucas, etc. (4 letters and annotated business card, 1910–1939). – Joseph ANDRAU (1907–1987). He had just met with his friend Gros, who had returned from Barcelona, along with Montariol. “My friend Gros will therefore meet with Mr. Vallats on Friday or Saturday and secure an appointment for you (…). There’s a good chance this will work out, since Montariol is entirely in agreement with you (letter from Toulouse, July 193-). – Raoul BERGOUGNAN (1900–1982). He mentioned that he is not a candidate for the upcoming competition for the Gauret class; “(…) As for Andrau, he has registered for all the competitions, but he only wants to enter the one for the sculpture class. Since Raynaud has retired, he told me that a sculptor from Paris will be coming to judge it (…). That’s causing him quite a bit of trouble as he prepares. ” He goes on to mention one of his works on display at the “Pyrénées Languedoc” pavilion: “I’d be curious to see it, because, as you know, I’ve never been able to view it in its entirety—the studio ceiling is too low (…). I was asked for a small painting to exhibit in a room, so I sent *The Virgin with the Stove Pipe* (…). (l.a.s., n.d.). – Fernand BIVEL (1888–1950). Encouraging Bergès regarding a commission and mentioning an unfinished work that Bivel had attempted to submit to the Salon. “I found myself faced with such a daub that I mustered all my courage to start over entirely on a new canvas. The effect of this canvas—the fire of the light and the harmony—still captivates me just as much in nature, and I want to try to draw something from it (…).” He asks if Bergès is in St-Girons and if he is preparing a painting for the upcoming 1937 Salon; “I haven’t prepared anything for the Salon yet, and the scope of what I undertake will depend greatly on my state of health (…).” (2 letters, 1932, 1936). – Marguerite BOUCHET (Dreyfus, 1879–1942). She thanks Bergès and Montezin for supporting her at the last Salon (letter, Neuilly, March 1903). – Jeanne CHRISTEN (1884–1973). A note of thanks for “the generous support regarding my large ‘nude’ painting accepted at the Salon (…).” (1931?). – Auguste CLAIRE (1881–1970). “(…) A lovely letter reaching you out in the sticks, just as the paintbrushes are dancing in the Normandy sunshine—one cannot fully appreciate its greatness”; he will exhibit his “doodles” in December in Le Havre at Maury’s (handwritten letter, Sept. 1936). – Paule COLLAS-PRIMER (1885–1979). Asking for news from Ariège, hoping to show “a few pretty paintings” at the start of the 1937 school year; “My stern Master, let’s talk about painting! You certainly have a wealth of experience with students (…) I know you’ve had students who are probably 100 times more talented than I am! But I tell you that none—yes, none—has loved painting as much as I have! (…) I’m going to move back into the little studio upstairs (…).” (3 letters, La Rivière, Les Andelys, 1937–1939). – Raoul ESTEVE (1902–1967). Drafted along with a few friends, he looks forward to “the joy of returning to our easels and brushes (…).” (letter, November 1939). – Louis JOURDAN (1872–1948). A long letter encouraging Bergès for the 1937 Salon; “(…) Four figures—that’s serious. But it is above all the application of your craft without any showmanship (…) that gives you some cause for concern. Take it calmly, see it through to the end in your mind; we’re truly fed up with the superficial painting that plagues the salons. Work with your palette and your hands. But don’t just appeal to the eyes, when it’s the heart that must be touched (…). ” (handwritten letter, St-Paul de Varax, Sept. 1937). – Jean JULIEN (1888–1974). “(…) I’ve had enormous difficulty because nothing is going as it should at the exhibition (…). I am not well-regarded in French art circles. I have just learned that my painting was not hung at the Pavillon des Arts (…).” He expresses disappointment with Montezin, Narbonne, and Didier Tourne; “I am s