The Letters of Gertrude Stein and Carl Van Vechten, 1913-1946
Page 31
LOVE
C.
To Gertrude Stein
[Postcard: Garret Hostel Lane Bridge, Cambridge, England]
[postmark: 25 May 1934] [London]
Dear Gertrude:
Fania isn’t here—she is in Hollywood, but there is a man with me, and I think we could arrange to come down for a day—I think you & Alice should be photographed by the MAESTRO.1 Flying to Rome on Tuesday but will be in Paris a week or so later.—Write me c/o Morgan & Co. 14 Place Vendome Paris & tell me if we could come some time between June 14 & 22.
Love,
Carlo.
1. Van Vechten made the trip with Mark Lutz (1901–1968). Lutz was born in Richmond, Virginia, and it was there that he met many of the people associated with The Reviewer. Hunter Stagg arranged for Lutz to meet Van Vechten in New York in July 1931. The friendship between Lutz and Van Vechten ripened immediately, and Lutz became the model for some of Van Vechten’s earliest photographic experiments. Their friendship lasted until Van Vechten’s death. In accordance with Lutz’s wishes the correspondence they exchanged during that period, estimated at nearly ten thousand letters, was destroyed. Lutz gave his collection of Van Vechten’s photographs to the Philadelphia Museum of Art. See Bruce Kellner, Friends and Mentors: Richmond’s Carl Van Vechten and Mark Lutz; An Address given by Bruce Kellner on the Occasion of the Spring Meeting of the Friends of the Boatwright Memorial Library at Windsor, May 29, 1979 (n. p.: privately printed, 1979).
To Carl Van Vechten
[postmark: 27 May 1934]1 Bilignin par Belley
Ain
My dearest Carl,
It is nice that we are going to meet I would have been quite brokenhearted if we had not, and we do want to be photographed by the maestro. You can come any time and between the 14 and 22 suits perfectly and we hope the roses and the nightingales will be doing as well as they ever can in your honor. And as I told you we can put you up for as long as you will stay you and the man and I imagine you can fly very near to us and we will meet you and call for you and it will be wonderful seeing you come out of flying and do let us know when as soon as you know and lots of love and did you hear from [Arthur] Griggs and is it alright and again lots of love2
Gertrude.
1. This letter was addressed to Van Vechten in Paris and was forwarded to his bank in Rome.
2. Arthur K. Griggs (1891–1934) was an American writer and critic who lived for many years in Paris. He offered to help Stein in trying to promote the idea of mounting Four Saints in Three Acts in Paris. See Griggs to Van Vechten, 23 May [1934], YCAL, and Stein to Van Vechten [29 April 1934], note 1.
To Carl Van Vechten
[postmark: 2 June 1934] Bilignin par Belley
Ain
My dear dearest Carl
It would be most sad and disappointing if you and Fania were over here and we were not seeing you.1 Could you not come. We can put you up now, we have a bath-room and you would be not too uncomfortable and I have a four seated respectable 8V Ford so that we could come and call for you at the train and it is not such a long trip, you leave Paris at eight in the morning and you get here at four and we would so love to see you, there is so much to tell and hear and please do. And about the reproductions of the photos. I imagine nothing definite has been done yet. It is Arthur Griggs who had the idea and he was thinking of making propaganda for the possible future of the opera in Paris and for the translation of the autobiography which is to be out on Oct 15 chez Gallimard, and his idea was to have the photos reproduced in as many places in Paris as possible, Paris always seems to do that, each paper reproduces for its audience as most people do not seem to read more than one and as for paying I am afraid in Paris they don’t pay, but at any rate I am writing to him to write to you and here is his address Arthur Griggs 90 rue d’Assas, and he has a telephone, it is in the telephone book. I did so love the photos and everybody else did so love them that I wanted everybody to see them, and I did think it would help having the opera in Paris and I am afraid that is all I did think about. I would so like to talk so many things over with you. About lecturing in America this fall about that because I don’t quite know what I want or what I ought or what I will do and anything you say would so help me but mostly we want you for ourselves alone and if we could have you we would be delighted but anyway always and lots of love to you and Fania
Always
Gertrude.
And I do so much want to see the new photos and I am still hoping you will bring them yourselves but they can be sent by Chemin de fer, and they get here alright, and once more it is nice to be on the same side of the water but it will be nicer being together.
1. Stein had apparently forgotten Van Vechten’s postcard of [25 May 1934] in which he told her that Marinoff was in Hollywood, California, and would not be traveling with him.
To Carl Van Vechten
[postmark: 8 June 1934] Bilignin par Belley
Ain
My dearest Carl,
Where are you, you have not flown too far away, anyway we are waiting for you, and we do so want to see you, where are you with all love
Gertrude
To Gertrude Stein
8 June 1934 [Hotel] Excelsior
Rome
Dear Gertrude:
Think of it! I’ll be seeing you both soon. We are leaving here for Amalfi tomorrow & returning Monday (June 11) in time to take the sleeper (9.50 P.M. for Turin, at 8.30 A.M. we embark on a day train from Turin & arrive at Chambéry at 12.57 p.m. Tuesday June 12. So please will you meet us at this train. We wanted to fly but there seems to be no direct way of getting there—without going first to Paris. So, the train, now. I suggest that we have lunch somewhere in Chambéry. There must be a suitable place & visit the house where John Paul Dunbar & Madame Walker carried on! and then proceed in grand style to Bilignin!1 In case you are making plans, we shall stay about a day! and so you won’t be disappointed I must tell you that the grand photographs of 4 Saints are in London in a trunk which is to meet me in Paris as I thought I should be coming that way to you. You shall receive them later. There doesn’t seem to be any way of finding out if all this is convenient for you & it is even two days ahead of schedule. But if I step off the train & you are not there I shall know it is impossible & proceed to Paris! But I think you will be there.
Love!!
Carlo.
Till Tuesday at 12.57
1. Presumably Van Vechten is referring to A’Lelia Walker (1885–1931). A’Lelia Walker was born the daughter of a poor washerwoman, Sarah Breedlove (Madame C. J.) Walker (1867–1919), who perfected a process for the straightening of kinky hair and developed various beauty preparations. With the money she received from her mother, A’Lelia became one of the most picturesque figures of the Harlem Renaissance. She lived in a mansion in Irvington-on-Hudson and in a town house in New York where she entertained a steady stream of black artists, writers, and musicians. See Kellner, “Keep A-Inchin’ Along,” for Van Vechten’s “A’Lelia Walker,” pp. 152–54.
To Carl Van Vechten
[postmark: 14 June 1934] [Bilignin par Belley Ain]
My dear Carl
When Trac did up the little package this morning he forgot to enclose this—which I so carefully gave him.1 And since then he hasn’t remembered that Gertrude doesn’t eat Queen Anne cherries nor that the dessert this evening needs candied cherries—otherwise we’re all quiet but missing you. You will come back every year won’t you. A good crossing and best of luck—
Always
Alice
Remembrances to Mark Lutz
[Enclosed with letter]
For Carl, with all the love of Bilignin and we enjoyed every minute of the visit.
Don’t tell any one because perhaps they didn’t belong to us.
[Gertrude Stein]
1. Note by Van Vechten, 22 January 1941: “Trac, the Indo-Chinese cook. In the package were two swan tie backs, from the villa at Bilignin. At present these hold back the blue satin cur
tains in the Victorian room at 101 Central Park West.”
Gertrude Stein with her dogs Pepe and Basket I on the terrace at Bilignin, 13 June 1934.
PHOTOGRAPH BY CARL VAN VECHTEN. PRIVATE COLLECTION.
To Gertrude Stein
[14 June 1934]
Thursday Le Bristol
Hotel et Restaurant
112 Faubourg St. Honoré
Paris (VIII)
Dear Gertrudel!
It was too divine—that all too short 24 hours chez vous—and Marco1 has it down (he wants me to thank you & Alice) as among the Alpine moments of his life!. The last picture on the platform of Le Grande Veriule was one of the best and pleasantest to recall.2 But it was all SWELL!
Bernard Faÿ did not telephone this morning.
Paris is hot and very expensive.
Much love to you both!
Carlo!
The photographs in my trunk have arrived!
1. Mark Lutz.
2. Virieu le Grand, the train station nearest to Belley.
To Alice Toklas
15 June [1934] [Hôtel Bristol] Paris
Dear Alice:
Trac not only forgot the message, he forgot the package! We have searched everything carefully & il n’y en a pas! Please find it & send it up before sailing! What could he have done with it? Bernard Faÿ telephoned this morning & I am going there tomorrow. I am taking him the Grand photographs!—What a nice letter! I was as happy about the visit as happy can be!
Love to you both
Carlo
To Gertrude Stein
[16 June 1934] Le Bristol
Hotel et Restaurant
112 Faubourg St. Honoré
Paris (VIII)
Dear Gertrudel!
The beautiful tie-backs arrived only this afternoon—Alice addressed them to the “Place Vendôme” but they found me anyway. They made me very happy. I saw Bernard Faÿ this morning & he and I seem to be agreed on your career. He also was of the opinion that the Hotel Algonquin could be the place for you. Write to the manager Frank Case, & see what he can do for you when you are ready to come & be sure to mention my name! I gave Faÿ ten big pictures to take to you: 9 of 4 Saints and 1 of Saint Carlo. . Also I visited the Boul[evard]. Rasp[ail]. today & took a picture of the NUN,1 and Rue de Fleurus & took a picture of 27! So you see this has been a Stein Day.
Love to you both.
Carlo!
1. Van Vechten visited a shop at 131 Boulevard Raspail, Paris. Stein had told him that the photographs of nuns in the shop window had had a direct influence on the writing of Four Saints in Three Acts.
To Carl Van Vechten
[Postcard: Photograph of Steins house at Bilignin]
[postmark: 26 June 1934] [Bilignin par Belley Ain]
My dear Carl,
I wish you could see the easter lilies all in bloom and I wish you were here to take our pictures in front of them, and that at present seems to be all I do wish. Are you liking Paris are you photographing Paris but you did like us best. Trac went to the circus last night and is more prayerful than ever, well anyway one way or another we will see each other soon, we all love you best to Marc [i.e., Mark Lutz]
Gtrde.
To Carl Van Vechten
[postmark: 2 July 1934] Bilignin par Belley
Ain
My dearest Carl,
It is nice that you liked Europe this time because you will be coming back early and often and that will be nice. Europe liked you a lot and it likes it that you liked it, we are quite breathlessly awaiting our photos. I do wish our band of lilies had been out for you to do with us, but you and they will be here again. Picabia has just been with us and we were talking of the old times of Mabel [Dodge] and you all in New York when he was there, do you remember him, you will have to photograph him too some day for the portraits.1 I have asked [William Aspenwall] Bradley to leave the Four in America and the Birthday book ms, with you, and we are not writing to [Bennett] Cerf or anything until you tell us to. There is a young fellow named Jones whom Cerf knows who has some ideas about the Birthday book he may even at present have the ms.2 I do not know whether Bradley left it with him, but as I say Cerf knows him. I have written three of the lectures already and I think you will like them I think if I may say so that they are rather sweet, well anyway, you are, and we are, and we love each other very much. Kind remembrances to Mark [Lutz], and best to Fania
and always
Gertrude.
1. Picabia had come to New York to visit the Armory Show of February 1913. At that time he met Dodge and Van Vechten. In a note of 22 January 1941, Van Vechten wrote, “Picabia, the Cuban abstract painter.” Van Vechten is in error. Picabia was born and died in Paris; his father was Cuban and his mother was French.
2. For Richard Jones, see Stein to Van Vechten [16 August 1934].
To Gertrude Stein
3 July 1934 150 West Fifty-fifth Street
[New York]
Dear Gertrude,
[William Aspenwall] Bradley was here yesterday (he sails today) and he seemed to think it essential for you to have a lecture bureau, if you want to make enough money to pay expenses in a short time. He says everything else will be sprawling and unsatisfactory. From his point of view, he is completely right, and from yours enough so, so that I think you should listen to him carefully. My objection to lecture bureaux is that they usually exploit their clients frightfully, that they send them out to odd spots at odd times, and generally behave without discretion or tact. But Bradley says he has discovered an angel-lamb lecture bureau who promises only to send you to Colleges, and to arrange dates so that they will have some sequence and rapidity, to get you quite a lot of money, in other words to work for you, rather than have you work for him. Well, Bradley will tell you all about it, but I think you had better listen to him sympathetically unless you have objections I haven’t heard of.1 Perhaps, however, by the time you arrive, Bernard Faÿ’s friend may have lined up all the dates you want.2
Bradley also left a couple of your manuscripts with me which I am holding for your instructions. He says [Bennett] Cerf has not sailed yet and will see you again abroad: so you may talk to him before I do.
Well, whatever happens and however it is done, Four Saints must go marching on, you must continue to be published, and you must visit America to talk to her citizens the way you do!
I found Fania here when I arrived, very hot. It is, in fact much too hot to develop or print pictures, but the pictures will all be coming along later and swell they will be too. I am sure we will all love them.
In any case you and Alice are often in my thoughts and always in my heart and you are woojums of the first order.
love,
Carlo!!
Bradley says some one has dramatized Melanctha!
F. M. is mad about the tiebacks and so is Carlo.
I didn’t see the Duchess [de Clermont-Tonnerre] or Natalie [Barney] in Paris. Do ask the Duchess if she got a Rivera book I sent her.3 Max Ewing drowned himself two weeks ago.4
I photographed Max Jacob.5
1. Bradley and Van Vechten discussed the Leigh Lecture Bureau.
2. Marvin Chauncey Ross (d. 1977), an American art historian. Stein had met Ross through Bernard Faÿ in Paris. Ross, who was then working for the Brooklyn Museum, agreed to help arrange Stein’s lecture tour. (See Ross to Stein, 8 July 1934, YCAL.)
3. Diego Rivera, Portrait of America, with an explanatory text by Bertram D. Wolfe (New York: Covicci, Friede, 1934). The book reproduces various murals made by Rivera in the United States.
4. Max Ewing (1903–1934) was a writer, composer, and artist born in Pioneer, Ohio. In 1923, while an undergraduate at the University of Michigan, he wrote a front-page piece about Van Vechten’s novel Peter Whiffle for the campus newspaper (“Carl Van Vechten,” Michigan Daily, Sunday Magazine (Ann Arbor), 14 January 1923. The piece was reprinted in the Detroit Free Press, Literary Section, 4 February 1923. Van Vechten, who saw the article, was delighted with it
and began corresponding with Ewing.
Ewing arrived in New York in September 1923 with the intention of studying music. His “Extraordinary Portraits,” a series of collages, included portraits of Stein, Van Vechten, and Marinoff. “The Recitative and Air for Piano and Tenor,” from Ewing’s oratorio based on Stein’s poem “Sacred Emily,” was sung by William S. Rainey as part of An Intimate Revue presented at the Cherry Lane Theatre, New York, in November 1925. Ewing met Stein in April 1926 when he visited Paris. Through Van Vechten’s efforts the papers of Max Ewing were deposited in YCAL.
5. Van Vechten had photographed Max Jacob (1876–1944), the French writer, on 21 June 1934.
To Carl Van Vechten
[postmark: 13 July 1934] Bilignin par Belley
Ain
My dearest Carl,
Yes I know [William Aspenwall] Bradley[‘s] angel lamb lecturing bureau, I have been fighting him on that subject for a year and a half, I met the representative then and he struck me as being the kind of angel lamb who is red riding hood’s grandmother after she changed, and I have had no reason since to have any other impression, no if I go over and it looks as if I will go over as a private person who will give some lectures just as we decided was right.1 The wife of one of the regents of Chicago University and the head of the Arts Club there has just been here and she does not seem to think there is any doubt that half of our xpences of the whole trip will get payed by Chicago,2 I guess New York and New England will do the other half, anyway that is I think the right way for me to act and I know you think so too. Part of the plan is that we are to be in Chicago for the premiere of the opera there, it would be wonderful if you were to be there too, it is to be sometime in the middle of November. I go on writing my lectures, I have four written now and I do think they are pretty good. Poor Max Ewing, with his little mouth and pretty ways, remember you sent me those early little poems of his, I don’t know why but he and Donald Evans always come together in my mind, I suppose on account of their early poetry, which was in both cases such very good early poetry. Oh dear.3 Thanks for taking care of the ms. What are they, the Birthday book and Four in America. I do not imagine there is any liklihood of my seeing [Bennett] Cerf down here, and anyway it is you that have the right ideas and I am waiting for them and they come, we have lost our one china boy and now we have two, they replace each other so sweetly that we have no responsibility and hardly have to learn their names,4 but anyhow I wish you were here and Fania too