SCHMIED (François-Louis). Way of the Cross (circa 1931). Large oblong in-4, plum morocco, mosaic decoration of grey morocco, black box, gilt and cold fillet, arranged around a large cross, smooth spine, inner plum morocco frame mosaic with black morocco framing, brown moiré silk lining and endpaper, gilt edges, slipcase (Creuzevault). Extraordinary suite of 14 previously unpublished gouaches by Schmied, executed for Gaston Gradis, illustrating the Passion of Christ through the 14 moving Stations of the Cross. The 14 large-format gouaches (160 x 220 mm) are executed on bristol board, prepared in graphite and signed in brown ink by the artist. Each composition is preceded by a sheet of Japon paper with a central gilded rectangle bearing the numbering and adorned with a radiating cross. Album with 4 autograph letters by Schmied, window-mounted, addressed to Gaston Gradis, dated August to December 1931. It was in the small village of Wissous (Ile-de-France) that Schmied isolated himself in order to produce his works following a commission from his friend. Very touching and interesting letters from Schmied evoking the progress of his artistic work and revealing his enthusiasm and mysticism: "Completely alone in my house in Wissous, I find in my work immense comfort and relief from my anxieties. This 'Jesus laden with his cross' is perhaps the most accomplished work I have produced. It has gently led me to a hitherto unknown peace of heart". In a second letter, dated 3 August 1931, he wrote: "Retreat in isolation is a good exercise. It frees the mind and enables it to work more confidently, far from distractions and influences. But there are times when you feel abandoned by everyone". Schmied goes into great detail about the different stages of his work: "I only work on the 'Way of the Cross', without taking my compositions any further for the moment, because I can't wait to see what they will look like on enamel. So I spend most of my time enlarging and transposing my watercolours. It's a job I can't leave to the enameller, it's long, delicate, but very interesting, quite similar to wood engraving in colour, so I feel at ease with it. I think that by the end of August we will have the result of the first enamel: Ecce Homo. In a third letter, dated 16 September 1931, we learn that Schmied had paused in the execution of his masterpiece in order to work not by "training" but by "inspiration". Finally, in the last letter, dated 2 December 1931, Schmied wrote: "I went away for a few days to perfect the technique of our enamels. I was very pleased with the elements that Mr Laurent Monnier brought together to bring this project to fruition. Everyone put a lot of taste and enthusiasm into it. If I do a good job of transposing my design and colours, we'll have a magnificent result. But it's an absorbing job that I've been devoting myself to for the last few days and nights. Gaston Gradis is paying Schmied as he goes along, "14,000 fr in payment for stations 9 and 10". We do not know whether Schmied went on to transpose the XIV stations onto enamel. In any case, apart from the Ecce Homo (station I) that he mentions, at least one other station, Simon of Cyrene carries the cross of Jesus (station V), was produced. The enamel, measuring 56 x 76 cm, recently appeared at public auction. Another example of this type of work can be found in François-Louis Schmied. Le Texte en sa splendeur, exhibition in Geneva, Bibliothèque publique et universitaire, 2001, p. 7, with a reproduction of a large enamelled panel depicting St John the Evangelist from the church in Château-d'Oex (Canton of Vaux). Beautiful binding with sober mosaic decoration by Creuzevault. Spine faded, jaws rubbed.