Edouard Manet Auction Price Results

Lot 2: Etude pour 'Christ mort et les anges'

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Description: EDOUARD MANET (1832-1883) Etude pour 'Christ mort et les anges' crayon gras, sanguine et mine de plomb sur papier 31.1 x 22 cm. (12¼ x 8¾ in.) Exécuté vers 1864

Lot 3: MANET, Edouard (1832-1883, French)

Description: Jeune fille en deshabille, s. pastel canvas executed 1882 Works on paper (14x22in).

Lot 3: MANET, Edouard (1832-1883, French)

Description: Jeune fille en deshabille, s. pastel canvas executed 1882 Works on paper (14x22in).

Lot 3: MANET, Edouard (1832-1883, French)

Description: Jeune fille en deshabille, s. pastel canvas executed 1882 Works on paper (14x22in).

Lot 3: MANET, Edouard (1832-1883, French)

Description: Jeune fille en deshabille, s. pastel canvas executed 1882 Works on paper (14x22in).

Lot 3: Édouard Manet (1832-1883) Chat sous un banc

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Description: Édouard Manet (1832-1883)Chat sous un bancDessin au crayon noir.11 x 15,5 cmBlack pencil drawing.41/3 x 61/8 in.Estimation : € 25,000-30,000Provenance :Collection particulière, France.Bibliographie :Figurera dans la nouvelle édition du catalogue raisonné de l'aeuvre d'Édouard Manet actuellement en préparation par le Wildenstein Institute.

Lot 3: Manet, Edouard

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Description: Manet, Edouard French (1832-1883) LE PREMIER CHAPEAU etching, framed impressed: margins plate size: 4 1/2 x 3 1/2 inches

Lot 3: ÉDOUARD MANET (1832-1883) - ETUDE POUR LE

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Description: ÉDOUARD MANET (1832-1883) - ETUDE POUR LE DEJEUNER...

Lot 3: EDOUARD MANET (1832-1883)

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Description: EDOUARD MANET (1832-1883) Jeune fille en chapeau d'été signé 'Manet' (en bas à gauche) pastel sur toile 56 x 35 cm. (22 x 13¾ in.) Exécuté vers 1879

Lot 3: Édouard MANET Le Baïlarin, eau-forte, 30 x 20 cm,

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Description: Édouard MANET Le Baïlarin, eau-forte, 30 x 20 cm, marges 41 x 31 cm (Guérin 24, Harris 34), belle épreuve sur vergé du tirage Strölin de 1905, forte trace de passe-partout, le...

Lot 3: Edouard Manet (1832-1883) French Etching

Description: Edouard Manet (1832-1883) French Etching "Charles Baudelaire, de face" c.1869 Signed within Print. Image Measures 3.75"x3.25" Frame Measures 13"x14"

Lot 4: Edouard Manet 1832-1883

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Description:    JEUNE FEMME DANS LES FLEURS Signature added after 1884 Oil on canvas 25 3/4 by 32in. 65.4 by 81.3cm. Painted in 1879. Manet was principally a painter of figures, urban subjects, and still lifes. Occasionally he turned to the plein-air subjects that are today recognized as among his most beautiful works. In the mid-1870s he began to execute paintings that reflect the influence of the group of his slightly younger colleagues who were labeled "Impressionists" by a hostile critic in 1874. Although Manet never exhibited in any of the eight Impressionist group shows held between 1874 and 1886, he had long been recognized as the de facto leader of the avant-garde. In 1876 the poet and essayist Stephane Mallarme published "The Impressionists and Edouard Manet," an essay that is an appreciation, explanation, and defense of his friend's work, as well as a general discussion of the Impressionist movement. During the course of the essay, Mallarme offers a discussion of Le Linge (The Barnes Foundation, Merion, Pennsylvania), a painting of 1875 that was refused by the jury for the Salon of 1876. Although Jeune femme dans les fleurs is looser and more abstract in most passages than Le Linge, the following passage from Mallarme's essay could serve equally well as a description of the present work: "Everywhere the luminous and transparent atmosphere struggles with the figures, the dresses, and the foliage, and seems to take to itself some of this substance and solidity; whilst their contours, consumed by the hidden sun and wasted by space, tremble, melt, and evaporate into the surrounding atmosphere, which plunders reality from the figures, yet seems to do so in order to preserve their truthful aspect." Indeed, Mallarme's description is a nearly perfect definition for those consummate Impressionist paintings of the 1870s that were painted en plein air and sur le motif. Such pictures focus on the pure pleasure of color and light, and the joy and richness of visual experiences in the open air. These paintings were often attacked by conservative, academically minded critics as unfinished and meretricious, but Jeune femme dans les fleurs is ample evidence that these experimental and daring works offered new and special insights into the role and purposes of modern painting. Moreover, this work demonstrates unequivocally that despite Manet's reluctance to ally himself publicly with the emerging avant-garde movement, he was himself a consummate Impressionist, a master of the loose, open brushwork and effects of color and light that are the hallmarks of Impressionism. Jeune femme dans les fleurs is also noteworthy as an image that has strong affinities with certain works by Monet and Renoir. During the 1860s and 1870s Monet had painted and exhibited numerous compositions depicting women in gardens and fields of flowers. Many emphasize the effects of color and light that characterize the present work. For example, in Renoir's Le Printemps (La Conversation) of 1876 (fig. 1) and Monet's La Promenade (Argenteuil) of 1875 one finds a similar interest in the loose, open, nearly abstract brushwork and exaggerated effects of color and light that foreshadow stylistic interests and currents that would soon emerge in the art of the twentieth century. Works such as Jeune femme dans les fleurs indicate unequivocally that Manet stood at the forefront of painting of advanced tendencies in the late 1870s and early 1880s. Although Rouart and Wildenstein (1975, vol, I, 1975, no. 317) and others assign 1879 as the date of Jeune femme dans les fleurs, Tabarant (1931, pp. 303-304) indicates it was painted in 1876 in the garden of the collector and department store magnate Ernest Hoschede's house in Montgeron. In addition, an annotation on the mount of the print of the Tabarant photograph in the Morgan Library ascribes the painting to 1876, but the source of the information is not known. However, comparison with the brushwork of La Lecture de 'L'Illustre', 1879 (Art Institute of Chicago), suggests that 1879 is also a viable possibility. Last, Jeune femme dans les fleurs was included in an auction of property from Manet's estate that was held at the Hotel Drouot, Paris, in 1884. That same year it was photographed (Lochard no. 49), but the signature that the painting now bears is not visible in the photograph. Provenance: Estate of the artist (sold: Hotel Drouot, Paris, February 1884, no. 61) Auguste Pellerin, Paris Galerie Bernheim-Jeune, Paris (1908) Baron Herzog (1913) Paul Cassirer, Berlin Dr. Paul Steiner, Berlin J.K. Thannhauser, New York Acquired by Reader's Digest in 1949 Exhibited: Berlin, Galerie Matthiesen, Edouard Manet, 1928, no. 42 Gemeente Museum, Collection S., on loan New York, M. Knoedler & Co., Inc., Reader's Digest Collection, 1963, p. 16 Tokyo, Palaceside Building, Forty Paintings from The Reader's Digest Collection, 1966, no. 17 New York, Wildenstein & Co. (traveling exhibition), Selections from The Reader's Digest Collection, 1985-86 (dated 1876), pp. 36-37 Auckland City Art Gallery, The Reader's Digest Collection: Manet to Picasso, 1989 (dated 1876), pp. 42-43 Literature: Theodore Duret, Histoire d'Edouard Manet et de son Oeuvre, Paris, 1902, no. 207, p. 244 Theodore Duret, Manet and the French Impressionists, London, 1912, no. 207, p. 237 A. Tabarant, Manet: Histoire Catalographique, Paris, 1931, pp. 303-4, 582, no. 251 Paul Jamot, Georges Wildenstein and Marie-Louise Bataille, Manet, Paris, 1932, vol. 1, no. 319, p. 159; vol. 2, fig. 369, illustrated p. 183 A. Tabarant, Manet et ses Oeuvres, Paris, 1947, pp. 292-293, 540, no. 259, illustrated p. 611 Marcello Venturi, L'Opera Pittorica di Edouard Manet, Milan, 1967, no. 219, illustrated p. 106 M. Bodelsen, "Early Impressionist Sales, 1874-1894," The Burlington Magazine, June 1968, no. 61, pp. 341-342 Denis Rouart and Sandra Orienti, Tout l'Oeuvre Peint d'Edouard Manet, Paris, 1970, no. 219, illustrated p. 106 Denis Rouart and Daniel Wildenstein, Edouard Manet: Catalogue raisonne, Lausanne, 1975, no. 317, illustrated p. 247.

Lot 4: Edouard Manet 1832-1883

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Description:    JEUNE FEMME DANS LES FLEURS Signature added after 1884 Oil on canvas 25 3/4 by 32in. 65.4 by 81.3cm. Painted in 1879. Manet was principally a painter of figures, urban subjects, and still lifes. Occasionally he turned to the plein-air subjects that are today recognized as among his most beautiful works. In the mid-1870s he began to execute paintings that reflect the influence of the group of his slightly younger colleagues who were labeled "Impressionists" by a hostile critic in 1874. Although Manet never exhibited in any of the eight Impressionist group shows held between 1874 and 1886, he had long been recognized as the de facto leader of the avant-garde. In 1876 the poet and essayist Stephane Mallarme published "The Impressionists and Edouard Manet," an essay that is an appreciation, explanation, and defense of his friend's work, as well as a general discussion of the Impressionist movement. During the course of the essay, Mallarme offers a discussion of Le Linge (The Barnes Foundation, Merion, Pennsylvania), a painting of 1875 that was refused by the jury for the Salon of 1876. Although Jeune femme dans les fleurs is looser and more abstract in most passages than Le Linge, the following passage from Mallarme's essay could serve equally well as a description of the present work: "Everywhere the luminous and transparent atmosphere struggles with the figures, the dresses, and the foliage, and seems to take to itself some of this substance and solidity; whilst their contours, consumed by the hidden sun and wasted by space, tremble, melt, and evaporate into the surrounding atmosphere, which plunders reality from the figures, yet seems to do so in order to preserve their truthful aspect." Indeed, Mallarme's description is a nearly perfect definition for those consummate Impressionist paintings of the 1870s that were painted en plein air and sur le motif. Such pictures focus on the pure pleasure of color and light, and the joy and richness of visual experiences in the open air. These paintings were often attacked by conservative, academically minded critics as unfinished and meretricious, but Jeune femme dans les fleurs is ample evidence that these experimental and daring works offered new and special insights into the role and purposes of modern painting. Moreover, this work demonstrates unequivocally that despite Manet's reluctance to ally himself publicly with the emerging avant-garde movement, he was himself a consummate Impressionist, a master of the loose, open brushwork and effects of color and light that are the hallmarks of Impressionism. Jeune femme dans les fleurs is also noteworthy as an image that has strong affinities with certain works by Monet and Renoir. During the 1860s and 1870s Monet had painted and exhibited numerous compositions depicting women in gardens and fields of flowers. Many emphasize the effects of color and light that characterize the present work. For example, in Renoir's Le Printemps (La Conversation) of 1876 (fig. 1) and Monet's La Promenade (Argenteuil) of 1875 one finds a similar interest in the loose, open, nearly abstract brushwork and exaggerated effects of color and light that foreshadow stylistic interests and currents that would soon emerge in the art of the twentieth century. Works such as Jeune femme dans les fleurs indicate unequivocally that Manet stood at the forefront of painting of advanced tendencies in the late 1870s and early 1880s. Although Rouart and Wildenstein (1975, vol, I, 1975, no. 317) and others assign 1879 as the date of Jeune femme dans les fleurs, Tabarant (1931, pp. 303-304) indicates it was painted in 1876 in the garden of the collector and department store magnate Ernest Hoschede's house in Montgeron. In addition, an annotation on the mount of the print of the Tabarant photograph in the Morgan Library ascribes the painting to 1876, but the source of the information is not known. However, comparison with the brushwork of La Lecture de 'L'Illustre', 1879 (Art Institute of Chicago), suggests that 1879 is also a viable possibility. Last, Jeune femme dans les fleurs was included in an auction of property from Manet's estate that was held at the Hotel Drouot, Paris, in 1884. That same year it was photographed (Lochard no. 49), but the signature that the painting now bears is not visible in the photograph. Provenance: Estate of the artist (sold: Hotel Drouot, Paris, February 1884, no. 61) Auguste Pellerin, Paris Galerie Bernheim-Jeune, Paris (1908) Baron Herzog (1913) Paul Cassirer, Berlin Dr. Paul Steiner, Berlin J.K. Thannhauser, New York Acquired by Reader's Digest in 1949 Exhibited: Berlin, Galerie Matthiesen, Edouard Manet, 1928, no. 42 Gemeente Museum, Collection S., on loan New York, M. Knoedler & Co., Inc., Reader's Digest Collection, 1963, p. 16 Tokyo, Palaceside Building, Forty Paintings from The Reader's Digest Collection, 1966, no. 17 New York, Wildenstein & Co. (traveling exhibition), Selections from The Reader's Digest Collection, 1985-86 (dated 1876), pp. 36-37 Auckland City Art Gallery, The Reader's Digest Collection: Manet to Picasso, 1989 (dated 1876), pp. 42-43 Literature: Theodore Duret, Histoire d'Edouard Manet et de son Oeuvre, Paris, 1902, no. 207, p. 244 Theodore Duret, Manet and the French Impressionists, London, 1912, no. 207, p. 237 A. Tabarant, Manet: Histoire Catalographique, Paris, 1931, pp. 303-4, 582, no. 251 Paul Jamot, Georges Wildenstein and Marie-Louise Bataille, Manet, Paris, 1932, vol. 1, no. 319, p. 159; vol. 2, fig. 369, illustrated p. 183 A. Tabarant, Manet et ses Oeuvres, Paris, 1947, pp. 292-293, 540, no. 259, illustrated p. 611 Marcello Venturi, L'Opera Pittorica di Edouard Manet, Milan, 1967, no. 219, illustrated p. 106 M. Bodelsen, "Early Impressionist Sales, 1874-1894," The Burlington Magazine, June 1968, no. 61, pp. 341-342 Denis Rouart and Sandra Orienti, Tout l'Oeuvre Peint d'Edouard Manet, Paris, 1970, no. 219, illustrated p. 106 Denis Rouart and Daniel Wildenstein, Edouard Manet: Catalogue raisonne, Lausanne, 1975, no. 317, illustrated p. 247.

Lot 4: Edouard Manet 1832-1883

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Description:    JEUNE FEMME DANS LES FLEURS Signature added after 1884 Oil on canvas 25 3/4 by 32in. 65.4 by 81.3cm. Painted in 1879. Manet was principally a painter of figures, urban subjects, and still lifes. Occasionally he turned to the plein-air subjects that are today recognized as among his most beautiful works. In the mid-1870s he began to execute paintings that reflect the influence of the group of his slightly younger colleagues who were labeled "Impressionists" by a hostile critic in 1874. Although Manet never exhibited in any of the eight Impressionist group shows held between 1874 and 1886, he had long been recognized as the de facto leader of the avant-garde. In 1876 the poet and essayist Stephane Mallarme published "The Impressionists and Edouard Manet," an essay that is an appreciation, explanation, and defense of his friend's work, as well as a general discussion of the Impressionist movement. During the course of the essay, Mallarme offers a discussion of Le Linge (The Barnes Foundation, Merion, Pennsylvania), a painting of 1875 that was refused by the jury for the Salon of 1876. Although Jeune femme dans les fleurs is looser and more abstract in most passages than Le Linge, the following passage from Mallarme's essay could serve equally well as a description of the present work: "Everywhere the luminous and transparent atmosphere struggles with the figures, the dresses, and the foliage, and seems to take to itself some of this substance and solidity; whilst their contours, consumed by the hidden sun and wasted by space, tremble, melt, and evaporate into the surrounding atmosphere, which plunders reality from the figures, yet seems to do so in order to preserve their truthful aspect." Indeed, Mallarme's description is a nearly perfect definition for those consummate Impressionist paintings of the 1870s that were painted en plein air and sur le motif. Such pictures focus on the pure pleasure of color and light, and the joy and richness of visual experiences in the open air. These paintings were often attacked by conservative, academically minded critics as unfinished and meretricious, but Jeune femme dans les fleurs is ample evidence that these experimental and daring works offered new and special insights into the role and purposes of modern painting. Moreover, this work demonstrates unequivocally that despite Manet's reluctance to ally himself publicly with the emerging avant-garde movement, he was himself a consummate Impressionist, a master of the loose, open brushwork and effects of color and light that are the hallmarks of Impressionism. Jeune femme dans les fleurs is also noteworthy as an image that has strong affinities with certain works by Monet and Renoir. During the 1860s and 1870s Monet had painted and exhibited numerous compositions depicting women in gardens and fields of flowers. Many emphasize the effects of color and light that characterize the present work. For example, in Renoir's Le Printemps (La Conversation) of 1876 (fig. 1) and Monet's La Promenade (Argenteuil) of 1875 one finds a similar interest in the loose, open, nearly abstract brushwork and exaggerated effects of color and light that foreshadow stylistic interests and currents that would soon emerge in the art of the twentieth century. Works such as Jeune femme dans les fleurs indicate unequivocally that Manet stood at the forefront of painting of advanced tendencies in the late 1870s and early 1880s. Although Rouart and Wildenstein (1975, vol, I, 1975, no. 317) and others assign 1879 as the date of Jeune femme dans les fleurs, Tabarant (1931, pp. 303-304) indicates it was painted in 1876 in the garden of the collector and department store magnate Ernest Hoschede's house in Montgeron. In addition, an annotation on the mount of the print of the Tabarant photograph in the Morgan Library ascribes the painting to 1876, but the source of the information is not known. However, comparison with the brushwork of La Lecture de 'L'Illustre', 1879 (Art Institute of Chicago), suggests that 1879 is also a viable possibility. Last, Jeune femme dans les fleurs was included in an auction of property from Manet's estate that was held at the Hotel Drouot, Paris, in 1884. That same year it was photographed (Lochard no. 49), but the signature that the painting now bears is not visible in the photograph. Provenance: Estate of the artist (sold: Hotel Drouot, Paris, February 1884, no. 61) Auguste Pellerin, Paris Galerie Bernheim-Jeune, Paris (1908) Baron Herzog (1913) Paul Cassirer, Berlin Dr. Paul Steiner, Berlin J.K. Thannhauser, New York Acquired by Reader's Digest in 1949 Exhibited: Berlin, Galerie Matthiesen, Edouard Manet, 1928, no. 42 Gemeente Museum, Collection S., on loan New York, M. Knoedler & Co., Inc., Reader's Digest Collection, 1963, p. 16 Tokyo, Palaceside Building, Forty Paintings from The Reader's Digest Collection, 1966, no. 17 New York, Wildenstein & Co. (traveling exhibition), Selections from The Reader's Digest Collection, 1985-86 (dated 1876), pp. 36-37 Auckland City Art Gallery, The Reader's Digest Collection: Manet to Picasso, 1989 (dated 1876), pp. 42-43 Literature: Theodore Duret, Histoire d'Edouard Manet et de son Oeuvre, Paris, 1902, no. 207, p. 244 Theodore Duret, Manet and the French Impressionists, London, 1912, no. 207, p. 237 A. Tabarant, Manet: Histoire Catalographique, Paris, 1931, pp. 303-4, 582, no. 251 Paul Jamot, Georges Wildenstein and Marie-Louise Bataille, Manet, Paris, 1932, vol. 1, no. 319, p. 159; vol. 2, fig. 369, illustrated p. 183 A. Tabarant, Manet et ses Oeuvres, Paris, 1947, pp. 292-293, 540, no. 259, illustrated p. 611 Marcello Venturi, L'Opera Pittorica di Edouard Manet, Milan, 1967, no. 219, illustrated p. 106 M. Bodelsen, "Early Impressionist Sales, 1874-1894," The Burlington Magazine, June 1968, no. 61, pp. 341-342 Denis Rouart and Sandra Orienti, Tout l'Oeuvre Peint d'Edouard Manet, Paris, 1970, no. 219, illustrated p. 106 Denis Rouart and Daniel Wildenstein, Edouard Manet: Catalogue raisonne, Lausanne, 1975, no. 317, illustrated p. 247.

Lot 4: Edouard Manet 1832-1883

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Description:    JEUNE FEMME DANS LES FLEURS Signature added after 1884 Oil on canvas 25 3/4 by 32in. 65.4 by 81.3cm. Painted in 1879. Manet was principally a painter of figures, urban subjects, and still lifes. Occasionally he turned to the plein-air subjects that are today recognized as among his most beautiful works. In the mid-1870s he began to execute paintings that reflect the influence of the group of his slightly younger colleagues who were labeled "Impressionists" by a hostile critic in 1874. Although Manet never exhibited in any of the eight Impressionist group shows held between 1874 and 1886, he had long been recognized as the de facto leader of the avant-garde. In 1876 the poet and essayist Stephane Mallarme published "The Impressionists and Edouard Manet," an essay that is an appreciation, explanation, and defense of his friend's work, as well as a general discussion of the Impressionist movement. During the course of the essay, Mallarme offers a discussion of Le Linge (The Barnes Foundation, Merion, Pennsylvania), a painting of 1875 that was refused by the jury for the Salon of 1876. Although Jeune femme dans les fleurs is looser and more abstract in most passages than Le Linge, the following passage from Mallarme's essay could serve equally well as a description of the present work: "Everywhere the luminous and transparent atmosphere struggles with the figures, the dresses, and the foliage, and seems to take to itself some of this substance and solidity; whilst their contours, consumed by the hidden sun and wasted by space, tremble, melt, and evaporate into the surrounding atmosphere, which plunders reality from the figures, yet seems to do so in order to preserve their truthful aspect." Indeed, Mallarme's description is a nearly perfect definition for those consummate Impressionist paintings of the 1870s that were painted en plein air and sur le motif. Such pictures focus on the pure pleasure of color and light, and the joy and richness of visual experiences in the open air. These paintings were often attacked by conservative, academically minded critics as unfinished and meretricious, but Jeune femme dans les fleurs is ample evidence that these experimental and daring works offered new and special insights into the role and purposes of modern painting. Moreover, this work demonstrates unequivocally that despite Manet's reluctance to ally himself publicly with the emerging avant-garde movement, he was himself a consummate Impressionist, a master of the loose, open brushwork and effects of color and light that are the hallmarks of Impressionism. Jeune femme dans les fleurs is also noteworthy as an image that has strong affinities with certain works by Monet and Renoir. During the 1860s and 1870s Monet had painted and exhibited numerous compositions depicting women in gardens and fields of flowers. Many emphasize the effects of color and light that characterize the present work. For example, in Renoir's Le Printemps (La Conversation) of 1876 (fig. 1) and Monet's La Promenade (Argenteuil) of 1875 one finds a similar interest in the loose, open, nearly abstract brushwork and exaggerated effects of color and light that foreshadow stylistic interests and currents that would soon emerge in the art of the twentieth century. Works such as Jeune femme dans les fleurs indicate unequivocally that Manet stood at the forefront of painting of advanced tendencies in the late 1870s and early 1880s. Although Rouart and Wildenstein (1975, vol, I, 1975, no. 317) and others assign 1879 as the date of Jeune femme dans les fleurs, Tabarant (1931, pp. 303-304) indicates it was painted in 1876 in the garden of the collector and department store magnate Ernest Hoschede's house in Montgeron. In addition, an annotation on the mount of the print of the Tabarant photograph in the Morgan Library ascribes the painting to 1876, but the source of the information is not known. However, comparison with the brushwork of La Lecture de 'L'Illustre', 1879 (Art Institute of Chicago), suggests that 1879 is also a viable possibility. Last, Jeune femme dans les fleurs was included in an auction of property from Manet's estate that was held at the Hotel Drouot, Paris, in 1884. That same year it was photographed (Lochard no. 49), but the signature that the painting now bears is not visible in the photograph. Provenance: Estate of the artist (sold: Hotel Drouot, Paris, February 1884, no. 61) Auguste Pellerin, Paris Galerie Bernheim-Jeune, Paris (1908) Baron Herzog (1913) Paul Cassirer, Berlin Dr. Paul Steiner, Berlin J.K. Thannhauser, New York Acquired by Reader's Digest in 1949 Exhibited: Berlin, Galerie Matthiesen, Edouard Manet, 1928, no. 42 Gemeente Museum, Collection S., on loan New York, M. Knoedler & Co., Inc., Reader's Digest Collection, 1963, p. 16 Tokyo, Palaceside Building, Forty Paintings from The Reader's Digest Collection, 1966, no. 17 New York, Wildenstein & Co. (traveling exhibition), Selections from The Reader's Digest Collection, 1985-86 (dated 1876), pp. 36-37 Auckland City Art Gallery, The Reader's Digest Collection: Manet to Picasso, 1989 (dated 1876), pp. 42-43 Literature: Theodore Duret, Histoire d'Edouard Manet et de son Oeuvre, Paris, 1902, no. 207, p. 244 Theodore Duret, Manet and the French Impressionists, London, 1912, no. 207, p. 237 A. Tabarant, Manet: Histoire Catalographique, Paris, 1931, pp. 303-4, 582, no. 251 Paul Jamot, Georges Wildenstein and Marie-Louise Bataille, Manet, Paris, 1932, vol. 1, no. 319, p. 159; vol. 2, fig. 369, illustrated p. 183 A. Tabarant, Manet et ses Oeuvres, Paris, 1947, pp. 292-293, 540, no. 259, illustrated p. 611 Marcello Venturi, L'Opera Pittorica di Edouard Manet, Milan, 1967, no. 219, illustrated p. 106 M. Bodelsen, "Early Impressionist Sales, 1874-1894," The Burlington Magazine, June 1968, no. 61, pp. 341-342 Denis Rouart and Sandra Orienti, Tout l'Oeuvre Peint d'Edouard Manet, Paris, 1970, no. 219, illustrated p. 106 Denis Rouart and Daniel Wildenstein, Edouard Manet: Catalogue raisonne, Lausanne, 1975, no. 317, illustrated p. 247.

Lot 4: EDOUARD MANET (1832-1883)

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Description: Odalisque (Harris 56); and Le Convalescent (Harris 85) two etchings with aquatint, circa 1868 and 1876-80, on wove papers, both with wide margins, both with soft handling creases in the margins, very minor surface soiling in the margins, otherwise in very good condition; and French School, 19th C. [Anonymous Portrait of Manet]--etching, circa 1870, on thin laid paper, with the subject's initials stamped in hot-pink (see Lugt 880), several soft creases and minor surface soiling in the margins, otherwise in good condition (3).

Lot 4: EDOUARD MANET (1832-1883)

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Description: Odalisque (Harris 56); and Le Convalescent (Harris 85) two etchings with aquatint, circa 1868 and 1876-80, on wove papers, both with wide margins, both with soft handling creases in the margins, very minor surface soiling in the margins, otherwise in very good condition; and French School, 19th C. [Anonymous Portrait of Manet]--etching, circa 1870, on thin laid paper, with the subject's initials stamped in hot-pink (see Lugt 880), several soft creases and minor surface soiling in the margins, otherwise in good condition (3).

Lot 4: EDOUARD MANET (1832-1883)

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Description: Odalisque (Harris 56); and Le Convalescent (Harris 85) two etchings with aquatint, circa 1868 and 1876-80, on wove papers, both with wide margins, both with soft handling creases in the margins, very minor surface soiling in the margins, otherwise in very good condition; and French School, 19th C. [Anonymous Portrait of Manet]--etching, circa 1870, on thin laid paper, with the subject's initials stamped in hot-pink (see Lugt 880), several soft creases and minor surface soiling in the margins, otherwise in good condition (3).

Lot 4: EDOUARD MANET (1832-1883)

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Description: Odalisque (Harris 56); and Le Convalescent (Harris 85) two etchings with aquatint, circa 1868 and 1876-80, on wove papers, both with wide margins, both with soft handling creases in the margins, very minor surface soiling in the margins, otherwise in very good condition; and French School, 19th C. [Anonymous Portrait of Manet]--etching, circa 1870, on thin laid paper, with the subject's initials stamped in hot-pink (see Lugt 880), several soft creases and minor surface soiling in the margins, otherwise in good condition (3).

Lot 5: EDOUARD MANET Olympia.

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Description: EDOUARD MANET Olympia. Etching printed in black on cream wove paper, 1867. 88x178 mm; 31/2x7 inches, full margins. Sixth state (of 6). Bound in Histoire d'Édouard Manet et de son oeuvre by Duret, Paris, 1902. A very good, dark impression with strong contrasts. With the Duret volume, with numerous color and black and white illustrations. Guérin 39; Harris 53.

Lot 5: MANET, Edouard (1832-1883, French)

Description: Marine, s. painted 1869 Oil Painting (19x15in).

Lot 5: MANET, Edouard (1832-1883, French)

Description: Marine, s. painted 1869 Oil Painting (19x15in).

Lot 5: MANET, Edouard (1832-1883, French)

Description: Marine, s. painted 1869 Oil Painting (19x15in).

Lot 5: MANET, Edouard (1832-1883, French)

Description: Marine, s. painted 1869 Oil Painting (19x15in).

Lot 5: Paul Cézanne (1839-1906)

Description: Paul Cézanne (1839-1906) Tête de Jeune Fille (Cherpin 4)etching in bistre, 1873, on laid Hollande paper, minor losses to left sheet edge, pale mount-staining, tape tabs with some attendant staining to upper and right sheet edges on reverse, otherwise in generally good condition, framedP. 133 x 106 mm., S. 295 x 200 mm.

Lot 5: After Edouard Manet (French, 1832-1883), "Portrait

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Description: After Edouard Manet (French, 1832-1883), "Portrait of Charles Baudelaire de Face", etching, inscribed "Peint et Grave par Manet, 1865" lower left and "Imp. A. Slamon" lower right, image 4 1/4 in. x 3 1/2 in., matted and in a later cove-molded frame.

Lot 5: EDOUARD MANET, (FRENCH 1832-1883), "JEANNE"

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Description: EDOUARD MANET (french 1832-1883) "JEANNE" 1882, the fifth (final) state, with margins; Gazette des Beaux-Arts, Paris, France, publisher. Etching on imitation Japon . image: 6 1/8 x 4 1/4 in. (15.6 x 36.2cm) sheet: 10 15/16 x 7 1/2 in. (27.8 x 19.1cm) [Guerin; Harris 66]. provenance: Property from the Ryan Collection, Naples, Florida.

Condition Report: With the palest light- and mat staining, a few minor areas of pale surface soiling. With two tape pieces top edge verso affixed to mat, and older discolored tape piece remnants also affixed to top edge verso (with some associated paper abrasion from tape removal). Verso of sheet with pale mount staining. Recto of sheet with mount staining (some of it uneven), with hard crease and two tiny tear marks at outer left edge (presumably as issued from Gazette des Beaux Arts). Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

Lot 5: EDOUARD MANET: Etching & drypoint - "Le Philosophe", 1865, 11.5in X 75in

Description: EDOUARD MANET: Etching & drypoint - "Le Philosophe", 1865, 11.5in X 75in

Lot 6: Edouard Manet (1832-1883)

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Description: Jeanne (Le Printemps) (Harris 88)etching and aquatint, 1882, on laid paper, a posthumous impression, with margins, occasional very pale scattered foxing in the margins, otherwise apparently in good condition, unexamined out of the frameP. 156 x 107mm., S. 276 x 200mm.

Lot 6: MANET, Edouard (1832-1883, French)

Description: Dans la rue, st.init. chl prov.lit. Works on paper (7x4in).

Lot 6: MANET, Edouard (1832-1883, French)

Description: Dans la rue, st.init. chl prov.lit. Works on paper (7x4in).

Lot 6: MANET, Edouard (1832-1883, French)

Description: Dans la rue, st.init. chl prov.lit. Works on paper (7x4in).

Lot 6: MANET, Edouard (1832-1883, French)

Description: Dans la rue, st.init. chl prov.lit. Works on paper (7x4in).

Lot 6: Edouard Manet (1832-1883)

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Description: Portrait de Monsieur Tillet signed and inscribed ' mon ami Tillet. Manet' (upper right) oil on canvas 13.7/8 x 10.5/8 in. (35.2 x 27 cm.) Painted circa 1871 (see note below) PROVENANCE Marie-Paulin Tillet, Orloron-Sainte-Marie, France. Given by the sitter to a close friend in Bordeaux and thence by descent to the previous owner. NOTES The Wildenstein Institute has kindly confirmed the authencity of this work which will be included in the new edition of the Manet catalogue raisonn currently being prepared by the Institute. In the spring of 1847, Manet decided to launch his career in the navy and defy his father's advice to enter law school. However, after failing various attempts to pass the entrance exam for the cole Borda (Naval Academy), Manet embarked on the shipboard classroom Havre et Guadeloupe which set sail for Rio di Janeiro on December 8, 1848. It is most probable that Marie-Paul Tillet was an officer on board the ship and that it was at this time that the two first met. Little is known of Tillet, and it is still uncertain the exact circumstances under which Manet met the officer for the second time. However, it is most probable that they met again in Tillet's hometown of Orloron-Sainte-Marie in the Pyrenees where Manet had sent his mother and young family to protect them from the Prussian War which had broken out in September 1870. With Paris under siege, Manet was forced to join the National Guard as an artillery lieutenant, and it was not until 12 February 1871, after being dismissed from his position, that Manet was able to re-join his family. While in Orloron he painted only three canvases, including his Orloron-Sainte-Marie (W. 187, Bhrle Collection, Zurich) and the present portrait. Portrait de Monsieur Tillet was given by the sitter to a childhood friend, whose descendants kept the work in Bordeaux until its purchase by the present owner.

Lot 6: Edouard Manet (1832-1883)

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Description: Portrait de Monsieur Tillet signed and inscribed ' mon ami Tillet. Manet' (upper right) oil on canvas 13.7/8 x 10.5/8 in. (35.2 x 27 cm.) Painted circa 1871 (see note below) PROVENANCE Marie-Paulin Tillet, Orloron-Sainte-Marie, France. Given by the sitter to a close friend in Bordeaux and thence by descent to the previous owner. NOTES The Wildenstein Institute has kindly confirmed the authencity of this work which will be included in the new edition of the Manet catalogue raisonn currently being prepared by the Institute. In the spring of 1847, Manet decided to launch his career in the navy and defy his father's advice to enter law school. However, after failing various attempts to pass the entrance exam for the cole Borda (Naval Academy), Manet embarked on the shipboard classroom Havre et Guadeloupe which set sail for Rio di Janeiro on December 8, 1848. It is most probable that Marie-Paul Tillet was an officer on board the ship and that it was at this time that the two first met. Little is known of Tillet, and it is still uncertain the exact circumstances under which Manet met the officer for the second time. However, it is most probable that they met again in Tillet's hometown of Orloron-Sainte-Marie in the Pyrenees where Manet had sent his mother and young family to protect them from the Prussian War which had broken out in September 1870. With Paris under siege, Manet was forced to join the National Guard as an artillery lieutenant, and it was not until 12 February 1871, after being dismissed from his position, that Manet was able to re-join his family. While in Orloron he painted only three canvases, including his Orloron-Sainte-Marie (W. 187, Bhrle Collection, Zurich) and the present portrait. Portrait de Monsieur Tillet was given by the sitter to a childhood friend, whose descendants kept the work in Bordeaux until its purchase by the present owner.

Lot 6: Edouard Manet (1832-1883)

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Description: Portrait de Monsieur Tillet signed and inscribed ' mon ami Tillet. Manet' (upper right) oil on canvas 13.7/8 x 10.5/8 in. (35.2 x 27 cm.) Painted circa 1871 (see note below) PROVENANCE Marie-Paulin Tillet, Orloron-Sainte-Marie, France. Given by the sitter to a close friend in Bordeaux and thence by descent to the previous owner. NOTES The Wildenstein Institute has kindly confirmed the authencity of this work which will be included in the new edition of the Manet catalogue raisonn currently being prepared by the Institute. In the spring of 1847, Manet decided to launch his career in the navy and defy his father's advice to enter law school. However, after failing various attempts to pass the entrance exam for the cole Borda (Naval Academy), Manet embarked on the shipboard classroom Havre et Guadeloupe which set sail for Rio di Janeiro on December 8, 1848. It is most probable that Marie-Paul Tillet was an officer on board the ship and that it was at this time that the two first met. Little is known of Tillet, and it is still uncertain the exact circumstances under which Manet met the officer for the second time. However, it is most probable that they met again in Tillet's hometown of Orloron-Sainte-Marie in the Pyrenees where Manet had sent his mother and young family to protect them from the Prussian War which had broken out in September 1870. With Paris under siege, Manet was forced to join the National Guard as an artillery lieutenant, and it was not until 12 February 1871, after being dismissed from his position, that Manet was able to re-join his family. While in Orloron he painted only three canvases, including his Orloron-Sainte-Marie (W. 187, Bhrle Collection, Zurich) and the present portrait. Portrait de Monsieur Tillet was given by the sitter to a childhood friend, whose descendants kept the work in Bordeaux until its purchase by the present owner.

Lot 6: Edouard Manet (1832-1883)

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Description: Portrait de Monsieur Tillet signed and inscribed ' mon ami Tillet. Manet' (upper right) oil on canvas 13.7/8 x 10.5/8 in. (35.2 x 27 cm.) Painted circa 1871 (see note below) PROVENANCE Marie-Paulin Tillet, Orloron-Sainte-Marie, France. Given by the sitter to a close friend in Bordeaux and thence by descent to the previous owner. NOTES The Wildenstein Institute has kindly confirmed the authencity of this work which will be included in the new edition of the Manet catalogue raisonn currently being prepared by the Institute. In the spring of 1847, Manet decided to launch his career in the navy and defy his father's advice to enter law school. However, after failing various attempts to pass the entrance exam for the cole Borda (Naval Academy), Manet embarked on the shipboard classroom Havre et Guadeloupe which set sail for Rio di Janeiro on December 8, 1848. It is most probable that Marie-Paul Tillet was an officer on board the ship and that it was at this time that the two first met. Little is known of Tillet, and it is still uncertain the exact circumstances under which Manet met the officer for the second time. However, it is most probable that they met again in Tillet's hometown of Orloron-Sainte-Marie in the Pyrenees where Manet had sent his mother and young family to protect them from the Prussian War which had broken out in September 1870. With Paris under siege, Manet was forced to join the National Guard as an artillery lieutenant, and it was not until 12 February 1871, after being dismissed from his position, that Manet was able to re-join his family. While in Orloron he painted only three canvases, including his Orloron-Sainte-Marie (W. 187, Bhrle Collection, Zurich) and the present portrait. Portrait de Monsieur Tillet was given by the sitter to a childhood friend, whose descendants kept the work in Bordeaux until its purchase by the present owner.

Lot 6: Edouard Manet (1832-1883)

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Description: Portrait de Monsieur Tillet signed and inscribed 'e mon ami Tillet. Manet' (upper right) oil on canvas 13 Ã x 10 Â in. (35.2 x 27 cm.) Painted circa 1871 (see note below) Provenance: Marie-Paulin Tillet, Orloron-Sainte-Marie, France. Given by the sitter to a close friend in Bordeaux and thence by descent to the previous owner. Footnotes:The Wildenstein Institute has kindly confirmed the authencity of this work which will be included in the new edition of the Manet catalogue raisonne currently being prepared by the Institute. In the spring of 1847, Manet decided to launch his career in the navy and defy his father's advice to enter law school. However, after failing various attempts to pass the entrance exam for the Ecole Borda (Naval Academy), Manet embarked on the shipboard classroom Havre et Guadeloupe which set sail for Rio di Janeiro on December 8, 1848. It is most probable that Marie-Paul Tillet was an officer on board the ship and that it was at this time that the two first met. Little is known of Tillet, and it is still uncertain the exact circumstances under which Manet met the officer for the second time. However, it is most probable that they met again in Tillet's hometown of Orloron-Sainte-Marie in the Pyrenees where Manet had sent his mother and young family to protect them from the Prussian War which had broken out in September 1870. With Paris under siege, Manet was forced to join the National Guard as an artillery lieutenant, and it was not until 12 February 1871, after being dismissed from his position, that Manet was able to re-join his family. While in Orloron he painted only three canvases, including his Orloron-Sainte-Marie (W. 187, Buhrle Collection, Zurich) and the present portrait. Portrait de Monsieur Tillet was given by the sitter to a childhood friend, whose descendants kept the work in Bordeaux until its purchase by the present owner.

Lot 6: Edouard Manet (1832-1883)

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Description: Portrait de Monsieur Tillet signed and inscribed 'e mon ami Tillet. Manet' (upper right) oil on canvas 13 Ã x 10 Â in. (35.2 x 27 cm.) Painted circa 1871 (see note below) Provenance: Marie-Paulin Tillet, Orloron-Sainte-Marie, France. Given by the sitter to a close friend in Bordeaux and thence by descent to the previous owner. Footnotes:The Wildenstein Institute has kindly confirmed the authencity of this work which will be included in the new edition of the Manet catalogue raisonne currently being prepared by the Institute. In the spring of 1847, Manet decided to launch his career in the navy and defy his father's advice to enter law school. However, after failing various attempts to pass the entrance exam for the Ecole Borda (Naval Academy), Manet embarked on the shipboard classroom Havre et Guadeloupe which set sail for Rio di Janeiro on December 8, 1848. It is most probable that Marie-Paul Tillet was an officer on board the ship and that it was at this time that the two first met. Little is known of Tillet, and it is still uncertain the exact circumstances under which Manet met the officer for the second time. However, it is most probable that they met again in Tillet's hometown of Orloron-Sainte-Marie in the Pyrenees where Manet had sent his mother and young family to protect them from the Prussian War which had broken out in September 1870. With Paris under siege, Manet was forced to join the National Guard as an artillery lieutenant, and it was not until 12 February 1871, after being dismissed from his position, that Manet was able to re-join his family. While in Orloron he painted only three canvases, including his Orloron-Sainte-Marie (W. 187, Buhrle Collection, Zurich) and the present portrait. Portrait de Monsieur Tillet was given by the sitter to a childhood friend, whose descendants kept the work in Bordeaux until its purchase by the present owner.

Lot 6: Edouard Manet (1832-1883)

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Description: Portrait de Monsieur Tillet signed and inscribed 'e mon ami Tillet. Manet' (upper right) oil on canvas 13 Ã x 10 Â in. (35.2 x 27 cm.) Painted circa 1871 (see note below) Provenance: Marie-Paulin Tillet, Orloron-Sainte-Marie, France. Given by the sitter to a close friend in Bordeaux and thence by descent to the previous owner. Footnotes:The Wildenstein Institute has kindly confirmed the authencity of this work which will be included in the new edition of the Manet catalogue raisonne currently being prepared by the Institute. In the spring of 1847, Manet decided to launch his career in the navy and defy his father's advice to enter law school. However, after failing various attempts to pass the entrance exam for the Ecole Borda (Naval Academy), Manet embarked on the shipboard classroom Havre et Guadeloupe which set sail for Rio di Janeiro on December 8, 1848. It is most probable that Marie-Paul Tillet was an officer on board the ship and that it was at this time that the two first met. Little is known of Tillet, and it is still uncertain the exact circumstances under which Manet met the officer for the second time. However, it is most probable that they met again in Tillet's hometown of Orloron-Sainte-Marie in the Pyrenees where Manet had sent his mother and young family to protect them from the Prussian War which had broken out in September 1870. With Paris under siege, Manet was forced to join the National Guard as an artillery lieutenant, and it was not until 12 February 1871, after being dismissed from his position, that Manet was able to re-join his family. While in Orloron he painted only three canvases, including his Orloron-Sainte-Marie (W. 187, Buhrle Collection, Zurich) and the present portrait. Portrait de Monsieur Tillet was given by the sitter to a childhood friend, whose descendants kept the work in Bordeaux until its purchase by the present owner.

Lot 6: Edouard Manet (1832-1883)

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Description: Portrait de Monsieur Tillet signed and inscribed 'e mon ami Tillet. Manet' (upper right) oil on canvas 13 Ã x 10 Â in. (35.2 x 27 cm.) Painted circa 1871 (see note below) Provenance: Marie-Paulin Tillet, Orloron-Sainte-Marie, France. Given by the sitter to a close friend in Bordeaux and thence by descent to the previous owner. Footnotes:The Wildenstein Institute has kindly confirmed the authencity of this work which will be included in the new edition of the Manet catalogue raisonne currently being prepared by the Institute. In the spring of 1847, Manet decided to launch his career in the navy and defy his father's advice to enter law school. However, after failing various attempts to pass the entrance exam for the Ecole Borda (Naval Academy), Manet embarked on the shipboard classroom Havre et Guadeloupe which set sail for Rio di Janeiro on December 8, 1848. It is most probable that Marie-Paul Tillet was an officer on board the ship and that it was at this time that the two first met. Little is known of Tillet, and it is still uncertain the exact circumstances under which Manet met the officer for the second time. However, it is most probable that they met again in Tillet's hometown of Orloron-Sainte-Marie in the Pyrenees where Manet had sent his mother and young family to protect them from the Prussian War which had broken out in September 1870. With Paris under siege, Manet was forced to join the National Guard as an artillery lieutenant, and it was not until 12 February 1871, after being dismissed from his position, that Manet was able to re-join his family. While in Orloron he painted only three canvases, including his Orloron-Sainte-Marie (W. 187, Buhrle Collection, Zurich) and the present portrait. Portrait de Monsieur Tillet was given by the sitter to a childhood friend, whose descendants kept the work in Bordeaux until its purchase by the present owner.

Lot 6: Edouard Manet (1832-1883)

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Description: Dans la rue stamped with initials bottom right 'E.M.' (Lugt 880) charcoal on paper 4.1/8 x 6in. (10.5 x 17.2cm.) Madame Manet, Paris M. Rouart, Paris D. Rouart and.

Lot 6: Edouard Manet (1832-1883)

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Description: Dans la rue stamped with initials bottom right 'E.M.' (Lugt 880) charcoal on paper 4.1/8 x 6in. (10.5 x 17.2cm.) Madame Manet, Paris M. Rouart, Paris D. Rouart and.

Lot 6: Edouard Manet (1832-1883)

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Description: Dans la rue stamped with initials bottom right 'E.M.' (Lugt 880) charcoal on paper 4.1/8 x 6in. (10.5 x 17.2cm.) Madame Manet, Paris M. Rouart, Paris D. Rouart and.

Lot 6: Edouard Manet (1832-1883)

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Description: Dans la rue stamped with initials bottom right 'E.M.' (Lugt 880) charcoal on paper 4.1/8 x 6in. (10.5 x 17.2cm.) Madame Manet, Paris M. Rouart, Paris D. Rouart and.

Lot 6: ÉDOUARD MANET Olympia.

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Description: ÉDOUARD MANET Olympia. Etching printed in black on cream wove paper, 1867. 88x178 mm; 3 1/2x7 inches, full margins. Sixth state (of 6). A very good, dark impression with strong contrasts. Bound in Théodore Duret, Histoire d''Édouard Manet et de son Oeuvre, Paris, 1902. Guérin 39; Harris 53.

Lot 6: Edouard Manet (1832-1883)

Description: Edouard Manet (1832-1883) Cat with Flowers (Guérin. 53; Harris 65)etching and aquatint, 1869, on Rives, sixth (and final) state, a posthumous impression, faint mount-staining, remains of old tape to upper and lower corners of right sheet edge on reverse, otherwise in very good condition, framedP. 195 x 145 mm., S. 320 x 250 mm.

Lot 6: ÉDOUARD MANET

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Description: QUATRE POMMES Signed Manet (lower right)

Lot 6: EDOUARD MANET (1832-1883)

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Description: EDOUARD MANET (1832-1883) Olympia (Guerin 39; Harris 53) etching and aquatint, 1867, the sixth (final) state, on wove paper, with margins, time staining, very minor moisture staining and surface soiling at the lower sheet edge, otherwise in good condition, framedP. 3½ x 7 in. (89 x 178 mm.)S. 7 1/8 x 10 in. (181 x 254 mm.)

Lot 7: EDOUARD MANET (1832-1883)

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Description: Le Guitarero (Guerin 16; Harris 12)etching, 1861-2, on laid paper, Harris's 6th state (of 7), with wide margins, pale light-staining, minor surface soiling, soft handling creases and rippling, old hinge remains in places on the reverse (slightly showing through), otherwise in good conditionL. 11 3/4 x 9 5/8 in. (298 x 244 mm.)S. 17 5/8 x 12 3/8 in. (448 x 314 mm.)

Lot 7: EDOUARD MANET

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Description: Olympia.Etching and aquatint, 1867. 88x177 mm; 3 5/8x7 inches, full margins. Sixth state (of 6). A very good, dark, clean impression. Guérin 39; Harris 53.

Lot 7: EDOUARD MANET Olympia. Etching and aquatint, 1867. 88x177 mm; 3x7 inches, full margins. Sixth state (of 6). A very good, dark, clean impression. Gu‚rin 39; Harris 53.

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Description:

Lot 7: EDOUARD MANET Olympia. Etching and aquatint, 1867. 88x177 mm; 3x7 inches, full margins. Sixth state (of 6). A very good, dark, clean impression. Gu‚rin 39; Harris 53.

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Description:

Lot 7: EDOUARD MANET Olympia. Etching and aquatint, 1867. 88x177 mm; 3x7 inches, full margins. Sixth state (of 6). A very good, dark, clean impression. Gu‚rin 39; Harris 53.

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Description:

Lot 7: EDOUARD MANET Olympia. Etching and aquatint, 1867. 88x177 mm; 3x7 inches, full margins. Sixth state (of 6). A very good, dark, clean impression. Gu‚rin 39; Harris 53.

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Description:

Lot 7: MANET, EDOUARD (1832-1883)

Description: La rue Mosnier aux drapeaux, 1878, 1878 Oil/canvas 25.8x31.9 in (65.5x81 cm) signed & dated (Lower Left) Cata. Raisonne, Rouart-Wildenstein, voil.I, no.270, 1975.

Lot 7: MANET, EDOUARD (1832-1883)

Description: La rue Mosnier aux drapeaux, 1878, 1878 Oil/canvas 25.8x31.9 in (65.5x81 cm) signed & dated (Lower Left) Cata. Raisonne, Rouart-Wildenstein, voil.I, no.270, 1975.

Lot 7: MANET, EDOUARD (1832-1883)

Description: La rue Mosnier aux drapeaux, 1878, 1878 Oil/canvas 25.8x31.9 in (65.5x81 cm) signed & dated (Lower Left) Cata. Raisonne, Rouart-Wildenstein, voil.I, no.270, 1975.

Lot 7: MANET, EDOUARD (1832-1883)

Description: La rue Mosnier aux drapeaux, 1878, 1878 Oil/canvas 25.8x31.9 in (65.5x81 cm) signed & dated (Lower Left) Cata. Raisonne, Rouart-Wildenstein, voil.I, no.270, 1975.

Lot 7: EDOUARD MANET (1832-1883) PORTRAIT DE MADAME MICHEL LEVY

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Description: stamped with initials center left "E.M." (Lugt 880) -- pastel on canvas 24 1/4 x 19 3/4 in. (61.5 x 50 cm.) Painted in 1882 PROVENANCE Estate of the artist; sale, Hotel Drouot, Paris, Feb., 4-5, 1884 Mlle. Dieterle Charles S. Carstairs, London M. Knoedler & Co., Inc., London (acquired from the above's estate Nov., 1928) Acquired from the above by the late owner May, 1929 EXHIBITED Chicago, The Arts Club Chicago, The Art Institute, Edouard Manet, 1832-1883, Jan.-Feb., 1967, no. 199 (illustrated in the addenda) Chicago, The Art Institute, Masterpieces from Private Collections in Chicago, July-Aug., 1969, n.n. LITERATURE T. Duret, Histoire d Edouard Manet et de son Oeuvre, Paris, 1902, no. 8 E. Moreau-Nelaton, Manet racont par lui-m me, Paris, 1926, vol. II, pp. 98-99, no. 388 P. Jamot and G. Wildenstein, Manet, Paris, 1932, p. 183, no. 532, vol. II (illustrated, fig. 270) A. Tabarant, Manet et ses oeuvres, Paris, 1947, pp. 448 and 548, no. 533 (illustrated, p. 619) S. Orient, The Complete Paintings of Manet, New York, 1967, p. 118, no. 387b M. Bodelsen, "Early Impressionist Sales, 1874-1894", Burlington Magazine, June, 1968, p. 344 D. Rouart and D. Wildenstein, Edouard Manet, catalogue raisonn, Lausanne, 1975, vol. II, p. 26, no. 70 (illustrated, p. 25) This pastel is one of two portraits of Madame Levy executed by Manet in 1882. The other version, formerly in the collection of Chester Dale, is now in the National Gallery, Washington, D.C. (Wildenstein, vol. II, no. 71).

Lot 7: EDOUARD MANET (1832-1883) PORTRAIT DE MADAME MICHEL LEVY

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Description: stamped with initials center left "E.M." (Lugt 880) -- pastel on canvas 24 1/4 x 19 3/4 in. (61.5 x 50 cm.) Painted in 1882 PROVENANCE Estate of the artist; sale, Hotel Drouot, Paris, Feb., 4-5, 1884 Mlle. Dieterle Charles S. Carstairs, London M. Knoedler & Co., Inc., London (acquired from the above's estate Nov., 1928) Acquired from the above by the late owner May, 1929 EXHIBITED Chicago, The Arts Club Chicago, The Art Institute, Edouard Manet, 1832-1883, Jan.-Feb., 1967, no. 199 (illustrated in the addenda) Chicago, The Art Institute, Masterpieces from Private Collections in Chicago, July-Aug., 1969, n.n. LITERATURE T. Duret, Histoire d Edouard Manet et de son Oeuvre, Paris, 1902, no. 8 E. Moreau-Nelaton, Manet racont par lui-m me, Paris, 1926, vol. II, pp. 98-99, no. 388 P. Jamot and G. Wildenstein, Manet, Paris, 1932, p. 183, no. 532, vol. II (illustrated, fig. 270) A. Tabarant, Manet et ses oeuvres, Paris, 1947, pp. 448 and 548, no. 533 (illustrated, p. 619) S. Orient, The Complete Paintings of Manet, New York, 1967, p. 118, no. 387b M. Bodelsen, "Early Impressionist Sales, 1874-1894", Burlington Magazine, June, 1968, p. 344 D. Rouart and D. Wildenstein, Edouard Manet, catalogue raisonn, Lausanne, 1975, vol. II, p. 26, no. 70 (illustrated, p. 25) This pastel is one of two portraits of Madame Levy executed by Manet in 1882. The other version, formerly in the collection of Chester Dale, is now in the National Gallery, Washington, D.C. (Wildenstein, vol. II, no. 71).

Lot 7: EDOUARD MANET (1832-1883) PORTRAIT DE MADAME MICHEL LEVY

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Description: stamped with initials center left "E.M." (Lugt 880) -- pastel on canvas 24 1/4 x 19 3/4 in. (61.5 x 50 cm.) Painted in 1882 PROVENANCE Estate of the artist; sale, Hotel Drouot, Paris, Feb., 4-5, 1884 Mlle. Dieterle Charles S. Carstairs, London M. Knoedler & Co., Inc., London (acquired from the above's estate Nov., 1928) Acquired from the above by the late owner May, 1929 EXHIBITED Chicago, The Arts Club Chicago, The Art Institute, Edouard Manet, 1832-1883, Jan.-Feb., 1967, no. 199 (illustrated in the addenda) Chicago, The Art Institute, Masterpieces from Private Collections in Chicago, July-Aug., 1969, n.n. LITERATURE T. Duret, Histoire d Edouard Manet et de son Oeuvre, Paris, 1902, no. 8 E. Moreau-Nelaton, Manet racont par lui-m me, Paris, 1926, vol. II, pp. 98-99, no. 388 P. Jamot and G. Wildenstein, Manet, Paris, 1932, p. 183, no. 532, vol. II (illustrated, fig. 270) A. Tabarant, Manet et ses oeuvres, Paris, 1947, pp. 448 and 548, no. 533 (illustrated, p. 619) S. Orient, The Complete Paintings of Manet, New York, 1967, p. 118, no. 387b M. Bodelsen, "Early Impressionist Sales, 1874-1894", Burlington Magazine, June, 1968, p. 344 D. Rouart and D. Wildenstein, Edouard Manet, catalogue raisonn, Lausanne, 1975, vol. II, p. 26, no. 70 (illustrated, p. 25) This pastel is one of two portraits of Madame Levy executed by Manet in 1882. The other version, formerly in the collection of Chester Dale, is now in the National Gallery, Washington, D.C. (Wildenstein, vol. II, no. 71).

Lot 7: EDOUARD MANET (1832-1883) PORTRAIT DE MADAME MICHEL LEVY

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Description: stamped with initials center left "E.M." (Lugt 880) -- pastel on canvas 24 1/4 x 19 3/4 in. (61.5 x 50 cm.) Painted in 1882 PROVENANCE Estate of the artist; sale, Hotel Drouot, Paris, Feb., 4-5, 1884 Mlle. Dieterle Charles S. Carstairs, London M. Knoedler & Co., Inc., London (acquired from the above's estate Nov., 1928) Acquired from the above by the late owner May, 1929 EXHIBITED Chicago, The Arts Club Chicago, The Art Institute, Edouard Manet, 1832-1883, Jan.-Feb., 1967, no. 199 (illustrated in the addenda) Chicago, The Art Institute, Masterpieces from Private Collections in Chicago, July-Aug., 1969, n.n. LITERATURE T. Duret, Histoire d Edouard Manet et de son Oeuvre, Paris, 1902, no. 8 E. Moreau-Nelaton, Manet racont par lui-m me, Paris, 1926, vol. II, pp. 98-99, no. 388 P. Jamot and G. Wildenstein, Manet, Paris, 1932, p. 183, no. 532, vol. II (illustrated, fig. 270) A. Tabarant, Manet et ses oeuvres, Paris, 1947, pp. 448 and 548, no. 533 (illustrated, p. 619) S. Orient, The Complete Paintings of Manet, New York, 1967, p. 118, no. 387b M. Bodelsen, "Early Impressionist Sales, 1874-1894", Burlington Magazine, June, 1968, p. 344 D. Rouart and D. Wildenstein, Edouard Manet, catalogue raisonn, Lausanne, 1975, vol. II, p. 26, no. 70 (illustrated, p. 25) This pastel is one of two portraits of Madame Levy executed by Manet in 1882. The other version, formerly in the collection of Chester Dale, is now in the National Gallery, Washington, D.C. (Wildenstein, vol. II, no. 71).

Lot 7: Edouard Manet (1832-1883)

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Description: Edouard Manet (1832-1883)Olympia (Harris 53)etching and aquatint, 1867, on laid paper, sixth (final) state, a posthumous impression, with margins, time-staining darkening at the sheet edges, otherwise in good conditionP. 97 x 175mm., S. 150 x 235mm.

Lot 7: Edouard Manet (1832-1883)

Description: Edouard Manet (1832-1883) Les Petits Cavaliers (Guérin 8; Harris 5)etching in sepia, 1860, on laid paper, fourth state (of five), backboard staining, otherwise in generally good condition, framedP. 250 x 390 mm., S. 325 x 446 mm.

Lot 8: Edouard Manet (1832-1883)

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Description: Lola de Valence (Guerin 23, Harris 33)etching and aquatint, 1862, on laid paper, a good rich impression, with margins, a fox mark in the upper right margin, otherwise apparently in good condition, unexamined out of the frameP. 266 x 185mm.

Lot 8: EDOUARD MANET (1832-1883)

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Description: Berthe Morisot: PremiŠre Planche (Gu‚rin 77; Harris 73) lithograph, 1872-4, on Chine appliqu‚, a fine impression, second (final) state, with the address of Lemercier, from the edition of 50, with wide margins, a pale stain at the right margin edge, otherwise generally in very good condition L. 86 x 56 (203 x 142 mm.).

Lot 8: EDOUARD MANET (1832-1883)

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Description: Berthe Morisot: PremiŠre Planche (Gu‚rin 77; Harris 73) lithograph, 1872-4, on Chine appliqu‚, a fine impression, second (final) state, with the address of Lemercier, from the edition of 50, with wide margins, a pale stain at the right margin edge, otherwise generally in very good condition L. 86 x 56 (203 x 142 mm.).

Lot 8: EDOUARD MANET (1832-1883)

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Description: Berthe Morisot: PremiŠre Planche (Gu‚rin 77; Harris 73) lithograph, 1872-4, on Chine appliqu‚, a fine impression, second (final) state, with the address of Lemercier, from the edition of 50, with wide margins, a pale stain at the right margin edge, otherwise generally in very good condition L. 86 x 56 (203 x 142 mm.).

Lot 8: EDOUARD MANET (1832-1883)

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Description: Berthe Morisot: PremiŠre Planche (Gu‚rin 77; Harris 73) lithograph, 1872-4, on Chine appliqu‚, a fine impression, second (final) state, with the address of Lemercier, from the edition of 50, with wide margins, a pale stain at the right margin edge, otherwise generally in very good condition L. 86 x 56 (203 x 142 mm.).

Lot 8: MANET, EDOUARD (1832-1883)

Description: Fleurs dans un vase de cristal, 1882c. Oil/canvas 22x14 inches (54.6x35.2 cm) Dedic. S (Lower Left) a mon ami le Docteur Evans. Gordon & Forge, p.14-15.

Lot 8: MANET, EDOUARD (1832-1883)

Description: Fleurs dans un vase de cristal, 1882c. Oil/canvas 22x14 inches (54.6x35.2 cm) Dedic. S (Lower Left) a mon ami le Docteur Evans. Gordon & Forge, p.14-15.

Lot 8: MANET, EDOUARD (1832-1883)

Description: Fleurs dans un vase de cristal, 1882c. Oil/canvas 22x14 inches (54.6x35.2 cm) Dedic. S (Lower Left) a mon ami le Docteur Evans. Gordon & Forge, p.14-15.

Lot 8: MANET, EDOUARD (1832-1883)

Description: Fleurs dans un vase de cristal, 1882c. Oil/canvas 22x14 inches (54.6x35.2 cm) Dedic. S (Lower Left) a mon ami le Docteur Evans. Gordon & Forge, p.14-15.

Lot 8: MANET, EDOUARD (1832-1883)

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Description: >, 1867c. etching 14x9 inches (35x22.6 cm) signed /planche (Lower Left) Editions Portaboeuf.

Lot 8: MANET, EDOUARD (1832-1883)

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Description: >, 1867c. etching 14x9 inches (35x22.6 cm) signed /planche (Lower Left) Editions Portaboeuf.

Lot 8: MANET, EDOUARD (1832-1883)

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Description: >, 1867c. etching 14x9 inches (35x22.6 cm) signed /planche (Lower Left) Editions Portaboeuf.

Lot 8: MANET, EDOUARD (1832-1883)

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Description: >, 1867c. etching 14x9 inches (35x22.6 cm) signed /planche (Lower Left) Editions Portaboeuf.