Édouard Manet

French painter, 1832-1883

Édouard Manet was a French painter. He was one of the first 19th-century artists to paint modern life, and a pivotal figure in the transition from Realism to Impressionism. His early masterworks, The Luncheon on the Grass (Le déjeuner sur l'herbe) and Olympia, both 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art.

Source: Wikipedia

Manet, Édouard

painter (1832-1883). Autograph Letter Signed ("Ed. Manet"). n. p. n. d. 8vo. 1 p.
$ 4,387 / 4.500 € (60679)

Attractive Manet letter thanking his correspondent for his interesting book and stating that he himself is a great admirer of "vos précieux et remarquables travaux."

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Manet, Édouard

painter (1832-1883). Carte de visit, signed and inscribed verso. n.p.n.d. 63 : 104 mm.
$ 14,622 / 15.000 € (80021)

Beautiful bust portrait of the French modernist painter dedicated to Éva Gonzalès. The three quarters photography on card is raised like a cameo relief. The photo was taken by Ferdinand Mulnier (1817-1891), and the card shows the photographer's mark and address (25, Boulevard des Italiens) on the back. On the back it is dedicated: "Miss Eva | E. Manet". Éva Gonzalès (1849-1883) entered Manet's studio in 1869, when she became his student. Eva's presence brought Manet out of his shell. Manet is said to have begun a portrait of her at once, which was completed in March 1870 and exhibited as Mlle E.G, at the Paris Salon the same year.

Manet’s work received critics as Mlle E.G. is presented in a stiff posture and an expensive dress, clearly unfit for creating artwork. Gonzalès was Manet’s only formal student and modeled for several other painters of the Impressionist school. Her work as a painter was celebrated by Salon reviewers for her inherent intuition and her intrinsic technical skill. In 1879 she married Henri Guérard, a graphic artist and Manet’s engraver..

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Manet, Édouard

Maler (1832-1883). Eigenhändiger Brief mit Unterschrift. ohne Ort und Datum. 8vo. 1 p. Gerahmt. Gerahmt.
$ 2,534 / 2.600 € (83906)

An seinen Freund Alfred Barbou: „[…] Je crois que le type de Gavroche a disparu. Je ne peux pas en trouver […]“

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Manet, Édouard

painter (1832-1883). Autograph letter signed ("E. Manet".) [Paris] 49 Rue St. Petersbourg. Small 8vo. 1 p. on bifolium.
$ 7,798 / 8.000 € (34081/BN29824)

Addressed to an unknown recipient regarding sending him artist's proofs: "Monsieur, Je vous prie de m'envoyer les épreuves d'essai de la pierre qu'on est venu chercher chez moi il y a huit jours [...]". - From the collection of Paige Rense Noland; small spot and thumbprint in upper margin, usual folds.

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Manet, Édouard

French painter (1832-1883). Autograph letter signed. N. p. 125:100 mm. Single page on notepaper, five lines of text in black ink.
$ 8,286 / 8.500 € (48205/BN30586)

To Jules Champfleury, informing him that a lithographic stone he has prepared is ready for collection, and that he expects that it will come out well. Manet illustrated "Les Chats" for the author.

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Manet, Édouard

Maler (1832-1883). Autograph letter signed. Wohl Paris. 1 S. 8vo.
$ 4,387 / 4.500 € (62222/BN45381)

To the painter Henrik Nordenberg. - With printed address "4 Rue Saint Petersbourg".

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Manet, Édouard

French painter (1832-1883). Autograph letter signed ("E. Manet") and illustrated with original watercolours. Bellevue. 8vo (124 x 200 mm). 3 pp. on bifolium. With five original watercolour and ink wash drawings as well as an ink portrait sketch of Jules Guillemet. Mounted at the beginning of an 8vo volume (248 x 160 cm) bound in early 20th century half-vellum with morocco.
$ 141,346 / 145.000 € (89977/BN59419)

To the wife of his friend Jules Guillemet: an exceptional, unpublished letter illustrated with five watercolours showing little bags (which Manet called "pochettes") of various shapes and sizes, asking her to choose a model which he will then bring her from Paris: "Très bien choisie, la brioche. Je ne l’ai [pas] réussi [!] hier je la recommencerai aujourd’hui. J’irai à Paris probablement ces jours-ci et je vous apporterai en échange un rose, un jaune, ou un bleu à votre goût. Ecrivez-moi ce que vous voulez et la forme ; écrivez-moi ce que vous vouliez.

J’irai vous demander à déjeuner ce jour-là. Ce n’est pas gentil de nous avoir fait faux bond mardi [...]". On the verso is a pen-and-ink portrait of the correspondent's husband, the tracing of a self-portrait by Guillemet himself: "Voilà Jules dessiné par lui-même je le décalque avec tout le soin possible". - For Manet, fashion and its accessoires represented nothing less than modern life itself. The motif of fashion accessoires is frequent in his letters, which frequently "contain pictorial references to elements of feminine adornment: hats, little boots, handbags, parasols, etc. The hats and the bag appear as elements of a still life [...] These small watercolours constitute dashed-off manifestations of the same deep interest that we find in his more elaborately conceived large canvases" (cf. G. Mauner, "Un arrosoir et quelques articles de mode", in: Manet, les natures mortes, Musée d’Orsay, 2001, p. 140). - The three Monet studies in the volume are: - 1) Edmond Bazire. Manet. Paris, A. Quantin, 1884. With 2 original etchings by Manet's "L'Odalisque couchée" and "La Convalescente" (M. Guerin, nos. 64 and 65, this one in third state), 3 etchings after Manet by H. Guérard, 6 photogravures after Manet, a facsimile of a letter to Mme Guérard, and many other illustrations. First edition of Manet's first biography, published a few months after the artist's death by his great friend. - 2) Jacques de Biez. Edouard Manet. Conférence faite à la salle des Capucines le mardi 22 janvier 1884. Paris, Ludovic Baschet, 1884. - 3) Joséphin Peladan. "Le procédé de Manet d'après l'exposition de l'École des Beaux-Arts", L'Artiste, February 1884, pp. 101-117. - The texts by Bazire and Péladan are each preceded by a portrait of their author (vintage silver prints, 146 x 103 cm, mounted on a page before the text). Also included in the volume are a portrait of Manet (wood engraving on China paper) and a reproduction of the drawing of his "Polichinelle" (pp. [13] and 14, from an unidentified magazine, mounted and unfolded). - Provenance (according to a handwritten note inserted in the volume): 1) Madame Jules Guillemet (1850-1913), recipient; 2) "Stchukine" (probably Ivan Stchoukine [1869-1908], brother of the great collector Sergei Stchoukine, who settled in France in 1893); 3) unidentified collector who received the volume and the letters from Stchukine: possibly Plácido Zuloaga (1834-1910), whose relationship with Ivan Stchoukine is well attested; 4) Drouot sale after July 1910, Paris; 5) Valentina Zuloaga (bookplate engraved by her husband), daughter-in-law of Plácido Zuloaga and wife of the painter Ignacio Zuloaga (1870-1945); 6) Maria Rosa Suárez Zuloaga, niece of Ignacio Zuloaga; 7) French trade..

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