Sotheby's /Nov 4, 2014
€741,784.73 - €1,112,677.10
Artworks in Arcadja697
Some works of Edouard ManetExtracted between 697 works in the catalog of Arcadja
Auction: Sotheby's -Nov 10, 2014 - New YorkLot number: 4
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Édouard Manet 1832-1883 LETTRE À ZACHARIE ASTRUC inscribed Bellevue; signed and inscribed 41 route de gardes on the reverse watercolor and ink on paper 8 by 4 7/8 in. 20.4 by 12.5 cm. Executed in 1880. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Zacharie Astruc (acquired directly from the artist) David-Weill, Paris Hôtel Drouot, Paris, June 9-10, 1971, Lot 266 Private Collection, Paris Pierre Berès, Paris Collection of Mr. and Mrs. Paul Mellon (acquired from the above in July 1982) Literature Denis Rouart & Daniel Wildenstein, Édouard Manet, vol II, Lausanne and Paris, 1975, cat. no. 601, p. 215, illustrated Manet's double-sided letter was written from the villa at the route de Gardes that he rented in Bellevue in 1880. The receipient of Manet's illustrated letter was Zacharie Astruc (1833-1907), a cultural figure who played key role in Manet's professional success. While working as an art critic in the 1860s, Astruc was one of the first to recognize Manet's talents, and his poem in the catalogue for the 1865 Paris salon is generally credited with bestowing the title "Olympia" on the artist's famous painting. Astruc was also an artist, and his work was featured in the inaugural exhibition of the Impressionist painters in 1874. An English translation of the letter is as follows: Bellevue, Monsieur Zacharie, Send me your news. Has your health returned? I would love to speak with you soon. I am doing much better and I hope my stay here will have done me a world of good. I’’m living under a shell, let me know what is going on. My best to Mme Astruc, and to you, E. Manet 41 route des Gardes Very good condition. The letter consists of two sheets, formerly framed as a double-sided letter. The second sheet is slightly timed-stained. A faint, horizontal crease appears across both sheets. The medium is well-preserved and the sheets themselves are in very good condition. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Auction: Christie's -Nov 6, 2014 - New YorkLot number: 101
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Edouard Manet (1832-1883) Mademoiselle Juliette Dodu brush and black ink and pencil on tracing paper 6 1/8 x 4 7/8 in. (15.4 x 12.3 cm.) Executed circa 1880 Suzanne Manet, Paris (by descent from the artist); Estate sale, Hôtel Drouot, Paris, 4-5 February 1884, lot 147. Alphonse Portier, Paris (acquired at the above sale). Camille Pissarro, Paris; Estate sale, Galerie Georges Petit, Paris, 3 December 1928, lot 69. Charles E. Slatkin Galleries, New York (by 1959). Acquired from the above by the late owner, April 1962. PROPERTY FROM THE ESTATE OF ROSALYND C. PFLAUM Rosalynd C. Pflaum was a noted author, philanthropist and collector who learned the French language as a young girl and became a lifelong admirer and scholar of French history and culture. Her curated collection of works on paper includes the most acclaimed of French artists, most notably a small drawing by Édouard Manet of Mademoiselle Juliette Dodu (lot 101), the first woman to be awarded the Chevalier de la Légion d’’’’Honneur for her heroism in the Franco-Prussian war. In 1978, shortly after acquiring this portrait of Odilon Redon’’’’s sister-in-law, Mrs. Pflaum was similary honored by the French government and awarded the Legion of Honor. In 1936, she met Minnesota native Leo R. Pflaum, a young executive in the family owned clothing company which became M.L. Rothschild-Young Quinlan Company. She began her college studies at Stanford University, where she was admitted at the mere age of sixteen. Upon her marriage, Mrs. Pflaum continued her college education at the University of Minnesota and became one of the first women in the State to obtain her pilot's license. She received a Bachelor of Arts degree, summa cum laude in 1945 and a Master's Degree in 1954 from the University. The following year, Mrs. Pflaum acquired vibrant watercolours by André Derain (lot 104) and Paul Cézanne (lot 106). A French scholar, she wrote six biographies: Madame de Stael (1954); The Emperor's Talisman (The Life of the Duc de Morney) (1954); By Influence and Desire (The Grand Duchess of Courland and her Daughters) (1984); Grand Obsession (Madame Curie and her World ) (1989); Marie Curie and Her Daughter Irene (1991); and Talleyrand (2010), when she was 93 years old. She and her husband were long-time supporters of the arts, in particular the Minnesota Orchestra, where she served on its board as a life director. They regularly entertained visiting artists, who added their signatures to the walls of their family's guest bathroom. During the Second World War, she served locally in the Red Cross, driving a blood mobile. In 1949, she was one of the founders of the Women's Association of the Minneapolis Symphony Orchestra (WAMSO), and served as its president for the first five years. She later inaugurated WAMSO's Young Artist Competition, WAMSO's 58-year-old education program, and until her death supported its annual scholarship award. Christie’’’’s is delighted to be offering a selection of works from her beloved collection, which includes the lots on the following pages. Additional works on paper from the Estate of Rosalynd C. Pflaum include a drawing by Diego Rivera to be offered in the Latin American Paintings sale, November 2014; works on paper by Jean-Auguste-Dominique Ingres and Jean-Baptiste-Camille Corot to be offered in the January 2015, Old Master Drawings sale; and a portrait by Mary Cassatt to be offered in March 2015, American Paintings sale. F. Lochard, Album de Photographies, Paris, 1883, vol. III, no. 182 (illustrated). A. Chatté, "Notes sur Manet, V. la vente Manet en 1884," Journal des curieux, 10 March 1907, p. 13. R. Raoul, "New York Letter, The Taste for Drawings," Apollo, July 1962, p. 411 (illustrated; titled Portrait of Victorine Meurend). M. Bodelsen, "Early Impressionist Sales, 1874-1894," Burlington Magazine, June 1968, p. 342, no. 147. A. de Leiris, The Drawings of Edouard Manet, Berkeley, 1969, p. 124, no. 420 (illustrated, fig. 339; titled Portrait of Victorine Meurend). D. Rouart and D. Wildenstein, Edouard Manet, Catalogue raisonné, Geneva, 1975, vol. II, p. 158, no. 430 (illustrated, p. 159). Paris, Ecole Nationale des Beaux-Arts, Exposition des oeuvres de Edouard Manet, January 1884, no. 176. Santa Barbara Museum of Art, Drawings of Five Centuries, April-May 1959, no. 98 (titled Portrait of Victorine Meurend). New York, Charles E. Slatkin Galleries, French Master Drawings, Renaissance to Modern, February-March 1959, no. 91 (illustrated; titled Portrait of Victorine Meurend). Minneapolis, University Gallery, University of Minnesota and New York, The Solomon R. Guggenheim Museum, The Nineteenth Century, One Hundred and Twenty-Five Master Drawings, May-July 1962, no. 75. The Minneapolis Institute of Arts, Drawings and Watercolors from Minnesota Private Collections, May-June 1971, no. 21 (illustrated; titled Portrait of Victorine Meurend and dated circa 1870).
Auction: Christie's -Nov 5, 2014 - New YorkLot number: 16
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Edouard Manet (1832-1883) Le Printemps signed and dated 'manet 1881' (lower left) oil on canvas 29 1/8 x 20¼ in. (74 x 51.5 cm.) Painted in 1881 Antonin Proust, Paris (acquired from the artist, 2 January 1883). Jean-Baptiste Faure, Paris (acquired from the above, by 1902). Galerie Durand-Ruel et Cie., Paris (acquired from the above, 13 March 1907). Durand-Ruel Galleries, New York (acquired from the above, 24 November 1909). Colonel Oliver H. Payne, New York (acquired from the above, 1909). By descent from the above to the present owners. PROPERTY FROM A PRIVATE AMERICAN FOUNDATION G. Goetschy, "Avant le Salon" in Le Soir, 30 April 1882. L. Baschet, ed., L'Exposition des Beaux-Arts: Salon de 1882, Paris, 1882, p. 127 (illustrated, p. 126). P. Burty, "Le Salon de 1882" in La République française, 1 May 1882. A. Chérié, ed., Guide du Salon de Paris 1882, Paris, 1882, p. 22. L. de Fourcaud, "Le Salon" in Le Gaulois, 4 May 1882. E. Bergerat, "Le Salon de 1882" in Le Voltaire, 10 May 1882. A. Silvestre, "Le Monde des Arts, Salon de 1882" in La vie moderne, 3 June 1882, p. 342. A. Proust, "Le Salon de 1882, I" in Gazette des Beaux-Arts, June 1882, p. 457. M. du Seigneur, "L'art et les artistes au salon de 1882" in L'Artiste, July 1882, p. 21. E. Hoschedé, Impressions de mon voyage au Salon de 1882, Paris, 1882, pp. 48-49. J.K. Huysmans, L'art moderne, Paris, 1883, p. 272. E. Bazire, Manet, Paris, 1884, p. 113 (illustrated, p. 28). A. Proust, "Edouard Manet inédit" in La revue blanche, 15 March 1897, p. 311. A. Proust, "Edouard Manet inédit" in La revue blanche, 15 April 1897, p. 415. T. Duret, Histoire d'Edouard Manet et de son oeuvre, Paris, 1902, pp. 154 and 265, no. 284. Notice sur la collection J.B. Faure suivie du catalogue des tableaux formant cette collection, Paris, 1902, no. 41. H. von Tschudi, Edouard Manet, Berlin, 1902, p. 43 (illustrated; titled Der Frühling). G. Moore, "Erinnerungen an die Impressionisten" in Kunst und Künstler, January 1907, p. 145. Masters in Art: A Series of Illustrated Monographs, Boston, 1908, vol. 9, no. 97, p. 36 (illustrated, p. 7, pl. III). T. Duret, "Edouard Manet et les Impressionnistes" in Histoire du Paysage en France, 1908, p. 312. B. Haendcke, "Die Historischen Grundlagen der Hell- und Freilichtmalerei" in Die Kunst, 1 January 1911, p. 167. J.E. Blanche, "Notes sur Manet" in Essais et Portraits, 1912, pp. 153-163. J. Meier-Graefe, Edouard Manet, Munich, 1912 (illustrated, pl. 188; incorrectly dated 1882). A. Proust, Edouard Manet, souvenirs, Paris, 1913, p. 113 (illustrated, p. 112, pl. 28). T. Duret, "Les portraits peints par Manet et refusés par leurs modèles" in La Renaissance, July 1918, p. 153. E. Waldmann, Edouard Manet, Berlin, 1923, p. 101 (illustrated; incorrectly dated 1882). J.E. Blanche, Manet, Paris, 1924, pp. 51 and 58. E. Moreau-Nélaton, Manet raconté par lui-même, Paris, 1926, vol. II, pp. 86-88 and 143 (illustrated, p. 89, fig. 303). J.E. Blanche, De David à Degas, Paris, 1927, pp. 140, 141 and 146. P. Jamot and G. Wildenstein, Manet, Paris, 1932, vol. I, pp. 102 and 176, no. 470 (illustrated, vol. II, p. 101, no. 470, fig. 190). H. Mondor, La vie de Mallarmé, Paris, 1941, p. 416. M. Florisoone, Manet, Monaco, 1947, p. 102, no. 88 (illustrated, pl. 88). A. Tabarant, Manet et ses oeuvres, Paris, 1947, pp. 411, 414, 439-442, 491, 512 and 543, no. 380 (illustrated, p. 615). G.H. Hamilton, Manet and His Critics, New Haven, 1954, pp. 249, 255, 256 and 264 (illustrated, fig. 36). J. Richardson, Edouard Manet: Paintings and Drawings, London, 1958, p. 130, no. 76 (illustrated, pl. 76). D. Rouart, Manet, London, 1960, p. 72. G. Bazin, Trésors de l'Impressionnisme au Louvre, Paris, 1962, p. 51. T. Rousseau, "Loans accepted" in The Metropolitan Museum of Art Bulletin, vol. XXIV, no. 2, October 1965, p. 57. S. Orienti and P. Pool, The Complete Paintings of Manet, New York, 1967, p. 115, no. 348 (illustrated). J. Richardson, Manet, New York, 1967, p. 87 (illustrated in color, pl. 33). A. Scharf, Art and Photography, London, 1968, p. 40. C. Chiarenza, "Manet's Use of Photography in the Creation of A Drawing" in Master Drawings, spring 1969, pp. 38-45. A. de Leiris, The Drawings of Edouard Manet, Berkeley and Los Angeles, 1969, pp. xxix, 11, 14, 41, 83 and 138 (illustrated, fig. 424). C. Virch, "Loans accepted" in The Metropolitan Museum of Art Bulletin, vol. XXVIII, no. 2, October 1969, p. 78 (incorrectly dated 1851). D. Rouart and S. Orienti, Tout l'oeuvre peint d'Edouard Manet, Paris, 1970, p. 115, no. 352 (illustrated). G. Bazin, Edouard Manet, Milan, 1972, pp. 9, 59 and 70 (illustrated). D. Rouart and D. Wildenstein, Edouard Manet: Catalogue Raisonné, Paintings, Lausanne and Paris, 1975, vol. I, p. 276, no. 372 (illustrated, p. 277). K. Adler, Manet, Oxford, 1986, p. 216 (illustrated, p. 217, fig. 210). T.A. Gronberg, ed., Manet: A Retrospective, New York, 1988, p. 272. R.L. Herbert, Impressionism: Art, Leisure, and Parisian Society, New Haven, 1988, pp. 184 and 186 (illustrated in color, p. 185, fig. 187). B.A. Brombert, Edouard Manet: Rebel in a Frock Coat, New York, 1996, pp. 435 and 445 (illustrated, fig. 63). J. Wilson-Bareau, ed., Manet By Himself: Correspondence & Conversation, Paintings, Pastels, Prints & Drawings, Edison, New Jersey, 2001, p. 259, no. 229 (illustrated in color, p. 292). I. Conzen, Edouard Manet und die Impressionisten, exh. cat., Staatsgalerie Stuttgart, 2002, p. 133 (illustrated, fig. 161). R.L. Herbert, Seurat and the Making of La Grande Jatte, exh. cat., The Art Institute of Chicago, 2004, pp. 163-165 (illustrated in color, p. 165, fig. 4). R. Iskin, Modern Women and Parisian Consumer Culture in Impressionist Painting, Cambridge, 2007, pp. 198, 211, 214 and 224 (illustrated, p. 213, no. 88). L.R. Lehmbeck, Edouard Manet's Portraits of Women, New York, 2007, pp. 55-63. Impressionism, Fashion & Modernity, exh. cat., The Metropolitan Museum of Art, New York, 2012, pp. 231 and 256 (illustrated in color, p. 258, fig. 2). Manet: Portraying Life, exh. cat., Royal Academy of Arts, London, 2012, p. 52 (illustrated in color, p. 53, fig. 29). Paris, L'Exposition des Beaux-Arts (Salon de 1882), no. 1754, salle VII. Paris, Ecole des Beaux-Arts, Exposition posthume Manet, 1884, no. 105. Paris, Exposition universelle internationale, Centennale de l'Art français, 1889, no. 495. Paris, Galeries Durand-Ruel et Cie. and Berlin, Paul Cassirer, Exposition de 24 Tableaux et Aquarelles par Manet Formant la collection Faure, March 1906, p. 14, no. 23. London, Fine Art Palace, Franco-British Exhibition: The British School of Painting, August 1908, no. 330. Paris, Palais du Domaine de Bagatelle, Rétrospective de portraits de femmes, 1909, p. 32, no. 135 (illustrated, p. 31). Paris, Musée des arts décoratifs, Cinquante ans de peinture française, 1875-1925, May-July 1925, no. 43 (illustrated). New York, Carroll Carstairs, The 1870s in France, 1938, p. 9 (illustrated, p. 8). New York, Wildenstein & Co., Inc., A Loan Exhibition of Fashion in Headdress, 1450-1943, April-May 1943, no. 93 (illustrated). New York, Metropolitan Museum of Art, Paintings from Private Collections, 1960, no. 60; 1961, no. 46; 1962, no. 37; 1963, no. 33; 1966, no. 83. New York, Wildenstein & Co., Inc., Art and the Decorator, April-May 1967 (illustrated). New York, Metropolitan Museum of Art, New York Collects, July-September 1968, no. 91 (incorrectly dated 1841). Washington, D.C., National Gallery of Art, July 1993-May 2014 (on extended loan).
Auction: Sotheby's -Nov 4, 2014 - New YorkLot number: 54
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Édouard Manet 1832-1883 POLICHINELLE Signed Manet (lower left) Oil on canvas 19 7/8 by 13 in. 50.5 by 32.8 cm Painted in 1873. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Jean-Baptiste Faure, Paris (acquired from the artist in 1873) Sale: Hôtel Drouot, Paris, April 29, 1878, lot 41 Mme. Martinet, Paris (acquired from the above sale and sold: Hôtel Drouot, Paris, June 8, 1893, lot 46) Claude Lafontaine, Paris (acquired from the above sale) Auguste Pellerin, Paris (acquired from the above sale and sold: Hôtel Drouot, Paris, May 7, 1926, lot 64) Jos Hessel, Paris Auguste Pellerin Collection, Paris (Sold: Christie’’s, New York, November 8, 1999, lot 136) Acquired at the above sale by the present owner Exhibited Paris, Galerie Bernheim-Jeune, Exposition d’’Oeurves de Manet au Profit des “Amis du Luxembourg,” April-May 1928 Martigny, Fondation Pierre Gianadda, Manet, 1996, no. 44 illustrated in color p. 104 Literature Fervacques, "Visite à l'atelier de Manet," Le Figaro, Paris, December 25, 1873 Joséphin Péladan, "Le Procédé de Manet d'aprés l'Exposition faite à l'Ecole des Beaux-Arts," L'Artiste, Paris, February 1884, p. 114 Théodore Duret, Histoire d'Edouard Manet et de son oeuvre par Théodore Duret, avec un catalogue des peintures et des pastels, Paris, 1902, no. 168 Jules Meier-Graefe, Edouard Manet, Munich, 1912, p. 218 Adolphe Tabarant, "Une Histoire inconnue du Polichinelle," Bulletin de la vie artistique, Paris, September 1,1923, p. 366 Étienne Moreau-Nélaton, Manet raconté par lui-même, Paris, 1926, vol. II, pp. 7-10, illustrated fig. 177 Georges Bazin, "Manet et la tradition," L'Amour de l'Art, Paris, May 1932, illustrated p. 155 Paul Jamot & Georges Wildenstein, Manet, vol. II, Paris, 1932, no. 216, illustrated p. 24 Lionello Venturi, Les archives de l'impressionnisme, Paris, 1939, vol. II, p. 205 Adolphe Tabarant, Manet et ses oeuvres, Paris, 1947, no. 220, pp. 234-235 Michel Florisoone, Manet, Monaco, 1947, pp. XV and XXI George Heard Hamilton, Manet and His Critics, New Haven, 1954, pp. 176, 179-180 and 209 Bernard Dorival, "Meissonier et Manet," Art de France, Paris, 1962, no. 2, illustrated p. 222 Phoebe Pool & Sandra Orienti, The Complete Paintings of Manet, New York, 1967, no. 188B illustrated p. 103 Denis Rouart & Sandra Orienti, Tout l'oeuvre peint d'Edouard Manet, Paris, 1970, no. 190b, illustrated Denis Rouart & Daniel Wildenstein, Edouard Manet, Catalogue raisonné, Lausanne, 1975, vol. I, no. 213 illustrated p. 179 Theodore Reff, Manet and Modern Paris: One Hundred Paintings, Drawings, Prints, and Photographs by Manet and His Contemporaries, (exhibition catalogue), National Gallery of Art, Washington, D.C., 1982, p. 124 Among Manet’’s scenes of modern life, still-lifes and society portraits, there are a number of extraordinary works which cannot be simply categorized as portraits, but in which the role of the sitter is elevated to a personification of artistic expression. Painted in 1873, Polichinelle’’s florid features and gaudy costume joined a cast of characters who captivated Manet throughout his career, such as Le fifre, Lola de Valance and L’’actor tragique. As discussed by Juliet Bareau-Wilson in the catalogue for the exhibition these works found their precedent and inspiration in the works of the Spanish Masters: “The impact of Velázquez on the art of Edouard Manet was profound.” Velázquez was, according to Manet ‘a painter’’s painter’’, and Manet was influenced in both his style and subject-matter from “the beginning of the 1860s by what he saw as the master’’s bold and simple handling of clean, colourful pigments and by his way of placing figures on a canvas” (J. Wilson-Bareau, in Manet/Velázquez: The French Taste for Spanish Painting (exhibition catalogue), Musée d’’Orsay, Paris, 2003, p. 203). From typically Spanish subjects, such as Matadors and Majas, Manet went on to use this template to engage with more native and contemporary subjects. In these works the artist sometimes substituted or sublimated the actual profession and character of the model with a different identity, thus Le fifre may have been alternately posed for by a musician of the Imperial Gaurd, Léon Leenhof or Victorine Meurent. In the Wildenstein and Roaurt catalogue entry on the present work they state that it was the painter Edmond André who posed for Manet. André was an habitué of the Café Guerbois, where Manet chose to spend much of his time. In 1973 Léon Duchemin saw the present work during a visit to Manet’’s studio, and went on to write about it (under the nom de plume Fervacques) for Le Figaro: “On the walls hang some of the painter’’s finest works. Firstly the famous Déjeuner sur l’’herbe rejected by the jury who, foolishly, have failed to understand that it showed, not a nude woman, but a woman undressed, which is something different. The paintings, exhibited at different periods: La leçon de musique, Le balcon, La belle Olympia… Then, a Marine, a sketch of two women seated in open fields, with a nearby village, a portrait of a woman and an exquisite Polichinelle, in a very jaunty pose. While we were admiring this painting, so viciously attacked and yet so full of talent, Manet painted a watercolor of another Polichinelle, who poses in the middle of the studio, dressed in his charming and traditional costume. It is enlivened with a delicate, colourful and spiritual touch” (Fervacques, op. cit. Translated from the French). Manet painted a sketch for the present work, as well as the aforementioned watercolor, and included Polichinelle in his 1873 work Le bal de l’’opera. However, as Ronald Pickvance remarks in his catalogue entry on the present work, “these were not Manet’’s first images of Polichinelle, the notorious character from the commedia dell’’arte, traditionally grotesque and deceitful. Manet first used the head of Polichinelle in 1862 for one of his frontispiece etchings’’ (R. Pickvance, in Manet (exhibition catalogue), Fondation Pierre Gianadda, Martigny, 1996, p. 231). These portrayals of Polichinelle - appropriate to the jester’’s mischievous personality – became notorious after the publication of his seven-coloured lithograph in 1874. The first edition was supposed to be sent to the 8,000 subscribers of the republican newspaper Le Temps. However over 1,500 of these were destroyed and the lithographic stone confiscated by the police. Theodore Reff has suggested the figure and his features bore a remarkable resemblance to the reactionary General and recently elected President of the Republic, Maréchal Patrice de MacMahon. “His stance is indeed that of a general inspecting his troops, and the bat he holds behind his back may allude to ‘Maréchal Baton’’, MacMahon’’s nickname, just as the bicorned hat he wears en bataillon may have Napoleonic connotations’’ (T. Reff, Manet and Modern Paris, Chicago & London, 1982, p. 124). Fig. 1 Edouard Manet, Le bal de l’’’’opéra , 1874, oil on canvas, National Gallery of Art, Washington, D.C. Fig. 2 Edouard Manet, L’’’’actor tragique , 1865, oil on canvas, National Gallery of Art, Washington, D.C. Fig. 3 Edouard Manet, Polichinelle , 1874, colour lithograph, National Gallery of Art, Washington, D.C.
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ÉDOUARD MANET Le Guitarero (ou Le Chanteur Espagnol). Etching and roulette printed in black on cream laid paper, 1861-62. 298x245 mm; 11 3/4x9 5/8 inches, small margins, as issued. Fifth state (of 6). Printed by Delâtre, Paris. From L'Artiste. Ex-collection Prandi, blind stamp lower right (not in Lugt). A superb, richly-inked impression with warm plate tone and very strong contrasts. Guérin 16; Harris 12.