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![Artist: Pierre-Auguste Renoir (French, 1841 - 1919). Title: "La chapeau epingle [3e Planche]". Medium: Original etching. Date](https://cdn.globalauctionplatform.com/3ab2c422-2f12-43ee-a604-ab500132688c/1a654918-3e9b-45ee-99f7-abce0168bb78/468x382.jpg)
Lot 1799
Artist: Pierre-Auguste Renoir (French, 1841 - 1919). Title: "La chapeau epingle [3e Planche]". Medium: Original etching. Date: Composed c1894. Printed later. Dimensions: Overall size: 12 x 9 3/8 in. (305 x 238 mm). Image size: 4 5/8 x 3 1/4 in. (117 x 83 mm).Lot Note(s): Signed in the plate, lower left. Cream wove paper. Full margins (deckle edges). Good impression. Fine condition. Literature/catalogue raisonne: Delteil 8. Comment(s): Earlier impressions of this print regularly sell at auction for well over $1,000. According to "Gordon's Art Reference" the auction record is $10,000, set at Sotheby's, New York (Prints, #8344) - 09/26/2007 - lot #171. The models are Julie Manet, the daughter of Berthe Morisot and niece of Eduard Manet, and her cousin, Paulette Gobillard. Image copyright © Artists Rights Society (ARS), New York. [1397-2-300]
Lot 105
Artist: Edouard Manet (French, 1832 - 1883). Title: "Charles Baudelaire de Face III". Medium: Etching. Date: Composed 1865. Printed later. Dimensions: Overall size: 9 3/4 x 9 1/4 in. (248 x 235 mm). Image size: 3 13/16 x 3 1/4 in. (97 x 83 mm).Lot Note(s): Signed in the plate, lower right. Inscribed with the artist's and printer's names, lower margin. Cream wove paper. Very wide margins. Fine impression. Excellent condition. Literature/catalogue raisonne: Harris 61; Guerin 38iv. Comment(s): Manet was one of the first 19th-century artists to paint modern life and was a pivotal figure in the transition from Realism to Impressionism. [17720-2-225]
Lot 50
Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Bal Olympic: Vrai bal sportif costume (Programme) [Picasso *one original lithograph*, Manet, et al] [Portfolio/Book] [program for the 1924 Ball organized by the Union des Artistes Russes in Paris]". Medium: Original lithographs. Date: Composed 1924. Dimensions: Image size: 11 1/4 x 9 3/4 in. (286 x 248 mm).Lot Note(s): Several lithographs signed in the plate. All lithographs with artist credit. Small edition?. Heavy wove paper. Fine impressions. Fine condition. Comment(s): The second ball of the Union of Russian Artists in Paris. 12 pages. The printed program is a typographical and artistic masterpiece. Includes Pablo Picasso's original lithograph "Mercure: Etude de Danseur" executed by Picasso after the pencil drawing of the same name, and apparently found only in this program (see: Online Picasso Project, 24:199 for the drawing). Other original lithographs by and after Manet, Vassilieff, Fotinsky, Granovsky, Barthe, and Chatzman. Contains extensive listings of events and contributors. Undoubtedly produced by Francois Bernouard, Paris, like that for the Bal Travesti/Transmental, though the program carries no credit. Highly important and rare. Picasso image copyright © Artists Rights Society (ARS), New York. [19198-2-1200]
Lot 328
Renoir´s “Tableaux” ledger RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. Exceptional hardcover 4.5 x 6.5 ledger book, 116 pages, containing 14 pages filled out in Renoir´s hand, recording the sales of his paintings, listing those in deposit, where they are, etc.. Written to the front cover `Tableaux´ (“Paintings”). The opening page bears a red pencil annotation, `Durand Ruel´, and the next 14 pages are dated from 1882 to 1885, recording various financial transactions. Several of these entries record amounts received from the sales of his works, and in several instances he writes names or descriptions of the works, such as “Portrait de Mme. C dans un jardin”, “Femme nue”, “Jeune Kabyle”, “Vues Venise”, “Saltimbanque”, “Naples et Alger”, “jardin coquelicot”, “Jardin Montmartre”, “Samary (Pastel)”, and many more. Few other pages with multiple payments records, painting prices, financial transactions, amounts received on account, dates, etc.. In two instances, in 1883, Renoir writes the name `Manet´ presumably referring to his friend and fellow Edouard Manet. These entries provide valuable insight into Renoir's life and work, and as such this ledger represents an important piece for Renoir research. Very small minor age wear, otherwise VG £15000-20000 Paul Durand-Ruel (1831-1922) French Art Dealer. Probably the most important commercial advocate of impressionists, providing monetary support to his painters and solo-exhibitions. He counted Degas, Monet, Manet and Renoir among his clients.
Lot 329
`Mr. Manet kindly asks…to honour him with your visit to see his paintings, refused by the 1876 Jury..´ MANET EDOUARD: (1832-1883) French Painter. An unusual A.N., to a 4.5 x 3.5 printed card, bearing his name, and his Parisian address at "4, Rue St. Petersbourg, au rez de chaussée", Paris, April [1876-77], in French. The card is addressed by Manet to `Monsieur Ernest d´Hervilly´. The card bears to the heading the attractive printed motto “Faire Vrai - Laisser Dire”, (“Make true - Let say”), the printed text stating in the third person “Mr. Manet kindly asks Monsieur Ernest d´Hervilly to honour him with your visit to see his paintings, refused by the 1876 Jury, which will be exhibited in his painting studio, from April 15th to May 1st. Very small overall minor age wear to the borders, otherwise G £800-1200
Lot 330
`I count on you to make my painting be sold well...’ MANET EDOUARD: (1832-1883) French Painter. An excellent A.L.S., `E. Manet´, two pages, 8vo, n.p., Thursday, n.d., to Monsieur Guillemet, in French. Manet refers to one of his paintings and states in part `My dear Guillemet, I count on you to make my painting be sold well. Proust will take care of his portrait..´ Manet further refers to comparative grievance, and congratulates himself before concluding. A cleanly written letter. VG £1500-2000
Lot 395
CASSATT MARY: (1844-1926) American Painter, one of 'Les Trois Grandes Dames' of Impressionism. A.L.S., `Mary Cassatt´, two pages, 8vo, n.p., 14th September, n.y., on the Mesnil-Beaufresne printed stationery, to art critic Achille Segard, in French. Cassatt writes to her biographer regarding one of her paintings, and states in part `…allow the person sent by the Durand-Ruel Gallery to take my painting in your house. I would like to finish what I have to do during my stay here where I have the models and the place to work and October would be a little late if I leave early to the south of France." EX £1500-2000 Paul Durand-Ruel (1831-1922) French Art Dealer. Probably the most important commercial advocate of impressionists, providing monetary support to his painters and solo-exhibitions. He counted Degas, Monet, Manet and Renoir among his clients.
Lot 63
MANET (EDOUARD)POE (EDGAR ALLAN) Le Corbeau; The Raven: Poëme, traduction française de Stéphane Mallarmé avec illustrations par Edouard Manet, PRESENTATION COPY FROM MALLARMÉ, ONE OF 240 COPIES SIGNED BY HIM AND MANET, title page in red and black, text in English and French, on holland laid paper, 6 lithographs after Manet, comprising vignette on ex-libris leaf, vignette on upper wrapper, and 4 full-size plates on papier chine, text and plates lightly spotted, plates each with one closed tear of 60mm. or less, 2 with edges strengthened on verso where slightly frayed, loose as issued within wrappers of papier parcheminé, spotted and joint crudely strengthened with tissue, short edge tears [Artist & the Book 178], folio (550 x 360mm.), Paris, Richard Lesclide, 1875Footnotes:TRANSLATOR'S PRESENTATION COPY OF THIS LANDMARK LIVRE D'ARTISTE, inscribed on the ex-libris leaf 'A Monsieur et Madame Seignobos / Amicalement / Stéphane Mallarmé.' The recipients, Charles and Dinah Seignobos, had met the poet when he was a schoolteacher in Tournon in the Ardèche between 1863 and 1866; their son was one of his pupils. Charles was in local politics and during the 1870s persuaded the Minister of Public Education to give Mallarmé pay rises and paid leave.'Generally considered to be one of the first and greatest examples of the modern French livre d'artiste', Le Corbeau was 'an astonishingly modern illustrated book for 1875... Manet's bold simplifications, diagonal compositions, and opposition of tones recall his interest in Japanese prints' (British Library blog post; Artist & the Book).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 455
Édouard Manet (French 1832-1883) LE CHAT ET LES FLEURS signed in the plate etching and aquatint sheet size: 32,2 by 21,4cm MANET ‘LES CHATS ET LES FLEURS’ Edouard Manet is considered a significant forerunner of the Impressionist movement. After travelling to Germany, Italy, and the Netherlands between 1853 and 1856, he opened a studio and began producing work inspired by the artists he discovered on his travels. These included the Dutch painter Frans Hals and Spanish artists Diego Velazquez and Francisco de Goya.1 Unsurprisingly, Le Chat et les Fleurs deliberately suggests of one of Manet’s favourite masters, Goya, evidenced in the strong line style, gloomy tones, and stippled aquatint background. Although predominantly known as a painter, Manet produced a series of illustrations of cats for Jules Champfleury’s book entitled Les Chats. Le Chat et les Fleurs (Cat and Flowers) echoes the cat and flower imagery in Manet’s Olympia, one of his most well-known paintings. Champfleury’s book represents some of Manet’s finest illustrative work which was then reproduced posthumously using the original plates in three strikes, after which the plates were destroyed to make reproduction impossible.2Le Chat et les Fleurs is one of Manet’s finest prints, the sharp lines contrasting with a dappled and tonally accurate background. The side profile of the cat in the foreground allows the viewer to differentiate between the finer details of the work. - T.W.1. "Edouard Manet as an Illustrator." Philadelphia Museum of Art Bulletin 62, no. 293 (1967): 223-35. Accessed January 10, 2020. doi:10.2307/3795194. 1. Harris, Jean C. "Prints by Manet." Bulletin of the Detroit Institute of Arts 49, no. 3/4 (1970): 47-62. Accessed January 10, 2020. www.jstor.org/stable/41504479.
Lot 712
Box 152 - Chilean WineThe Winemaker´s Secret Barrels Garage Blend NVCordillera Chardonnay 2018Aguanegra Gran Reserva Cabernet Sauvignon 2015Pais Estate 2018Viu Manet Gran Reserva Chardonnay 2018Valdivieso Single Vineyard Cabernet Franc 2015Head Honcho Cabernet Sauvignon 2018Head Honcho Merlot 2018Las Veletas Cabernet Sauvignon Cabernet Franc 2016Debajo Dry Farmed Carignan 2018La Moneda Premium Collection Pinot Noir 2018La Moneda Premium Collection Malbec 2018
Lot 50
Max Liebermann (German, 1847–1935)Café SceneSigned 'M. Liebermann' bottom left, pastel with pencil on paperSheet size: 5 1/2 x 8 3/4 in. (14 x 22.2cm)PROVENANCE:Paul Cassirer, Berlin, Germany.Private Collection, Pennsylvania.NOTE:Known as the "Manet of the Germans," Max Liebermann favored an Impressionist style in his work. As Barbara C. Gilbert notes, "In his lifetime, he was often viewed through the lens of German nationalism and condemned for his open acceptance of French modern art [although he] helped to pave the way for the acceptance of modernist painting in Germany" (Barbara C. Gilbert, ed., Max Liebermann, From Realism to Impressionism, Los Angeles, 2005, p. 56). His achievements included co-founding "Die Gruppe XI" and the avant-garde "Berlin Secession," and serving as President of the Prussian Academy for the Arts. However, Liebermann's paintings were removed from museums and featured in several exhibitions of "degenerate art" in the 1930s (Gilbert, op. cit., pp. 144).Liebermann displayed an early talent for art, taking drawing lessons from Eduard Holbein and Carl von Steffeck before attending the Weimar Academy of Art. The subjects in his art include landscapes, portraits, peasant life, as well as scenes of urban bourgeoisie German society at leisure, as in Café Scene. Also, as in the present lot, the artist worked "in the medium of pastel, which allowed greater spontaneity than oil paint." (Gilbert, op. cit., p. 39).We wish to thank Dr. Margreet Nouwen for confirming the authenticity of the present lot, which will will be accompanied by a Letter of Authenticity.
Lot 37
Berthe Morisot (French, 1841–1895)Apollon Révélant sa Divinité à la Bergère Issé (after François Boucher)Oil on canvas25 1/8 x 31 1/4 in. (63.8 x 79.4cm)Executed in 1892.PROVENANCE:The Artist.The Artist's daughter, Julie Manet (then Madame Ernest Rouart).By descent in the Rouart family.Acquired directly from the above.Private Collection, New York, New York.EXHIBITED:"Exposition Annuelle," Association pour l'Art, Antwerp, May 1893."Berthe Morisot," Galerie Durand-Ruel, Paris, 1896, no. 359."Exposition de 1907," Société du Salon d'Automne, Paris, 1907, no. 56."Exposition d'Oeuvres de Berthe Morisot," Galerie Bernheim-Jeune, Paris, 1929, no. 53."Berthe Morisot," Musée de l'Orangerie, Paris, 1943, no. 104.LITERATURE:Armand Fourreau, Berthe Morisot, [translated from French into English by Hubert Wellington] Dodd, Mead and Co., New York, 1925, mentioned p. 61 (not illustrated).Monique Angoulvent, Berthe Morisot, Éditions Albert Morancé, Paris, 1933, mentioned in Chapter "Nostalgie," p. 102 and catalogued as no. 548, p. 146 (as Copie d'Apollon Visitant Latone, de Boucher).Denis Rouart, et al., The Correspondence of Berthe Morisot with Her Family and Friends, [translated from French into English by Betty W. Hubbard] Lund, Humphries & Co., Ltd, London, 1957; and E. Weyhe, New York, 1959, mentioned p. 174 (not illustrated); also mentioned p. 197 in the subsequent 1986 and 1987 editions.Marie-Louise Bataille and Georges Wildenstein, Berthe Morisot, Catalogue des Peintures, Pastels et Aquarelles, Les Beaux-Arts, Paris, 1961, no. 320, fig. 323, p. 45 (illustrated as Apollon Visitant Latone (Copie d'après Boucher)).Alexandre Ananoff and Daniel Wildenstein, François Boucher, La Bibliothèque des Arts, Lausanne, 1976, fig. 1337 (illustrated).Julie Manet, Journal (1893-1899): Sa Jeunesse Parmi les Peintres Impressionistes et les Hommes de Lettres, Librairie C. Klincksieck, Paris, 1979, mentioned p. 85.Charles F. Stuckey and William P. Scott, "Morisot's Style and Technique," in Berthe Morisot, Impressionist, an exhibition catalogue, Hudson Hills Press, New York, 1987, fig. 111, p. 212 (illustrated as Apollon Visitant Latone).Alain Clairet, Dephine Montaland, and Yves Rouart, Berthe Morisot 1841-1895, Catalogue Raisonné de l'Oeuvre Peint, CÉRA-nrs editions, Montolivet, 1997, mentioned p. 70, commented as no. 324, illustrated p. 272 (as Apollon Visitant Latone).Ann Dumas et al., "Painted in an Hour: Impressionism and Eighteenth-Century French Art," in Inspiring Impressionism: The Impressionists and the Art of the Past, Yale University Press, New Haven, 2007, mentioned p. 139 (not illustrated).William P. Scott, "A Painter's Painter," in Berthe Morisot, Woman Impressionist, an exhibition catalogue, Rizzoli Electa, New York, 2018, fig. 4, p. 162 (illustrated as Apollo Revealing His Divnity Before the Shepherdess Issé).Marianne Mathieu, "Une Artiste en Devenir," in Berthe Morisot, an exhibition catalogue, Coédition Musées d'Orsay et de l'Orangerie, Flammarion, Paris, 2018, fig. 105, p. 189 (illustrated asApollon Visitant Latone, d'après Apollon Révélant sa Divinité à Issé).
Lot 410
Henry Walker (mid 19th Century, English) Watercolour colour study of a pheasant and huntsman, 20cm x 17cm, after Manet, portrait engraving inscribed A Salmon, 9.5cm x 8cm, French 19th Century engraving of Bordeaux, 16cm x 24cm, After Auguste Lepere (1849-1918)monochrome woodcut, of Le General Joffre Decore, 26cm x 20cm and a French coloured illustration from La Gazette Du Bon Ton 1921 after A E Marty, 20cm x 17cm (5)
Lot 14
Pierre-Auguste Renoir, (1841-1919) "Baigneuse debout a mi-jambes" or "The Bather," c 1906, Original etching. [Portfolio: Manet and the French Impressionists (Duret)] Framed. Reference: Stella 23. Excellent impression on very good wove paper. Ample margins. Provenance: Lawrence Ison Estate. Image size: 6 5/8 x 4.5 in. Overall Size: 13.75 x 11.75 in. Framed behind glass.
Lot 41
Henri de Toulouse Lautrec (French 1864-1901) Le marchand de marrons; The chestnut seller Lithograph 25.5 x 17.5cm (image) (2)From the 1925 edition of 625 for Histoire de la Lithographie de Manet à nos Jours Provenance: William Weston Gallery, London Many impressions from this edition were destroyed in World War II
Lot 113
MANET EDOUARD: (1832-1883) French Painter. A.L.S., Ed. Manet, one page, 8vo, n.p., n.d., to a friend, in French. The artist informs his correspondent that between 9 and 11 will suit him perfectly, although adds 'but let us wait a little for the weather to pick up', and concludes 'Come and see me whenever you wish. I am at home all day and we'll have a session'. Some very light, extremely minor foxing and age wear, VG
Lot 274
MANET EDOUARD: (1832-1883) French Painter. A curious A.L.S, `Ed. Manet´, two pages, to a 4.5 x 3.5 card, n.p., Saturday 4th February, n.y. [1882], to Emile Blémont, in French. Manet strongly wishes to collect back some sketches and explains to his correspondent `Although I do not care about my sketches more than what they deserve, I think it would be a polite gesture if these gentlemen return them to me the earliest..´ Bearing a Blémont Foundation collection ink stamp. VG £1000-1500Emile Blémont (1839-1927) French Poet and Playwright.
Lot 40
Roderic O’Conor (1860 - 1940)Nu Brun, Assis or 'Dark-Haired Nude Seated' (1913)Oil on canvas, 65 x 54cm (25½ x 21¼)Signed and dated (19)13Atelier stamp versoProvenance: Hotel Drouot, Paris 'Vente O'Conor' Feb 1956; Sotheby's London 2/11/1983 Lot 72 where purchased by previous owners; Adam's, Important Irish Art, 23.03.2016, Lot No.69, where purchased by current owners.Exhibited: Paris in the 11e. Salon d'Automne in 1913 as No.1596 in a group of six works by O’Conor with the title Jeune femme assise, works by Matisse and Bonnard were also in the same exhibition. The Hunt Museum, 'Roderic O’Conor - Shades of a Master', Limerick June - Aug 2003, Cat No. 19; Literature: Jonathan Benington, Roderic O'Conor, 1992, Cat. No. 164; Shades of a Master, Hunt Museum 2003, illustrated.This work was painted in his Paris studio before the summer which he spent in Cassis in the south of France. Our thanks to Roy Johnston for this extra information.Nora Hickey writing in Shades of a Master (2003) said of this picture:-The influence of Gauguin and the Fauves is apparent in the accentuated outline of this studio nude and the broad directional brushstrokes of the background, which recall O'Conor's earlier feathered brushwork and striped paintings. The sorrowful expression, a common feature of O'Conor's nudes and sympathetic treatment of the subject invite the viewer to empathise with the sitter. O'Conor was friendly with Gauguin and included a work called Te nave nave fenua (Delightful land) amongst his important art collection which also included works by Renoir, Derain, Bonnard, Manet, Toulouse-Lautrec and Modigliani amongst many of the other greats. He was not only a great collector but he was an innovator who had significant influence on his contemporaries and a younger generation of English artists in Paris such as the painter Matthew Smith who referred to O'Conor as his master.
Lot 124
DEGAS EDGAR: (1834-1917) French Painter. A.L.S., Degas, one page, 8vo, n.p., n.d. (before 1892), to the members of an unidentified committee, in French. Degas states, in full, 'I ask the members of committee to accept my apologies. I believed Eugene Manet's visit was enough, and what I said to him as well. Since we must communicate more officially, I hereby thank you for your offer, but I decline it'. With blank integral leaf. EX Eugene Manet (1833-1892) French Painter, the younger brother of Edouard Manet.
Lot 12
NO RESERVE Impressionism.- Pissarro (Ludovic Rodo) & Lionello Venturi. Camille Pissarro: son Art - son Oeuvre [Catalogue Raisonné], 2 vol., facsimile reprint, San Francisco, 1989 § Dauberville (G.-P. & Michel) Renoir: Catalogue Raisonné des Tableaux, Pastels, Dessins et Aquarelles, vol.4 only (of 5: 1903-1910), Paris, 2012 § Cachin (F.) Signac: Catalogue Raisonné de Peint, Paris, 2000; Manet 1832-1883, New York, 1983 § Clairet (A.) & others. Berthe Morisot 1841-1895: Catalogue Raisonné de l'Oeuvre Peint, text in French and English, Montolivet, 1997 § Farinaux-Le Sidaner (Y.) Le Sidaner: L'Oeuvre Peint et Gravé, limited edition, Paris, 1989 § Jean-Aubry (G.) Eugène Boudin, Neuchatel, 1987, illustrations, many colour, original cloth with dust-jackets; and c.40 others, mostly Impressionism and Neo-Impressionism, 4to & 8vo (c.45)
Lot 232
HALCYON DAYS 'TUTANKHAMUN' ENAMEL, in box, along with three other boxed Halycon Days enamels including Edouard Manet 'Peonies in a Vase', an enamel commemorating the 150th anniversary of Phoebe Anna Traquair and another depicting a 1st century BC mosaic of a cockerel in the Burrell Collection Glasgow (4)
Lot 161
DEGAS EDGAR: (1834-1917) French Painter. A.L.S., Degas, one page, 8vo, n.p., n.d. (before 1892), to the members of an unidentified committee, in French. Degas states, in full, 'I ask the members of committee to accept my apologies. I believed Eugene Manet's visit was enough, and what I said to him as well. Since we must communicate more officially, I hereby thank you for your offer, but I decline it'. With blank integral leaf. EX Eugene Manet (1833-1892) French Painter, the younger brother of Edouard Manet.
Lot 223
Three (3) 20th Century Framed Decorative Prints. Includes: Raoul Dufy "Le Violincelliste"; Pablo Picasso "The Three Graces"; Edouard Manet "Spring". All pieces framed and under glass. Largest frame measures 18-1/4" x 15-1/2" Condition: Good condition. Estimate: $50.00 - $150.00 Domestic Shipping: $95.00
Lot 5047
Books - Art History - Meyer (Anthony JP), Oceanic Art, 1995 one-volume edition, h/b, d/j; Dürer, various; further late Medieval and early Renaissance, including John Pope-Hennessy; some Royal Academy exhibition catalogues; Rembrandt; Goya; Renoir, Manet, other Impressionists and Post-Impressionists; Phaidon publications; Thames and Hudson World of Art series, ancient art to 20th century art reference; etc
Lot 252
MANET EDOUARD: (1832-1883) French Painter. A curious A.L.S, `Ed. Manet´, two pages, to a 4.5 x 3.5 card, n.p., Saturday 4th February, n.y. [1882], to Emile Blémont, in French. Manet strongly wishes to collect back some sketches and explains to his correspondent `Although I do not care about my sketches more than what they deserve, I think it would be a polite gesture if these gentlemen return them to me the earliest..´ Bearing a Blémont Foundation collection ink stamp. VG £1000-1500Emile Blémont (1839-1927) French Poet and Playwright.
Lot 253
MANET EDOUARD: (1832-1883) French Painter. Unusual D.S., twice, `Ed. Manet´, and `Edouard Manet´ at the head, one page, 4to, Paris, 1st of January 1881, in French. The partially printed document being a membership bulletin to the Society Arti & Amicitae, as stated to the heading, “For the foundation of a Home for Retiree and Health in favour of Artists and Men of Letters and Science.” Manet adds, completing the form, his date of birth and address `born in Paris 1832, 77 rue d´Amsterdam´. The bulletin has been carefully affixed to a thick cardboard. With remnants of former affixing to the cardboard verso, and a very small hole to the upper right corner, not affecting any word. Very light creasing, otherwise G £2000-3000
Lot 55
NO RESERVE Manet (Edouard).- Rouart (Denis) & Daniel Wildenstein. Edouard Manet: Catalogue Raisonné, 2 vol., Lausanne & Paris, 1975 § Jamot (Paul) & Georges Wildenstein. Manet: Catalogue Critique, 2 vol., later half vellum, original wrappers bound in, spines gilt, uncut, Paris, 1932 § Gronberg (T.A., editor) Manet; a Retrospective, New York, 1988, plates and illustrations, some colour, all but the second original cloth with dust-jackets; and 5 others on Manet, v.s. (10)
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