Ex-Libris (by Bracquemond

In 1894 Madam Manet turned over to the publisher M. L. Dumont the above twenty-three plates as vvell as seven others as follows:

Le Buveur d'eau (M 32)

Le Philosophe (M 33)

Le Rêve du Marin (M 42)

Les Bateaux (M 39)

Le Fumeur ( esquisse ) (M 34)

Le Profil d'Eva Gonzales (M 44)

Olympia (M 17)

Of each of these thirty plates M. Dumont published an édition of thirty proofs. And in 1905 the plates became the property of M. Alfred Strolin who brought out another édition of 100 proofs each. He then destroyed the plates by having two holes punched in each.

Manet designed several woodcuts though he never actually eut them in wood; he made a variant

>int et Criavé par Manet jfi65

imp A Sa.i-.non

PORTRAIT OF BAUDELAIRE Exact size of original etching Reproduced by courtesy of E. Weyhe

of the Olympia but it was not published until 1902 in Duret’s book, Histoire d' Edouard Manet ( Floury ). This work, one of the most important monographs ever published 011 the artist, also contains the brilliant etching Le Gamin (M 11) and the Olympia {M 17). The German translation (Berlin 1910) contains the profile of Baudelaire (. M 40) and the portrait of Berthe Morisot ( M 41) both printed from the destroyed plates; the English translation under the title of Manet and the French Impressionists ( London : Grant Richards içio and 1912) contains the Berthe Morisot {M 41) likewise from the destroyed plate. The etching Jeanne (. M 47) again appeared in the Gazette des Beaux-Arts for November 1902. In 1906 Moreau-Nelaton’s invaluable catalogue of Manet’s graphie work appeared, and as a frontispiece it had the etching of Bracquemond ( M 66) ; two hundred and twenty-five copies were printed.

This complétés the summary of Manet’s graphie work and the sketch of their successive publications. A change lias corne over the public since his prints could not find buyers at 2 francs apiece. Nowadays his etchings and lithographs are diligently sought for. It is significant that Degas, keen critic that he was of contemporary art, had an almost complété collection of Manet’s prints. Manet’s etchings and lithographs are among the most vital and vigorous productions of the nineteenth century. They are trenchant réfactions of his personality, and through him, realist that he was, of the Paris of his time. Manet had a proud heraldic motto, a play upon his naine and prophecy which we can but re-echo — he remains and will remain — Manet et Manebit.

PI. y.

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