Physical Qualities
Brush and ink transfer lithograph, Sheet: 421 x 315 mm. (16 9/16 x 12 3/8 in.)
Image: 395 x 315 mm. (15 9/16 x 12 3/8 in.)
Credit Line
The George A. Lucas Collection, purchased with funds from the State of Maryland, Laurence and Stella Bendann Fund, and contributions from individuals, foundations, and corporations throughout the Baltimore community
Object Number
1996.48.18047
From the book "Edgar Allan Poe, Le Corbeau, translated by Stéphane Mallarmé (Paris: R. Lesclide, 1875)"
For discussions about the technique of Manet’s “autographies,” see the argument that these works are possibly gillotages (or brush-and-ink transfer relief plates) rather than transfer lithographs first put forth by Douglas Druick and Peter Zegers, “Degas and the Printed Image, 1856-1914,” in Sue Welsh Reed and Barbara Stern Shapiro, eds., Edgar Degas: The Painted as Printmaker (Boston: Museum of the Fine Arts, 1984) and expanded upon by Jay McKean Fisher in his The Prints of Edouard Manet (Washington, D.C.: The International Exhibitions Foundation, 1985) and his "Manet's Illustrations for 'The Raven': Alternatives to Traditional Lithography," in Pat Gilmour, ed., Lasting Impressions: Lithography as Art (Canberra: Australian National Gallery, 1988). For reactions to Fisher’s proposal, see Barbara Stern Shapiro and Antony Griffiths, “Manet as Printmaker,” Print Quarterly Vol. 3 No. 2 (June 1986): 144-149, Pat Gilmour, “The Prints of Edouard Manet,” The Tamarind Papers Vol. 9 No. 2 (Fall 1986): 71-76, and “Manet Continued,” Print Quarterly Vol. 3 No. 4 (December 1986): 360-362.
The Baltimore Museum of Art by purchase, 1996; The Maryland Institute College of Art,
through Henry Walters, Baltimore, by bequest 1909; from George A. Lucas, Paris
through Henry Walters, Baltimore, by bequest 1909; from George A. Lucas, Paris
Peter Wick, Fogg Art Museum of Harvard University, Cambridge, MA, "The Arts of the French Book 1900 - 1965," Dec. 1966 - Jan. 1967; circulated to Lillian Bradshaw, Dallas
Public Library, Dallas, TX, Mar. 28 - May 6, 1967; circulated to Yale University Library, New Haven, CT, c. June 1967.
The Maryland Institute, Baltimore, Nov. 3 - 24, 1968.
Eugene Leake, The Maryland Institute College of Art, Baltimore, April 1969.
Eugene Leake, Maryland Institute College of Art, St. Timothy's School, Stevenson, MD, Oct. 23 - Nov. 9, 1972.
BMA, "The Prints of Edouard Manet: A Centenary Celebration," 27 September - 20 November, 1983.
Jay McKean Fisher, International Exhibitions Foundation, Washington, D.C., "The Prints of Edouard Manet," May 1985 - June 1986, cat. no. 11, p. 43-44, ill. p. 43; circulated to The Detroit Institute of Art, May 14 - June 30, 1985; University Art Museum, Berkeley, Sept. 18 - Nov. 3; The St. Louis Art Museum, Nov. 23, 1985 - Jan. 5, 1986; Huntsville Museum of Art; Worcester Art Museum, Jan. 25 - Mar. 9, 1986; Art Gallery of Ontario, Toronto, Mar. 29 - May 11, 1986.
BMA, Print Rotation, July 2003
Public Library, Dallas, TX, Mar. 28 - May 6, 1967; circulated to Yale University Library, New Haven, CT, c. June 1967.
The Maryland Institute, Baltimore, Nov. 3 - 24, 1968.
Eugene Leake, The Maryland Institute College of Art, Baltimore, April 1969.
Eugene Leake, Maryland Institute College of Art, St. Timothy's School, Stevenson, MD, Oct. 23 - Nov. 9, 1972.
BMA, "The Prints of Edouard Manet: A Centenary Celebration," 27 September - 20 November, 1983.
Jay McKean Fisher, International Exhibitions Foundation, Washington, D.C., "The Prints of Edouard Manet," May 1985 - June 1986, cat. no. 11, p. 43-44, ill. p. 43; circulated to The Detroit Institute of Art, May 14 - June 30, 1985; University Art Museum, Berkeley, Sept. 18 - Nov. 3; The St. Louis Art Museum, Nov. 23, 1985 - Jan. 5, 1986; Huntsville Museum of Art; Worcester Art Museum, Jan. 25 - Mar. 9, 1986; Art Gallery of Ontario, Toronto, Mar. 29 - May 11, 1986.
BMA, Print Rotation, July 2003
Fisher, Jay McKean. The Prints of Edouard Manet (Washington, D.C.: The International Exhibitions Foundation, 1985), p. 111 illustrated.
Parshall, Peter and S. Hollis Clayson, Christiane Hertel, Nicholas Penny. The Darker Side of Light: Arts of Privacy, 1850-1900 (Washington, D.C.: National Gallery of Art, 2009), p.78 illustrated.
Inscribed: Signed in matrix: lower right "E. M."
Markings: None
