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拍品專文
This drawing will be included in the forthcoming revised edition of the Edouard Manet catalogue by Denis Ronart and Daniel Wildenstein, under the sponsorship of the Wildenstein Institute.
This drawing is accompanied by a copy of Edgar Allen Poe's Les Poèmes (Brussels: Edmond Deman, 1897. Trans. Stéphane Mallarmé and illustrated by Edouard Manet. Second Edition).
The works of the American writer Edgar Allan Poe (1809-1849) became a powerful influence on French writing in the latter part of the 19th Century, largely through the passionate partisanship of the French poet Charles Baudelaire (1822-1867). Baudelaire transmitted his admiration of Poe to a younger generation of artists and writers, including Manet and the poet Stéphane Mallarmé (1842-1898). One of Manet's first prints was an etching of Poe (Guerin, no. 55; Harris, no. 2) which he executed from a daguerrotype in 1860, and was intended for a projected edition of critical articles on Poe which Baudelaire was editing. Manet executed a related wash drawing around the same time (Wildenstein, no. 489; coll. Bibliotheque Nationale, Paris).
Mallarmé began to translate Poe's verse into prose poems as early as 1862, a collection of which he published in 1872. Shortly afterwards Mallarmé and Manet were introduced, and they became lifelong friends. In 1875 Manet provided lithographs for a small edition of Mallarmé's translation of Poe's most famous poem, The Raven (Guerin, nos. 84-86; Harris, no. 83).
Unlike the earlier etching and wash drawing, the present portrait was based on the so-called Pratt daguerrotype of Poe, and may have been a trial work intended for a portrait which had been considered for, but not used in, a memorial volume of tributes to Poe published in 1876.
In 1881 Mallarmé suggested to Manet that they collaborate on a new volume of Poe translations. Manet responded with a series of drawings for Annabel Lee (Wildenstein, nos. 435-438) and La Cité en la Mer (Wildenstein, no. 258). The artist died in 1883, but when Mallarmé was preparing a definitive volume of his Poe translations a few years later, he remembered the unpublished portrait of Poe, and selected it for the frontispiece.
This drawing is accompanied by a copy of Edgar Allen Poe's Les Poèmes (Brussels: Edmond Deman, 1897. Trans. Stéphane Mallarmé and illustrated by Edouard Manet. Second Edition).
The works of the American writer Edgar Allan Poe (1809-1849) became a powerful influence on French writing in the latter part of the 19th Century, largely through the passionate partisanship of the French poet Charles Baudelaire (1822-1867). Baudelaire transmitted his admiration of Poe to a younger generation of artists and writers, including Manet and the poet Stéphane Mallarmé (1842-1898). One of Manet's first prints was an etching of Poe (Guerin, no. 55; Harris, no. 2) which he executed from a daguerrotype in 1860, and was intended for a projected edition of critical articles on Poe which Baudelaire was editing. Manet executed a related wash drawing around the same time (Wildenstein, no. 489; coll. Bibliotheque Nationale, Paris).
Mallarmé began to translate Poe's verse into prose poems as early as 1862, a collection of which he published in 1872. Shortly afterwards Mallarmé and Manet were introduced, and they became lifelong friends. In 1875 Manet provided lithographs for a small edition of Mallarmé's translation of Poe's most famous poem, The Raven (Guerin, nos. 84-86; Harris, no. 83).
Unlike the earlier etching and wash drawing, the present portrait was based on the so-called Pratt daguerrotype of Poe, and may have been a trial work intended for a portrait which had been considered for, but not used in, a memorial volume of tributes to Poe published in 1876.
In 1881 Mallarmé suggested to Manet that they collaborate on a new volume of Poe translations. Manet responded with a series of drawings for Annabel Lee (Wildenstein, nos. 435-438) and La Cité en la Mer (Wildenstein, no. 258). The artist died in 1883, but when Mallarmé was preparing a definitive volume of his Poe translations a few years later, he remembered the unpublished portrait of Poe, and selected it for the frontispiece.