EDOUARD MANET (1832-1883)
Tête du chien "Bob"
signed with initial 'M.' (lower right) and inscribed 'Bob' (upper right)
oil on canvas
10 3/4 x 8 1/2 in. (27.5 x 21.5 cm.)
Painted circa 1876
Jean-Baptiste Faure, Paris (commissioned from the artist, until at least 1921).
Ludwig and Estella Katzenellenbogen, Berlin (by 1928).
Estella Katzenellenbogen, Berlin and Santa Monica (until at least March 1945).
Carroll Carstairs Gallery, New York (by 1947).
Mrs. J. Cheever Cowdin, New York (by 1966).
Anon. sale, Sotheby Parke Bernet, Inc., New York, 4 November 1982, lot 39b.
Acquired by Ann and Gordon Getty at the above sale.

Please note that the present work is being offered for sale pursuant to a settlement agreement between the current owner and heirs of Estella Katzenellenbogen. The settlement agreement resolves all issues between the parties regarding ownership and transfer of title.
A. Tabarant, Manet: Histoire catalographique, Paris, 1931, pp. 287-288, no. 233 (titled Bob, chien griffon).
P. Jamot and G. Wildenstein, Manet, Paris, 1932, vol. I, p. 153, no. 267bis (illustrated, vol. II, fig. 346).
A. Tabarant, Manet et ses oeuvres, Geneva, 1947, p. 270, no. 239 (titled Bob, chien griffon).
M. Venturi and S. Orienti, L'opera pittorica di Edouard Manet, Milan, 1967, p. 104, no. 203 (illustrated; dated 1875).
D. Rouart and D. Wildenstein, Edouard Manet: Catalogue raisonné, Lausanne, 1975, vol. I, p. 206, no. 253 (illustrated, p. 207).
Berlin, Galerie Matthiesen, Edouard Manet, February-March 1928, p. 32, no. 37 (illustrated, pl. XXXV).
Kunsthaus Zürich, Französische Maler des XIX Jahrhunderts, May-August 1933, p. 7, no. 6.
Rotterdam, Museum Boijmans, Schilderijen van Delacroix tot Cezanne en Vincent van Gogh, December 1933-January 1934, p. 18, no. 50.
San Francisco, Palace of Fine Arts, Golden Gate International Exhibition, 1940, p. 19, no. 279c.
Philadelphia Museum of Art and The Art Institute of Chicago, Edouard Manet, November 1966-February 1967, p. 199, no. 194.
New York, M. Knoedler & Co., Inc., The Artist and the Animal: A Loan Exhibition for the Benefit of The Animal Medical Center, May 1968, p. 66, no. 91 (illustrated).
The Art Institute of Chicago and Los Angeles, The J. Paul Getty Museum, Manet and Modern Beauty, May 2019-January 2020.

Brought to you by

Elizabeth Seigel
Elizabeth Seigel Vice President, Specialist, Head of Private and Iconic Collections

Lot Essay

Estella Katzenellenbogen (1886-1991) was a keen art collector and patron in pre-war Berlin. She shared an impressive collection with her then-husband, Ludwig, which included major French Impressionist and Post-Impressionist artists. Divorced in 1928, Estella retained many outstanding artworks, including Manet’s Bob. With the rise of anti-Semitic measures from 1933 onwards, Estella emigrated first to Switzerland in 1938 and then to the United States in 1940, where she eventually settled in the intellectual and artistic émigré community in Los Angeles. From circa 1942, she worked with Karl Nierendorf running his International Art gallery in Hollywood, which she took over in late 1945.
This depiction of a small terrier named Bob was commissioned by one of Edouard Manet’s most important supporters and patrons, the opera singer, Jean-Baptiste Faure. Faure had made his debut at the Paris Opéra in 1861. Over the course of his life, he was widely renowned, performing in numerous roles. Just as prolific as his performances was his desire to collect modern art. He had initially acquired a large collection of Barbizon school works, which he dispersed in the early 1870s when he discovered the work of Manet and the Impressionists. From this time onwards, Faure became the most important collector of Manet’s work—at one point he owned sixty-seven pieces by the artist, including Le déjeuner sur lherbe and Le Bon Bock (Wildenstein, nos. 67 and 186). He also posed for the artist on a few occasions, including Portrait de Faure dans le rôle dHamlet (no. 257).
Over the course of his career, Manet occasionally painted pictures of his friends’ and acquaintances’ pets. This motif had a long art historical heritage, following on from the French eighteenth-century tradition of painting royal hunting dogs, as well as the court painting of one of Manet’s great influences, Diego Velázquez. A total of eight works of this kind are recorded in the catalogue raisonné of the artist (nos. 232-235, 253-255 and 293). Like the current work, many of these depictions of these distinctively characterized animals provide compelling glimpses into the social world of Manet throughout his career. One, La chienne Follette (no. 235), painted in 1875, is said to have been owned by the secretary of Antonin Proust. Another, Chien King Charles (no. 233) was given to Maurice Leclanché, part of an engineering family, and an important collector and friend of many of the Impressionists, including Manet. Le chien Minnay (no. 293), depicts the dog of Marguerite Gauthier-Lathuille, and was given to her as a gift by the artist. Manet had also painted her portrait the same year. Marguerite was the daughter of Père Lathuille, the owner of the eponymous restaurant popular with Manet and other artists in his circle—indeed, Manet had painted a scene at this institution in 1879. Le chien Donki (no. 254), in the present collection, was formerly owned by a friend of the Impressionists, the engraver and print maker, Michel Manzi.
Rendered on a small and intimate scale, in te du chien "Bob" Manet has distilled some of the defining characteristics of Bob, his tousled, caramel-color coat rendered with a flurry of loose, vigorous brushwork. As with a number of these playful canine portraits, Manet inscribed the dog’s name on the canvas itself. This work was recently included in the exhibition on the artist, Manet and Modern Beauty, held at The Art Institute of Chicago and The J. Paul Getty Museum.
A second portrait of a dog by Manet, Le chien "Donki," which was also owned by Ann and Gordon Getty, is being offered in the Old Masters, 19th and 20th Century Paintings Day Sale on October 21st.

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