Outlet Pamono Edouard Manet, Gare St.-Lazare, 1918, Lithograph

A lithograph after Edouard Manet from “Die Skizzenmappe – Zeichnungen französischer Meister des neunzehnten Jahrhunderts” portfolio with text by Julius Elias, published by Marees-Gesellschaft in Munich in 1911-1918, one year before the Van Gogh portfolio, in an edition of 100 only. The portfolio consisted of 70 lithographic reproductions of drawings and watercolors by Edouard Manet, Berthe Morisot, Claude Monet, Camille Pissarro, Alfred Sisley, Armand Guillaumin, Edgar Degas, Henri de Toulouse-Lautrec, George Seurat, Paul Signac, Auguste Renoir, Paul Cézanne, Pierre Bonnard, Edouard Vuillard, Vincent Van Gogh, Paul Gauguin and Auguste Rodin.
As stated in the colophon, it took the publisher 7 years to complete the series.
The artwork is accompanied by a copy of the colophon.

Edouard Manet (1832-1883), after
“Gare St.-Lazare” (St. Lazare Railway)
Colour Lithograph
Year (conceived): 1873
Year (printed): 1918
Edition: 57/100
Size (overall): 480 x 322 mm
Size of the image: 189 x 223 mm
in the original passepartout, blind-numbered 9

Blind seal of the publisher, lower right corner

Numbered 57 on the colophon, from an overall edition of 100

Printer: André Marty
Publisher: Marées-Gesellschaft, R. Piper & Co., München, 1918

Excellent condition (few signs of age in the passepartout)

Sold with Certificate
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The Railway, widely known as Gare Saint-Lazare, is an 1873 painting by Édouard Manet. It is the last painting by Manet of his favourite model, the fellow painter Victorine Meurent, who was also the model for Olympia and the Luncheon on the Grass, among other paintings by Manet. It was exhibited at the Paris Salon in 1874 and donated to the National Gallery of Art in Washington, D.C. in 1956.

Meurent is depicted sitting to the left side of the frame, in front of an iron fence near the Gare Saint-Lazare in Paris. The pensive subject is wearing a dark hat and sombre deep blue dress with white details, and is looking towards the viewer, while a sleeping puppy, a fan and an open book rest in her lap. Next to her is a little girl, modelled by the daughter of Manet’s neighbour Alphonse Hirsch, a contrasting figure wearing a white dress with large blue bow, standing her back to the viewer, watching through the railings as a train passes beneath them. The black band in the girl’s hair echoes the black band around the neck of the woman. Instead of choosing the traditional natural view as background for an outdoor scene, Manet opted for the iron grating which “stretches across the canvas.” The only evidence of the train is its white cloud of steam. Modern apartment buildings can be seen in the background – including the house on the Rue de Saint-Pétersbourg, near the Place de l’Europe, where Manet had rented a studio since July 1872 — and also a signal box and the Pont de l’Europe.

The arrangement compresses the foreground into a narrow focus, separated from the background by the row of railings. The traditional convention of deep space is ignored. Resting on a parapet to the right of the painting is a bunch of grapes, perhaps indicating that the painting was made in the autumn. The dog may be a reference to Titian’s Venus of Urbino; Manet had earlier echoed Titian’s composition in his Olympia.

Historian Isabelle Dervaux has described the reception this painting received when it was first exhibited at the official Paris Salon of 1874: “Visitors and critics found its subject baffling, its composition incoherent, and its execution sketchy. Caricaturists ridiculed Manet’s picture, in which only a few recognized the symbol of modernity that it has become today”.

Shortly after it was completed, the painting was sold to baritone Jean-Baptiste Faure. It was sold in 1881 for 5,400 francs to the art dealer Paul Durand-Ruel, who gave it several names: Enfant regardant le chemin de fer, Le pont de l’Europe, A la Gare St. Lazare, and later just Gare St. Lazare. It was sold on 31 December 1898 for 100,000 francs to American Henry Osborne Havemeyer. His wife Louisine Havemeyer left 2,000 artworks to the Metropolitan Museum of Art in New York on her death in 1929, but she divided a small collection, including The Railway, among her three children. The painting was donated to the National Gallery of Art in Washington, D.C. in 1956 on the death of her son Horace Havemeyer.