約瑟夫．拉斐爾．維塔男爵，巴黎，賣出：巴黎德魯奧拍賣會，1926年5月 27日，拍品編號121
私人收藏，柏林（購於1928年前）
艾倫．卡岑尼倫伯根，德國與聖塔莫尼卡，加州 （購於1934年前）
私人收藏，瑞典
私人收藏

「愛德華．馬奈展覽」，柏林，麥息生畫廊，1928年，圖版65，品號67，圖錄附圖版
「十九世紀的法國藝術大師與梵高」，瑞士伯恩，美術館，1934年，品號74
「馬奈」，巴黎，休格特．貝瑞斯，1978年，品號16，圖錄附圖版
「愛德華．馬奈」，東京，伊勢丹美術館、福岡，福岡市美術館與大阪，大阪市立美術館，1986年，品號54，圖錄附彩色圖版
「馬奈」，瑞士馬蒂尼，皮耶．加納達基金會，1996年，品號81，圖錄附彩色圖版
「馬奈」，羅馬，維托里安諾博物館，2005-06年，品號 127，圖錄附彩色圖版

〈愛德華．馬奈寫給藝術編輯雜誌的信，1881年4月21日〉文中提及此作，刊錄於茱麗葉．威爾森-巴羅[編]，《馬奈個人之書信與談話：繪畫、粉筆畫、版畫與素描》，倫敦，1991年，第260頁
阿道夫．塔巴蘭特，《馬奈藝術目錄史》，巴黎，1931年，第 560-61頁，品號109
保羅．賈莫與喬治．維登斯坦，《馬奈》，第1冊，巴黎，1932年，討論頁174
阿道夫．塔巴蘭特，《馬奈與其作品》，巴黎，1947年，討論頁403
亞蘭．德．雷瑞斯，《愛德華．馬奈的素描》，伯克萊與洛杉磯，1969年，品號589，圖版無頁次
A.C. ．韓森與亞蘭．德．雷瑞斯，〈愛德華．馬奈的素描〉（書評），《藝術期刊》，第4號，1971年12月號，第547頁
丹尼斯．胡爾特與丹尼爾．維登斯坦，《愛德華．馬奈專題目錄》，第2冊，洛桑與巴黎，1975年，品號488，圖版頁175
蘇菲．馬尼荷特，《印象派與其時代》，第2冊，巴黎，1979年，討論頁116
佛蘭斯瓦．卡辛，查爾斯．S. ．莫菲特與麥克． 梅拉特，《馬奈1832-1883》（展覽圖錄）， 大皇宮國家展覽館，巴黎與大都會博物館，紐約，1983年，圖版頁473
瑪麗莎．麥凱倫，《印象派肖像》，倫敦，1986年，第164頁
埃多勒．卡邁薩斯卡，《聖保羅美術館的珍藏：從馬奈到畢加索》（展覽圖錄）， 皮耶．加納達基金會，瑞士馬蒂尼，1988年，圖版頁44
茱麗葉．威爾森-巴羅 [編]，《馬奈個人書信與談話：繪畫、粉筆畫、版畫與素描》， 倫敦，1991年，圖版頁260

This work is in very good condition. Executed on cream-colored wove paper. The sheet is backed with a thin tissue and the tissue layer is reinforced near the center and left of the center of the sheet. The work is affixed to a mat along the top edge of the tissue backing. There is a soft crease running horizontally across the sheet as well as a vertical one, perhaps evidence that the sheet was at some point folded into quarters. The ink is strong with no abrasions or losses. The sheet is slightly time-darkened.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Related directly to the artist's monumental composition now housed at the Museu de Arte in São Paulo, Portrait de M. Pertusiet, Chasseur de lions, the current sketch was executed in 1881. The subject of this work is the celebrated lion hunter, Eugène Pertuiset, who enjoyed relative acclaim during the Second Empire in France. Pertuiset posed for Manet on the Boulevard de Clichy in 1880, though the lion pelt that appears behind him commemorates a 1866 hunt. According to Juliet Wilson-Bareau, Manet completed this sketch in 1881, shortly after he had completed the monumental oil. He mentioned in a letter of April 21st to the editor of L'Art that he would send along this sketch🐎, perhaps for reproduction in the publication.

Françoise Cachin writes of the dialogue between the artist and this celebrated sportsman, "Manet had long been acquainted with Eugène Pertuiset, already a popular Paris figure under the Second Empire, who would appear at Tortoni's between expeditions to Algeria or Patagonia. He was a man of adventure, a mighty hunter, a sometime painter - some titles in the Pertuiset sale of 1888 were The Lion Awakens, African Night, Cape Horn, Moonlight - a dealer in weapons, and a collector of paintings, particularly those by Manet, and his stories were found entertaining by the artist. Very likely he tended to exaggerate. The lion hunter was a popular adventurer type in the 1860s... After military conquest, the elimination of predators becomes the very symbol of colonization" (Françoise Cachin, Charles S. Moffett & Michel Melot, Manet, 1832-1883 (exhibition catalogue), op. cit., p. 471).