Edgar Degas Auction Price Results

Lot 1: ARABESQUE SUR LA JAMBE DROITE, LE BRAS GAUCHE DANS LA LIGNE

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Description: Inscribed Degas, stamped with the foundry mark Cire Perdue A.A. Hébrard and numbered 3/HER Bronze, brown patina Conceived between 1882-95 and cast between 1919-21.

Lot 1: EDGAR DEGAS

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Description: Stamped with the signature (lower left)Pencil on paperThe authenticity of this work has kindly been confirmed by Brame & Lorenceau.

Lot 1: Edgar Degas (1834-1917)

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Description: Arabesque sur la jambe droite, le bras gauche dans la lignestamped with signature and foundry mark 'Degas 3/J A.A. HÉBRARD CIRE PERDUE' (Lugt 658; on the top of the base).bronze with brown patinaHeight: 11 3/4 in. (29.9 cm.)Original wax model executed 1881-1895 and cast in an edition of twenty-two, numbered A to T plus two casts reserved for the Degas heirs and the founder Hébrard; marked 'HER' and 'HER.D' respectively

Lot 1: EDGAR DEGAS (1834-1917)

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Description: Cavaliers sur chevaux au galop; d'après un bas-relief du Parthénonavec le cachet de l'atelier 'Atelier ED. DEGAS' (verso; Lugt 657)mine de plomb sur papier36.4 x 46.7 cm. (14 3/8 x 18 3/8 in.)Exécuté en 1855

Lot 1: EDGAR DEGAS

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Description: 1834-1917 JEUNE DANSEUSE NUE, ETUDE POUR LA DANSEUSE DE QUATORZE ANS Inscribed Degas, numbered 56/HER and stamped with the foundry mark A.A. Hebrard cire perdue Bronze Height 28 1/2 in. 72.4cm. Conceived circa 1878-1879 and cast circa1919-1921. Provenance A.A. Hebrard, Paris Otto Gerson, New York S. Field, New York (sold: Sotheby's, London, July 1, 1970, lot 38) Spencer A. Samuels, New York Acquired from the above Exhibited Roslyn Harbor, New York, Nassau County Museum of Art, The Long Island Collections, A Century of Art: 1880-1980, 1982, no. 7 Roslyn Harbor, New York, Nassau County Museum of Art, Long Island Collects: The Figure & Landscape, 1870's-1980's, 1990 Literature Paul Gsell, "Edgar Degas, Statuaire," La Renaissance de l'art francais et des industries de luxe, Paris, December 1918, illustration of another cast p. 376 Paul-Andre Lemoisne, "Les Statuettes de Degas," Art et Decoration, Paris, September-October 1919, illustration of the wax model p. 112 Catalogue Hebrard, Paris, 1921, no. 37, illustration of another cast Guillaume Janneau, "Les Sculptures de Degas," La Renaissance de l'art francais et des industries de luxe, Paris, July 1921, illustration of another cast p. 352 Germain Bazin, "Degas Sculpteur," L'Amour de l'Art, Paris, July 1931, illustration of another cast p. 294 John Rewald, Degas: Works in Sculpture, A Complete Catalogue, 1944, no. XIX, illustration of another cast pp. 57-61 Lillian Browse, Degas Dancers, Boston, 1949, illustration of another cast pl. 95 Pierre Borel, Les Sculptures inedites de Degas. Choix de cires originales, Geneva, 1949, illustration of the wax model (titled Etude de nu) John Rewald, Degas Sculpture, New York, 1957, no. XIX, illustration of another cast pl. 144 Charles W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, illustration of the wax model pls. 23 & 24 Jacqueline and Maurice Guillaud, (eds.), Degas, Form and Space, Paris and New York, 1984, no. 154, illustration of another cast p. 178 Denys Sutton, Edgar Degas, Life and Work, New York, 1986, no. 170, illustration of another cast p. 186 Fiorella Minervino and Sixtine de Naurois, Tout l'oeuvre peint de Degas, Paris, 1988, no. S37, illustration of another cast p. 142 Anne Roquebert, Degas, Paris, 1988, illustration of another cast fig. 61 Richard Thomson, Degas, les nus, Paris, 1988, pp. 119 and 123, listed; illustration of the wax model fig. 112 Degas, (exhibition catalogue), Galeries Nationales du Grand Palais, Paris; National Gallery of Canada, Ottawa; The Metropolitan Museum of Art, New York, 1988-89, illustrations of another cast pp. 349, 350 John Rewald, Degas' Complete Sculpture: A Catalogue Raisonne, San Francisco, 1990 (revised edition), no. XIX, illustration of the wax model p. 77; illustration of another cast p. 76 Anne Pingeot and Frank Horvat, Degas, sculptures, Paris, 1991, no. 37, illustrations of another cast pp. 36, 37, 171 Sara Campbell, "Degas: The Sculptures, A Catalogue Raisonne," Apollo, London, August 1995, illustration of another cast p. 38 Degas and the Little Dancer, (exhibition catalogue), Joslyn Art Museum, Omaha; Sterling and Francine Clark Art Institute, Williamstown; The Baltimore Museum of Art, 1998-99, illustration of another cast pl. 39 Conceived in 1878-79 and possibly reworked at a later date, this depicts the model who posed for Degas's most celebrated sculpture, Petite danseuse de quatorze ans (see fig. 3). The model was Marie van Goethem, who reached her fourteenth birthday on February 17, 1878. She was the daughter of a Belgium laundress and tailor living in Paris, and together with her two sisters she studied ballet at the Opera, where she subsequently made her debut as a ballerina in 1888. The importance of the Petite Danseuse project for Degas is underscored by numerous associated drawings whose exact sequence and relationship to the sculptures remain unclear. Nude studies include the one sold in Degas's Vente III, no. 369, (Private collection - see fig. 1), with her arms in front of her chest, and those from Vente III, no. 386, and Vente IV, no. 287, (Nasjonalgalleriet, Oslo - see fig. 2), where the pose is close to that used in this sculpture. Out of these drawings emerged the wax study for this work (National Gallery of Art, Washington, D.C.), which was approximately three-quarters the size of the clothed version. The clothed wax version was the only sculpture which Degas ever exhibited. It was originally intended for the Fifth Impressionist Exhibition in 1880 and was included in the catalogue as no. 34, but only an empty vitrine was shown. When it was finally unveiled in the Sixth Impressionist Exhibition in 1881 (no. 12), it shocked many spectators because of its 'disturbing and unique naturalism' (Jules Claretie, La Vie a Paris, Paris, 1881). Petite danseuse de quartorze ans is now recognized as Degas's supreme sculptural achievement. The sculptural challenge of the adolescent female body clearly absorbed Degas. Charles W. Millard writes : "In choosing a fourteen year old model, Degas was attacking... what had... repeatedly been singled out as a difficult sculptural problem. As early as 1822 Thiers had suggested that adolescent forms, being inherently angular and non sculptural, were difficult to render in three dimensions. A decade later Gustave Planche was considerably more specific. 'In the transition from childhood to adolescence the female body rarely shows harmonious lines...the woman who will be beautiful at sixteen is often ungraceful at fourteen. To translate a woman of fourteen into marble one must have consummate skill, and above all great interpretative boldness...' " (Charles W. Millard, The Sculpture of Degas, Princeton, 1976, p. 98). It had been assumed that the nude study as it is known today preceded the final version, but as recent studies of the sculpture have indicated, this is not necessarily the case. Referring to the "too-common error of assuming that artists make their work in strict, production-line sequences of painting or sculptures, completing one before moving on to the next," Richard Kendall has argued that a close analysis of the original wax sculpture from which all the bronzes ultimately derive, indicates that the nude study may in fact post-date the Little Dancer itself. "Important though this undoubtedly is in shedding light on the artist's ingenuity and longer-term ambitions, it does not distract from the overwhelming probablilty that an original wax form of the Nude Study existed in the late 1870s and that it was intimately involved in the sculptural evolution of that moment" (Richard Kendall, Degas and the Little Dancer, New Haven and London, 1998, p. 35). The original agreement between the founder Hebrard and Degas's heirs specified that each sculpture should be cast in an edition of 20, lettered "A" to "T", for public sale plus two casts reserved for the Degas heirs and for Hebrard marked "HER.D" and "HER"respectively. In certain cases there are inconsistencies in the marking of the bronzes, however, and in addition to the lettered casts marked "A" to "T" Sara Campbell lists a cast marked "56/HER," the present work, another marked "HER" in the Fridart Foundation, Amsterdam, as well as an unmarked cast and another marked "AP" issued outside the provisions of the original contract.

Lot 1: EDGAR DEGAS

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Description: 1834-1917 JEUNE DANSEUSE NUE, ETUDE POUR LA DANSEUSE DE QUATORZE ANS Inscribed Degas, numbered 56/HER and stamped with the foundry mark A.A. Hebrard cire perdue Bronze Height 28 1/2 in. 72.4cm. Conceived circa 1878-1879 and cast circa1919-1921. Provenance A.A. Hebrard, Paris Otto Gerson, New York S. Field, New York (sold: Sotheby's, London, July 1, 1970, lot 38) Spencer A. Samuels, New York Acquired from the above Exhibited Roslyn Harbor, New York, Nassau County Museum of Art, The Long Island Collections, A Century of Art: 1880-1980, 1982, no. 7 Roslyn Harbor, New York, Nassau County Museum of Art, Long Island Collects: The Figure & Landscape, 1870's-1980's, 1990 Literature Paul Gsell, "Edgar Degas, Statuaire," La Renaissance de l'art francais et des industries de luxe, Paris, December 1918, illustration of another cast p. 376 Paul-Andre Lemoisne, "Les Statuettes de Degas," Art et Decoration, Paris, September-October 1919, illustration of the wax model p. 112 Catalogue Hebrard, Paris, 1921, no. 37, illustration of another cast Guillaume Janneau, "Les Sculptures de Degas," La Renaissance de l'art francais et des industries de luxe, Paris, July 1921, illustration of another cast p. 352 Germain Bazin, "Degas Sculpteur," L'Amour de l'Art, Paris, July 1931, illustration of another cast p. 294 John Rewald, Degas: Works in Sculpture, A Complete Catalogue, 1944, no. XIX, illustration of another cast pp. 57-61 Lillian Browse, Degas Dancers, Boston, 1949, illustration of another cast pl. 95 Pierre Borel, Les Sculptures inedites de Degas. Choix de cires originales, Geneva, 1949, illustration of the wax model (titled Etude de nu) John Rewald, Degas Sculpture, New York, 1957, no. XIX, illustration of another cast pl. 144 Charles W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, illustration of the wax model pls. 23 & 24 Jacqueline and Maurice Guillaud, (eds.), Degas, Form and Space, Paris and New York, 1984, no. 154, illustration of another cast p. 178 Denys Sutton, Edgar Degas, Life and Work, New York, 1986, no. 170, illustration of another cast p. 186 Fiorella Minervino and Sixtine de Naurois, Tout l'oeuvre peint de Degas, Paris, 1988, no. S37, illustration of another cast p. 142 Anne Roquebert, Degas, Paris, 1988, illustration of another cast fig. 61 Richard Thomson, Degas, les nus, Paris, 1988, pp. 119 and 123, listed; illustration of the wax model fig. 112 Degas, (exhibition catalogue), Galeries Nationales du Grand Palais, Paris; National Gallery of Canada, Ottawa; The Metropolitan Museum of Art, New York, 1988-89, illustrations of another cast pp. 349, 350 John Rewald, Degas' Complete Sculpture: A Catalogue Raisonne, San Francisco, 1990 (revised edition), no. XIX, illustration of the wax model p. 77; illustration of another cast p. 76 Anne Pingeot and Frank Horvat, Degas, sculptures, Paris, 1991, no. 37, illustrations of another cast pp. 36, 37, 171 Sara Campbell, "Degas: The Sculptures, A Catalogue Raisonne," Apollo, London, August 1995, illustration of another cast p. 38 Degas and the Little Dancer, (exhibition catalogue), Joslyn Art Museum, Omaha; Sterling and Francine Clark Art Institute, Williamstown; The Baltimore Museum of Art, 1998-99, illustration of another cast pl. 39 Conceived in 1878-79 and possibly reworked at a later date, this depicts the model who posed for Degas's most celebrated sculpture, Petite danseuse de quatorze ans (see fig. 3). The model was Marie van Goethem, who reached her fourteenth birthday on February 17, 1878. She was the daughter of a Belgium laundress and tailor living in Paris, and together with her two sisters she studied ballet at the Opera, where she subsequently made her debut as a ballerina in 1888. The importance of the Petite Danseuse project for Degas is underscored by numerous associated drawings whose exact sequence and relationship to the sculptures remain unclear. Nude studies include the one sold in Degas's Vente III, no. 369, (Private collection - see fig. 1), with her arms in front of her chest, and those from Vente III, no. 386, and Vente IV, no. 287, (Nasjonalgalleriet, Oslo - see fig. 2), where the pose is close to that used in this sculpture. Out of these drawings emerged the wax study for this work (National Gallery of Art, Washington, D.C.), which was approximately three-quarters the size of the clothed version. The clothed wax version was the only sculpture which Degas ever exhibited. It was originally intended for the Fifth Impressionist Exhibition in 1880 and was included in the catalogue as no. 34, but only an empty vitrine was shown. When it was finally unveiled in the Sixth Impressionist Exhibition in 1881 (no. 12), it shocked many spectators because of its 'disturbing and unique naturalism' (Jules Claretie, La Vie a Paris, Paris, 1881). Petite danseuse de quartorze ans is now recognized as Degas's supreme sculptural achievement. The sculptural challenge of the adolescent female body clearly absorbed Degas. Charles W. Millard writes : "In choosing a fourteen year old model, Degas was attacking... what had... repeatedly been singled out as a difficult sculptural problem. As early as 1822 Thiers had suggested that adolescent forms, being inherently angular and non sculptural, were difficult to render in three dimensions. A decade later Gustave Planche was considerably more specific. 'In the transition from childhood to adolescence the female body rarely shows harmonious lines...the woman who will be beautiful at sixteen is often ungraceful at fourteen. To translate a woman of fourteen into marble one must have consummate skill, and above all great interpretative boldness...' " (Charles W. Millard, The Sculpture of Degas, Princeton, 1976, p. 98). It had been assumed that the nude study as it is known today preceded the final version, but as recent studies of the sculpture have indicated, this is not necessarily the case. Referring to the "too-common error of assuming that artists make their work in strict, production-line sequences of painting or sculptures, completing one before moving on to the next," Richard Kendall has argued that a close analysis of the original wax sculpture from which all the bronzes ultimately derive, indicates that the nude study may in fact post-date the Little Dancer itself. "Important though this undoubtedly is in shedding light on the artist's ingenuity and longer-term ambitions, it does not distract from the overwhelming probablilty that an original wax form of the Nude Study existed in the late 1870s and that it was intimately involved in the sculptural evolution of that moment" (Richard Kendall, Degas and the Little Dancer, New Haven and London, 1998, p. 35). The original agreement between the founder Hebrard and Degas's heirs specified that each sculpture should be cast in an edition of 20, lettered "A" to "T", for public sale plus two casts reserved for the Degas heirs and for Hebrard marked "HER.D" and "HER"respectively. In certain cases there are inconsistencies in the marking of the bronzes, however, and in addition to the lettered casts marked "A" to "T" Sara Campbell lists a cast marked "56/HER," the present work, another marked "HER" in the Fridart Foundation, Amsterdam, as well as an unmarked cast and another marked "AP" issued outside the provisions of the original contract.

Lot 1: EDGAR DEGAS

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Description: 1834-1917 JEUNE DANSEUSE NUE, ETUDE POUR LA DANSEUSE DE QUATORZE ANS Inscribed Degas, numbered 56/HER and stamped with the foundry mark A.A. Hebrard cire perdue Bronze Height 28 1/2 in. 72.4cm. Conceived circa 1878-1879 and cast circa1919-1921. Provenance A.A. Hebrard, Paris Otto Gerson, New York S. Field, New York (sold: Sotheby's, London, July 1, 1970, lot 38) Spencer A. Samuels, New York Acquired from the above Exhibited Roslyn Harbor, New York, Nassau County Museum of Art, The Long Island Collections, A Century of Art: 1880-1980, 1982, no. 7 Roslyn Harbor, New York, Nassau County Museum of Art, Long Island Collects: The Figure & Landscape, 1870's-1980's, 1990 Literature Paul Gsell, "Edgar Degas, Statuaire," La Renaissance de l'art francais et des industries de luxe, Paris, December 1918, illustration of another cast p. 376 Paul-Andre Lemoisne, "Les Statuettes de Degas," Art et Decoration, Paris, September-October 1919, illustration of the wax model p. 112 Catalogue Hebrard, Paris, 1921, no. 37, illustration of another cast Guillaume Janneau, "Les Sculptures de Degas," La Renaissance de l'art francais et des industries de luxe, Paris, July 1921, illustration of another cast p. 352 Germain Bazin, "Degas Sculpteur," L'Amour de l'Art, Paris, July 1931, illustration of another cast p. 294 John Rewald, Degas: Works in Sculpture, A Complete Catalogue, 1944, no. XIX, illustration of another cast pp. 57-61 Lillian Browse, Degas Dancers, Boston, 1949, illustration of another cast pl. 95 Pierre Borel, Les Sculptures inedites de Degas. Choix de cires originales, Geneva, 1949, illustration of the wax model (titled Etude de nu) John Rewald, Degas Sculpture, New York, 1957, no. XIX, illustration of another cast pl. 144 Charles W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, illustration of the wax model pls. 23 & 24 Jacqueline and Maurice Guillaud, (eds.), Degas, Form and Space, Paris and New York, 1984, no. 154, illustration of another cast p. 178 Denys Sutton, Edgar Degas, Life and Work, New York, 1986, no. 170, illustration of another cast p. 186 Fiorella Minervino and Sixtine de Naurois, Tout l'oeuvre peint de Degas, Paris, 1988, no. S37, illustration of another cast p. 142 Anne Roquebert, Degas, Paris, 1988, illustration of another cast fig. 61 Richard Thomson, Degas, les nus, Paris, 1988, pp. 119 and 123, listed; illustration of the wax model fig. 112 Degas, (exhibition catalogue), Galeries Nationales du Grand Palais, Paris; National Gallery of Canada, Ottawa; The Metropolitan Museum of Art, New York, 1988-89, illustrations of another cast pp. 349, 350 John Rewald, Degas' Complete Sculpture: A Catalogue Raisonne, San Francisco, 1990 (revised edition), no. XIX, illustration of the wax model p. 77; illustration of another cast p. 76 Anne Pingeot and Frank Horvat, Degas, sculptures, Paris, 1991, no. 37, illustrations of another cast pp. 36, 37, 171 Sara Campbell, "Degas: The Sculptures, A Catalogue Raisonne," Apollo, London, August 1995, illustration of another cast p. 38 Degas and the Little Dancer, (exhibition catalogue), Joslyn Art Museum, Omaha; Sterling and Francine Clark Art Institute, Williamstown; The Baltimore Museum of Art, 1998-99, illustration of another cast pl. 39 Conceived in 1878-79 and possibly reworked at a later date, this depicts the model who posed for Degas's most celebrated sculpture, Petite danseuse de quatorze ans (see fig. 3). The model was Marie van Goethem, who reached her fourteenth birthday on February 17, 1878. She was the daughter of a Belgium laundress and tailor living in Paris, and together with her two sisters she studied ballet at the Opera, where she subsequently made her debut as a ballerina in 1888. The importance of the Petite Danseuse project for Degas is underscored by numerous associated drawings whose exact sequence and relationship to the sculptures remain unclear. Nude studies include the one sold in Degas's Vente III, no. 369, (Private collection - see fig. 1), with her arms in front of her chest, and those from Vente III, no. 386, and Vente IV, no. 287, (Nasjonalgalleriet, Oslo - see fig. 2), where the pose is close to that used in this sculpture. Out of these drawings emerged the wax study for this work (National Gallery of Art, Washington, D.C.), which was approximately three-quarters the size of the clothed version. The clothed wax version was the only sculpture which Degas ever exhibited. It was originally intended for the Fifth Impressionist Exhibition in 1880 and was included in the catalogue as no. 34, but only an empty vitrine was shown. When it was finally unveiled in the Sixth Impressionist Exhibition in 1881 (no. 12), it shocked many spectators because of its 'disturbing and unique naturalism' (Jules Claretie, La Vie a Paris, Paris, 1881). Petite danseuse de quartorze ans is now recognized as Degas's supreme sculptural achievement. The sculptural challenge of the adolescent female body clearly absorbed Degas. Charles W. Millard writes : "In choosing a fourteen year old model, Degas was attacking... what had... repeatedly been singled out as a difficult sculptural problem. As early as 1822 Thiers had suggested that adolescent forms, being inherently angular and non sculptural, were difficult to render in three dimensions. A decade later Gustave Planche was considerably more specific. 'In the transition from childhood to adolescence the female body rarely shows harmonious lines...the woman who will be beautiful at sixteen is often ungraceful at fourteen. To translate a woman of fourteen into marble one must have consummate skill, and above all great interpretative boldness...' " (Charles W. Millard, The Sculpture of Degas, Princeton, 1976, p. 98). It had been assumed that the nude study as it is known today preceded the final version, but as recent studies of the sculpture have indicated, this is not necessarily the case. Referring to the "too-common error of assuming that artists make their work in strict, production-line sequences of painting or sculptures, completing one before moving on to the next," Richard Kendall has argued that a close analysis of the original wax sculpture from which all the bronzes ultimately derive, indicates that the nude study may in fact post-date the Little Dancer itself. "Important though this undoubtedly is in shedding light on the artist's ingenuity and longer-term ambitions, it does not distract from the overwhelming probablilty that an original wax form of the Nude Study existed in the late 1870s and that it was intimately involved in the sculptural evolution of that moment" (Richard Kendall, Degas and the Little Dancer, New Haven and London, 1998, p. 35). The original agreement between the founder Hebrard and Degas's heirs specified that each sculpture should be cast in an edition of 20, lettered "A" to "T", for public sale plus two casts reserved for the Degas heirs and for Hebrard marked "HER.D" and "HER"respectively. In certain cases there are inconsistencies in the marking of the bronzes, however, and in addition to the lettered casts marked "A" to "T" Sara Campbell lists a cast marked "56/HER," the present work, another marked "HER" in the Fridart Foundation, Amsterdam, as well as an unmarked cast and another marked "AP" issued outside the provisions of the original contract.

Lot 1: EDGAR DEGAS

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Description: 1834-1917 JEUNE DANSEUSE NUE, ETUDE POUR LA DANSEUSE DE QUATORZE ANS Inscribed Degas, numbered 56/HER and stamped with the foundry mark A.A. Hebrard cire perdue Bronze Height 28 1/2 in. 72.4cm. Conceived circa 1878-1879 and cast circa1919-1921. Provenance A.A. Hebrard, Paris Otto Gerson, New York S. Field, New York (sold: Sotheby's, London, July 1, 1970, lot 38) Spencer A. Samuels, New York Acquired from the above Exhibited Roslyn Harbor, New York, Nassau County Museum of Art, The Long Island Collections, A Century of Art: 1880-1980, 1982, no. 7 Roslyn Harbor, New York, Nassau County Museum of Art, Long Island Collects: The Figure & Landscape, 1870's-1980's, 1990 Literature Paul Gsell, "Edgar Degas, Statuaire," La Renaissance de l'art francais et des industries de luxe, Paris, December 1918, illustration of another cast p. 376 Paul-Andre Lemoisne, "Les Statuettes de Degas," Art et Decoration, Paris, September-October 1919, illustration of the wax model p. 112 Catalogue Hebrard, Paris, 1921, no. 37, illustration of another cast Guillaume Janneau, "Les Sculptures de Degas," La Renaissance de l'art francais et des industries de luxe, Paris, July 1921, illustration of another cast p. 352 Germain Bazin, "Degas Sculpteur," L'Amour de l'Art, Paris, July 1931, illustration of another cast p. 294 John Rewald, Degas: Works in Sculpture, A Complete Catalogue, 1944, no. XIX, illustration of another cast pp. 57-61 Lillian Browse, Degas Dancers, Boston, 1949, illustration of another cast pl. 95 Pierre Borel, Les Sculptures inedites de Degas. Choix de cires originales, Geneva, 1949, illustration of the wax model (titled Etude de nu) John Rewald, Degas Sculpture, New York, 1957, no. XIX, illustration of another cast pl. 144 Charles W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, illustration of the wax model pls. 23 & 24 Jacqueline and Maurice Guillaud, (eds.), Degas, Form and Space, Paris and New York, 1984, no. 154, illustration of another cast p. 178 Denys Sutton, Edgar Degas, Life and Work, New York, 1986, no. 170, illustration of another cast p. 186 Fiorella Minervino and Sixtine de Naurois, Tout l'oeuvre peint de Degas, Paris, 1988, no. S37, illustration of another cast p. 142 Anne Roquebert, Degas, Paris, 1988, illustration of another cast fig. 61 Richard Thomson, Degas, les nus, Paris, 1988, pp. 119 and 123, listed; illustration of the wax model fig. 112 Degas, (exhibition catalogue), Galeries Nationales du Grand Palais, Paris; National Gallery of Canada, Ottawa; The Metropolitan Museum of Art, New York, 1988-89, illustrations of another cast pp. 349, 350 John Rewald, Degas' Complete Sculpture: A Catalogue Raisonne, San Francisco, 1990 (revised edition), no. XIX, illustration of the wax model p. 77; illustration of another cast p. 76 Anne Pingeot and Frank Horvat, Degas, sculptures, Paris, 1991, no. 37, illustrations of another cast pp. 36, 37, 171 Sara Campbell, "Degas: The Sculptures, A Catalogue Raisonne," Apollo, London, August 1995, illustration of another cast p. 38 Degas and the Little Dancer, (exhibition catalogue), Joslyn Art Museum, Omaha; Sterling and Francine Clark Art Institute, Williamstown; The Baltimore Museum of Art, 1998-99, illustration of another cast pl. 39 Conceived in 1878-79 and possibly reworked at a later date, this depicts the model who posed for Degas's most celebrated sculpture, Petite danseuse de quatorze ans (see fig. 3). The model was Marie van Goethem, who reached her fourteenth birthday on February 17, 1878. She was the daughter of a Belgium laundress and tailor living in Paris, and together with her two sisters she studied ballet at the Opera, where she subsequently made her debut as a ballerina in 1888. The importance of the Petite Danseuse project for Degas is underscored by numerous associated drawings whose exact sequence and relationship to the sculptures remain unclear. Nude studies include the one sold in Degas's Vente III, no. 369, (Private collection - see fig. 1), with her arms in front of her chest, and those from Vente III, no. 386, and Vente IV, no. 287, (Nasjonalgalleriet, Oslo - see fig. 2), where the pose is close to that used in this sculpture. Out of these drawings emerged the wax study for this work (National Gallery of Art, Washington, D.C.), which was approximately three-quarters the size of the clothed version. The clothed wax version was the only sculpture which Degas ever exhibited. It was originally intended for the Fifth Impressionist Exhibition in 1880 and was included in the catalogue as no. 34, but only an empty vitrine was shown. When it was finally unveiled in the Sixth Impressionist Exhibition in 1881 (no. 12), it shocked many spectators because of its 'disturbing and unique naturalism' (Jules Claretie, La Vie a Paris, Paris, 1881). Petite danseuse de quartorze ans is now recognized as Degas's supreme sculptural achievement. The sculptural challenge of the adolescent female body clearly absorbed Degas. Charles W. Millard writes : "In choosing a fourteen year old model, Degas was attacking... what had... repeatedly been singled out as a difficult sculptural problem. As early as 1822 Thiers had suggested that adolescent forms, being inherently angular and non sculptural, were difficult to render in three dimensions. A decade later Gustave Planche was considerably more specific. 'In the transition from childhood to adolescence the female body rarely shows harmonious lines...the woman who will be beautiful at sixteen is often ungraceful at fourteen. To translate a woman of fourteen into marble one must have consummate skill, and above all great interpretative boldness...' " (Charles W. Millard, The Sculpture of Degas, Princeton, 1976, p. 98). It had been assumed that the nude study as it is known today preceded the final version, but as recent studies of the sculpture have indicated, this is not necessarily the case. Referring to the "too-common error of assuming that artists make their work in strict, production-line sequences of painting or sculptures, completing one before moving on to the next," Richard Kendall has argued that a close analysis of the original wax sculpture from which all the bronzes ultimately derive, indicates that the nude study may in fact post-date the Little Dancer itself. "Important though this undoubtedly is in shedding light on the artist's ingenuity and longer-term ambitions, it does not distract from the overwhelming probablilty that an original wax form of the Nude Study existed in the late 1870s and that it was intimately involved in the sculptural evolution of that moment" (Richard Kendall, Degas and the Little Dancer, New Haven and London, 1998, p. 35). The original agreement between the founder Hebrard and Degas's heirs specified that each sculpture should be cast in an edition of 20, lettered "A" to "T", for public sale plus two casts reserved for the Degas heirs and for Hebrard marked "HER.D" and "HER"respectively. In certain cases there are inconsistencies in the marking of the bronzes, however, and in addition to the lettered casts marked "A" to "T" Sara Campbell lists a cast marked "56/HER," the present work, another marked "HER" in the Fridart Foundation, Amsterdam, as well as an unmarked cast and another marked "AP" issued outside the provisions of the original contract.

Lot 1: Edgar Degas 1834-1917 CHEVAL ARRETE

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Lot 1: Edgar Degas 1834-1917 CHEVAL ARRETE

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Lot 1: Edgar Degas 1834-1917 CHEVAL ARRETE

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Lot 1: Edgar Degas 1834-1917 CHEVAL ARRETE

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Lot 1: DEGAS, Edgar (1834-1917, French)

Description: Fillette portant des fleurs dans son tablier, st.sig. painted c.1860-62 Oil Painting (22x29in).

Lot 1: DEGAS, Edgar (1834-1917, French)

Description: Fillette portant des fleurs dans son tablier, st.sig. painted c.1860-62 Oil Painting (22x29in).

Lot 1: DEGAS, Edgar (1834-1917, French)

Description: Fillette portant des fleurs dans son tablier, st.sig. painted c.1860-62 Oil Painting (22x29in).

Lot 1: DEGAS, Edgar (1834-1917, French)

Description: Fillette portant des fleurs dans son tablier, st.sig. painted c.1860-62 Oil Painting (22x29in).

Lot 1: DEGAS, EDGAR (1834-1917)

Description: >, 1882-1895 Bronze () Inscr. Rewald, San Francisco 1990, no.XLI.

Lot 1: DEGAS, EDGAR (1834-1917)

Description: >, 1882-1895 Bronze () Inscr. Rewald, San Francisco 1990, no.XLI.

Lot 1: DEGAS, EDGAR (1834-1917)

Description: >, 1882-1895 Bronze () Inscr. Rewald, San Francisco 1990, no.XLI.

Lot 1: DEGAS, EDGAR (1834-1917)

Description: >, 1882-1895 Bronze () Inscr. Rewald, San Francisco 1990, no.XLI.

Lot 1: DEGAS, EDGAR (1834-1917)

Description: Grande arabesque, troisieme temps, 1882-1895c. Bronze () Inscr. S 60/M Rewald & Matt, no.XXXIX.

Lot 1: DEGAS, EDGAR (1834-1917)

Description: Grande arabesque, troisieme temps, 1882-1895c. Bronze () Inscr. S 60/M Rewald & Matt, no.XXXIX.

Lot 1: DEGAS, EDGAR (1834-1917)

Description: Grande arabesque, troisieme temps, 1882-1895c. Bronze () Inscr. S 60/M Rewald & Matt, no.XXXIX.

Lot 1: DEGAS, EDGAR (1834-1917)

Description: Grande arabesque, troisieme temps, 1882-1895c. Bronze () Inscr. S 60/M Rewald & Matt, no.XXXIX.

Lot 1: Edgar Degas (1834-1917)

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Description: Personnages caricaturaux the studio stamp lower left pen and black ink on paper 5 x 4in. (12.6 x 10cm.) This drawing is probably an illustration for the novel, Les Petites Cardinal, by Ludovic Hal‚vy, a friend of Degas, published in 1880 Philippe Brame and Professor Theodore Reff have kindly confirmed the authenticity of this work.

Lot 1: Edgar Degas (1834-1917)

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Description: Personnages caricaturaux the studio stamp lower left pen and black ink on paper 5 x 4in. (12.6 x 10cm.) This drawing is probably an illustration for the novel, Les Petites Cardinal, by Ludovic Hal‚vy, a friend of Degas, published in 1880 Philippe Brame and Professor Theodore Reff have kindly confirmed the authenticity of this work.

Lot 1: Edgar Degas (1834-1917)

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Description: Personnages caricaturaux the studio stamp lower left pen and black ink on paper 5 x 4in. (12.6 x 10cm.) This drawing is probably an illustration for the novel, Les Petites Cardinal, by Ludovic Hal‚vy, a friend of Degas, published in 1880 Philippe Brame and Professor Theodore Reff have kindly confirmed the authenticity of this work.

Lot 1: Edgar Degas (1834-1917)

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Description: Personnages caricaturaux the studio stamp lower left pen and black ink on paper 5 x 4in. (12.6 x 10cm.) This drawing is probably an illustration for the novel, Les Petites Cardinal, by Ludovic Hal‚vy, a friend of Degas, published in 1880 Philippe Brame and Professor Theodore Reff have kindly confirmed the authenticity of this work.

Lot 1: DEGAS, Edgar (1834-1917, French)

Description: Cheval au galop, le jockey monte sur le cheval, s. num.25 pat.bronze st.f.Hebrard Cast 1919-21 prov.lit. Sculpture (?x9x)?in.

Lot 1: DEGAS, Edgar (1834-1917, French)

Description: Cheval au galop, le jockey monte sur le cheval, s. num.25 pat.bronze st.f.Hebrard Cast 1919-21 prov.lit. Sculpture (?x9x)?in.

Lot 1: DEGAS, Edgar (1834-1917, French)

Description: Cheval au galop, le jockey monte sur le cheval, s. num.25 pat.bronze st.f.Hebrard Cast 1919-21 prov.lit. Sculpture (?x9x)?in.

Lot 1: DEGAS, Edgar (1834-1917, French)

Description: Cheval au galop, le jockey monte sur le cheval, s. num.25 pat.bronze st.f.Hebrard Cast 1919-21 prov.lit. Sculpture (?x9x)?in.

Lot 1: DEGAS, EDGAR ()

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Description: Cheval au galop sur le pied droit, 1834-1917 Bronze 18.5x12.2 in (47x31 cm) signed no.47/C Hebrard Fondeur. Cf. W. Millard, pl.60, Princeton 1976.

Lot 1: DEGAS, EDGAR ()

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Description: Cheval au galop sur le pied droit, 1834-1917 Bronze 18.5x12.2 in (47x31 cm) signed no.47/C Hebrard Fondeur. Cf. W. Millard, pl.60, Princeton 1976.

Lot 1: DEGAS, EDGAR ()

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Description: Cheval au galop sur le pied droit, 1834-1917 Bronze 18.5x12.2 in (47x31 cm) signed no.47/C Hebrard Fondeur. Cf. W. Millard, pl.60, Princeton 1976.

Lot 1: DEGAS, EDGAR ()

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Description: Cheval au galop sur le pied droit, 1834-1917 Bronze 18.5x12.2 in (47x31 cm) signed no.47/C Hebrard Fondeur. Cf. W. Millard, pl.60, Princeton 1976.

Lot 1: DEGAS, Edgar (1834-1917)

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Description: Etudes de danseuses, c.1874 [Riviere 74] Charcoal & /pink paper 120,1 x 18,1 inches (305.0 x 46.0cm) Stamp S left Illustrated.

Lot 1: DEGAS, Edgar (1834-1917)

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Description: Etudes de danseuses, c.1874 [Riviere 74] Charcoal & /pink paper 120,1 x 18,1 inches (305.0 x 46.0cm) Stamp S left Illustrated.

Lot 1: DEGAS, Edgar (1834-1917)

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Description: Etudes de danseuses, c.1874 [Riviere 74] Charcoal & /pink paper 120,1 x 18,1 inches (305.0 x 46.0cm) Stamp S left Illustrated.

Lot 1: DEGAS, Edgar (1834-1917)

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Description: Etudes de danseuses, c.1874 [Riviere 74] Charcoal & /pink paper 120,1 x 18,1 inches (305.0 x 46.0cm) Stamp S left Illustrated.

Lot 1: DEGAS, Edgar (1834-1917)

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Description: Joseph Gabriel Tourny (1817-1880), 1857 [Lemoisne, II, 26] Oil/paper/canvas 9,4 x 7,9 inches (24.0 x 20.0cm) Signed & Dated Rome upper right Illustrated The Collectio of Donald and Jean Stralem.

Lot 1: DEGAS, Edgar (1834-1917)

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Description: Joseph Gabriel Tourny (1817-1880), 1857 [Lemoisne, II, 26] Oil/paper/canvas 9,4 x 7,9 inches (24.0 x 20.0cm) Signed & Dated Rome upper right Illustrated The Collectio of Donald and Jean Stralem.

Lot 1: DEGAS, Edgar (1834-1917)

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Description: Joseph Gabriel Tourny (1817-1880), 1857 [Lemoisne, II, 26] Oil/paper/canvas 9,4 x 7,9 inches (24.0 x 20.0cm) Signed & Dated Rome upper right Illustrated The Collectio of Donald and Jean Stralem.

Lot 1: DEGAS, Edgar (1834-1917)

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Description: Joseph Gabriel Tourny (1817-1880), 1857 [Lemoisne, II, 26] Oil/paper/canvas 9,4 x 7,9 inches (24.0 x 20.0cm) Signed & Dated Rome upper right Illustrated The Collectio of Donald and Jean Stralem.

Lot 1: Edgar Degas (1834-1917)

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Description: Cheval au galop sur le pied droit, le pied gauche arriŠre seul touchant terre; and Le Jockey mont‚ sur le cheval The horse signed, numbered and stamped 'Degas 25 HER' and with the foundry stamp 'CIRE PERDUE A.A. HEBRARD' (on the base), the jockey inscribed and numbered 'H-E-R 35' (on the base of his right foot) bronze with brown patina 91/2in. (24cm.) high, including jockey Cast between 1919 and 1921 by A. A. H‚brard in an edition of twenty- two, lettered A-T, plus two casts reserved for the Degas heirs and H‚brard. Both of these bronzes the H‚brard castings. The original wax models were executed between 1865 and 1881 PROVENANCE A. A. H‚brard, Paris (these being the casts reserved for him). Anon. sale, Sotheby's London, 4 Dec. 1968, lot 38 (¨16,000) to Nicolas. Private Collection, Texas. Acquavella Galleries, New York. LITERATURE J. Rewald, Degas Sculpture, London, 1957, no. XIV and XV, pls. 20 and ? (other casts illustrated). F. Russoli & R. Minervino, L'Opera completa di Degas, Milan, 1970, nos. S.49 & S.50 (other casts illustrated). C. W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, pl. 64 (the original wax model illustrated). S. Campbell, 'Degas: The Sculpture, a Catalogue Raisonn‚', Apollo, August 1995, nos. 25 and 35 (other casts illustrated fig. 25).

Lot 1: Edgar Degas (1834-1917)

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Description: Cheval au galop sur le pied droit, le pied gauche arriŠre seul touchant terre; and Le Jockey mont‚ sur le cheval The horse signed, numbered and stamped 'Degas 25 HER' and with the foundry stamp 'CIRE PERDUE A.A. HEBRARD' (on the base), the jockey inscribed and numbered 'H-E-R 35' (on the base of his right foot) bronze with brown patina 91/2in. (24cm.) high, including jockey Cast between 1919 and 1921 by A. A. H‚brard in an edition of twenty- two, lettered A-T, plus two casts reserved for the Degas heirs and H‚brard. Both of these bronzes the H‚brard castings. The original wax models were executed between 1865 and 1881 PROVENANCE A. A. H‚brard, Paris (these being the casts reserved for him). Anon. sale, Sotheby's London, 4 Dec. 1968, lot 38 (¨16,000) to Nicolas. Private Collection, Texas. Acquavella Galleries, New York. LITERATURE J. Rewald, Degas Sculpture, London, 1957, no. XIV and XV, pls. 20 and ? (other casts illustrated). F. Russoli & R. Minervino, L'Opera completa di Degas, Milan, 1970, nos. S.49 & S.50 (other casts illustrated). C. W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, pl. 64 (the original wax model illustrated). S. Campbell, 'Degas: The Sculpture, a Catalogue Raisonn‚', Apollo, August 1995, nos. 25 and 35 (other casts illustrated fig. 25).

Lot 1: Edgar Degas (1834-1917)

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Description: Cheval au galop sur le pied droit, le pied gauche arriŠre seul touchant terre; and Le Jockey mont‚ sur le cheval The horse signed, numbered and stamped 'Degas 25 HER' and with the foundry stamp 'CIRE PERDUE A.A. HEBRARD' (on the base), the jockey inscribed and numbered 'H-E-R 35' (on the base of his right foot) bronze with brown patina 91/2in. (24cm.) high, including jockey Cast between 1919 and 1921 by A. A. H‚brard in an edition of twenty- two, lettered A-T, plus two casts reserved for the Degas heirs and H‚brard. Both of these bronzes the H‚brard castings. The original wax models were executed between 1865 and 1881 PROVENANCE A. A. H‚brard, Paris (these being the casts reserved for him). Anon. sale, Sotheby's London, 4 Dec. 1968, lot 38 (¨16,000) to Nicolas. Private Collection, Texas. Acquavella Galleries, New York. LITERATURE J. Rewald, Degas Sculpture, London, 1957, no. XIV and XV, pls. 20 and ? (other casts illustrated). F. Russoli & R. Minervino, L'Opera completa di Degas, Milan, 1970, nos. S.49 & S.50 (other casts illustrated). C. W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, pl. 64 (the original wax model illustrated). S. Campbell, 'Degas: The Sculpture, a Catalogue Raisonn‚', Apollo, August 1995, nos. 25 and 35 (other casts illustrated fig. 25).

Lot 1: Edgar Degas (1834-1917)

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Description: Cheval au galop sur le pied droit, le pied gauche arriŠre seul touchant terre; and Le Jockey mont‚ sur le cheval The horse signed, numbered and stamped 'Degas 25 HER' and with the foundry stamp 'CIRE PERDUE A.A. HEBRARD' (on the base), the jockey inscribed and numbered 'H-E-R 35' (on the base of his right foot) bronze with brown patina 91/2in. (24cm.) high, including jockey Cast between 1919 and 1921 by A. A. H‚brard in an edition of twenty- two, lettered A-T, plus two casts reserved for the Degas heirs and H‚brard. Both of these bronzes the H‚brard castings. The original wax models were executed between 1865 and 1881 PROVENANCE A. A. H‚brard, Paris (these being the casts reserved for him). Anon. sale, Sotheby's London, 4 Dec. 1968, lot 38 (¨16,000) to Nicolas. Private Collection, Texas. Acquavella Galleries, New York. LITERATURE J. Rewald, Degas Sculpture, London, 1957, no. XIV and XV, pls. 20 and ? (other casts illustrated). F. Russoli & R. Minervino, L'Opera completa di Degas, Milan, 1970, nos. S.49 & S.50 (other casts illustrated). C. W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, pl. 64 (the original wax model illustrated). S. Campbell, 'Degas: The Sculpture, a Catalogue Raisonn‚', Apollo, August 1995, nos. 25 and 35 (other casts illustrated fig. 25).

Lot 1: DEGAS, Edgar (1834-1917, French)

Description: Personnages caricaturaux, studio st. black ink Works on paper (4x5in).

Lot 1: DEGAS, Edgar (1834-1917, French)

Description: Personnages caricaturaux, studio st. black ink Works on paper (4x5in).

Lot 1: DEGAS, Edgar (1834-1917, French)

Description: Personnages caricaturaux, studio st. black ink Works on paper (4x5in).

Lot 1: DEGAS, Edgar (1834-1917, French)

Description: Personnages caricaturaux, studio st. black ink Works on paper (4x5in).

Lot 1: DEGAS, EDGAR (1834-1917)

Description: Etude de chevaux Gouache 13x7 inches (33x17.1 cm) signed tudio stamp L.657 (Lower Right).

Lot 1: DEGAS, EDGAR (1834-1917)

Description: Etude de chevaux Gouache 13x7 inches (33x17.1 cm) signed tudio stamp L.657 (Lower Right).

Lot 1: DEGAS, EDGAR (1834-1917)

Description: Etude de chevaux Gouache 13x7 inches (33x17.1 cm) signed tudio stamp L.657 (Lower Right).

Lot 1: DEGAS, EDGAR (1834-1917)

Description: Etude de chevaux Gouache 13x7 inches (33x17.1 cm) signed tudio stamp L.657 (Lower Right).

Lot 1: [ PREVIEW INFO - PLEASE IGNORE LOT NO'S ] EDGAR DEGAS (1834-1917) Danseuse. Dessin au fusain et a la craie blanche, porte le cachet rouge Degas

Description: [ PREVIEW INFO - PLEASE IGNORE LOT NO'S ] EDGAR DEGAS (1834-1917) Danseuse. Dessin au fusain et a la craie blanche, porte le cachet rouge Degas (Troisieme vente Degas, no 100-2). 30 x 23 cm

Lot 1: EDGAR DEGAS (1834-1917)

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Description: EDGAR DEGAS (1834-1917) Paysage d'Italie vu par une lucarne huile sur papier marouflé sur toile 36.7 x 32 cm. (14½ x 12 5/8 in.) Peint vers 1856-59

Lot 1: EDGAR DEGAS (1834 - 1917), Limited Edition Lithograph, Posthumous Release, Signed in Plate Lower Right, Editioned Lower Left: A/P, Blindstamped Lower Left

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Description: EDGAR DEGAS (1834 - 1917), Limited Edition Lithograph, Posthumous Release, Signed in Plate Lower Right, Editioned Lower Left: A/P, Blindstamped Lower Left, Image Size: 45cm x 30cm, Frame Size: 85cm x 59cm, Condition: Excellent

Condition Report: Excellent Condition

Lot 1g: DEGAS, Edgar (1834-1917, French)

Description: Danseuse saluant, un genou a terre, s.i. chl htd.pastel dr Works on paper (9x11in).

Lot 1g: DEGAS, Edgar (1834-1917, French)

Description: Danseuse saluant, un genou a terre, s.i. chl htd.pastel dr Works on paper (9x11in).

Lot 1g: DEGAS, Edgar (1834-1917, French)

Description: Danseuse saluant, un genou a terre, s.i. chl htd.pastel dr Works on paper (9x11in).

Lot 1g: DEGAS, Edgar (1834-1917, French)

Description: Danseuse saluant, un genou a terre, s.i. chl htd.pastel dr Works on paper (9x11in).

Lot 2: PROPERTY FROM THE CHARLES R. WOOD FOUNDATION u - EDGAR DEGAS 1834-1917 GRANDE ARABESQUE, DEUXIÈME

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Description: PROPERTY FROM THE CHARLES R. WOOD FOUNDATION u - EDGAR DEGAS 1834-1917 GRANDE ARABESQUE, DEUXIÈME TEMPSExecuted between 1882-85 and cast in an edition of twenty-two examples between 1919 and 1921.Inscribed with the signature Degas, numbered 15/HER.D and stamped with the foundry mark A. A. Hébrard Cire PerdueBronze, dark brown patinaPROVENANCEHeirs of the artistThe Count and Countess Guy du Boisrouvray (sold: Sotheby's, New York, October 27, 1989, lot 83)Acquired at the above sale by the present ownerLITERATURE AND REFERENCESJohn Rewald, Degas, Works in Sculpture: A Complete Catalogue, New York, 1944, p. 23, no. XXXVI, illustrations of another cast pp. 88-91Franco Russoli and Fiorella Minervino, L'Opera completa di Degas, Milan, 1970, no. S-6, illustration of another cast p. 140John Rewald, Degas's Complete Sculpture, Catalogue Raisonné, San Francisco, 1990, no. XXXVI, pp. 90-91, illustration of the wax and another cast pp. 110-11Sara Campbell, "Degas' Bronzes", Apollo, London, August 1995, no. 15, illustration of another cast p. 18Joseph S. Czestochowski and Anne Pingeot, Degas Sculptures, Catalogue Raisonné of the Bronzes, Memphis, 2002, no. 15, illustration of another cast p. 150CATALOGUE NOTEDegas constantly experimented with rendering the form of the dancer in various poses. By and large, the three-dimensional medium of sculpture offered him the most possibilities for capturing the grace and beauty of these figures and for exploring the seemingly boundless flexibility of their bodies. For the present work, the artist has rendered the dancer posing with her left leg extended backwards, almost parallel to the ground, and her right arm extending forwards, counterbalancing her weight. This position, known as an arabesque, is one of the most animated poses of the ballet, and was commonly depicted in Degas' paintings, drawings and pastels, in addition to several sculptural renderings. The present sculpture is the second of three related versions of this subject, and one of his most expressive figural compositions.Jill De Vonyar and Richard Kendall have written about the significance of this pose in 19th century classical dance and the formal complexity that it offered the sculptor: "An unpublished treatise written between 1868 and 1871 by the Opéra instructor Léopold Adice, Grammaire et Théorie choréographique..., makes it clear that the bent knee was actively promoted. Adice's manuscript was extensively illustrated by himself, and as Sandra Noll Hammond has noted, in his drawings of high arabesques, 'the raised leg is always shown as though with a slightly relaxed knee.' In this context, we should note that Degas' sensitively modeled, lyrical figure is represented in the nude, allowing him to give full articulation to the currently preferred pose and, incidentally, to reveal the true shape of his uncorseted model" (Jill De Vonyar and Richard Kendall, Degas and the Dance (exhibition catalogue), The Detroit Institute of Arts; The Philadelphia Museum of Art, 2002-03, p. 153).The original wax model of this sculpture was executed between 1882-85, according to John Rewald, and cast in an edition of twenty-two bronze examples between 1919-21. The first twenty in each edition were numbered from A to T and were destined for sale; the twenty-first cast (the present lot) was marked HER.D and reserved for the Degas heirs; the twenty-second cast of each edition was unnumbered and became the property of the founder.

Lot 2: f - EDGAR DEGAS 1834-1917 APRÈS LE BAIN (FEMME S'ESSUYANT)

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Description: Executed circa 1886.stamped Degas (lower left)pastel on joined sheets of paper laid down on paperPROVENANCESale: Galerie Georges Petit, Paris, 1re Vente Degas, 6th-8th May 1918, lot 202H. Fevre, ParisSale: Hôtel Drouot, Paris, 21st January 1924, lot 10Gustave Pellet, ParisPrivate CollectionSale: Pierre Cornette de Saint-Cyr, Drouot-Montaigne, Paris, 1st June 1995, lot 20Purchased at the above sale by the previous ownerEXHIBITEDParis, La Gazette des Beaux-Arts, Degas dans les collections françaises, 1955, no. 126bisMartigny, Fondation Pierre Gianadda, Degas, 1993, no. 72, illustrated in colour in the catalogueLITERATURE AND REFERENCESPaul-André Lemoisne, Degas et son oeuvre, Paris, 1946, vol. III, no. 884, illustrated p. 517CATALOGUE NOTEExecuted circa 1886, Après le bain is a striking example of Degas' fascination with the female nude, stretching her body in the process of drying after her bath. The artist focuses his attention on the figure, delineating her with a strong black contour, while rendering the details of her surroundings with looser strokes. Depicted in an almost athletic pose, the nude resembles Degas' drawings of dancers, practising and stretching before a performance. The contrast between the white and blue highlights of the woman's body and of her towel, and the warmth and richness of the background, creates an atmosphere of a sumptuous and private scene, although the nude is subjected to the watchful eye of the artist.Robert Gordon and Andrew Forge wrote about the pivotal series of Degas' bathers, of which this is an example: 'By far the greatest number of the bathers are seen from behind, and the face is concealed or turned away in those that are not [...] The dominant theme is the back: the body seen at its furthest remove from reciprocal address. As the subject of the bathers continues even the notion of the keyhole falls away, and Degas crosses the threshold to a point far beyond ironic audiencehood. The great series of torsos of [...] women who dry themselves are viewed from close up, no longer spied out from a distance. Closer by far to sculpture than to illustration, their backs occupy the center of the picture and impart a corporeal wholeness to its entire surface' (R. Gordon & A. Forge, Degas, New York, 1988, p. 240).Fig. 1, Edgar Degas, La Sortie du bain, circa 1900-05, pastel on paper. Sold: Sotheby's, London, 5th February 2001

Lot 2: Edgar Degas (1834-1917)

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Description: Préparation à la danse, le pied droit en avantstamped with the signature 'Degas' (Lugt 658), numbered and stamped with the foundry mark '57/C Cire Perdue A.A.Hébrard' (on the edge of the base)bronze with brown patinaHeight: 22 1/8 in. (56.2 cm.)Original wax model executed 1882-1895; this bronze version cast between 1919-1921 and later in an edition of twenty-two, numbered A to T plus two casts reserved for the Degas heirs and the founder Hébrard

Lot 2: EDGAR DEGAS

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Description: Etude d'une main.Pencil on cream laid paper. 205x250 mm; 8x10 inches. With the artist's red ink stamp (Lugt 658, lower left recto). Ex-collection the artist; his sale IV. Vente Atelier Edgar Degas, Paris, 1919; private collection, Switzerland.

Lot 2: EDGAR DEGAS (1834-1917)

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Description: Tête d'enfant, d'après un maître italien du XVème siècleavec le cachet de l'atelier 'Atelier ED. DEGAS' (en bas à gauche; Lugt 657) et avec le cachet 'Nepveu Degas' (en bas à droite)craie rouge sur papier calque22 x 18.7 cm. (8 5/8 x 7 3/8 in.)Exécuté vers 1855

Lot 2: DEGAS, EDGAR (1834-1917)

Description: Danseuse attachant le cordon de son maillot, 1882-1895c. Bronze 17 inches (43.2 cm) Inscr. Rewald, 1990, no.XXVII.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: Danseuse attachant le cordon de son maillot, 1882-1895c. Bronze 17 inches (43.2 cm) Inscr. Rewald, 1990, no.XXVII.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: Danseuse attachant le cordon de son maillot, 1882-1895c. Bronze 17 inches (43.2 cm) Inscr. Rewald, 1990, no.XXVII.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: Danseuse attachant le cordon de son maillot, 1882-1895c. Bronze 17 inches (43.2 cm) Inscr. Rewald, 1990, no.XXVII.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: Cheval marchant au pas releve, 1861-1881c. Bronze 9 inches (22 cm) signed Cire Perdue Hebrard. Russoli-Minervino, p. 142.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: Cheval marchant au pas releve, 1861-1881c. Bronze 9 inches (22 cm) signed Cire Perdue Hebrard. Russoli-Minervino, p. 142.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: Cheval marchant au pas releve, 1861-1881c. Bronze 9 inches (22 cm) signed Cire Perdue Hebrard. Russoli-Minervino, p. 142.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: Cheval marchant au pas releve, 1861-1881c. Bronze 9 inches (22 cm) signed Cire Perdue Hebrard. Russoli-Minervino, p. 142.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: La sortie du bain, 1879c. Pastel 8x6 inches (21x16 cm) signed (Lower Right) Lemoisne, II, no.554.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: La sortie du bain, 1879c. Pastel 8x6 inches (21x16 cm) signed (Lower Right) Lemoisne, II, no.554.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: La sortie du bain, 1879c. Pastel 8x6 inches (21x16 cm) signed (Lower Right) Lemoisne, II, no.554.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: La sortie du bain, 1879c. Pastel 8x6 inches (21x16 cm) signed (Lower Right) Lemoisne, II, no.554.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: Duchesse de Montejasi-Cicerale, c.1868, 1868c. Oil/canvas 17.7x14.8 in (45x37.5 cm) Cf. Bram-Reff, p.54, no.52, New York 1984.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: Duchesse de Montejasi-Cicerale, c.1868, 1868c. Oil/canvas 17.7x14.8 in (45x37.5 cm) Cf. Bram-Reff, p.54, no.52, New York 1984.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: Duchesse de Montejasi-Cicerale, c.1868, 1868c. Oil/canvas 17.7x14.8 in (45x37.5 cm) Cf. Bram-Reff, p.54, no.52, New York 1984.

Lot 2: DEGAS, EDGAR (1834-1917)

Description: Duchesse de Montejasi-Cicerale, c.1868, 1868c. Oil/canvas 17.7x14.8 in (45x37.5 cm) Cf. Bram-Reff, p.54, no.52, New York 1984.

Lot 2: Edgar Degas (1834-1917)

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Description: Le Sommeil stamped with the signature (lower right); stamped with atelier stamp on the reverse pencil on paper 12 1/2 x 9 1/4in. (31.5 x 23.5cm.) PROVENANCE Fourth Atelier Degas Sale, Paris, 1919, no. 130c. Collection Lucien Henraux. Mme Barbey de Piccolellis, Rome. EXHIBITION Florence, Palazzo Pitti, Exposition de la Peinture Franaise … Florence, 1945, no. 297.

Lot 2: Edgar Degas (1834-1917)

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Description: Le Sommeil stamped with the signature (lower right); stamped with atelier stamp on the reverse pencil on paper 12 1/2 x 9 1/4in. (31.5 x 23.5cm.) PROVENANCE Fourth Atelier Degas Sale, Paris, 1919, no. 130c. Collection Lucien Henraux. Mme Barbey de Piccolellis, Rome. EXHIBITION Florence, Palazzo Pitti, Exposition de la Peinture Franaise … Florence, 1945, no. 297.

Lot 2: Edgar Degas (1834-1917)

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Description: Le Sommeil stamped with the signature (lower right); stamped with atelier stamp on the reverse pencil on paper 12 1/2 x 9 1/4in. (31.5 x 23.5cm.) PROVENANCE Fourth Atelier Degas Sale, Paris, 1919, no. 130c. Collection Lucien Henraux. Mme Barbey de Piccolellis, Rome. EXHIBITION Florence, Palazzo Pitti, Exposition de la Peinture Franaise … Florence, 1945, no. 297.

Lot 2: Edgar Degas (1834-1917)

Estimated Price: Log in or create account to view price data

Description: Le Sommeil stamped with the signature (lower right); stamped with atelier stamp on the reverse pencil on paper 12 1/2 x 9 1/4in. (31.5 x 23.5cm.) PROVENANCE Fourth Atelier Degas Sale, Paris, 1919, no. 130c. Collection Lucien Henraux. Mme Barbey de Piccolellis, Rome. EXHIBITION Florence, Palazzo Pitti, Exposition de la Peinture Franaise … Florence, 1945, no. 297.