Edgar Degas

Sale: Galeries Georges Petit, Paris, 4ème Vente Atelier Edgar Degas, July 2-4, 1919, lot 344
Arthur Tooth & Sons, London
Acquired from the above in 1962

Very good condition. Work is mounted to board at edges. Small creases (inherent to the paper). Small losses at top edge. "Pin hole" in the upper right corner. Somewhat soiled at edges. Paper "toned", dirty overall. Watermark is visible in lower left corner.
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.

A passionate observer of modern life, fascinated with performance and ritual, Degas explored the theme of the ballet dancer throughout his artistic career.  Degas' lifelong interest in dance developed in the 1860s, when as a young man he regularly attended ballet and other performances such as opera, café-concerts and the circus.  Degas was attracted to the spectacle and excitement of live entertainment and found an endless source of inspiration in ballet, sketching the performers from nature.  In this manner he was able to study both the natural unguarded gestures of dancers at rest and the stylized movements of classical ballet.  Degas was fascinated not only by the public spectacle of ballet performances, but also by the more informal situations around them: the behind-the-scenes world of the rehearsal room or the dance class, the dancers' preparation and tension before a performance, and the more relaxed, casual moments that followed afterwards.  In the same way as Degas often captured horses and riders in the more unofficial situations before or after the race, his ballet dancers are often shown away from the spotlight of the stage, in the more informal and intimate moments such as stretching before a performance or at rest after the class. 

Fig. 1 Edgar Degas, The Dancing Lesson, c. 1880, oil on canvas. Collection of the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts