Edgar Degas

Galerie Blanche, Stockholm
Collection particulière, Suède (acquis du précédent en 1950)
Vente : Sotheby's, Londres, 1er décembre 1993, lot 106
Acquis lors de cette vente par le propriétaire actuel

 

John Rewald, Degas: Works in Sculpture, A complete catalogue, New York, 1944, no. XII, cat. p. 20, un autre exemplaire reproduit p. 47
John Rewald, Degas sculpture, Complete Works, Londres, 1957, no. XII, cat. p. 145, un autre exemplaire reproduit pl. 8
Charles W. Millard, The sculpture of Edgar Degas, Princeton, 1976, no. 63, le modèle en cire reproduit pl. 63
John Rewald, Degas Complete Sculpture: Catalogue Raisonné, San Francisco, 1990, un autre exemplaire reproduit pp. 66-67
Anne Pingeot, Degas sculpture, Paris, 1991, no. 46, un autre exemplaire reproduit p. 175 et pls. 90-91
Sara Campbell, A Catalogue of Degas' Bronzes, Apollo, 1995, vol. CXLII, no. 22, un autre exemplaire reproduit, pp. 21-22
Joseph. S Czestochowski & Anne Pingeot, Degas Sculpture: Catalogue Raisonné of the Bronzes, Memphis, 2002, no. 22, un autre exemplaire reproduit pp. 164-165

 

Dark brown patina with reddish brown nuances. There are some light superficial scratches principally on the left side of the horse and some minor signs of natural wear in the protruding parts where the sculpture has been touched by human hands, notably on the right side of the horse and its mane. There is small wear to the patina above the left back hoof. A close examination reveals that the metal rod providing structural support to the front right ankle appears very slightly twisted which may be inherent to the casting process. This sculpture is in overall good condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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inscribed 'Degas', numbered '22C' ; bears the foundry mark 'AA Hébrard, cire perdue', bronze. Conceived between 1882 and 1895 and cast in bronze between 1919 and 1937 in an edition of 22 numbered from A to T plus two casts reserved for the Degas heirs and the founder Hébrard.


Une plus grande sophistication est introduite dans Cheval faisant une descente de main, où l'animal pivote sa tête vers l'extérieur dans un mouvement de dérobade. Ce mouvement, associé à la courbe de la tête et la queue abaissées, qu'on trouvait déjà dans Cheval à l'abreuvoir, ainsi que les deux jambes repliées, créent une composition spatiale dynamique, particulièrement autour des jambes avant. L'artiste tente d'imposer au corps de l'animal ce mouvement de torsion dont il parvint à un égal aboutissement dans ses figures humaines.

Charles MILLARD, "The Development of Degas's Sculptural Style" in The Sculpture of Edgar Degas, Princeton, University Press, 1976.



A further complexity is introduced in Cheval faisant une descente de main, in which the head is drawn to the side in a balking gesture.  That gesture, combined with the lowered head and tail first seen in Cheval à l'abreuvoir and the fact that two of the legs are drawn back, creates a sculptural space of great vitality, especially around the forelegs.  It's an attempt to impart to the horse's body a type of twisting motion that Degas was to find fully feasible only with the human figure.

Charles MILLARD, "The Development of Degas's Sculptural Style" in The Sculpture of Edgar Degas, Princeton, University Press, 1976.