- 194
Edgar Degas
Estimate
150,000 - 200,000 USD
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Description
- Edgar Degas
- Femme se coiffant
- Stamped Degas (lower right)
- Pastel on paper laid down on board
- 22 3/8 by 32 3/4 in.
- 69.1 by 83 cm
Provenance
Atelier Edgar Degas (and sold: Galerie Georges Petit, Paris, 3ème Vente, April 7-9, 1919, lot 58)
Claude Roger-Marx, Paris
Sale: Hôtel Drouot, Paris, February 24, 1926, no. 11
Fiquet, Paris
Dr. Fritz & Peter Nathan, Zurich
Gustave Stein, Cologne (acquired from the above in April, 1968)
Sale: Sotheby's, London, July 1, 1970, lot 17
Private Collection, Europe (and sold: Sotheby's, New York, November 10, 1992, lot 5)
Private Collection (acquired at the above sale)
Exhibited
Bremen, Graphisches Kabinett W. Werner KG, Ausstellung zum 60. Jährigen Jubiläum, 1980
Tübingen, Kunsthalle; Berlin, Nationalgalerie, Edgar Degas, Pastelle, Ölskizzen, Zeichnungen, 1984, no. 187
Tübingen, Kunsthalle; Berlin, Nationalgalerie, Edgar Degas, Pastelle, Ölskizzen, Zeichnungen, 1984, no. 187
Literature
Paul-André Lemoisne, Degas et son oeuvre, vol. 3, Paris, 1946, no. 1163, illustrated p. 677
Götz Adriani, Degas, Pastels, Oil Sketches, Drawings, New York, 1985, no. 187, illustrated p. 387
Götz Adriani, Degas, Pastels, Oil Sketches, Drawings, New York, 1985, no. 187, illustrated p. 387
Condition
Hinged to the mount along the edges, verso. In good condition. A few minor nicks and short tears in the sheet edges. Some very minor foxing in the background. A small inconspicuous abrasion in the background at upper left. Faint light staining.
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.
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.
Catalogue Note
Lemoisne considered this work to be a study for the two pastels Femme en peignoir jaune se coiffant (Lemoisne 1160) and the celebrated La Toilette (Lemoisne 1161, Tate Gallery, London). It belongs to a small group of pastels that Degas produced at this time with a similar configuration of a woman combing her hair (Lemoisne 1162-65). In these works Degas was able to transform a quotidian experience into a powerful symbol of female sensuality.
Richard Kendall elaborates: "The subject of the coiffure, where a solitary woman combs her hair or has it brushed by a maid, inspired some of the finest pictorial inventions of Degas' last years. Though it had featured briefly in his earlier repertoire, the theme seized Degas' imagination afresh in the 1890s and prompted a profusion of drawings, pastels and oil paintings, even lithographs and wax sculptures...all demonstrated the artist's extraordinary ability to find visual and psychological drama in the humblest incidents of everyday life" (Richard Kendall, Degas, Beyond Impressionism, National Gallery, London and The Art Institute of Chicago, 1996-97, p. 218).
Richard Kendall elaborates: "The subject of the coiffure, where a solitary woman combs her hair or has it brushed by a maid, inspired some of the finest pictorial inventions of Degas' last years. Though it had featured briefly in his earlier repertoire, the theme seized Degas' imagination afresh in the 1890s and prompted a profusion of drawings, pastels and oil paintings, even lithographs and wax sculptures...all demonstrated the artist's extraordinary ability to find visual and psychological drama in the humblest incidents of everyday life" (Richard Kendall, Degas, Beyond Impressionism, National Gallery, London and The Art Institute of Chicago, 1996-97, p. 218).