- Edgar Degas
- Deux études pour danseuses
- stamped Degas (lower left); stamped with the Atelier mark on the reverse
- charcoal heightened with white on green paper
- 46.8 by 29.5cm.
- 18 3/8 by 11 5/8 in.
Jules Strauss, Paris (sold: Galeries Georges Petit, Paris,15th December 1932, lot 10)
M. Bellier, Paris (purchased at the above sale)
Wildenstein & Co. Ltd., New York (acquired by 1949)
Edwin C. Vogel, New York (acquired by 1959)
Acquavella Galleries, New York
Acquired from the above by the late owner in December 1988
New York, Wildenstein & Co., Drawings Through Four Centuries, 1949, no. 53
Toledo, Museum of Art, Degas Exhibition, 1950, no. 67
London, Wildenstein & Co., The Art of Drawing: 1500-1950, 1953, no. 90, illustrated in the catalogue
New York, M. Knoedler & Co., Great Master Drawings of Seven Centuries, 1959, no. 73, illustrated in the catalogue (titled Dancers)
New York, Jan Krugier Gallery, The Presence of Ingres, 1988, no. 8, illustrated in the catalogue
Martigny, Fondation Pierre Gianadda, Degas, 1993, no. 35, illustrated in colour in the catalogue
Saint-Paul-de-Vence, Fondation Maeght, La Sculpture des Peintres, 1997, no. 14, illustrated in colour in the catalogue
Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin - Preussischer Kulturbesitz, Linie, Licht und Schatten. Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, 1999, no. 102, illustrated in colour in the catalogue
Venice, The Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection, 1999, no. 118, illustrated in colour in the catalogue
Madrid, Museo Thyssen-Bornemisza, Miradas sin Tiempo. Dibujos, Pinturas y Esculturas de la Coleccion Jan y Marie-Anne Krugier-Poniatowski, 2000, no. 129, illustrated in colour in the catalogue
Paris, Musée Jacquemart-André, La passion du dessin. Collection Jan et Marie-Anne Krugier-Poniatowski, 2002, no. 114, illustrated in colour in the catalogue
Vienna, Albertina Museum, Goya bis Picasso. Meisterwerke der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2005, no. 63, illustrated in colour in the catalogue
Munich, Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke aus der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, no. 114, illustrated in colour in the catalogue
London, Royal Academy of Arts, Degas and the Ballet: Picturing Movement, 2011, no. 8, illustrated in colour in the catalogue
François Daulte, Le dessin français de Manet à Cézanne, Lausanne, 1954, illustrated pl. 8
'Drawings of Seven Centuries at Knoedler's New York', in Burlington Magazine, 1959, no. 54, illustrated p. 351
The Pierpont Magazine Library, Drawings from the Collection of Mr. and Mrs. Eugène-Victor Thaw, New York, 1985, vol. II, pp. 65-66
Robert Gordon & Andrew Forge, Degas, Paris, 1988, illustrated p. 189 (as dating from circa 1878-79)
"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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Depicting dancers during a rehearsal, Deux etudes pour danseuses is a remarkable example of Degas’ early pastels on the ballet theme. The artist’s lifelong interest in dance developed in the 1860s, when as a young man he regularly attended the 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 in it an endless source of inspiration, sketching the performers from nature. In this manner he was able to study both the natural unguarded gestures of dancers at rest and the stylised 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 for and tension before a performance, and the more relaxed, casual moments that followed afterwards. Executed on a sheet of green paper, the fine lines delineating the dancers’ bodies and skirts and white highlights give this work a wonderful sense of both elegance and vibrancy.