37
37
Edgar Degas
LA SORTIE DU BAIN (FEMME S'ESSUYANT)
Estimation
1 000 0001 500 000
Lot. Vendu 1,202,500 USD (Prix d’adjudication avec commission acheteur)
ACCÉDER AU LOT
37
Edgar Degas
LA SORTIE DU BAIN (FEMME S'ESSUYANT)
Estimation
1 000 0001 500 000
Lot. Vendu 1,202,500 USD (Prix d’adjudication avec commission acheteur)
ACCÉDER AU LOT

Details & Cataloguing

Impressionist & Modern Art Evening Sale

|
New York

Edgar Degas
1834 - 1917
LA SORTIE DU BAIN (FEMME S'ESSUYANT)
Signed Degas (lower right)
Pastel over monotype
17 1/4 by 9 1/2 in.
44 by 24 cm

Executed circa 1885.


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Provenance

Tadamasa Hayashi, New York (sold: American Art Galleries, New York, January 8-9, 1913, lot 66)

Galerie Durand-Ruel, Paris

M. Pridonoff, Paris (sold: Galeries Georges Petit, Paris, May 27, 1932, lot 6)

M. Schoeller, Paris

Mme Gillou, Paris (sold: Galerie Charpentier, Paris, march 24, 1932, lot 6)

Sale: Hôtel Drouot, Paris, June 24, 1988, lot 10

Sale: Habsburg Feldman, New York, November 12, 1989, lot 11

Private Collection (acquired at the above sale and sold: Christie's, New York, November 8, 1995, lot 144)

Acquired at the above sale

Exposition

Boston, Fogg Art Museum, Harvard University, Degas Monotypes, 1968, no. 128, illustrated in the catalogue

Bibliographie

P. A. Lemoisne, Degas et son oeuvre, vol. III, Paris, 1946, no. 836, illustrated p. 485

E. P. Janis, "The Role of the Monotype in the Working mEthod of Degas," Burlington Magazine, London, February 1967, fig. 45, illustrated p. 78

Gary Tinterow, "The 1880s: Synthesis and Change," Degas (exhibition catalogue), New York, 1988, fig. 225, illustrated p. 414

 

Description

Degas' experimentation with monotypes was unrivaled by his contemporaries. In this beautifully rendered work from the mid-1880s, he has taken the second, or ghost, impression from a plate or sheet originally prepared with ink, and enhanced the resulting image with pastel.  The first impression of that same prepared surface produced the monotype Femme s'essuyant les pieds près d'une baignoire, currently in the collection of the Louvre.  In this second version, Degas has changed the stance of the bather and repositioned the edge of bathtub.  In the upper-right corner he has heightened with pastel to enhance the composition's spatial perspective.   Because second-impressions are more transparent than first impression monotypes, Degas had much more liberty to alter and embellish the present work with his pastel than he did for the work that is in the Louvre.

Impressionist & Modern Art Evening Sale

|
New York