拍品 32
  • 32

埃德加∙德加 《休息的舞者,雙手叉腰,右腿前伸》

估價
350,000 - 550,000 GBP
已售出
670,000 GBP
招標截止

描述

  • 埃德加·德加
  • 《休息的舞者,雙手叉腰,右腿前伸》
  • 款識:藝術家蓋章Degas、標記51/O並蓋A.A. Hébrard cire perdue 鑄造廠印章
  • 青銅

來源

阿爾法·弗萊翰,柏林(1926年9月28日購自Hébrard鑄造廠)
莫里茲·古特曼,柏林及紐約(法國藝術畫廊創辦人,紐約;或購自上述藏家)
喬治·碧伽,紐約及洛桑(1967年或之前購自上述藏家)
此後由家族在1986年傳承至現藏家

展覽

(應為)柏林,弗萊翰畫廊;慕尼黑,坦豪瑟現代畫廊;德累斯頓,阿諾畫廊,〈埃德加·德加。雕塑作品〉,1926年,品號23

巴黎,橘園美術館,〈瑞士收藏傑作:從馬奈到畢加索〉,1967年,品號21,圖錄載圖

洛桑,埃爾米塔日基金會,〈法語區收藏印象派藝術〉,1984年,品號34,圖錄載彩圖

出版

約翰·勒華(編),《德加:雕塑作品專題目錄》,紐約,1944年,品號LII,115頁載另一鑄造版本圖

皮耶·博雷,《未公開的德加雕塑作品》,日內瓦,1949年,載另一鑄造版本圖

約翰·勒華,《德加雕塑作品》,蘇黎世及巴黎,1957年,品號LII,圖版52載另一鑄造版本圖

西奧多·勒夫,《德加:藝術家的思考》,紐約,1976年,品號159,241頁載另一鑄造版本圖

約翰·勒華,《德加雕塑作品全集:專題目錄》,三藩市,1990年,品號LII,142及143年載蠟模及另一鑄造版本圖

安妮·潘若及法蘭克·荷法,《德加的雕塑》,巴黎,1991年,品號23,163頁載蠟模及另一鑄造版本圖

莎拉·坎貝爾,〈德加,雕塑:專題目錄〉,《阿波羅》,倫敦,1995年8月,品號51,圖49,35頁載另一鑄造版本圖,36頁載現作圖

約瑟夫·S·捷斯托沃斯基、安妮·潘若,《德加的雕塑,青銅作品專題目錄》,孟菲斯,2002年,品號51,220及221頁載蠟模及另一鑄造版本圖;221頁列明現作

莎拉·坎貝爾、理查·肯德爾、達芬·巴伯及莎莉·史特曼,《諾頓·西蒙博物館收藏的德加作品》,倫敦,2009年,第II冊,品號78,400-402頁載蠟模及另一鑄造版本圖

蘇珊·格羅夫·琳賽、達芬·巴伯及莎莉·G·史特曼,《埃德加·德加的雕塑》,普林斯頓,2010年,370頁載蠟模圖

拍品資料及來源

The present composition is one of four sculptures that Degas executed on the subject of Dancer at Rest, and the only one depicting the ballerina in a costume. With her right leg in front and arms resting on her waist, she is stretching either before or after a performance, her head lifting as her back arches gently. ‘Cast from the wax original today in the Virginia Museum of Fine Arts, Richmond, Dressed dancer at rest depicts a pose that recurs in works in other media as well as in three dimensions. Hébrard assigned four sculptures the same name, although this is the only one of the group that is dressed. In fact, this work is the only sculpture in the entire corpus other than the Little Dancer, Aged Fourteen to have been modeled in a tutu. Unlike the cotton and silk tutu of the wax Little Dancer, however, the Richmond figure wears a tutu fashioned in wax, stuffed in part on the underside with newspaper. Perhaps by showing this dancer in a performance tutu, Degas inadvertently provided context, that of the stage or, rather, backstage. […] Life backstage was not limited to the dancers; it was also an area where male visitors of privilege could mingle with the dancers and watch the performance’ (Daphne Barbour in Degas in the Norton Simon Museum, London, 2009, vol. II, pp. 400 & 402).

 

A number of bronze casts of Danseuse habillée au repos, les mains sur les reins, la jambe droite en avant are now in international museums, including the Metropolitan Museum of Art in New York, Musée d’Orsay in Paris and Ny Carlsberg Glyptotek in Copenhagen.

This lot is sold pursuant to a settlement agreement between the heirs of Alfred Flechtheim and the present owners.

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