Executed circa 1885.
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
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
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.
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