Walter Richard Sickert A.R.A. (British, 1860-1942)The Artist's Home in New Orleans pen and ink, charcoal and white heightening39.3 x 33.6 cm. (15 1/2 x 13 1/4 in.)Executed circa 1913-14Footnotes:ProvenanceWalter TaylorProbably Dr Robert EmmonsWith Arthur Tooth & Sons, LondonLord CottesloeSale; Sotheby's, London, 14 July, 1965, lot 69, where acquired byM. Knoedler & Co., New YorkSale; Sotheby's, London, 15 December 1971, lot 21, where acquired byP. SolomonSale; Christie's, London, 13 June 1980, lot 50 (as Degas at New Orleans)Sale; Sotheby's, London, 2 May 1990, lot 48 (as Degas at New Orleans)Private Collection, U.S.A.With Hirschl & Adler Galleries, New YorkSale; Swann Auction Galleries, New York, 8 March 2016, lot 43, where acquired by the present ownersPrivate Collection, U.S.A.ExhibitedLondon, Carfax Gallery, Paintings and Drawings, 1914, cat.no.8Probably London, Thomas Agnew & Sons, Exhibition of Paintings and Drawings by W.R. Sickert from the Collection of Robert Emmons, May-June 1947, cat.no.16New Orleans, Museum of Art, Degas and New Orleans: A French Impressionist in America, 1 May-29 August 1999; this exhibition travelled to Copenhagen, Ordrupgaard, 16 September-28 November 1999LiteratureWendy Baron, Sickert, Phaidon, London, 1973, p.367, cat.no.354Wendy Baron, Sickert Paintings and Drawings, New Haven and London, 2006, p.409, cat.no.419 (ill.b&w)The present drawing depicts the interior of Sickert's Granby Street studio which he used between 1908 and 1914.In a letter to Anna Hope (Nan) Hudson in February 1914 Sickert wrote: 'The daylight is coming back to London which shifts my centre of activity ... to my theatre in Granby Street...' The term 'theatre' is revealing. To Sickert each of the many rooms he rented as studios in houses in and around Camden Town was a stage. He rearranged the furniture – iron bedsteads, bedside cabinets, mantelshelf ornaments, chests of drawers, a sagging chaise-longue, washstands, even a grand piano - to create individual stage sets. It took little to spark off his imagination. In this case, it seems to have been the black model who between 1912 and 1914 features in the work of several painters besides Sickert, including Glyn Philpot and Malcolm Drummond. Black models were uncommon at this period. Sickert immediately thought of a place where black people were not rare, the Deep South of the United States, which in turn led him to remember his mentor, Edgar Degas, whose mother was Creole from New Orleans. Hence the allusive title: in his mind's eye, Sickert visualised his own Camden Town studio as the Degas family home. The same corner, alternatively staged, and the male model standing by the fireplace, 'Hubby', both feature in Sickert's Ennui (Tate, London).We are grateful to Dr. Wendy Baron for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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Degas, Edgar (nach)1834-1917. "Tänzerin", Bronze, grün patiniert, vollplastische Figurendarstellung, auf einem Bein stehender weiblicher Akt, den rechten Fuß in der Hand, auf der Naturplinthe mit Künstlersignatur bez., posthumer Guss der Gießerei Strehle mit Stempel und Bez.: 'RAC 1990' sowie num. '426/750', H: ca. 45 cm. Provenienz: Erwin-Warth-Stiftung.
Jean-Louis Forain, French 1852-1931- In Court; oil on canvas, signed 'Forain' (upper right), 60.2 x 73.5 cm. Provenance: with Ch. Pottier, Emballeur, 14 Rue Gaillon, Paris. Literature: Charles Kunstler, 'Forain', Paris, 1931, (illustrated pl.48). Note: Forain began to paint law-court scenes by 1902 and one of them, perhaps the first, was reproduced in the special ‘Forain’ issue of Le Figaro, illustrated in February that year. Indeed, the subject clearly found favour with the artist, and such examples are today held in the Tate Collections [N03288 and N04789] and in the Metropolitan Museum of Art, New York [66.217]. The present work, presumably conceived in around 1905, reveals Forain’s participation in the Impressionist movement, particularly recalling both the handling of works by Edgar Degas (1834-1917), as well as the realist compositions of Honore Daumier (1808-1879). Here, the loose brushwork in particular imbues the scene with a striking sense of immediacy, while the poignancy of the tribunal scene is heightened by the figures’ hunched postures and the muted tones. For a similar work by the artist, see Anon. sale, Sotheby’s, New York, 17 November 2021, lot 327 ($31,500). The present work will be included in the Jean-Louis Forain catalogue raisonné currently being prepared by Madame Valdès-Forain. Please refer to department for condition report
MAX BECKMANN (1884 Leipzig - 1950 New York City) Toilette (vor dem Spiegel)Kaltnadel auf BSB-Bütten. 1923.27,6 x 21,8 cm (48,8 x 38 cm).Signiert "Beckmann". Auflage 60 num. Ex.Hofmaier 286 B.Gratiger, differenzierter Druck, mit deutlich zeichnender Plattenkante und sichtbarem Plattenton. Gedruckt im Januar 1924 bei Paul Cassirer in Berlin.Erotikon in bester Tradition: Den Blick auf die sich scheinbar selbstvergessen in Toilette befindliche Damenwelt hatte der technische Alleskönner Degas in seinen unzähligen Gemälden, Zeichnungen und Drucken unlängst revolutioniert – der jüngere Kollege Beckmann, vom modernen Pariser Kunsttreiben angemessen beeinflusst, nahm sich des Erfolgsthemas an. Die den Betrachter gekonnt Ignorierende ist so wenig ausgestaltet wie bekleidet, Konturen und einige selbstbelebende Schraffuren umschmeicheln das zweifelsfrei sinnliche Sujet. Der von Beckmann tiefschwarz belassene Plattenrand verstärkt den voyeuristischen Effekt.
§ Hugo Grenville (1958-) September Afternoon, Bellegarde-des-Razessigned 'Grenville' (lower left)oil on board39 x 49cmExhibited:London, David Messum Fine Art, Summer Exhibition 2001, cat. no.28Widely regarded as one of Britain’s leading colourists, Hugo Grenville has, over the past thirty years, established an international reputation, having exhibited his works alongside Cezanne, Degas and Renoir, and having held in excess of 20 solo exhibitions across New York, London, Palm Beach and Hong Kong.Although Grenville first exhibited at the Chelsea Arts Society when he was just 15 years old, it would be another 14 years before he would take up painting as his career. After leaving school and briefly travelling around India, Grenville joined the Coldstream Guards, where he served as an officer in Northern Ireland, Zimbabwe and West Africa, before returning to the UK to perform his duties as an aide-de-camp, whilst simultaneously taking part-time art lessons at Heatherley’s and Chelsea School of Art. Following his military service, Grenville spent several years working as an art dealer, before finally committing himself to his own painting practice when he turned 30.Describing his works as ‘an unashamed and joyous celebration of life’, Grenville’s vivacious and lyrical works aim to stand in stark contrast with a society where, according to the artist, ‘satire and cynicism predominate’.Overall good condition - there appears to be a fault on the board which goes from top to bottom towards the right of the painting.
DEGAS, Edgar(1834 Paris - 1917 Paris) 4 Werke4 Radierungen nach den Original-Platten. Unsigniert, verso Echtheitszertifikat. Je 1 von 600 Exemplaren, International Art Club Editions. Gerahmt & hinter Glas : Je 41 x 31 cm. "Danseuse mettant son chausson", Platte: 17,8 x 11,5 cm | "Mademoiselle Nathalie Wolkonska", Platte: 12 x 8,5 cm | "Loges d'Actrices", Platte: 16 x 21 cm und "Danseuses dans la Coulisse", Platte: 14 x 10 cm. Bedeutender französischer Maler, Bildhauer und Grafiker, der besonders für seine Darstellungen von Tänzerinnen Bekanntheit erlangte. DEGAS, Edgar(1834 Paris - 1917 Paris) 4 works4 etchings after the original plates. Unsigned, certificate of authenticity on verso. 1 of 600 copies each, International Art Club Editions. Framed & behind glass : Each 41 x 31 cm. "Danseuse mettant son chausson", plate: 17,8 x 11,5 cm | "Mademoiselle Nathalie Wolkonska", plate: 12 x 8,5 cm | "Loges d'Actrices", plate: 16 x 21 cm and "Danseuses dans la Coulisse", plate: 14 x 10 cm. Important French painter, sculptor and graphic artist, who gained fame especially for his depictions of dancers. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
A box of hardback books, mainly being French Impressionism and related to include Bonafaux, Pascal: Les Impressionnistes Portraits et Confidences, Borel, France: Le Modele ou L'artiste Seduit, Four, Michel: Femmes, Kendall, Richard (ed.): Degas by Himself Drawings, Prints, Paintings, Writings and Venturi, Lionello: Cezanne etc.
LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu assis (Jacqueline Barsotti-Goddard) signed and dated 'Foujita 1929' and further signed in Japanese (centre right); signed and dated 'Foujita 1929' and further signed and inscribed in Japanese (on the stretcher)oil on canvas64.8 x 100.2cm (25 1/2 x 39 7/16in).Painted in Paris in 1929Footnotes:The authenticity of this work has been confirmed by Sylvie and Casimir Buisson. This work will be included in the forthcoming Vol. IV of the Léonard Tsuguharu Foujita catalogue raisonné, currently being prepared.ProvenanceGalerie Mantelet (Colette Weil), Paris (acquired directly from the artist in 1929).Private collection, France (acquired from the above in 1929).Thence by descent to the present owner.ExhibitedMoscow, The Pushkin State Museum of Fine Arts, Les muses de Montparnasse, 15 July – 3 October 2021, no. 183.The living body, the naked and natural body, the body stripped of artifice, the woman captured in her truth, her simplicity, her beauty, the woman: that was what fascinated Foujita. He put her at the very centre of his art, and she embodied the origin of the world. Mother, lover, confidante, and muse all at once, Foujita considered her a mediating figure between the human and the divine, a Renaissance-like conduit to God. Officially, Foujita had five wives. However, he admitted to having had thousands of models, visible in numerous studies, drawings, engravings, and paintings made of one or the other, populating his oeuvre. The angelic yet melancholic face of the present subject belongs to one of these muses, well-known among the artists of the Montparnasse: Jacqueline Goddard. In demand by fellow artists Kisling, Pascin, Derain, Matisse, Giacometti, Man Ray and Picasso, it was Foujita's house at the Parc Montsouris that Goddard favoured. Enchanted by this Art Deco, bucolic villa, she was adopted as a sister by Youki Foujita, the artist's wife and fellow muse.Jacqueline's modern look, Grecian profile, long neck and tousled hair made her one of the legendary models of Montparnasse from an early age. She was an orphan: her French mother died when she was young, whilst her father, André Barsotti, was a talented Tuscan sculptor who died three years before the present work was painted. If Foujita's name now evokes elegance, delicacy and contemplation, it is mainly due to his nudes. Painting Nu assis (Jacqueline Barsotti-Goddard) connected him not only to his past loves, the masters of the Italian Renaissance, such as Michelangelo and Botticelli, but also to his Japanese roots, and to the floating world of printmaking (Ukiyo-e), where modest nudity appears with great sensual intensity. The present work was one of the crown jewels of the Colette Weil gallery, with which Foujita had close ties in 1929, and was acquired by one of the gallery's patrons. The West and the East come together in Nu assis (Jacqueline Barsotti-Goddard), as Foujita transformed a young woman into a modern goddess of love. The contour of the shapes is perfect, the anatomy is irreproachable, and the body is harmonious. Everything flows in a smooth transition, reminding us of the firmness of a sculptural bronze and the polish of marble. The classic face evokes that of Simonetta Vespucci, the model for Botticelli's Venus in The Birth of Venus. Her muscular body seems to descend straight from the ceilings of the Sistine chapel, like a female version of an Ignudo painted by Michelangelo.The nude was an important theme for Foujita because it connected him to nature and to universal beauty. It also allowed him to follow in other great artists' footsteps: in addition to the masters of the Sistine, one sees the influence of Goya, Manet, Rodin, Canova, Ingres and even his contemporaries Modigliani, Matisse and Van Dongen. Even though Foujita's art did not belong to any specific time or school, it remained full of references, and if he broke the rules, it was because he knew them so well. In 1929, Foujita was at the highest point of his career. His milky white backgrounds and range of soft, creamy colours had already established his reputation around the world. Like Degas, Foujita considered that a well-drawn painting was always a well-painted painting. Indeed, his mastery culminated in the way he drew the outline: dipping his brush in black, he stretched the lines on the canvas without hesitation, in a single movement. Those lines were firm and assured, but also delicate and sensitive, which created balance and harmony. The traditional and stable triangular composition, which connects the head to the left hand and the heel of the foot, is balanced by the hair, which allows the painter to let his flat brush slide on the silky canvas. The strands of hair come to life and frame the face, effortlessly and freely resting on the neck like an opalescent mother-of-pearl. Despite the Western model, subject and medium, Foujita allowed his Eastern heritage to express itself, blending both cultures together. As in all his paintings, the figure floats slightly, as if suspended in weightlessness, between rest and action. This Japanese notion of suspension, interruption, and emptiness, which can be found in painting as well as in architecture and in Japanese craftsmanship, is the Ma. It influenced Foujita, who explored the space between the lines, outside and inside the figure. Evoking Japanese metaphysics and aesthetics, which sanctify the idea of breathing, the artist painted the time of breathing, between inspiration and exhalation. Goddard's gaze in the present work is lost in the distance: the beautiful thinker meditates. She holds her breath like Foujita. Another Japanese notion comes into play: the katabokashi, or the fading of the form. If the Ma connects the forms while separating them, the katabokashi is a clever network of greyness, barely visible, which emphasises and translates the Ma. It animates the lower section of the painting and gives it life. It corresponds to the lighter white halo that surrounds the body and allows it to stand out against the background. To achieve this effect, Foujita rubbed cotton wool barely dipped in black or grey pigment. Another Japanese aesthetic and spiritual concept used by the artist was the wabi-sabi: the veneration of the beauty of imperfect things, the magic of their patina and their ageing process. Evoking the wear and tear of time on the surface of the painting, Foujita highlighted the impermanence of life and beauty. To achieve this effect, he used cotton wool soaked in grisaille made of black soot and dry oil. Then, he scattered the pigment inside the small air bubbles that dried and broke on the surface of the canvas. This gave the illusion that the painting had been shaped by time. Foujita embraced his ancestral roots but turned to the West to enrich his artistic vocabulary in this East/West hybrid work. His ability to oscillate between these two cultures, to feed on them and to transcend them was due to his love for art and life rather than aesthetic satisfaction. All his life, he believed in the invisible power of art without borders, embodied by the Montparnasse, which brought together the best avant-gardes from all over the world. Transcending the world, escaping time, and connecting with the gods of creation was Foujita's artistic goal from an early age. Sylvie BuissonArt HistorianAuthor of the forthcoming Volume IV of the Léonard Tsuguharu Foujita catalogue raisonné, in collaboration with Casimir Buisson, expert for the artist at the French ... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
EDGAR DEGAS (1834-1917)Danseuse signed 'Degas' (lower right)pastel, wash and charcoal on paper laid on card52 x 31cm (20 1/2 x 12 3/16in).Executed circa 1906-1908Footnotes:We are grateful to Professor Theodore Reff for his assistance in cataloguing this work.ProvenanceAnon. sale, Hôtel Drouot, Paris, 22 March 1920, lot 10.Anon. sale, Hôtel Drouot, Paris, 3 June 1927, lot 15.The Hon. H. Marks Collection, London.Thence by descent to the present owner.'The sheer labour of drawing had become a passion and a discipline to [Degas], the object of a mystique... a supreme preoccupation which abolished all other matters, a source of endless problems in precision which released him from any other form of inquiry. He was and wishes to be a specialist, of a kind that can rise to a sort of universality.'-Paul ValéryAs Edgar Degas' life drew to its close, his drawing practice reached its ascendency. Increasingly reclusive, suffering the decline of his vision due to a progressive retinal disease, he toiled in his four-floor studio at rue Victor Massé, thick with clouds of pastel dust and stacks of unfinished sketches. There he drew with monkish devotion, altering, colouring and reworking his compositions, tracing them on top of one another, transferring the loose media of their ever-changing forms from sheet to sheet. Pastel and charcoal at this time truly liberated Degas' approaches to colour, light and form, leading him to create his most poignant and truthful works, of which Danseuse is a quintessential example.In a fleeting glimpse, a ballerina adjusts her shoe between performances. Although she is not dancing, her entire presence is animated with motion, as her bold, vigorously applied contours are accented with the lively, flurried strokes of her arms, legs and tutu. At the same time, the delicate pattern of her spine traversing upward into her carefree coiffure evokes a certain intimacy. Heavy zigzags of charcoal at the base of the scene – some of which have been smudged into shadows – evoke the dark recesses of the backstage, access to which was a sought-after privilege for the cultural elite. The solid pink colour field of the door – its foundations rendered sensitively with Degas' trademark pastel wash – seems to underscore the ballerina's femininity, as its heavy vertical lines of charcoal generate a visual caesura. The light streaming in from the stage beyond, conjured up by the blank space of the sheet, gently hints at a narrative – one that Degas hides just out of reach, preferring the viewer to instead meditate upon this simple, personal and poignant vignette.Degas presents to the viewer a series of visual paradoxes: boldness and fragility, balance and spontaneity, intimacy and detachment. The resulting sense of transience, the stoking of the imagination, the leaving of questions unanswered are all central to Degas' dogma. At this time, he was drawing more from memory than from observation, making the splendour and mastery of his late technique all the more extraordinary. His compositions became simpler and bolder, depicting single figures or small groups within ever more abstract interiors. Anatomical accuracy gave way to the poetic, as Degas fused his imagination with the real world, creating a pictorial mythos that rests upon subjectivity rather than objectivity.In carrying out these aims, pastel was Degas' ambrosia. In its opacity, it allowed him to layer colours and fully rework compositions, working rapidly from sketch to sketch. At the same time, its powdery constitution allowed him to mix it with water and solvents to create pastes and washes. Degas' mastery of this versatile medium thereby engendered expressive compositions that possess a kind of magical, shimmering iridescence. While pastel allowed him to draw with colour, charcoal's friability enabled diverse delineations of form and space, granting his compositions a sculptural force. The harmony of these media led drawing to rival oil painting in Degas' late work, evidenced by the striking stylistic affinities between his artworks of these types. Indeed, as the ballerina of the present work makes a cameo in the circa 1889 painting Danseuses au foyer (Foundation E.G. Bührle, Zurich), she retains her startling vitality, as Degas renders her in oil with the rapid manner of a pastellist. This stylistic evolution within Degas' drawings coincided with a transformation in his methods of production, beginning at the close of the nineteenth century. His process began with a charcoal sketch on thin tracing paper, comprising bold, bassline contours followed by short staccato strokes. Then, he would apply a vaporous fixative by boiling it and directing the steam toward different aspects of that composition. Once the medium was secured, the mounters of his studio would apply the sheet to a lightweight piece of card, granting the artwork the required opacity and solidity for the ensuing stages. Next, Degas would apply coloured pastel, sometimes separating those tonal layers between further layers of fixative, preventing their pigments from intermixing. This sustained the chromatic intensities of the different colour fields, flattening their textures and allowing Degas to revisit his sketches across months and even years. Degas' mounting and fixing method therefore held key importance in his creative process, being reserved for charcoal drawings that he wished to develop further – and for which he often had a buyer in mind. This complexity of material and method has led Christopher Lloyd to liken Degas' studio to 'Prospero's cell – or, less poetically, the laboratory of a forensic scientist' (C. Lloyd, Edgar Degas, Drawings and Pastels, London, 2014, p. 273). The highly physical nature of Degas' late practice imbues his drawings with a kinetic force – one that resounds in the physical statures and poses of his subjects. Indeed, Degas held a lifelong fascination with ballerinas. Embodying his passion for music, they also provided a vehicle by which Degas could explore the human form and the poetic qualities of Modern Parisian urban life. As such, Degas followed Charles Baudelaire's edict to extract the beauty from the everyday, and depict the fragmented, Modern existence - in other words, to be both a man of the world and a man of the crowd. In his late oeuvre, Degas' dancers inhabit moments of rest and repose between performances, yawning, stretching and tending to their shoes. This banal shade of beauty brings with it a tinge of irony, as the viewer's experience is far from that of the Parisian theatregoers', who would instead observe the dancers' refined talents, alluring costumes and flawless physiques. Access to the backstage – a privilege that Degas keenly persuaded the ballet companies for – thus opened a vibrant world from which he could evoke fleeting glimpses of reality that were transformed by his own imagination.Paul Valéry described Degas' overall goal as trying 'to combine the snapshot with the endless labour of the studio, enshrining his impression of it in prolonged study – the instantaneous given enduring quality by the patience of intense meditation' (Valéry quoted in C. Lloyd, Edgar Degas, Drawings and Pastels, London, 2014, p. 285). Degas assumed this goal from his superiors, Gustave Courbet and Honoré Daumier, as well as his contemporaries, Édouard Manet and James Abbott McNeill Whistler. At the same time, Degas fiercely defended his individualism as an artist, taking cues from the many turning points of nineteenth and twentieth century art, yet refusing to subscribe to a movement. Unlike his avant-garde peers, he extracted the pursuit of ideal beauty from French academic and Romantic painters, employing the expressiveness of Je... For further information on this lot please visit Bonhams.com
SELECTION OF GOEBEL AND HUMMEL ITEMScomprising four Goebel figure ornaments including a Fist Issue Millennium 2000 example; a Goebel Artis Orbis Edgar Degas Danseuse plate, limited edition number 598 of 3000, 31.5cm diameter, and a similar trinket pot with cover; and a Hummel 2000 year plate
A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF GREEN TARA, QIANLONG PERIODTibetan-Chinese, 1736-1795. Seated in lalitasana atop a double-lotus base with beaded edges, her raised left hand held in vitarka mudra and holding a lotus stem, her left lowered in prithvi mudra. Wearing a fine dhoti cascading in voluminous folds and neatly incised with foliate and diapered designs at the hems. Richly adorned with beaded, floral, and inlaid jewelry. The finely incised hair pulled up into a tall double-topknot falling elegantly in long segments down the sides of the shoulders and surmounted by a jewel.Provenance: From the collection of Gustave Fayet (1865-1925), thence by descent in the family. Gustave Fayet was a French painter and art collector, who owned works by Degas, Manet, Pissarro and above all Paul Gauguin. Fayet was a man with a universal curiosity, an eminent patron of the arts, and a discerning collector in all fields.Condition: Overall fine condition commensurate with age and presenting remarkably well and attractive. With old wear, traces of use and some minor casting flaws, occasional light scratches, tiny nicks, few small dents. Losses to inlays, some of the remaining inlays may be later replacements. Well-preserved ancient pigments. The separately cast lotus flowers at the shoulders are missing. The lacquer gilt sections with scattered stains. The fire gilt sections with minor areas of malachite encrustation. The base lid is bent and indented.Weight: 3,166 gDimensions: Height 37.7 cmThe serene face with heavy-lidded eyes, gently arched brows centered by an urna, and full lips forming a benevolent smile, flanked by long pendulous earlobes.The impressive statue is made from a solid cast of copper alloy, as clearly evidenced by the lack of any dings or bent areas to body and base. Only the earrings, scarf, strands of hair, and the lotus foot support are executed in copper repousse. The statue is gilt overall, partially in lacquer and partially with a superb fire-gilt, exactly as expected from a statue of the Qianlong period.The present work exhibits many characteristics common to the Buddhist workshops of the Qianlong period, such as the combination of cast and repousse parts, the languid and feminine treatment of the face and body, and the tightly waisted double-lotus base with broad petals. The Qing court patronage of Buddhism that began under the Kangxi Emperor reached epic proportions under his grandson, the Qianlong Emperor. The Buddhist centers of Beijing, Rehol, and Dolonnor produced thousands upon thousands of images to keep up with the demand of the numerous temples in and outside the capital.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 September 2016, lot 1231 Price: USD 35,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A cast and repousse gilt-bronze figure of a bodhisattva, Qianlong period Expert remark: The bronze belongs to the same group as the present lot, combining repousse elements with a cast figure. The bronze is of near-identical size (37.1 cm) and also dated to the Qianlong period.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2019, lot 674 Price: USD 112,500 or approx. EUR 122,500 converted and adjusted for inflation at the time of writingDescription: A large cast and repousse gilt-bronze figure of Green Tara, Inner Mongolia, Dolonnor style, late 18th century Expert remark: The bronze also depicts Green Tara and belongs to the same group as the present lot, combining repousse elements with a cast figure. The bronze is of considerably larger size (58.1 cm high) and dated to the late 18th century.乾隆銅鎏金錘鍱綠度母漢藏, 1736-1795年。本尊綠度母坐像，通身以錘鍱工藝製作，半跏趺舒坐於蓮花寶座上，為典型的三折姿勢。葫蘆形髮髻高聳，雙耳垂肩，耳懸花鐺，披肩長辮優美。面容飽滿，嘴角上揚微笑，雙眉之間有白毫，端莊靜穆，給人以悲憫之感。上軀袒露，佩掛項圈及連珠長鏈，手、臂、踝均飾有釧環。左腿橫盤，右腳下應踏小蓮台，左手於胸前施三寶印，右手置膝前作予願印。其下蓮座為雙層束腰仰覆式，台座規矩，蓮瓣舒展精細。 來源：Gustave Fayet (1865-1925) 收藏，保存在同一家族至今。Gustave Fayet 曾是一位法國畫家和藝術收藏家。他的收藏中可見德加、莫奈、畢加索和高更。Fayet是一個特別有好奇心的傑出的藝術贊助人，也是一個在各個領域都獨具慧眼的收藏家。 品相：整體狀況良好，與年齡相稱。有磨損，使用痕跡和一些輕微的鑄造缺陷，局部輕微的劃痕和刻痕，少量小凹痕。鑲嵌物的遺失，一些剩餘的鑲嵌物可能在後期更換過。顏料保存完好。肩部分鑄的蓮花遺失。漆面鎏金部分有散落的污漬，少量綠色結殼。底蓋彎曲。由於字數限制，完整中文敘述請至www.zacke.at查看。
A mixed lot of pictures to include a Jeremy King limited edition print, In the style of Degas - The Dancing Lesson - watercolour, unsigned 42cm x 36cm, mounted in glazed frame, Richard Smythe - Lady Burdette Day, a Society portrait coloured print, and one other by the same artist, signed in pencil to lower margin, glazed frames, and others together with three mirrorsLocation:
John Lewis Brown (French, 1829-1890)On the beach at Étretat signed 'John Lewis Brown' and dated '1874' l.r., watercolour and bodycolour45 x 54cmDespite the English name, Brown was a French artist, of Scottish descent. He studied in Paris at the École des Beaux-Arts under Jean-Hilaire Belloc and Camille Roqueplan. Whilst he is best known for his military and animal subjects, he cited Edgar Degas and Eugene Lami as major influences and was known to have painted with the impressionists. His prowess as an equestrian artist can be clearly seen here in the handling of horses.
Albert Marie Lebourg, 1849 Montfort-sur-Risle – 1928 RouenLes bords de l‘Iton à Hondouville en automne,um 1903Öl auf Leinwand.51 x 73,5 cm.Links unten signiert.Verso Aufkleber „Arthor Tooth & Sons“ mit Bildtitel, angerissener Aufkleber einer Ausstellung sowie eine Inv.Nr. „3064“. Bleistiftaufschrift mit Nennung "Hondouville" auf dem Keilrahmen.In Paris unterhielt Lebourg sein Atelier am Quai de Paris 9, ab 1903 am Quai du Havre 9, mit Blick auf die Seine. Dies mag dazu geführt haben, dass er sich bei vielen seiner Werke dem Fluss-Thema gewidmet hat. Doch bereits ab 1892 hatte er ein Haus in Rouen, von wo er auch Landschaften der näheren und weiteren Umgebung malte, wie das vorliegende Bild, das den kleinen Fluss Iton zeigt, nahe dem Städtchen Hondouville.1903 wurde der Maler Ritter-, 1924 Offizier der Ehrenlegion. Er war Mitglied der Académie de sciences, belles-lettres et arts von Rouen. Die Landschaftsdarstellung betont hellfarbig, trotz der links dunkler aufziehenden Wolken. Trotz der Entfernung sind die grasenden Rinder und die Gebäude jenseits des hellgrünen Ufers zu erkennen, die Farbpalette zwischen blau-grünen Hügeln, leuchtend grünen Wiesen und dem Lichtgold der herbstlichen Bäume in hoher malerischer Meisterschaft.Französischer Impressionist. Er gehörte zum Freundeskreis von Degas, Monet und Sisley. Bedeutender Maler der sogenannten Schule von Rouen, Schüler von Gustave Morin. Stellte bereits 1876 neben Claude Monet, Alfred Sisley und Renoir aus.Literatur:Léonce Bénédite: Albert Lebourg, Georges Petit, Paris 1923.François Lespinasse: L‘École de Rouen, Fernandez, Sotteville-lès-Rouen 1980. François Lespinasse: Albert Lebourg 1849-1928, Rouen 1983.François Lespinasse: L‘École de Rouen, Lecerf, Rouen 1995. (1331291) (11))
Federico Zandomeneghi, 1841 Venedig – 1917 ParisLa Liseuse, um 1890Öl auf Leinwand.27,5 x 22,5 cmRechts unten signiert.In vergoldetem Rahmen.Gefesselt von ihrer Lektüre beugt sich ein Mädchen aufmerksam über ihr Buch und ignoriert dabei jeden Blick von außen. Sie sitzt auf einem niedrigen Stuhl inmitten eines Gartens im Profil nach links. Sie trägt ein kurzes Sommerkleid, das mit einer Schleife um die Taille gegürtet ist, mit einem Matrosenkragen, Lackpumps und schwarzen Strümpfen; mit dieser Kleidung gehört die Dargestellte der Oberschicht des Bürgertums an. Ihr langes rotes Haar wird zum Teil von einem kleinen Dutt am Oberkopf gehalten, die restlichen Haare fallen ihr ganz natürlich über die Schultern. Ihre Pose ist zwar intim und natürlich, bewahrt aber die Haltung ihrer Herkunft und die Zurückhaltung ihres sozialen Umfelds. Dieses Mädchen nimmt die gesamte Komposition ein.Als Portrait eines Lebensalters und weniger einer bestimmten Person, gehört dieses Mädchen zu einer Tradition lesender Frauen, die Müßiggang und Studium miteinander verbindet und die Bildung in der bürgerlichen Welt widerspiegelt. Die Farbpalette ist in fauvistischen Farben gehalten, die vorwiegend orangefarben sind wie ihr Haar. Malerei in raschem Pinselduktus, der die Komposition mit kleinen, feinen Schraffuren, die wie Flammen wirken, versieht und die sonnige Szene in ein helles Licht unter freiem Himmel taucht. Dieses impressionistische Portrait zeugt vom Erbe Renoirs und Degas‘. (†)Provenienz:Durand-Ruel, Paris, Nr. 3254 (vom Künstler erworben).Privatsammlung.Versteigerung Sotheby‘s, Mailand, 20. Juni 2005, Lot 142; auf dieser Auktion vom Vater des jetzigen Besitzers erworben, danach durch Nachkommenschaft bis zum jetzigen Besitzer.Europäische Privatsammlung.Literatur:Enrico Piceni, Zandomeneghi, Mailand 1967, Nr. 58.Enrico Piceni, Zandomeneghi, Mailand 1991, Nr. 58.Camilla Testi, Maria Grazia Piceni, Enrico Piceni (Hrsg.), Federico Zandomeneghi. Catalogo generale, Mailand 2006, S. 151 und 320, Nr. 560 (Abb. LXXV). (13309328) (18)Federico Zandomeneghi,1841 Venice – 1917 ParisLA LISEUSE, CA. 1890Oil on canvas.27.5 x 22.5 cm.Signed lower right. (†)Provenance:Durand-Ruel, Paris, no. 3254 (acquired directly from the artist).Private collection.Auction, Sotheby’s, Milan, 20 June 2005, lot 142; acquired at this auction by the father of the current owner, then inherited by the current owner.European private collection.Literature:Enrico Piceni, Zandomeneghi, Milan 1967, no. 58.Enrico Piceni, Zandomeneghi, Milan 1991, no. 58.Camilla Testi, Maria Grazia Piceni, Enrico Piceni (ed.), Federico Zandomeneghi. Catalogo generale, Milan 2006, p. 151 and 320, no. 560 (ill. LXXV).
Gustave Caillebotte, 1848 Paris – 1894 GennevilliersLe Jardin, um 1878Öl auf Leinwand.33 x 46 cm.In dekorativem vergoldetem Rahmen.Beigegeben Zertifikat des Wildenstein Institute, Paris 1997.Der erste Eindruck von dem Gemälde ist der einer Fülle von Farben. Lange bevor man Blumen zu erkennen glaubt, erfasst das Auge zunächst eine Fülle von Farbklecksen, die eher an eine Palette als an ein Gemälde auf Leinwand erinnern. Vor allem der Vordergrund ist mit einem weichen Pinselstrich versehen, von einem Grün, das nicht versucht, sich von den Pinselstrichen zu lösen, mit denen es ausgebreitet wurde. Die Unschärfe der Behandlung lädt unser Auge dazu ein, darüber hinaus in die Tiefe des Bildes zu fokussieren. Dort tauchen Topfpflanzen auf und noch weiter hinten ein hoher Tisch mit drei Beinen. Wir befinden uns in einem Garten, der von einem Weg mit Blumenkästen durchzogen ist. Das Blumenbeet im Vordergrund erhält so seine volle Bedeutung und seinen Platz. Gustave Caillebotte hat mit seinem schnell gemalten Gemälde einen impressionistischen Eindruck hinterlassen; Farben und verstreut hier und da seine roten Pinselstriche, die nach den Regeln der Perspektive immer weniger werden. Das gleißende Licht der reinen Farben im Vordergrund ist zwar auch auf die der impressionistischen Malweise zuzuschreiben ist, ist es doch der Blickwinkel, der die Originalität dieser Komposition ausmacht. Der Blickwinkel befindet sich in der Nähe der Blumen im Vordergrund und zeigt uns den Tisch in einer leichten Untersicht. Innovativ, gewagt, wie eine Fotografie gerahmt, fasst dieses Werk auf den Punkt allein die Modernität von Gustave Caillebotte. (†)Provenienz:Privatsammlung A.K., Paris.Anmerkung:Gustave Caillebotte (1848-1894) war ein französischer Maler des Impressionismus. Nach einem Jurastudium begann er im Atelier von Léon Bonnat (1833-1922) zu malen und später an der École des Beaux-Arts in Paris. Nach dem Tod seines Vaters im Jahr 1874 erbte er ein komfortables Vermögen und konnte sich der Malerei widmen. Zu dieser Zeit beginnt er kleine Bildformate des Familienanwesens in Yerres zu malen, bis es 1878 verkauft wurde. Sein erstes Bild im Jahr 1875 war das realistische Gemälde „Les Raboteurs de parquet“ und wurde auf dem Salon wegen seines prosaischen Themas, der Arbeit von Arbeitern, abgelehnt. Caillebotte wandte sich daraufhin dem Impressionismus zu und nahm an den Impressionistenausstellungen von 1876, 1877, 1879, 1880 und 1882 teil. Er unterstützte die Bewegung finanziell und beteiligte sich persönlich an bei der Organisation der Ausstellungen. Er kaufte Gemälde von Monet, Pissarro, Degas, Renoir und Manet und baute so eine außergewöhnliche Sammlung auf, die er nach seinem Tod dem Staat vermachte. Diese Gemälde befinden sich heute im Musée d‘Orsay in Paris. Im Jahr 1880 kaufte Caillebotte ein Anwesen in Petit-Gennevilliers am Ufer der Seine, wo er seine impressionistischen Freunde empfing, darunter insbesondere Monet, der sich von seinem Garten inspirieren ließ, um seinen eigenen in Giverny anzulegen. Der Kontakt mit ihm führte dazu, dass der glatte Pinselstrich und die scheinbare Zeichnung der Anfänge verschwanden, und stattdessen setzt er nun auf eine fragmentierte Zeichnung und die Darstellung von Formen und Licht durch die Gegenüberstellung von Farben, wie man sie in diesem Garten bewundern kann. Als Paul Durand-Ruel 1886 in New York eine große Impressionistenausstellung mit 300 Gemälden organisierte, waren auch zehn Bilder von Caillebotte dabei vertreten, was ihn beim amerikanischen Publikum bekannt machte. Sein früher Tod im Alter von 46 Jahren unterbrach den Werdegang eines der originellsten Talente des Impressionismus und brachte ihn um seinen Ruhm, den er erst ein Jahrhundert später erlangte. (1330935) (18)Gustave Caillebotte,1848 Paris – 1894 GennevilliersLE JARDIN (THE GARDEN), CA. 1878Oil on canvas.33 x 46 cm. Accompanied by a certificate by Wildenstein Institute, Paris, 1997. (†)Provenance:Private collection A.K., Paris.
FRANCESC SERRA CASTELLET (Barcelona, 1912 - Tossa, 1976)."Girl sleeping" and "Girls".Two charcoal sketches and coloured pencils on paper.Signed in the lower right-hand corner.Sizes: 33 x 37 cm; 46 x 51 cm (frames).A painter and draughtsman, Francesc Serra spent his youth in Granollers, Barcelona. Although he briefly attended the La Lonja School in Barcelona, he is basically a self-taught artist. He held his first exhibition in 1932 at the Sala Parés in Barcelona, and took part in the Salones de Primavera (Spring Salons) between 1934 and 1936. In 1936 and 1937 he was a special guest of the Carnegie Institute in Pittsburgh, USA. He continued to hold solo exhibitions in Barcelona, mainly at the Sala Gaspar. A great admirer of Degas, he was particularly influenced by his favourite subject, the female. He also sporadically tackled other themes, such as urban landscapes, of which the series of Paris, which he presented in 1951, is particularly noteworthy. Likewise, with his portraits of the lead mine he came close to the sensitive realism of Ingres. He won several prizes, including the Sant Jordi prize in Barcelona (1953) and the first medals at the National Exhibitions in Madrid (1957) and Barcelona (1960). He brought together several unpublished drawings under the title "Dibujos de Serra" (Drawings by Serra) (1973), with a foreword by Santos Torroella. A staunch defender of realism in art and of traditional figuration as opposed to the avant-garde, he published the essay "La aventura del arte contemporáneo" (1953), with a preface by Rafael Benet. He is represented in the Museums of Modern Art in Madrid and Barcelona and in the Museums of Fine Arts of l'Empordà and Sabadell.
FRANCESC SERRA CASTELLET (Barcelona, 1912 - Tossa, 1976)."Young man", 1970.Oil on canvas.Signed in the upper right corner.Defects in the frame.Measurements: 82 x 65 cm; 106 x 88 cm.Painter and draughtsman, Francesc Serra spent his youth in Granollers, Barcelona. Although he briefly attended the La Lonja School in Barcelona, he is basically a self-taught artist. He held his first exhibition in 1932 at the Sala Parés in Barcelona, and took part in the Salones de Primavera (Spring Salons) between 1934 and 1936. In 1936 and 1937 he was a special guest of the Carnegie Institute in Pittsburgh, USA. He continued to hold solo exhibitions in Barcelona, mainly at the Sala Gaspar. A great admirer of Degas, he was particularly influenced by his favourite subject, the female. He also sporadically tackled other themes, such as urban landscapes, of which the series of Paris, which he presented in 1951, is particularly noteworthy. Likewise, with his portraits of the lead mine he came close to the sensitive realism of Ingres. He won several prizes, including the Sant Jordi prize in Barcelona (1953) and the first medals at the National Exhibitions in Madrid (1957) and Barcelona (1960). He brought together several unpublished drawings under the title "Dibujos de Serra" (Drawings by Serra) (1973), with a foreword by Santos Torroella. A staunch defender of realism in art and of traditional figuration as opposed to the avant-garde, he published the essay "La aventura del arte contemporáneo" (1953), with a preface by Rafael Benet. He is represented in the Museums of Modern Art in Madrid and Barcelona and in the Museums of Fine Arts of l'Empordà and Sabadell.
Schneiderman (Richard S.). A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden, 1st edition, London: Robin Garton, 1983, numerous monochrome illustrations, original cloth, spine slightly faded & marked, folio, together with:Paulson (Ronald), Hogarth's Graphic Works, 2 volumes, 1st complete edition, New Haven: Yale University Press, 1965, numerous monochrome plates, some minor marginal toning, original uniform cloth in dust jackets, covers slightly faded & rubbed with some loss to head & foot, oblong 4to, plusGrigson (Geoffrey et al), Thornton's Temple of Flora with Plates..., limited edition, London: Collins, 1951, signed by the authors to the limitation page,12 colour & 24 monochrome plates with tissue guards, some minor spotting, original brown half morocco in slipcase, slipcase lightly rubbed, folio, 213/250, and other miscellaneous art reference & related, including Edgar Degas: The Painter as Printmaker, by Sue Welsh Reed & Barbara Stern Shapiro, 1st edition, Boston: Museum of Fine Arts, 1984, large 4to, mostly original cloth, some in dust jackets, G/VG, 8vo/folioQTY: (3 shelves)
Kelsey Sterett-Gitting, "Sich dehnende Ballerina"zeitgenössisch, monogrammiert SGK, Bronze braun patiniert, kraftvolle, bewegte Darstellung einer jungen Ballerina mit geflochtenem Haar, beim Dehnen, die in der Schlichtheit der Pose die jugendliche Kraft der gleich folgenden Tanzschritte erahnen lässt, auf hexagonal facettiertem Holzsockel, altersgemäß gute Erhaltung, H Skulptur ca. 15,5 cm, H gesamt ca. 17,5 cm. Künstlerinfo: amerikanische Bildhauerin (1941), studierte an der Rhose Island School of Design, spezialisierte sich auf Skulpturen, ihre Werke findet man in Museen überall auf der Welt, wie zum Beispiel im National Museum of Sports in Indianapolis und im Hakone Open-Air Museum in Tokio, sie wird von vielen Kunstkritikern als Nachfolgerin von Edgar Degas gehandelt und ihre gleichzeitig Leichtigkeit, Jugendlichkeit und Kraft ausstrahlenden Tanzskulpturen laden mit ihrer ansteckenden Fröhlichkeit selbst zur Bewegung ein, der emeritierte Professur für Skulptur der berühmten Yale Universität in Connecticut bezeichnet sie sogar als führende Bildhauerin im Bereich Tanzskulptur in Bronze weltweit. Quelle: Webseite der Künstlerin: kelseysculpture.com.
nach DEGAS, EDGAR (1834-1917), Skulptur: "Petite danseuse de quatorze ans" (Originaltitel; "Kleine Tänzerin von vierzehn Jahren"), Bronze auf Holzpostament, hellbraun patiniert und elfenbeinfarben und goldfarben akzentuiert; montierter Tüllrock und montiertes Haarband. Auf einem querrechteckigem Postament stehendes Mädchen mit hinter dem Rücken verschränkten Händen, der rechte Fuß seitlich vorgestellt; der Kopf ist leicht nach hinten geneigt, die Augen sind nahezu geschlossen. Posthumer, neuzeitlicher Guss / Reduktionskopie nach der ursprünglich in Wachs gefertigten und naturalistisch bemalten Tänzerin, die Degas als einzige seiner plastischen Arbeiten zu Lebzeiten ausstellte. H. 66 x B. ca. 36 x T. ca. 27 cm.
`..with my poor eye sight, that I do not begin. Will we recognize each other?´ DEGAS EDGAR: (1834-1917) French Impressionist Painter. A good A.L.S., `Degas´, one page, small 8vo, to a French Carte-Lettre, n.p., 20th January 1905, to Mr. Oulevay, in French. A moving letter by Degas, stating `Si vous me pardonnez et si j´ai le plaisir de vous voir, je vous expliquerai ce qui est arrivé. J´écris si péniblement, avec mes yeux perdus, que je ne commence pas. Nous reconnaitrons nous?´ (“If you forgive me and if I have the pleasure of seeing you, I will explain to you what happened. I write so painfully, with my poor eye sight, that I do not begin. Will we recognize each other?”) Addressed in his hand to the verso, also postmarked and stamped. Right edge and bottom corner slightly trimmed, otherwise G to VG Degas suffered from a serious eye disease, which led him to total blindness, marking the end of his artistic activity in 1911.Henri-Charles Oulevay (1834-1915) French Painter and Illustrator.
A QUANTITY OF PICTURES AND PRINTS ETC, to include Gin Lane and Beer Street by William Hogarth, ballet prints after Degas, Nadia Cascini print of female figures, William Russell Flint prints, Robert Cox still life oil on canvas depicting flowers, a watercolour depicting a Glacier signed Keith 02, together with other assorted prints etc (box and loose)
Ian Mood (British 1972-) "Woman Bathing" after Degas, signed on verso, charcoal drawing.14.5cm x 11cm (5.75in x 4.25in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Antonio Mancini, 1852 Albano Laziale – 1930 RomPORTRAIT EINES ITALIENISCHEN JUNGEN Öl auf Leinwand. 67 x 50 cm. Rechts unten signiert „A. Mancini“. In dekorativem teilvergoldetem Rahmen.Vor einem Hintergrund in diversen rötlichen Farbtönen das Halbbildnis eines Jungen mit schwarzem breitem Hut, der neben weißen Federn mit goldenen Anhängern verziert ist. Er trägt eine dunkle Jacke mit weißem Spitzentuch um den Hals und Spitze am Armende der Jacke. In seiner linken Hand hält er eine Art Bambusstock. Er hat ein gebräuntes Gesicht, einen leicht geöffneten Mund und mit seinen glänzenden dunklen Augen schaut er seitlich aus dem Bild heraus. Das Bildnis vorgeführt in virtuoser, stark pastoser, dem Impressionismus naher Pinselführung, eine flirrende Atmosphäre vermittelnd. Der Maler zählt zu den bedeutendsten Künstlern der italienischen Moderne. Nach lobendem Urteil über seine Jugendzeichnungen durch Domenico Morelli (1823-1901) wurde er bereits mit zwölf Jahren an der Kunstakademie in Napoli aufgenommen. Bereits 18-jährig stellte er unter großem Beifall im Salon du Paris aus. Mancini war Mitglied der Verismo-Bewegung. Er begab sich 1877 nach Frankreich, wo er Édouard Manet (1832-1883) und Edgar Degas (1834-1917) kennenlernte, später war er eng befreundet mit John Singer Sargent (1856-1925) in London. (1320843) (18)Antonio Mancini,1852 Albano Laziale – 1930 RomePORTRAIT OF AN ITALIAN BOYOil on canvas.67 x 50 cm.Signed “A. Mancini” lower right.
Artist: Edgar Degas (French, 1834 - 1917). Title: "Femme sortant du bain". Medium: Original duogravure, after the monotype. Date: Composed c1877-1880. Printed 1948. Dimensions: Overall size: 11 3/8 x 9 in. (289 x 229 mm).Lot Note(s): Signed in the plate, lower right; numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove watermarked Marais "vellum" paper. Wide margins. Fine impression. Very good condition, very crisp, a pronounced platemark, the expected light tanning to the sheet, and occasional areas of minor red print-through. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Degas created a considerable body of monotypes in the late 19th century. A number of them were reduced in size and recreated as original works in 1938 and again in 1948, of which our example is part. The verso bears the handstamp of Edgar Achille Gaston DeGas-Musson (1875-1953), the son of Estelle Angelina Musson DeGas and Jean Baptiste Rene DeGas (the brother of Edgar Degas). [29336-2-300]
Artist: Edgar Degas (French, 1834 - 1917). Title: "Femme dans la baignoire". Medium: Original duogravure, after the monotype. Date: Composed c1880. Printed 1948. Dimensions: Overall size: 11 3/8 x 9 in. (289 x 229 mm).Lot Note(s): Numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove Marais "vellum" paper. Wide margins. Fine impression. Very good condition, very crisp, a pronounced platemark, the expected light tanning to the sheet, and occasional areas of minor red print-through. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Degas created a considerable body of monotypes in the late 19th century. A number of them were reduced in size and recreated as original works in 1938 and again in 1948, of which our example is part. The verso bears the handstamp of Edgar Achille Gaston DeGas-Musson (1875-1953), the son of Estelle Angelina Musson DeGas and Jean Baptiste Rene DeGas (the brother of Edgar Degas). [29333-2-225]
Artist: Edgar Degas (French, 1834 - 1917). Title: "Chanteuse du café-concert". Medium: Original color gravure with pochoir, after the monotype. Date: Composed c1875-1876. Printed 1948. Dimensions: Overall size: 10 11/16 x 9 in. (271 x 229 mm).Lot Note(s): Signed in the plate, upper right; numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove Marais "vellum" paper. Wide margins. Fine impression with delicately applied pochoir. Fine condition, very crisp, with a pronounced platemark and the expected light tanning to the sheet. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Degas created a considerable body of monotypes in the late 19th century. A number of them were reduced in size and recreated as original works in 1938 and again in 1948, of which our example is part. The verso bears the handstamp of Edgar Achille Gaston DeGas-Musson (1875-1953), the son of Estelle Angelina Musson DeGas and Jean Baptiste Rene DeGas (the brother of Edgar Degas). [29328-2-600]
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