EDGAR DEGAS (1834-1917), Jeune femme nue se coiffant | Christie's
EDGAR DEGAS (1834-1917)
EDGAR DEGAS (1834-1917)
EDGAR DEGAS (1834-1917)
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THE PHILLIPS FAMILY COLLECTION
EDGAR DEGAS (1834-1917)

Jeune femme nue se coiffant

Details
EDGAR DEGAS (1834-1917)
Jeune femme nue se coiffant
signed 'Degas' (lower left)
pastel on paper
17 x 11 1⁄8 in. (43 x 28.5 cm.)
Drawn circa 1889-1890
Provenance
Ambroise Vollard, Paris.
Albert Sancholle Henraux, Paris (by 1924).
Jean Dieterle, Paris.
Tedesco Frères, Paris.
Paul Pétridès, Paris.
Comtesse de Maistre, Paris.
The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), London (by 1956).
Acquired by the Phillips family, by 1958.
Literature
A. Vollard, Degas, quatre-vingt-dix-huit reproductions signées par Degas (peintures, pastels, dessins et estampes), Paris, 1914 (illustrated, pl. XXXIII; titled Femme se peignant).
H. Rivière, Les dessins de Degas reproduits en fac-simile, Paris, 1924, no. 96 (illustrated, pl. 96; titled Femme nue se peignant).
The Connoisseur, June 1957, vol. CXXXIX, p. xxxii (illustrated).
P. Brame and T. Reff, Degas et son oeuvre, A Supplement, New York, 1984, p. 142, no. 131 (illustrated, p. 143).
Exhibited
Nassau County Museum of Art, La Belle Époque, June-September 1995, p. 43 (illustrated).
Further Details
After the pre-sale exhibition, this lot will be transferred to storage in Delaware and will be available for shipment from Delaware. Please note that title to the lot will transfer to the buyer in accordance with the Conditions of Sale while the lot is in storage in Delaware. Contact Christie’s Client Service team at +1 212 636 2000 for further details.

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Lot Essay

“In dozens of charcoal drawings, pastels, and even sculptures, this angular averted figure towers over his pictorial repertory. Leaning forward to attend to her hair and dry her neck, the woman twists her back so that the side of her thighs and the breadth of her shoulders are simultaneously visible. The curiously flattened shape that resulted clearly fascinated the artist, offering an oblique structure that energized a number of major compositions.”
—Richard Kendall

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