Danseuse attachant le cordon de son maillot

细节

Edgar Degas (1834-1917)
Danseuse attachant le cordon de son maillot
stamped with the signature 'Degas' (Lugt 658), numbered and stamped with the foundry mark '33/HER CIRE PERDUE A.A.HÉBRARD'(on the top of the base)
bronze with brown patina
Height: 17 in. (43.1 cm.)
Original wax version executed circa mid 1880s - 1890s; cast from 1920-1921 by the A.A. Hébrard foundry in an edition of twenty, numbered A to T, plus two casts reserved for the Degas heirs and the founder

来源

The Hébrard family, Paris.
Galerie Marcel Bernheim, Paris.
Anonymous sale, Hôtel Drouot, Paris, 24 November 1964, lot 40.
Acquired at the above sale by the present owner in 1964.

出版

Exh. cat., Exposition des sculptures de Degas, Galerie A.A. Hébrard, Paris, May - June 1921, no. 33 (another cast exhibited).
J. Rewald, Degas, Works in Sculpture, A Complete Catalogue, New York, 1944, no. XXVIII, p. 81 (another cast illustrated).
J. Rewald, Degas's Sculpture, The Complete Works, London, 1957, no. XXVIII (another cast illustrated).
C.W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, no. 84 (another cast illustrated).
J. Rewald, Degas's Complete Sculpture, Catalogue Raisonné, San Francisco, 1990, no. XXVIII (the wax version illustrated; another cast illustrated).
A. Pingeot, Degas, Sculptures, Paris, 1991, no. 15.
S. Campbell, 'Degas, The Sculptures, A Catalogue Raisonné', in Apollo, no. 402, vol. CXLII, August 1995, no. 33 (another cast illustrated p. 27).
J.S. Czestochowski & A. Pingeot, Degas Sculptures, Catalogue Raisonné of the Bronzes, Memphis, 2002, no. 33, p. 187(another cast illustrated p. 186).
S. Glover Lindsay, D.S. Barbour & S.G. Sturman, Edgar Degas Sculpture, Washington D.C., 2010, no. 22, pp. 164-168 (the wax version illustrated p. 165).

展览

Paris, Galerie A.A. Hébrard, Exposition des sculpteurs d'Edgar Degas, 1921, no. 15.
London, Arts Council of Great Britain, The Sculptures of Degas, 1983, no. 9.
Brussels, Palais des Beaux-Arts, L'Art et le temps: Regards sur la quatrième dimension, 1984.

注意事项

On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Christie’s may choose to assume this financial risk on its own or may contract with a third party for such third party to assume all or part of this financial risk. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk out of Christie’s revenues from the sale, whether or not the third party is a successful bidder. The third party may bid for the lot and may or may not have knowledge of the reserves. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may incur a loss. Christie’s guarantee of a minimum price for this lot has been fully financed through third parties VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

荣誉呈献

Adrienne Dumas

adumas@christies.com +44 (0)20 7389 2376

拍品专文

Danseuse attachant le cordon de son maillot has often been ascribed a date of conception of around 1882-85, making it a relatively early composition within Edgar Degas' sculptural oeuvre. In this work, Degas has clearly explored a serpentine, twisting motion in the body of his subject: the dancer is turning, focussing all her attention on the point at which she is apparently fastening her tights. In this way, the turning torso recalls Classical sculptures such as the Greek and Roman images of Aphrodite partially concealing herself. Degas was clearly looking towards ancient precedents in his sculptures and pictures; however, he was adding a fresh new perspective, locating the ephemeral and ethereal beauty of those idealized goddesses of past belief in the women of Paris during his own era. Thus, this moment of concentration as the dancer fastens her tights becomes a prolonged instance of contemplation. In Danseuse attachant le cordon de son maillot, Degas has used everyday life as a precedent for this exploration of the corkscrewing dynamism of his subject. In the case of this sculpture, his use of precedents for the purpose of studying particular phenomena and poses is made all the more explicit by the fact that this woman is in fact depicted naked: the 'maillot' which she is supposedly attaching is not there, meaning that this is a fiction being carried out and recorded for Degas' own purposes. Thus this snapshot of a woman preparing herself by arranging her clothing becomes something at once simpler and far more complex: it is a make-believe pretext for his intense scrutiny of the human body. The fact that this nude is fastening a clearly fictitious maillot also provides us with an insight into Degas' artistic programme, as he directed his models within his studio, be they clothed or nude, eschewing the direct observation that he might have been able fleetingly to enjoy at the theatre or in a rehearsal studio. 'I assure you that no art was ever less spontaneous than mine,' he explained in terms that clearly apply to this deliberate study of a pose that has seemingly been orchestrated by Degas himself. 'What I do is the result of reflection and study of the great masters; of inspiration, spontaneity, temperament - temperament is the word - I know nothing' (Degas, quoted in R. Kendall, ed., Degas by Himself: Drawings, Prints, Paintings, Writings, London, 1987, p. 311).