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Edgar Degas (1834-1917)
No VAT will be charged on the hammer price, but VA… Read more PROPERTY FROM THE COLLECTION OF SIMON SAINSBURY
Edgar Degas (1834-1917)

Portrait d'homme

Details
Edgar Degas (1834-1917)
Portrait d'homme
oil on canvas
16 1/8 x 12 7/8 in. (40.8 x 32.7 cm.)
Painted circa 1868-1872
Provenance
The artist's studio.
Mlle Jeanne Fèvre, Nice (the artist's niece); her sale, Galerie Charpentier, Paris, 12 June 1934, lot 111.
Wildenstein & Cie., Paris.
Mrs Huttleston Rogers, New York, by 1949.
William Beadleston, Inc., New York.
James Kirkman Ltd., London.
Acquired from the above in November 1984.
Literature
P.A. Lemoisne, Degas et son oeuvre, vol. II, Paris, 1946, no. 195, p. 102 (illustrated p. 103).
F. Russoli & F. Minervino, L'opera completa di Degas, Milan, 1970, no. 262, p. 97 (illustrated p. 98, titled 'Busto di Giovane Bruno').
Exhibited
New York, Wildenstein & Co., Degas, April - May 1949, no. 16. (illustrated p. 16).
New York, Acquavella Galleries, Inc., Edgar Degas, November - December 1978, no. 7 (illustrated).
Special Notice

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Lot Essay

Professor Theodore Reff has suggested that the sitter in Portrait d'’homme may be Gustave Caillebotte, as there are similarities between the features that Degas has captured here and photographs showing his fellow artist from approximately that period. Degas appears to have known Caillebotte as early as 1867-- in his notebooks used between 1867 and 1874, he cites Caillebotte's address as 77 rue Miromesnil, an address to which the artist and his family moved that year (see T. Reff, The Notebooks of Edgar Degas, Oxford, 1976, I, p. 115). The artists would both become important members of the Impressionist group as contributors and as organisers, and both would also use their own independent wealth to help the movement over the years; Caillebotte'’s patronage and sponsorship of Monet and Renoir as well as the others, enabled the artists to continue painting, while his collection, bequeathed to the French State after his death, was to become the cornerstone for wider public appreciation of the Impressionists.

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