EDGAR DEGAS (1834-1917)
EDGAR DEGAS (1834-1917)
EDGAR DEGAS (1834-1917)
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EDGAR DEGAS (1834-1917)
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EDGAR DEGAS (1834-1917)

Danseuse saluant

Details
EDGAR DEGAS (1834-1917)
Danseuse saluant
stamped with signature, numbered and stamped with foundry mark '9 HER CIRE PERDUE A.A. HEBRARD' (on the base)
bronze with brown patina
height: 8 ½ in. (21.8 cm.)
Original wax model executed circa 1882-1895; this bronze version cast at a later date in an edition numbered A to T plus two casts reserved for the Degas heirs and the founder Hébrard marked HER.D and HER respectively
Provenance
Browse & Darby Ltd., London, by 1979.
Anonymous sale, Sotheby's, London, 27 June 1984, lot 113.
Anonymous sale, Sotheby's, London, 27 March 1985, lot 108.
Anonymous sale, Christie's, London, 3 April 1990, lot 273.
Anonymous sale, Christie's, New York, 12 November 1992, lot 107.
Acquired from the above sale by the Blaquier-Arrieta Family.
Literature
J. Rewald, Degas, Works in Sculpture: A Complete Catalogue, New York, 1944, no. XXXIII, p. 90 (another cast illustrated pl. 84).
J. Rewald & L. von Matt, Degas, Sculpture: The Complete Works, New York, 1956, no. XXXIII, p. 148 (another cast illustrated p. 149, fig. 12 & pl. 39).
F. Russoli & F. Minervo, L'opera completa di Degas, Milan, 1970, no. S25, p. 141 (another cast illustrated p. 142).
C.W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, no. 48, p. XIII (original wax version illustrated).
J. Rewald, Degas's Complete Sculpture: A Catalogue Raisonné, San Francisco, 1990, no. XXXIII, p. 201 (another cast illustrated p. 104; original wax version illustrated p. 105).
A. Pingeot, Degas Sculptures, Paris, 1991, no. 26, p. 165 (another cast illustrated; another cast illustrated again pls. 58-59).
S. Campbell, 'Degas: The Sculptures, A Catalogue Raisonné' in Apollo, August 1995, no. 9, p. 15 (another cast illustrated).
J.S. Czestochowski & A. Pingeot, Degas Sculptures: Catalogue Raisonné of the Bronzes, Memphis, 2002, no. 9, p. 139 (original wax version illustrated; another cast illustrated p. 138).
S. Campbell, R. Kendall, D. Barbour & S.Sturman, Degas in the Norton Simon Museum, Pasadena, 2009, vol. II, no. 54, p. 509 (another cast illustrated pp. 310-311; original wax version illustrated p. 309).
S.G. Lindsay, D.S. Barbour & S.G. Sturman, Edgar Degas Sculpture, exh. cat., National Gallery of Art, Washington, D.C., 2010, no. 24, pp. 174-177 (original wax model illustrated pp. 175-176, fig. 2).

Brought to you by

Charlotte Young
Charlotte Young Associate Director, Specialist

Lot Essay

Edgar Degas’s Danseuse saluant exemplifies the artist’s enduring fascination with the ballet, a subject that permeated his work across multiple media throughout much of his career. Rather than depicting the spectacle of performance alone, Degas was particularly drawn to the physical gestures, fleeting movements and unguarded attitudes of dancers, seeking to capture the subtleties of the human figure with remarkable immediacy. His sustained observation of the ballet informed an innovative approach to sculpture, through which he explored the relationship between movement, balance and form.

In the present work, the dancer is captured in a graceful, seemingly spontaneous gesture, her legs delicately crossed, her head inclined and her arms extending in contrasting directions. Far from presenting an idealised classical pose, Degas conveys the natural asymmetry and physical complexity of the dancer’s movement. Capturing a fleeting moment with remarkable immediacy and grace, the present work stands as a compelling example of Degas’s ability to imbue bronze with a profound sense of life, energy and motion.

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