Lot Essay
In his will Degas did not bequeath his collection to the state but to his relatives, recommending that the most famous art experts put the contents of his studio up for sale at auction. Among the experts mentioned were MM. Bernheim-Jeune, MM. Durand-Ruel and M. Ambroise Vollard, and five sales were organized between 1918 and 1919 by the commissaires-priseurs Maître Lais-Dubreuil, Maître Edmond Petit and Maître Henri Baudoin. Four of these sales were entirely dedicated to works by Degas, while the fifth disposed of the artist's personal collection, consisting of the prints Degas himself had collected. One of the prints was a portrait of Alexis Rouart by Helleu; Degas' ownership of the print proves that he had an interest in Helleu's refined technique of engraving. The present drawing, sketched on the cover of the second sale catalogue pays hommage to Degas. Its composition, especially the audacity of its perspective and the choice of the poses, echo the importance that photography held in Degas' work as seen in his own print of Mary Cassatt at the Louvre. The present composition is inspired by Helleu's masterpiece, The Lady at the Louvre looking at Watteau Drawings.
The first two sales took place in 1918. At the time of the first sale, in May 1918, France was still at war with Germany and although the conflict was approaching its end, Paris was still under siege. The sale, however, was a great success and a second sale took place at the Galerie Georges Petit, 8 rue de Sèze, from Wednesday 11 December to Friday 13 December of the same year by which time the German troops had surrendered exactly a month before, on 11 November 1918. The four sales were in fact the most successful studio sales of the late 19th and early 20th Centuries in Paris.
The viewing for the second sale did not last for more than the two afternoons of Monday 9 and Tuesday 10 December 1918 from two to six. All of the pastels sketched on this sheet can be found in the sale catalogue. On the upper left is lot 104, Après le bain, femme s'essuyant, which sold for 6000 francs and can be traced to the Bing collection in Paris, then to the Ditran Kelekian collection and finally to the Durand-Ruel collection in New York. On the upper right is lot 173, Jeune femme au bain which realized 13,100 francs and went to the Aubert collection. On the lower left is lot 95, Après le bain, femme s'essuyant which sold for 8,000 francs to one of the experts, MM. Bernheim-Jeune. The pastel on the verso, lot 70, Femme s'essuyant, is particularly interesting. It was purchased for 4,950 francs by M. Fiquet, (as identified by Helleu's inscription) who was co-owner of the Gallery Nunes-Fiquet. His associate, Mr. Nunes, was a friend of Renoir and was equally involved as a dealer and patron in the impressionist circles. M. Fiquet had already bought lot 27, Jeune femme en robe noire et gants blancs in the same sale, while at the first sale in May he had acquired lots 18 and 83. At the third sale he bought lot 587 and at the fourth, lot 201.
The first two sales took place in 1918. At the time of the first sale, in May 1918, France was still at war with Germany and although the conflict was approaching its end, Paris was still under siege. The sale, however, was a great success and a second sale took place at the Galerie Georges Petit, 8 rue de Sèze, from Wednesday 11 December to Friday 13 December of the same year by which time the German troops had surrendered exactly a month before, on 11 November 1918. The four sales were in fact the most successful studio sales of the late 19th and early 20th Centuries in Paris.
The viewing for the second sale did not last for more than the two afternoons of Monday 9 and Tuesday 10 December 1918 from two to six. All of the pastels sketched on this sheet can be found in the sale catalogue. On the upper left is lot 104, Après le bain, femme s'essuyant, which sold for 6000 francs and can be traced to the Bing collection in Paris, then to the Ditran Kelekian collection and finally to the Durand-Ruel collection in New York. On the upper right is lot 173, Jeune femme au bain which realized 13,100 francs and went to the Aubert collection. On the lower left is lot 95, Après le bain, femme s'essuyant which sold for 8,000 francs to one of the experts, MM. Bernheim-Jeune. The pastel on the verso, lot 70, Femme s'essuyant, is particularly interesting. It was purchased for 4,950 francs by M. Fiquet, (as identified by Helleu's inscription) who was co-owner of the Gallery Nunes-Fiquet. His associate, Mr. Nunes, was a friend of Renoir and was equally involved as a dealer and patron in the impressionist circles. M. Fiquet had already bought lot 27, Jeune femme en robe noire et gants blancs in the same sale, while at the first sale in May he had acquired lots 18 and 83. At the third sale he bought lot 587 and at the fourth, lot 201.