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

Mary Cassatt at the Louvre: The Etruscan Gallery

EDGAR DEGAS (1834-1917)
Mary Cassatt at the Louvre: The Etruscan Gallery
softground etching, drypoint, aquatint, and etching, 1879-1880, on thin laid Japan paper, a very good impression of this rare and important print, Reed & Shapiro's ninth, final state, with the red ATELIER ED. DEGAS stamp in the lower right margin, an impression from or aside of the projected edition of fifty printed by Alfred Salmon, Paris, with margins, presumably the full sheet, in good condition
Plate 267 x 232 mm.
Sheet 355 x 268 mm.
The artist's estate, with the red Atelier stamp recto (Lugt 657); presumably his posthumous sale, Paris (experts Delteil, Bernheim-Jeune, Durand-Ruel, Vollard), 22 November 1918, lot 50 ('Au Louvre: Musée des Antiques - Cinquante-neuf épreuves dont 44 sur papier du Japon./ Ce numéro sera divisé.')
Alfredo González Garaño (1886-1969) and Marieta Ayerza de González Garaño (1894-1975), Buenos Aires, Paris; presumably acquired at the above sale; then by descent to the current owner.
Delteil 30; Adhémar 53; Cachin 53; Reed & Shapiro 51

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Stefano Franceschi
Stefano Franceschi Specialist

Lot Essay

The present impression is presumably one of the 44 on Japan paper offered in the estate sale of Edgar Degas' own printed works in November 1918. These impressions were listed together with 15 others (on different paper) as one lot in the catalogue, but presumably sold individually, as the catalogue entry states that 'Ce numéro sera divisé'.
It seems plausible that Alfredo González-Garaño Peña (1886-1969, painter, art critic and founding member of the Society of “Acuarelistas, Pastelistas y Grabadores” in Buenos Aires) bought the print either directly in the estate sale or acquired it shortly after from the Parisian art trade. He was partly educated in Paris and spent much time in the city.
Alfredo and his wife Marieta Ayerza (1894-1975) were important Argentinian collectors and patrons of the arts, who had close connections to the artistic circles of both their native country and Paris, including friendships with the ballet dancer Vaslav Nijinsky and the composer Igor Stravinsky. Alfredo even created some stage designs for a ballet on an indigenous-Argentine theme, that he and another friend had planned with Nijinsky to music of Stravinsky, which unfortunately was never realised.

Reed & Shapiro were able to trace approximately twenty examples of this state of the etching in public and private collections.

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