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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.
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.