EDGAR DEGAS (1834-1917)
EDGAR DEGAS (1834-1917)
EDGAR DEGAS (1834-1917)
EDGAR DEGAS (1834-1917)
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PROPERTY FROM A PRIVATE WEST COAST COLLECTION
EDGAR DEGAS (1834-1917)

Ludovic Halévy trouve Madame Cardinal dans les loges

细节
EDGAR DEGAS (1834-1917)
Ludovic Halévy trouve Madame Cardinal dans les loges
stamped 'Degas' (Lugt 658; lower right)
pastel over monotype on Japan paper
Plate size: 8 3⁄8 x 6 3⁄8 in. (21.2 x 16.2 cm.)
Sheet size: 13 1⁄8 x 9 1⁄8 in. (33.2 x 23.1 cm.)
Executed in 1880-1883
来源
Estate of the artist; sale, Galerie Georges Petit, Paris, 17 March 1928, lot 1.
David David-Weill, Paris (acquired at the above sale).
Confiscated by the Einsatzstab Reichsleiter Rosenberg (ERR) and transferred to the Jeu de Paume under Nazi occupation after 1940 (no. D.W. 357).
Recovered by the Monuments, Fine Arts and Archives Section, at the 'Lager Peter' salt mine, Altaussee, Austria, and transferred to the Munich Central Collecting Point, Germany, 28 June 1945 (no. 1358⁄18).
Repatriated to France, 18 April 1946, and restituted to David David-Weill, Paris, 10 May 1946.
Private collection (then by descent); sale, Ader, Picard and Ader, 25 May 1971, lot 59.
Mrs. Erwing, Hartford (acquired at the above sale, then by descent).
Private collection (acquired from the above, September 2013); sale, Christie's, Paris, 4 April 2023, lot 29.
Acquired at the above sale by the present owner.
出版
A. Blaizot, ed., La Famille Cardinal, Paris, 1939, p. 45 (illustrated in color).
E.P. Janis, Degas Monotypes: Essay, Catalogue and Checklist, exh. cat., Fogg Art Museum, Harvard University, Cambridge, 1968, no. 215 (illustrated).
J. Adhémar and F. Cachin, Degas: The Complete Etchings, Lithographs and Monotypes, London, 1974, p. 273, no. 59
Degas, exh. cat., Galeries nationales du Grand Palais, Paris, 1988, p. 282.

荣誉呈献

Emma Boyd
Emma Boyd Associate Specialist, Acting Head of the Works on Paper Sale

拍品专文

This hand-colored monotype comes from a series of more than 30 monotypes that Degas planned as illustrations for La Famille Cardinal by the artist’s friend Ludovic Halévy. The satirical stories revolve around two young dancers at the Opéra, Pauline and Virginie Cardinal, and their procuress mother. In late 19th-century Paris, the ballet was the profession of lower-class girls and young women who were available for sexual hire. In the present scene, Halévy, the first-person narrator, meets with Madame Cardinal in the wings of the Opéra to arrange for a private rendez-vous with one of her daughters. The dancers, whose sexual availability is the subtext of the composition, are visible in the background.

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