WELCOME TO INVALUABLE
Be the first to know about
the latest online auctions.
Please enter a valid email address (name@host.com)
Sign Up »
PS: We value your privacy
Thank you!
 
 
Want to learn more
about online auctions?
Take a Quick Tour »
 
Invaluable cannot guarantee the accuracy of translations through Google Translate and disclaims any responsibility for inaccurate translations.
Show translation options

Edgar Degas on Sale Now at Auction

Edgar Degas (1834-1917)  Please Register/Login to access your Invaluable Alerts

Sort by:  
Lots with images first
Show Lots:
Edgar DEGAS 1834 -1917 Etude de figures Mine de plomb sur papier

Estimate: €10,000 - €15,000

Description: Edgar DEGAS 1834 -1917 Etude de figures Mine de plomb sur papier Cachet de la signature en bas à gauche "Degas" (Lugt 658), cachet de l''atelier en bas à droite "Atelier Ed. Degas" (Lugt 657) h: 35,50 w: 22,50 cm Provenance : Paris, Galerie Georges Petit, "Atelier Degas, 4eme et dernière vente", 2 juillet 1919, lot 127c A l''actuel propriétaire par cessions successives Commentaire : Pencil on paper; stamped with the signature lower left, studio stamp lower right

View additional info

Live Auction: 1 day 10 hours

Starting bid: €10,000 (0 bids)

Leave Bid
  Register to bid
E. Degas - Pastel on paper - Dedicated - 13

Estimate: $2,500 - $3,000

Description: Frame: 20" x 18" Shipping in USA $ 90

View additional info

Live Auction: 9 days 19 hours

Starting bid: $800 (0 bids)

Leave Bid
  Register to bid
EDGAR DEGAS (ATTRIBUE A) (1837-1917)   VUE DU MONT SAINT-MICHEL, CIRCA 1885

Estimate: €2,000 - €3,000

Description: EDGAR DEGAS (ATTRIBUE A) (1837-1917) VUE DU MONT SAINT-MICHEL, CIRCA 1885 Mine de plomb sur papier marouflée sur papier Annoté "eau" en bas à gauche 7,3 x 16,5 cm - 2.7 x 6.2 in. Inscribed "eau" lower left, pencil on paper laid down on paper Provenance : - Collection privée, Ille et Vilaine Ce ne pourrait être qu'en août 1885 que ce dessin a été exécuté. Degas écrit alors, de Paramé, à son marchand à Durand-Ruel : " Je ne reviendai à Paris que samedi. "On" va au Mont Saint Michel jusqu'à jeudi. " (Lettre LXXVII, page 101 de Lettres de Degas, recuellies et annotées par Marcel Guérin, Grasset, Paris, 1945) Il écrit encore quelques jours plus tard à Daniel Halévy : " Vous savez que je reviens d'une délicieuse tournée et qu'après Mademoiselle Alice Biot, le Mont Saint Michel et l'auberge de Madame Poulard m'ont fait la plus vive impression. […] Puis on part pour le Mont Saint Michel, on y reste quelques jours. " (Lettre LXXX, page 104, op. cit.) Au cours d'un tel voyage, il dispose sans le moindre doute de l'un de ces carnets dans lesquels il dessine les paysages comme il prend des notes préparatoires pour les toiles. Il dessine à plusieurs reprises ce Mont Saint Michel. Sur l'un de ces dessins, il écrit " Mont St Michel " et indique la date " Août 1885 ". Cette vue est dessinée à marée haute. (La route représentée au premier plan a été prolongée en 1878 et 1879 par une digue-route qui est encore alors recouverte par la mer lors des marées hautes.) Sur la tour de rempart représentée à gauche, Degas n'a pas indiquée la Tour Gabriel ; celle-ci n'a pas été encore restaurée en 1885. (Comme il n'est pas représentée la sculpture de l'archange d'Emmanuel Frémiet qui n'est mise en place qu'en 1897 sur la flèche érigée par le charpentier Crepaux et conçue par l'architecte Victor Petitgrand.) Ces données historiques, la graphie de l'annotation (mot eau écrit en bas à gauche), l'écriture très assurée et très structurée de ce dessin à la mine de plomb, la notation du traitement des arbres comme celle de l'herbe par hachures, conduisent à pouvoir reconnaître un dessin de la main d'Edgar Degas. Pascal Bonafoux, "Les carnets de Degas", Editions du Seuil, 2013.

View additional info

Live Auction: 5 days 10 hours

Starting bid: €2,000 (0 bids)

Leave Bid
  Register to bid
EDGAR DEGAS (1834-1917) FRENCH

Estimate: $1,200 - $1,500

Description: Original Heliogravure on paper "Quatre Croquis de Petite Danseuse" from the Les Dessins de Degas Suite. Rare Limited Edition. Circa 1922. Signed in plate. Publisher Demotte, Editeur. Professionally framed. Overall 35" x 31".

View additional info

Live Auction: 4 days 20 hours

Starting bid: $550 (0 bids)

Leave Bid
  Register to bid
Edgar Degas, Spanish Dancer, Cast Resin Sculpture

Estimate: $1,800 - $2,200

Description: Artist: Edgar Degas, After, French (1834 - 1917)Title: Spanish DancerYear: cast circa 1969Medium: Cast Resin SculptureSize: 15.5 x 6 x 4 in. (39.37 x 15.24 x 10.16 cm)

View additional info

Live Auction: 2 days 12 hours

Starting bid: $1,200 (0 bids)

Leave Bid
  Register to bid
Edgar Degas, Taking a Bow, Poster

Estimate: $200 - $250

Description: Artist: Edgar Degas, French (1834 - 1917)Title: Taking a BowYear: circa 1950Medium: PosterSize: 11.5 in. x 10 in. (29.21 cm x 25.4 cm)Frame Size: 17.5 x 15.5 inches

View additional info

Live Auction: 2 days 12 hours

Starting bid: $100 (0 bids)

Leave Bid
  Register to bid
Edgar Degas (1834-1917): Danseuse mettant son chausson

Estimate: $500 - $800

Description: Edgar Degas (1834-1917): Danseuse mettant son chausson Etching on wove paper, 1892, the second (final) state after cancellation. 7 x 4 1/2 in. (plate), 7 1/2 x 5 in. (sight), 17 3/4 x 14 5/8 in. (frame). Literature: Deltiel 36. Provenance: William Weston Gallery, London. Estate of Paul and Clara Kellner

View additional info

Live Auction: 5 days 12 hours

Current bid: $250 (1 bid)

Leave Bid
  Register to bid
Edgar Degas (French, 1834-1917) Esquisse pour un portra

Estimate: $100,000 - $150,000

Description: Edgar Degas (French, 1834-1917) Esquisse pour un portrait de M. et Mme. Louis Rouart, 1904 Pastel and charcoal on paper laid on board 31-3/4 x 37-7/8 inches (80.5 x 96.5 cm) Stamped signature lower left PROVENANCE: Estate of the artist; Galeries Georges Petit, Paris, 1ère Vente Atelier Edgar Degas, May 6-8, 1918, lot 225; Sommer collection, Paris; Galerie Royale, J. Breckpot, Brussels, 1924; Cleomir Jussiant collection, Antwerp; Private collection, Europe. LITERATURE: P.-A. Lemoisne, Degas et son oeuvre, Vol. III, Paris, 1946, no. 1441, illustrated p. 821 (with the measurements 100 x 100 cm); F. Russoli & F. Minervino, L'Opera complete di Degas, Milan, 1970, mentioned p. 139; Degas (exhibition catalogue), Galeries nationales du Grand Palais, Paris; Musée des Beaux-Arts du Canada, Ottawa; The Metropolitan Museum of Art, New York, 1988-9, mentioned p. 485. Brame & Lorenceau has confirmed the authenticity of this work. After 1900, Edgar Degas essentially stopped producing portraits even though they had been a primary and profoundly expressive subject for him for the greater part of his artistic career. The reason for this shift was that he was battling deteriorating eyesight, not to mention feelings of overwhelming discouragement because of it. Capturing a likeness can be a fairly sensitive undertaking at any juncture, let alone when the artist was working in defiance of an eye disease that would eventually blind him. There was, however, one notable exception to Degas' total abandonment of portraiture in his late period, and that was the series of eight remarkable pastel portraits he produced between 1904 and 1905 which record the likenesses, if not more importantly the relationships, between some members of the Rouart family, perhaps the closest and most steadfast friends of the painter's life. This large pastel, a double portrait of the married couple Louis Rouart and Christine Lerolle, belongs to this series. There had to have been a great deal of comfort and trust between Degas and M. and Mme. Rouart for him to have undertaken these works at the juncture he did. Degas had a particular fondness for Louis Rouart, the fourth, youngest, and smallest son of Degas' great friend Henri Rouart, the great industrialist, painter and art collector whom Degas painted many times. Both Louis Rouart and Degas himself had lost their mothers at a young age, and this fact created a particular bond of sympathy between them. Louis Rouart would go on to commit himself to the revival of Catholicism in France; he became the founder of the periodical L'Occident, and the publisher and director of the Librairie d'Art Catholique, which would publish books on such religious painters as Fra Angelico and Raphael. His bookishness, and a certain distracted aloofness was not lost on Degas, who factors these traits into his portraits. Christine Lerolle was the daughter of noted fin-de-siècle painter Henri Lerolle. The two families were linked not simply through marriage but through commerce, having gone into business together publishing music as the firm of Rouart Lerolle. The pastels in this series are large-scale, like the present work, and focus on the relationship of Christine and Louis as suggested through the way Degas posed them in compositions that revolve around a chair. Of the eight pastels, three are finished works in their own right and five are studies. Of the three finished works, two are composed vertically and only one horizontally. The present work is a study for the only horizontal composition of the series. The vivid greens and blue-greens describing the background suggest an outdoor setting which, in fact, is more fully developed in the final work. The final composition has the addition of three thick tree trunks behind the couple, reinforcing the suggestion by scholars that the scene is set in a park at La Queue-en-Brie. In each pastel in the series, the couple is posed with their backs to one another. Christine Rouart is seated in each of the compositions, either looking over her shoulder at her husband, or turning to look out of the image. Her husband, on the other hand, is shown in a much greater variety of poses, sometimes standing and turning away from his wife reading a book, other times standing behind her chair turning more towards the viewer, or as in the present work, seated with his back to his wife but swiveling around as though he is preparing to respond to something she has just said. Of all the compositions of the couple, this one gives the greatest sense of connection. Mme. Rouart is animated and energized, with her hand raised in the air from the elbow at the center of the composition. She turns toward her husband, her lips parted slightly as though she is in mid-speech. Although he is the figure drawn with more variety of pose in the series, Louis Rouart appears more subdued and inert. Degas manages the contradiction so artfully. Despite the efforts to engage, the couple nonetheless remains back-to-back, suggesting at once a host of consonances and dissonances that separate the parties. It is noteworthy that Degas chose to draw the couple so many times, with so much variation, as though one configuration was a woefully insufficient summary of a relationship that clearly had strains and palpable undercurrents as well as longevity. In some ways the portrait is at once very specific to these two people, but asserts itself as a larger statement as well. Its scale, its boldness and its graphic exhilaration strongly suggest that Degas was working hard to express something that he believed to be new and important. The 20th century had arrived with its new rules and confusion, and the traditional portrait formula simply no longer applied.

Condition Report: Moderate light staining and some foxing, most notably along top edge; a tiny approx. 1/4 inch hairline abrasion at lower right edge (barely visible when framed); not examined out of frame due to framing under acrylic. Framed Dimensions 44 X 49 X 2 Inches

View additional info and full condition report

Live Auction: 2 days 13 hours

Starting bid: $50,000 (0 bids)

Leave Bid
  Register to bid
Sign in to continue
Email
Please enter your email.
Password
Please enter your password.
Forgot Your Password?
Enter Your Email
Please enter a valid email.
No user is registered with that email address.
Request Sent
Check to find your temporary password and password reset instructions.
Use your new password to Sign In.