Edgar Degas

Sale: Atelier Edgar Degas, 1st sale Galerie Georges Petit, Paris, 6-7 and 8 May 1918, no. 21, illustrated p. 15
Henri Fèvre, Monte-Carlo (and sold: Hôtel Drouot, Paris, Tableaux et pastels. Dessins et estampes par Degas. Tableaux modernes, 22nd June 1925, lot 63)
Fiquet, Paris
André & Olga Wormser, Paris
Thence by descent to the present owner

Paris, Galerie Schmit, Exposition Degas 1834-1917, 1975, no. 5

Paul-André Lemoisne, Degas et son œuvre, vol. II, Paris, 1946, no. 83, illustrated p. 45

The canvas is lined. There is no signs of retouching under UV light. There is a small hole in the top layer (probably artist's) to the upper right corner and another towards the centre of the right edge. There is some pigment loss towards the centre of the upper edge which could be restored. This work is in overall good condition and might benefit from a clean.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This work, painted in monochrome, is a study for the famous painting Sémiramis construisant Babylone 1860-62, today kept in the collections of the Musée d’Orsay (fig.). The Assyrian queen is depicted standing on the banks of the Euphrates river, watching the building of the mythical city of Babylon. Degas based this large format painting on Assyrian archaeological sources he had seen at the Louvre. He produced several preparatory drawings as well as four preparatory oil works. It is interesting to see how the final painting differs from its studies, in particular in the composition of the group of figures. Stylistically, this sketch demonstrates Degas’s academic aptitude, typical of his early works and his skill as a draughtsman, learnt from Ingres whom he met in 1855. His attention to the horse is noteworthy, as it is a subject he was to return to with brio in his famous representations of horse races.