Edgar Degas

Atelier Edgar Degas (and sold: Galeries Georges Petit, Paris, 3ème Vente, April 7-9, 1919, lot 170)
Vignier Collection, Paris (and sold: Hôtel Drouot, Paris, May 21, 1931, lot 56)
Stoppenbach & Delestre, Ltd., London
Acquired from the above in 2004

Paul-André Lemoisne, Degas et son oeuvre, vol. III, Paris, 1946, no. 1300bis, illustrated p. 757

Executed on buff colored paper mounted on card, which is in turn hinged to a mount at two places at top edge on verso. The card bears the atelier stamp on the verso. Mat stain around the extreme perimeter of the sheet. Remnants of a prior mounting at top edges. Some skinning to the perimeter of the verso of the card, likely from a prior mounting or taping. 1 cm loss at extreme lower left edge and a few other small nicks and tears around the extreme perimeter. Two small losses to the sheet, one above the dancer's tutu at upper left and the other above the figure's head towards upper right. She is time darkened overall and slightly dirty. Otherwise fine. This work is in overall good condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Danseuse assise is part of more than a dozen varied and separate renderings of a dancer during her warm up. This work is characteristic of Degas’ interest in seeking out the ballet’s secret life: its wings and hallways, classrooms and rehearsal spaces. Degas haunted the corridors of the Palais Garnier, penetrating the mysteries of the Paris Opéra and its Ballet. There, the city’s working class girls struggled to become stars of the stage; here, Degas captures the ballerina out of the spotlight during her far from glamorous and arduous training. She sits seemingly unaware of Degas’ presence, stretching and contorting her physique with a certain care and grace. She exposes her shoulders and collar bone, staring up towards the ceiling. Degas disregards details like the buttons and frilled lace adorned on the dancer’s bodice or the characteristics of her face. Even the ballerina’s tutu is reduced to a simple yet bright pop of chartreuse. Degas’ focus is solely on the challenging element of the body and its movement.