EDGAR DEGAS | Fillette portant des fleurs dans son tablier

Atelier Degas (sale: Galeries Georges Petit, Paris, 1ere vente, 6th May 1918, no 94)
Max Dearly, Paris
Gutzwiller Collection (sale: Sotheby’s, London, 24^th June 1996, lot 1)
Private Collection, Switzerland (acquired at the above sale)
Thence by descent to the present owner

Paris, Galerie Schmit, Degas, 1975, p. 9, no. 4, illustrated in colour in the catalogue

Paul-Andrè Lemoisne, Degas et son œuvre, Paris, 1946, vol. II, p. 42, no 81, illustrated
Jacques Lassaigne & Fiorella Minervino, Degas, Paris, 1990, p. 88, no. 52, illustrated

The canvas is lined. Examination under UV light reveals a thick varnish, which prevents the light from penetrating. However, some minor fine lines and spots of retouching are visible in places, predominantly in the lower right quadrant and to the edges. There is some further inpainting to hairline craquelure on the forehead of the figure. The edges of the work have been supported by restorer's tape, which is not visible when framed. This work appears to be 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. 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."

Fillette portant des fleurs dans son tablier, painted circa 1860-62 is an endearing work based on Sir Thomas Lawrence’s celebrated portrait of Louisa Georgina Murray (1822-1891), the god-daughter of the Duke of Welllington. Lawrence’s original, painted between 1825 and 1827 hangs in the Green Room at Kenwood House in London.  This painting dates from a period in which Degas created numerous works based on well-known paintings; this personal exploration of the past, whose value had already been evident earlier to independent artists like Delacroix, was most characteristic of the 1860s. In fact, Degas is reported to have met Manet for the first time when both were etching copies of Velazquez’s Infanta Margarita in 1860. The subject of the present work, namely that of a delicate postured girl, dressed in a ballet costume, anticipates a theme which came to dominate a large proportion of Degas’ œuvre. A product of Degas’ desire to artistically develop his skill by learning through looking to the past, Fillette portant des fleurs dans son tablier suggests the colour and luminosity of Lawrence’s original yet reflects Degas’s innate virtuosity in imbuing the character of the individual. The majority of the other works from the series during this time are of historical or biblical subjects, inspired by artists such as Titian, Bellini, Poussin and Mantenga and while Degas acknowledged the importance of history painting as the apex of artistic achievement, this work epitomises the more relaxed, contemporary subject matter which profoundly distinguishes Degas’ artistic corpus. This work has been part of the eminent Gutzwiller Collection.