Edgar Degas 1834 - 1917
Auguste Rodin 1840 – 1917
Sculpture & Works on Paper 14 February – 16 March 2018
Monday - Friday 10 - 5.30 Saturday 11 - 2.00
Browse & Darby 19 Cork Street . London W1S 3LP Tel: 020 7734 7984 Fax: 020 7851 6650 e-mail: art@browseanddarby.co.uk www.browseanddarby.co.uk
F
rom today’s vantage point, most experts and art lovers would agree that the two greatest sculptors of the late nineteenth century were Auguste Rodin and Edgar Degas. Born within a few years of each other, both were highly skilled in the craft and both were fascinated – even obsessed – by the human body in its various forms and expressive modes. As young artists, they had both experienced the classical tradition when studying in the Louvre and when drawing from the naked figure, as their predecessors had done since ancient times. Subsequently each became exceptional draughtsmen, using pen, ink, pastel and other media to familiarise themselves with men and women at rest, and in increasingly expressive poses. In sculpture, Degas’s decision to model a young woman lying on her back in a bathtub was expressive of a new determination to confront the modern body, just as Impressionists had confronted modern cities and landscapes. Again coincidentally, Rodin and Degas both made studies of dancers and other active models as they moved or adopted the pose appropriate to their professions. In artistic – if not personal – sympathy, the two men also ranged across the generations, immortalizing children and adolescents as well as models of both sexes from adulthood to old age. In this important sense, Rodin and Degas were united in their humanity and in their celebration of life. Yet here the similarities between the two almost cease. Where Degas for much of his mature career was first and foremost a publicity-shy painter, pastelist and printmaker, Rodin rose to fame as a full-time sculptor with an apparently inexhaustible appetite for scale, drama and public controversy. Many of his most famous statues – The Age of Bronze, The Thinker, and above all his Burghers of Calais – were life-size or greater, and the sheer bulk of his threedimensional output dwarfs that of Degas, who made just one sculpture that approached natural height; The Little Dancer Aged Fourteen. This unique achievement resonated in the 1870s and still fascinates us today, but it can easily be forgotten that the youthful figure also began life as a series of drawings. At least twenty studies on paper can be related to the young girl and her distinctive pose, as the artist struggled with his own skills and ambitions. The three graphic works by Degas in this exhibition, by contrast, relate to his subsequent career when a mastery of charcoal, chalk and pastel allowed him to devise expressive, intimate accounts of his female models that were unprecedented in European art. The sculptural works by Rodin come from several different points in his career and show extraordinary technical skills on a relatively small scale and in various expressive modes. It was sometimes Rodin’s habit to begin with a form that had emerged from his mind or caught his eye, then enlarge it for a more ambitious creation and modify it appropriately as he went forward. His Head of a Man with One Ear, for example, might almost be a ‘life-study’ of someone he had glimpsed and whose features and demeanor intrigued him. Similar characters reappeared later and led him on to different works and larger statements. In time Rodin hired several assistants to help him with these proliferating schemes and contribute to the processes of enlarging, reducing or integrating such sculptural sketches into yet more dramatic combinations. By the 1880s, this way of working seemed to fill his studio with bodies that could be spectacular in their implicit energy, such as the work known as Flying Figure where he has omitted the head and parts of the legs. Energy itself seemed to fascinate him, along with the sometimes unexpected positions of limbs,
torsos and heads that accompanied their contortions and athletic movements. We struggle to imagine how such poses could be held long enough for the artist to record them, and then struggle again to conceive of their replication in clay, wax or other material. Almost an embodiment of this tendency is The Juggler or The Acrobat, as it is known, thought to have emerged in the mid-1890s and conjuring up the vision of a circus performer that seems closer to the young Picasso than to the aging Rodin. Here most of the assumptions about classical art have been set aside, as two lithe young bodies appear to be writhing in space without plausible support. Still distant from each other at the turn of the century, the two now-elderly artists were both - probably unwittingly - exploring the possibility of making sculptures and drawings of dancers in energetic movement. A contradiction in terms for most sculptors, this theme nevertheless absorbed Rodin and Degas from time to time and once again reflected their contrasted temperaments. Degas would make at least thirty such figures in his later years, ranging from ballerinas in full stage costumes to figures who are in dance positions but shown completely naked. Danseuse, grande arabesque, premier temps is a wonderfully elegant work that speaks of the ballet classrooms he once frequented and the hundreds of rehearsals and performances he had attended. Still hiring models in the late decades of the century, he remained in awe of their discipline, their poise and their elegance. Rodin’s group of dancers represents a later phase when the Ballet Russes company was known in Paris and other startling dance gymnastics had hit the headlines. His almost airborne sculpture, Nijinski, is a tour de force of perception and conception, as we imagine the Russian star in motion even when he is presented in bronze. Rodin made Dance movement in 1911, a stunning image of human vitality that seems to belong with the world of Matisse and even the Italian Futurists with their exaltation of human and mechanical dynamism.
Richard Kendall
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1. AUGUSTE RODIN (1840 - 1917) Nijinski bronze stamped ‘© by Musée Rodin 1958’ with signature and numbered 9 (along the left leg). height: 6 4/5 inches Conceived in 1912. Cast in an edition of 12, in addition to a cast held by the Musée Rodin, by Georges Rudier between 1958-59. Provenance Collection of Gustav Delbanco. Private Collection UK Literature R. Crone and S. Salzmann, ed., Rodin, Eros and Creativity, Munich, 1992, no. 10. R. Descharnes and J.-F. Chabrun, Auguste Rodin, Paris, 1967, pp. 256-257 (plaster version illus.). A. E. Elsen, Rodin, London, 1974, p. 143. A. E. Elsen, ed., Rodin Rediscovered, Washington, D.C., 1981, p. 143, no. 334. C. Goldscheider, Rodin et la danse, Art de France, 1963, p. 333, no. III. C. Goldscheider, Rodin, London, 1964, pl. 22. M. Laurent (trans. E. Read), Rodin, London, 1990, pp. 142-143 (plaster version illus.). A. Le Normand-Romain, H. Marraud, D. Tytgat, et al, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Paris, 2007, vol. II, pp. 550-552, 350, no. S803. I. Jianou and C. Goldscheider, Rodin, Paris, 1967, p. 113. D. Sutton, Triumphant Satyr, The World of Auguste Rodin, London, 1966 (frontispiece). J. L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, p. 45, pl. 4. 2. EDGAR DEGAS (1834 - 1917) The Tub (Le Tub) bronze stamped with signature and foundry mark ‘A.A. Hébrard cire perdue’ and numbered ‘26/I’. height: 8 1/2 inches Conceived circa 1886 and cast in an edition of 22, lettered A to T, including 2 casts reserved for the Degas heirs and the founder Hébrard after 1917, marked ‘HER’ and ‘HER.D’ respectively. Provenance Roland Browse & Delbanco. Collection of Lord Crawford, thence by descent. Private collection, UK. Exhibited Browse & Darby, London, Edgar Degas (1834-1917), Bronzes, May – June 1999, no. 10.
Literature S. Campbell, ‘Degas, The Sculptures: A Catalogue Raisonné’, Apollo, London, vol. CXLII (no. 402), August 1995, pp. 23-24, no. 26. J. S. Czestochowski & A. Pingeot, Degas, Sculptures, Catalogue Raisonné of the Bronzes, Memphis, 2002, p.172 no. 26. F. Daulte, Chefs-d’Oeuvres des collections suisses: de Manet à Picasso, Lausanne, 1964, no. 24. I. Dunlop, Degas, London, 1979, p. 214, fig. 199. C. W. Millard, The Sculpture of Degas, Princeton, 1976, fig. 92 (illustration of the wax original). A. Pingeot, Degas, Sculptures, Paris, 1991, pp. 118-119, no.56. J. Rewald, Degas, Works in Sculpture, A Complete Catalogue, London, 1944 (illustration of the wax original) pl. 78; pls. 79, 80, no. XXVII (illustration of cast). J. Rewald and L. von Matt, L’oeuvre sculpté de Degas, Zürich, 1957, pls. 76-78, no. XXVII. J. Rewald, Degas Sculpture, His Complete Work, New York, 1956, pls. 76, 77, 78, no. XXVII. F. Russoli and F. Minervino, L’Opera Completa Di Degas, Milan, 1970, p. 144, no. S56. D. Sutton, Edgar Degas, Life and Work, New York, 1986, p. 246. Degas, Royal Scottish Academy, Edinburgh & Tate Gallery, London, 1952. 3. EDGAR DEGAS (1834 - 1917) After the Bath (Après Le Bain), circa 1903 charcoal stamped signature (lower left) 24 1/4 x 15 1/4 inches Provenance Degas 2ème Vente, 1918, no. 343. Private Collection, Paris, 1987. Exhibited National Gallery, London, and Art Institute, Chicago, Degas: Beyond Impressionism, 1996. Literature R. Kendall, Degas: Beyond Impressionism, London, 1996, cat no. 13, p. 191. 4. AUGUSTE RODIN (1840 - 1917) Dance Movement B (Mouvement de Danse B) bronze signed and numbered ‘A. Rodin No. 9’ (on the sole of the left foot), stamped and dated ‘© by Museé Rodin 1957’ (on the sole of the right foot) height: 12 1/4 inches Conceived 1910-1911. Cast in bronze between 1951-57, in an edition of 12, in addition to a cast held by the Musée Rodin, (the first two casts by Alexis Rudier, the rest by Georges Rudier). Provenance By descent from Thomas, Loel Evelyn Bulkeley Guinness, Esq, OBE (1906-1988) to the present owner in 1988.
Literature A. E. Elsen (ed.), Rodin Rediscovered, Washington and Boston, 1981, p. 340, no. 336. C. Goldscheider (ed.), Mostra di Auguste Rodin (1840-1917), Rome, 1967. H. Ilbo, Retrospective Rodin, Seoul, 2010. M. Laurent (trans. E. Read), Rodin, London, 1990, p. 142. A. Le Normand-Romain, H. Marraud, D. Tytgat, et al, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Paris, 2007, vol. II, pp. 475-476, no. S. 597. Auguste Rodin i la seva relació amb Espanya, Barcelona, 1996. 5. EDGAR DEGAS (1834 - 1917) Grande Arabesque, First Time (Danseuse, grande arabesque, premier temps) bronze stamped with signature and foundry mark ‘AA Hébrard cire perdue’, numbered ‘18/HER.D’ height: 19 1/4 inches Conceived circa 1877-1885 and cast between 1919 and 1937 (or later), in an edition of 21 casts, lettered A to S, including 2 casts reserved for the Degas heirs and the founder Hébrard after 1917, and marked ‘HER’ and ‘HER.D’ respectively. Provenance Galerie de L’Elysée, Paris, 1962. Private Collection, USA (acquired from the above). Exhibited Browse & Darby, London, Edgar Degas (1834-1917), Bronzes, May – June 1999, no. 6. Literature S. Campbell, ‘Degas, The Sculptures: A Catalogue Raisonné, Apollo, London, vol. CXLII (no. 402), August 1995, pp. 19-20, no. 18. J. S. Czestochowski & A. Pingeot, Degas, Sculptures, Catalogue Raisonné of the Bronzes, Memphis, 2002, pp. 156-157, no. 18. J. Rewald, Degas Sculpture, His Complete Work, New York, 1956, pl. 37, no. XXXV. 6. EDGAR DEGAS (1834 - 1917) Study for a Harlequin Dancer (Danseuse se frottant le genou) bronze stamped with signature ‘Degas’ (Lugt 658), numbered and stamped with the foundry mark ’39/O CIRE PERDUE A. A. HEBRARD’ (on the top of the base) height: 11 3/8 inches This bronze was cast between 1919 and 1937, in an edition of 22, lettered A to T, including two casts reserved for the Degas heirs and the founder Hébrard (marked ‘HER’ and ‘HER.D). Provenance Galerie Blanche, Stockholm. Hans Mott, Lidingö, Sweden by the early 1950s. Private collection, Switzerland, by descent from the above in 1986.
Literature S. Campbell, ‘Degas, The Sculptures, A Catalogue Raisonné’, Apollo, vol. CXLII, no. 402, August 1995, pp. 29-30, no. 39. J. S. Czestochowski & A. Pingeot, Degas, Sculptures, Catalogue Raisonné of the Bronzes, Memphis, 2002, pp. 196, 197, no. 39. M. Guillard, Degas, Form and Space, Paris, 1984, fig. 161, no. 36. C. W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, p. 76. J. Rewald, Degas Sculpture, His Complete Work, New York, 1956, pl. 62, no. XLVIII. J. Rewald, Complete Degas Sculpture, Lefevre Gallery, London, 1976, no. 27. A. Pingeot & F. Horvat, Degas Sculpture, Paris, 1991, pp. 142-143, 165, no. 27. F. Russoli and F. Minervino, L’Opera Completa Di Degas, Milan, 1970, p. 142, no. S27. 7. EDGAR DEGAS (1834 - 1917) Nude Woman Drying Herself (Femme nue s’essuyant) charcoal stamped ‘Degas’ (lower left) with the Atelier mark and numbered in blue pencil, 1547 and ph. 810 (on reverse) 19 3/5 x 12 4/5 inches Provenance Galerie Georges Petit, Paris, 3ème Vente, April 7-9, 1919, lot 207, 1,800 Francs. Paul Haim, Paris. Albert Loeb, New York. James Goodman Gallery, New York. Sale, London, July 2, 1970, cat. no. 30, former collection of Mrs. BD. 8. AUGUSTE RODIN (1840 - 1917) The Juggler/The Acrobat (Le Jongleur/L’Acrobate) bronze signed and numbered ‘A. Rodin No. 5 © by Musée Rodin 1956’ (on base) height: 11 1/2 inches Conceived between 1892 and 1895. Cast in an edition of 12, in addition to a cast held by the Musée Rodin, by Georges Rudier between 1953-60. This cast was executed in 1956. Sometimes called Fauns Playing. Provenance Collection of Gustav Delbanco. Private Collection, UK. Literature C. Lampert, Rodin: Sculptures and Drawings, London, 1986, p. 234, pl. 301, no. 212. A. Le Normand-Romain, H. Marraud, D. Tytgat, et al, The Bronzes of Rodin: Catalogue of Works in the Museé Rodin, Paris, 2007, vol. II, pp. 475-476, no. S. 597.
9. AUGUSTE RODIN (1840 - 1917) Two Step B (Pas de Deux B) bronze signed and numbered ‘A. Rodin No 7’ (on one foot); dated and inscribed ‘© by Musée Rodin 1965’ (on one foot); inscribed with foundry mark ‘Georges Rudier Fondeur. Paris’ (on one foot) height: 12 3/4 inches Conceived circa 1911. Cast in an edition of 12, in addition to a cast held by the Musée Rodin, by Georges Rudier between 1964-66. This cast was executed in 1965. Provenance Collection of Gustav Delbanco. Private collection, UK. Literature C. Goldscheider, Rodin: Sculpture, Paris, 1964 (plaster version illus. pl. 18). C. Goldscheider (ed.), Mostra di Auguste Rodin (1840-1917), Rome, 1967. A. Le Normand-Romain, H. Marraud, D. Tytgat, et al, The Bronzes of Rodin: Catalogue of Works in the Museé Rodin, Paris, 2007, vol. II, p. 536, no. S. 510. D. Sutton, Triumphant Satyr: The World of Auguste Rodin, London, 1966, p. 105 no. 69 (plaster version illus. p. 108). 10. EDGAR DEGAS (1834 - 1917) Head of a Woman, resting on her left hand (Tête appuyée sur la main gauche) bronze numbered ‘62/B’ and stamped ‘AA Hebrand, cire perdue’ height: 4 3/4 inches Conceived circa 1885-89 and cast in bronze after 1918 in an edition of 22, lettered A to T, including two casts reserved for the Degas heirs and the founder Hébrard (marked ‘HER’ and ‘HER.D). Provenance Halvorsen, 1921. Roland Browse and Delbanco. Private Collection, UK, thence by descent. Exhibited Durand-Ruel Galleries, New York, Exposition Degas (1834-1917), December 1922. Ernest Brown & Phillips, Leicester Galleries, London, Catalogue of an Exhibition of the Works in Sculpture of Edgar Degas, February – March 1923, no. 71. Casa Editrice d’Arte Enzo Pinci, Rome, Seconda Biennale Romana, Mostra Internazionale di Belle Arti. Sculture di Edgar Degas 1834-1917, November 1923 – April 1924. Galerie Georges Petit, Paris, Exposition Degas, au profit de la Ligne franco-anglo-américaine contre le cancer: peintures, pastels et dessins, sculptures, eaux-fortes, lithographies et monotypes, April – May 1924 (and at Galerie A.A. Hébrard), no. 324. Ferargil Galleries, New York, Sculptures of Edgar Degas, October – November 1925, no. 71. Edith Martell, New York, 1975.
Parke-Bernet, New York, October 1975, no. 237. Browse & Darby, London, 1989, no. 23. Browse & Darby, London, 1993, no. 13. Browse & Darby, London, 2004, no. 2. Foundation Beyeler, Basel, Degas. The Late Work, 2012-13 (illus. in cat. p. 167). Literature S. Campbell, ‘Degas. The Sculptures: A Catalogue Raisonné’ in Apollo, London, vol. CXLII (no. 402), August 1995, pp. 41, 69, no. 62. J. S. Czetochowski & A. Pingeot, Degas Sculptures, Catalogue Raisonné of the Bronzes, Memphis, 2002, pp. 242-243, no. 62. M. Guillaud (ed.), Degas, Form and Space, Paris, 1984, fig. 210, no. 85. J. Lassaigne, Tout l’Oeuvre Peint De Degas, Paris, 1974, pp. 145, 133, no. S71. C. W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, no. 121. A. Pingeot & F. Horvat, Degas Sculptures, Paris, 1991, p. 187, no. 71. J. Rewald, Degas’s Complete Sculpture, Catalogue raisonné, San Francisco, 1990, p. 96, no. XXIX. J. Rewald, Degas Sculpture, His Complete Work, New York, 1956, p. 147, pl. 63, no. XXIX. F. Russoli and F. Minervino, L’Opera Completa Di Degas, Milan, 1970, no. S71. M. Schwander, Edgar Degas: The Late Work, Beyeler Foundation, Riehen/Basel, 2012, p. 167. Degas, Martigny, 1993, p. 286, no. S72. 11. AUGUSTE RODIN (1840 - 1917) Head of a Man with One Ear, (Tête d’un homme avec une oreille), 1885-90 bronze signed and numbered ‘A. Rodin No. 3’ and ‘Georges Rudier Fondeur. Paris’ (on neck) height: 5 1/2 inches Conceived between 1885 and 1890. Cast in an edition of 12, in addition to a cast held by the Musée Rodin, by Georges Rudier between 1962-65. This cast was executed in 1962. Provenance Collection of Gustav Delbanco. Private Collection, UK. Literature A.E. Elsen, R.E. Jamison, Rodin’s Art: The Rodin Collection of Iris and B. Gerald Cantor Center of Visual Arts at Stanford University, New York, 2003, pp. 478-479. A. Le Normand-Romain, H. Marraud, D. Tytgat, et al, The Bronzes of Rodin: Catalogue of Works in the Museé Rodin, Paris, 2007, vol. II, pp. 678-679, no. S. 638. 12. AUGUSTE RODIN (1840 - 1917) Crouching Dancer, (Danseuse Accroupie) bronze signed and numbered ‘A Rodin No. © by Musée Rodin 1952 Georges Rudier Fondeur. Paris’ height: 3 1/2 inches
Conceived between 1895-1900 and cast in an edition of 12, in addition to a cast held by the Musée Rodin (one made by Alexis Rudier, the others by Georges Rudier). This cast was executed in 1952. Provenance Sotheby’s New York, 14 June 1985. Private collection, UK. Literature A. Le Normand-Romain, H. Marraud, D. Tytgat, et al, The Bronzes of Rodin: Catalogue of Works in the Musée Rodin, Paris, 2007, vol. I, p. 296, no. S. 635. 13. AUGUSTE RODIN (1840 - 1917) Flying Figure (Figure Volante) bronze signed and numbered ‘A. Rodin No.5’, ‘© by Musée Rodin 1964’, ‘Georges Rudier Fondeur. Paris’ height: 8 1/2 inches Conceived circa 1887 and cast by Georges Rudier in an edition of 12 between 1962 and 1967. This example was cast in 1964. Provenance Roland Browse and Delbanco. Orin Atkins, Texas. Private Collection, UK. Literature A. E. Elsen, The Sculpture of Henri Matisse, New York, 1972, pp. 39, 41, pl. 46. M. Laurent (trans. E. Read), Rodin, London, 1990, pp. 110. A. Le Normand-Romain, H. Marraud, D. Tytgat, D. Viéville, et al, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Paris, 2007, vol. I, p. 369, no. S. 581. L. Steinberg, (intro.), Auguste Rodin: An Exhibition of Sculptures and Drawings, New York, 1963, pp. 11, 19, 25. L. Steinberg, Other Criteria: Confrontations with Twentieth-Century Art, New York, 1972, pp. 362-363, figs. 194 and 230. 14. EDGAR DEGAS (1834 - 1917) Arabesque over Right Leg, Left Arm in Line (Danseuse, arabesque ouverte sur la jambe droite, bras gauche dans la ligne) bronze numbered ‘3/T’ and stamped ‘AA Hebrard, cire perdue’ height: 11 1/3 inches Original wax executed between 1883-88, cast between 1919 and 1922 in an edition of 22, lettered A to T, including two casts reserved for the Degas heirs and the founder Hébrard (marked ‘HER’ and ‘HER.D). Provenance Collection of Gustav Delbanco Browse & Darby, London, Edgar Degas, 1834-1917, April – May 1989, no. 21. Private Collection, UK.
Literature S. Campbell, R. Kendall, D. Barbour, et al (general ed., S. Campbell), Degas in the Norton Simon Museum (Nineteenth Century Art, vol. II), New Haven, 2009. J. S. Czestochowski & A. Pingeot, Degas, Sculptures, Catalogue Raisonné of the Bronzes, Memphis, 2002 pp. 126, 127, no. 3. J. Rewald, Degas: Works in Sculpture, A Complete Catalogue, New York, 1944, p. 24, 97, no. 42. J. Rewald, Degas Sculpture, His Complete Work, New York, 1956, p. 150, pl. 36, no. XLII. M. R. Jacoby, ed., The Official Guide to the Smithsonian, New York, 1973, p. 105. A. Lerner et al., The Hirshhorn Museum and Sculpture Garden, New York, 1974, p. 67, 680, ill. 82. C. W. Millard, The Sculpture of Edgar Degas, Princeton, NJ, 1976, p. 24. S. E. Stumpf, Elements of Philosophy: An Introduction, New York, 1979, ill. p. 14. L. A. Lefton, Psychology, Boston, 1985, ill. p. 60 (as c. 1882-95). J. Rewald, Degas’s Complete Sculpture, San Francisco, 1990, pp. 122-123, no. 42. A. Pingeot, Degas Sculptures, Paris, 1991, p. 154, no. 4. S. Campbell, ‘Degas, The Sculptures: A Catalogue Raisonné’, Apollo, London, vol. CXLII (no. 402), August 1995, p. 12, no. 3. B. Martinez and J. Block; Visual Forces: An Introduction to Design 2nd ed., New Jersey, 1995, p. 185, fig. B. 15. EDGAR DEGAS (1834 - 1917) Seated Dancer (Danseuse Assise), circa 1897-1900 pastel and charcoal on paper mounted on card stamped ‘Degas’ (lower right) and stamped ‘Atelier Ed. Degas’ (verso) 22 3/8 x 16 1/2 inches Provenance Atelier Edgar Degas (and sold: Galerie 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. Private Collection, USA. Literature Paul-André Lemoisne, Degas et son oeuvre, vol. III, Paris, 1946, p. 757, no. 1300bis. 16. AUGUSTE RODIN (1840 - 1917) Damned Woman (Damnée), 1888 bronze signed and numbered ‘A. Rodin No. 5 Georges Rudier Fondeur. Paris 1962’ height: 6 inches Conceived circa 1888. This example cast in 1962 from an edition of 12, in addition to a cast made for the Musée Rodin. Provenance Collection of Gustav Delbanco. Private Collection, UK.
Literature A. Le Normand-Romain, H. Marraud, D. Tytgat, D. Viéville, et al, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Paris, 2007, vol. I, p. 286-287, no. S. 650. 17. EDGAR DEGAS (1834 - 1917) The Masseuse, (La Masseuse) bronze signed and numbered 55/I, stamped with foundry mark ‘AA HEBRARD CIRE PERDUE’ (on side of the base) height: 16 3/4 inches Conceived circa 1896-1911; this bronze version cast in an edition of 22, lettered A to T, including two casts reserved for the Degas heirs and the founder Hébrard. Provenance Roland Browse and Delbanco. Collection of Lord Crawford. Private Collection, UK, thence by descent. Exhibition Royal Scottish Academy, Edinburgh & Tate Gallery, London, Degas, 17 August – 6 September 1952, no. 57. Browse & Darby, Degas: Drawings, Bronzes & Monotypes, June - July 2004. Foundation Beyeler, Basel, Degas. The Late Work, 2012-13 (illus. in cat. p. 142). Literature M. Schwander, Edgar Degas: The Late Work, Riehen/Basel, 2012, p. 142. 18. AUGUSTE RODIN (1840 - 1917) Dance Movement D (Mouvement de Danse D) bronze signed and numbered ‘A Rodin No. 11’ (on the sole of the left foot) height: 12 3/4 inches Conceived 1910-1911 and executed in bronze in an edition of 12, in addition to a cast held by the Musée Rodin, between 1952-56 (the first two cast by Alexis Rudier, the rest by Georges Rudier). Provenance Browse & Darby, London, 1970s. Private Collection, UK. Literature C. Goldscheider (ed.), Mostra di Auguste Rodin (1840-1917), Rome, 1967. H. Ilbo, Retrospective Rodin, Seoul, 2010. M. Laurent (trans. E. Read), Rodin, London, 1990, p. 142. A. Le Normand-Romain, H. Marraud, D. Tytgat, D. Viéville, et al, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Paris, 2007, vol. II, p. 536, no. S. 592 bis.
19. AUGUSTE RODIN (1840 - 1917) Dance Movement G (Mouvement de Danse G) bronze signed and numbered ‘A Rodin No. 9’ (on the left foot) height: 13 inches Conceived 1910-1911 and executed in bronze by Georges Rudier in 1958 and 1959, in an edition of 12, in addition to a cast held by the Musée Rodin. Provenance Private Collection, UK. Literature C. Goldscheider (ed.), Mostra di Auguste Rodin (1840-1917), Rome, 1967. H. Ilbo, Retrospective Rodin, Seoul, 2010. M. Laurent (trans. E. Read), Rodin, London, 1990, p. 142. A. Le Normand-Romain, H. Marraud, D. Tytgat, D. Viéville, et al, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Paris, 2007, vol. II, p. 538, no. S. 511. Danser sa vie: art et danse de 1900 à nos jours, Paris, 2011.
Catalogue published by Browse & Darby Ltd. © Richard Kendall and Browse & Darby Ltd. Printed by Oldacres & Co. Ltd, London, 2018
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