Edgar Degas (1834-1917) - Lot 118

Lot 118
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Edgar Degas (1834-1917) - Lot 118
Edgar Degas (1834-1917) Horse with Jockey, also known as Galloping Horse, head turned to the left, feet not touching the ground Model created between 1865 and 1881; published by A.A. Hébrard between 1921 and 1937 Bronze group with brown patina The horse is signed "Degas" and bears the founder's stamp "CIRE / PERDUE / A.A. HEBRARD" Numbered "32/Q" for the horse and "36/Q" for the jockey under the left foot. Dim. of horse: H. 24 x W.36,2 x D. 13 cm; Dim. of rider: H. 22 cm; Total height of group: 30 cm Provenance : - Galerie Max Kaganovitch, Paris; - The Lefevre Gallery, London ; - Collection William and Eleanor Wood Prince in Chicagon acquired from the above in 1954 ; - Sale Property from the collection of William and Eleanor Wood Prince, Chicago, Illinois, Ne-York, May 7, 2009, n°211 ; - Private collection; - Sale New York, November 7, 2012, n° 374 ; - Private collection Exhibition: -Degas, Bern, Kunstmuseum, November 25 1951-January 13 1952, Bern, Fritz Pochon-Jent, 1951, n°197. Other examples listed: - Edgar Degas, Cheval au galop, la tête tournée vers la droite, les pieds ne touchant pas le sol, cast between 1919 and 1921, copper alloy, numbered "32/MODELE", 36.7 x 13.3 cm, Pasadena, Norton Simon museum, inv. M.1977.02.50.S ; - Edgar Degas, Jockey, cast between 1919 and 1921, copper alloy, numbered "36/MODELE", 20.3 x 10.3 x 10 cm, Pasadena, Norton Simon museum, inv. M.1977.02.51.S ; - Edgar Degas, Cheval au galop tourn ant la tête à droite, cast between 1921 and 1931, bronze, signed "DEGAS" on the terrace, stamped "CIRE PERDUE A.A. HEBRARD", engraved "32/P" and "32", H. 24.8 x W. 13.1 x D. 36.6 cm, Paris, Musée d'Orsay, inv. RF 2117 ; - Edgar Degas, Cheval avec Jockey, cast in 1920, bronze, signed on the base "Degas", inscribed "36/A" on the jockey's foot and "32" on the horse's base, stamped "CIRE / PERDUE /A A HEBRARD" and numbered "32/A", 28.6 x 36.8 x 13.2 cm, New York, The Metropolitan museum, inv. 29.100.436a, b ; - Edgar Degas, Cheval au galop, la tête tournée vers la droite, les pieds ne touchant pas le sol, bronze, 23.5 x 37 x 13 cm, Sao Paulo, museum of art Sao Paulo, inv. MASP.00406. - Edgar Degas, Cheval et Jockey, bronze, signed, numbered "32/R" and "36/R" , Cophenhagye, Ny Carlsberg Glyptotek ; - Edgar Degas, Cheval et Jockey, bronze, signed "Degas", stamped "CIRE PERDUE A.A. HEBRARD", numbered "32/T", jockey numbered "36/T", H.24.8 x W. 13.1 x D. 36.6 cm, Troyes, Musée d'art moderne. Bibliography: - Joseph S. Czestochowski, Anne Pingeot, Degas Sculpture. Catalog raisonné of the Bronzes, Memphis, 2002, p. 185 and p. 191. Degas. The sculptures, a catalog raisonné by Sara Campbell, in Apollo, August 1995, vol. CXLII, n°402, p. 27. Related literature: - Degas sculpteur, cat. exp. exhibition, Roubaix, La Piscine-Musée d'art et d'industrie André Diligent, October 8, 2010-January 16, 2011, Paris, Gallimard, 2010, model listed under no. 45, p. 131, pp.17-19 ; - Suzanne Flover Lindsay, Daphné Barbou, Shelley Sturman, Edgar Degas sculpture, Was-hington, National gallery of art, 2010, models listed as n°6a and 6b, pp. 80-83, pp. 64-65; - Mariel Oberthür, Edgar Degas en Normandie: le peintre du cheval et des courses, Montreuil, Gourcuff Gradenigo, 2018, pp. 56-79, pp. 173-180 ; - Hedberg, Gregory, The Degas Plasters: Groundbreaking Revelations about Degas' Sculpture and the Hébrard Bronzes, Stuttgart, Arnoldsche, 2023. From the 1860s onwards, Edgar Degas (1834-1917) developed a genuine fascination for horses and horse racing, which became his first subjects of study, long before his famous dancers. Unlike many of his contemporaries, Degas did not limit himself to equestrian portraiture; he observed animals with great assiduity, seeking to capture their movement and understand the diversity of their gaits. While early sketches show horses standing or at rest, Degas seems to have drawn on Muybridge's photographic work on the decomposition of movement to create horses in action, galloping or trotting. These wax sketches are part of the development of his painted work. Our Horse and Jockey group can be compared with the painting Le Champ de courses, jockeys amateurs près d'une voiture (Paris, Musée d'Orsay, inv. RF 1980). At the time of the artist's death, his studio contained over one hundred and fifty sketches, mainly in wax. In May 1918, his heirs signed a publishing contract with Adrien-Aurélien Hébrard's Paris foundry for seventy-three models. The contract called for the production of twenty proofs for each of the different models, plus two series reserved, one for the h
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