Degas bronze victorian women

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Inscription: Signed (lower right): D

Mary Cassatt, Paris (by 1917; deposited with Durand-Ruel, Paris, March 8, 1918–May 9, 1919; deposit no. 11923; offered in a letter of December 28, 1917 with two other Degases [29.100.41 and 29.100.555] for $ 20,000 to Havemeyer); Mrs. H. O. (Louisine W.) Havemeyer, New York (by 1919–d. 1929; shipped to her by Durand-Ruel, May 9, 1919; cat., 1931, p. 116)

New York. The Metropolitan Museum of Art. "The H. O. Havemeyer Collection," March 10–November 2, 1930, no. 51 [2nd ed., 1958, no. 109].

Richmond. Virginia Museum of Fine Arts. "Nineteenth Century French Painting: Eighth Anniversary Exhibition of the Virginia Museum of Fine Arts," January 19–February 20, 1944, no. 23.

New York. American Federation of Arts. "European Portraiture from the 17th to 19th Century (circulating exhibition)," September 1954–September 1957, no catalogue?

New York. The Metropolitan Museum of Art. "Degas in the Metropolitan," February 26–September 4, 1977, no. 17 (of paintings).

Richmond. Virginia Museum. "Degas," May 23–July 9, 1978, no. 15.

New York. The Metropolitan Museum of Art. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, no. A240.

Washington. National Gallery of Art. "Degas/Cassatt," May 11–October 5, 2014, no. 62.

Mary Cassatt. Letter to Mrs. H. O. Havemeyer. December 28, [1917] [published in Nancy Mowll Mathews, ed., "Cassatt and Her Circle, Selected Letters," New York, 1984, p. 330), offers to sell Mrs. Havemeyer three works by Degas [this painting, a fan (29.100.555), and a pastel (29.100.

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Inscription: Signed (lower right): E. Degas

[Durand-Ruel, Paris; received on deposit from the artist on December 27, 1895; deposit no. 8848, as "Bouderie"; bought from the artist on April 28, 1897, for Fr 13,500; stock no. 4191; sold to Durand-Ruel, New York, for Havemeyer]; [Durand-Ruel, New York, 1896; stock no. 1646; sold on December 15, 1896, for $4,500 to Havemeyer]; Mr. and Mrs. H. O. Havemeyer, New York (1896–his d. 1907); Mrs. H. O. (Louisine W.) Havemeyer, New York (1907–d. 1929; cat., 1931, pp. 110–11, ill.)

Paris. Durand-Ruel. "Degas," 1896 [see Saunier 1896 and Kendall 1996].

New York. M. Knoedler & Co. "Loan Exhibition of Masterpieces by Old and Modern Painters," April 6–24, 1915, no. 25 (as "The Dispute," lent anonymously).

New York. The Metropolitan Museum of Art. "The H. O. Havemeyer Collection," March 10–November 2, 1930, no. 46 (as "Pouting [La Bouderie]") [2nd ed., 1958, no. 110]).

Philadelphia. Pennsylvania Museum of Art. "Degas, 1834–1917," November 7–December 7, 1936, no. 19 (as "Pouting. La bouderie").

Paris. Musée de l'Orangerie. "Degas," March 1–May 20, 1937, no. 11.

Paris. Palais National des Arts. "Chefs d'œuvre de l'art français," July–September 1937, no. 299.

Minneapolis Institute of Arts. "Degas's Portraits of his Family and Friends," March 6–28, 1948, unnum. checklist (as "Pouting").

Springfield, Mass. Springfield Museum of Fine Arts. "Fifteen Fine Paintings in Honor of the Fifteenth Anniversary," October 7–November 7, 1948, unnumbered cat. (as "Pouting").

New York. Wildenstein. "A Loan Exhibition of Degas," April 7–May 14, 1949, no. 28

Please note that this news article is over 4 months old. Check with the museum before visiting if this refers to objects on display.

The Fitzwilliam Museum owns the only sculptures in Britain actually made by Degas during his lifetime, three statuettes of nude dancers in different positions – ‘Dancer Bowing’, ‘Dancer with a Tambourine’ and ‘Arabesque over Right Leg, Left Arm in Front’ – all modelled in wax. The latter two poses are unique among his surviving sculptures. They were all made privately for himself and by himself, with the notable exception of his iconic ‘Little Dancer Aged Fourteen’, exhibited in 1881.

Degas is known to have been a highly unorthodox sculptor who used unconventional working practices in terms of materials and technique, frequently resulting in the deterioration and loss of his work. Of around 150 original sculptures discovered in his studio after his death in 1917, many crumbling into fragments, only around 70 were saved. Therefore, the trio of dancers in the Fitzwilliam, impressed with Degas's fingerprints, are extremely rare survivals by one of the most important and experimental artists of the nineteenth century, who died a century ago on 27 September.

For the first time, these autograph lifetime waxes have been technically investigated and analysed by conservators and conservation scientists at the Fitzwilliam Museum, University of Cambridge. Their findings reveal Degas modelled all three using pigmented beeswax over commercially-produced shop-bought iron armatures. He supported them with external metal ‘back-stands’ that he fixed to offcuts of wood, perhaps from old floorboards. Having bent the wire into the desired pose, he would often bulk out larger figures by adding a range of materials, including lightweight everyday domestic objects recycled from items he had lying around his studio. The new X-radiographs of the Fitzwilliam's ‘Dancer with a Tambourine’, suggest