Sale: Galerie Georges Petit, Paris, Atelier Edgar Degas, 3ème vente, 7th-9th July 1919, lot 19
Jean-Claude Bellier, Paris
Collection Nunes et Fiquet, Paris
Sam Salz Inc., New York
Erich Maria Remarque & Paulette Goddard
Lillian Heidenberg Fine Art, New York
Waddington Galleries Ltd, London
Acquired from the above by the present owner in November 2000

Paul-André Lemoisne, Degas et son œuvre, Paris, 1946, vol. II, no. 618, illustrated p. 351
Franco Russoli, L'Opera Completa di Degas, Milan, 1970, no. 815, illustrated p.123

The panel is sound and UV examination reveals no signs of retouching. Along the upper and lower edges there is some surface rubbing due to previous framing with some slight losses to the panel visible at the centre of the upper edge and at the lower left edge. There are some spots of minor discolouration to the left-hand tutu. 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. 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."

Deux danseuses is a superbly executed example of one of Edgar Degas’ favourite subjects: the backstage world of the ballet which existed beyond the public gaze. Degas preferred these behind-the scenes depictions of the ballet to the glamourous crowd and theatre; in fact, around three-quarters of Degas’ depictions of dance are concerned with the backstage, set in the classroom, dressing room, foyer, and the wings. In the present work, Degas portrays two ballerinas in the wings, resting and self-absorbed before making their graceful entrance. The dancers assume similar poses to those in the Metropolitan Museum of Art’s Danseuses, with one girl holding her lower back while the other peers onto the stage, waiting for her cue. Degas brings the viewer close to the dancers by cropping the composition at ankle height, creating an exhilarating sense of proximity to the figures.

From the 1870s onwards, Degas experimented increasingly with mediums such as monotype, pastel, and wax and clay models. He created monotypes and charcoal drawings upon which he applied colour to complete and illuminate the scene. The present work is a highly assured example of this technique: the charcoal outlines of the background and figures are still visible under the lively layer of white, blue and yellow highlights. The dancers’ bodies are ‘clothed’ by tutus and there are intriguing pentimenti v൲isible such as to the left d🐲ancer’s right arm, evidence of the artist’s detailed modelling of the figures through the eyes of not only a painter, but also a sculptor.

The present work boasts a fascinating provenance, having been acquired by author Erich Maria Remarque from Sam Salz, the renowned Austrian collector and dealer of Impressionist and Post-Impressionist art, who was based in New York from 1938. Most well-known for his 1929 novel All Quiet on the Western Front, Erich Maria Remarque was a great collector, as was his second wife, the American movie star Paulette Goddard. Together they c𒁃urated an impressive and diverse collection that included works by artists such as Salvador Da♏lí, Paul Cézanne and Claude Monet as well as Degas.