Count Lepic and His Daughters

Count Lepic and His Daughters is an oil on canvas completed by Edgar Degas around 1871, depicting Ludovic-Napoléon Lepic with his young daughters Eylau and Jeanine. The documented ownership chain begins with Galerie H. Fiquet, followed by the dealer Paul Rosenberg, before the painting entered the Foundation E.G. Bührle Collection, where it has been held since 1960 and is now on view at Kunsthaus Zürich. On February 10, 2008, the painting was stolen from the Foundation E.G. Bührle in Zürich, Switzerland. It was subsequently recovered in April 2012, reportedly in Serbia, with only slight damage.

Sources: 1, 2, 3, 4, 5

The painting is held in the collection of the Foundation E.G. Bührle Collection at the Kunsthaus Zürich, where it has been part of the collection since 1960.

It was stolen from the foundation on February 10, 2008, and recovered in April 2012 with slight damage.

Its inventory or accession number is not specified in the sources.

The work has been exhibited in the context of the foundation's collection displays and was featured in external links related to the Fondation E.G. Bührle.

The theft and recovery were documented in French and Spanish Wikipedia entries and reported by the foundation.

The painting’s later reputation rests on its status as a canonical Impressionist family portrait and on its dramatic recovery after theft. Its prominence in the Foundation E.G. Bührle’s holdings has made it a recurrent subject in provenance and restitution discussions, especially following the 2008 theft from the Kunsthaus Zürich and its recovery in 2012 with only minor damage.

The work’s legacy is also linked to its role in Degas’s oeuvre as a key example of his engagement with modern life and intimate portraiture, often cited alongside Place de la Concorde, another depiction of Lepic.

Created around 1871, this oil on canvas by Edgar Degas portrays Ludovic‑Napoléon Lepi​c accompanied by his two young daughters, Eylau and Jeanine, strolling through a Parisian street. The composition captures a brief, intimate moment of family life, rendered with Degas’s characteristic attention to everyday scenes.

Degas painted Lepi​c on multiple occasions, most notably in the larger composition Place de la Concorde. This repeated focus underscores Lepi​c’s role as a frequent model within Degas’s circle, offering insight into the artist’s network of acquaintances and his recurring exploration of familial and social themes.