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Auktionsarchiv: Los-Nr. 29

James Ensor

Schätzpreis
200.000 $ - 400.000 $
Zuschlagspreis:
545.000 $
Auktionsarchiv: Los-Nr. 29

James Ensor

Schätzpreis
200.000 $ - 400.000 $
Zuschlagspreis:
545.000 $
Beschreibung:

James Ensor Belgian, 1860-1949 Composition with Masks and Weeping Angel, circa 1930 Signed Ensor (lc) and inscribed VIVAT on a placard (cr) Oil with touches of crayon on canvas 21 1/4 x 25 5/8 inches (54 x 65 cm) Provenance: Acquired from the Galerie Georges Giroux, Brussels, 1953 Thence by descent Ensor was born in the North Sea resort town of Ostend, Belgium in 1860, the son of an English father and a Belgian mother, whose family owned a souvenir and antique shop filled with shells, china figures, stuffed animals and Carnival masks. Ensor studied at the Royal Academy of Fine Arts in Brussels, admiring the Old Masters Rubens, Rembrandt and Bosch, from whom he seems to have inherited his gleeful demonic zest. Ensor also copied the work of Courbet and Manet in his sketchbooks. In 1883, together with a group of twenty politically liberal artists and designers, he cofounded 'Les Vingt' (Les XX), which held annual exhibitions, inviting Impressionists Pissarro, Monet and Renoir, as well as Neo-Impressionists like Seurat. Ensor's break with Les Vingt was in part occasioned by their championing the work of Seurat, whose monumental Un Dimanche Apres-Midi a l'Ile de la Grande Jatte [Art Institute of Chicago] was exhibited by Les Vingt in 1887 and whom the group considered more modern than Ensor. Ensor's response to the cool, scientific theories of Pointillism was his equally monumental Christ's Entry into Brussels of 1888, now in the Getty Museum, Los Angeles. Here a teeming city swelled instead of the idyllic Grande Jatte, and pure, bright glaring colors as opposed to the discrete touches of Seurat. Ensor's repeated rejections from Salons and other exhibitions led to frustration and despair, culminating in his attempt to sell the entire contents of his studio. The allegorical painting Composition with Masks and Weeping Angel is presented in two parts like a theatrical sideshow. A weeping angel, surmounted by a donkey manipulating a paintbrush, occupies the center, as well as a pigeon-toed African statuette, with a gesture mimicking the angel's praying hands. The Virgin on the left-hand side faces a panel with a self-portrait of the artist, surrounded by heavenly figures. The left-side combines two works of Ensor: La Vierge Consolatrice from 1892, in which the artist holding his palette kneels before the Virgin (Xavier Tricot, James Ensor Catalogue Raisonne of the Paintings 1875-1902, vol. I, 1992, no. 341); and Mes Houris, 1928, with the artist surrounded by the Virgins promised to Islamic martyrs in Paradise (Tricot, Catalogue Raisonne, vol. II, no. 565). On the right, a birdheaded monster with human legs displays Ensor's early masterpiece, The Lamplighter, 1880, the first of his works to enter a museum (the Musees Royaux des Beaux-Arts de Belgique, Brussels, Inv. No. 3294, 1895; Tricot, Catalogue Raisonne, vol. I, no. 142). Men with jubilant grotesque masks holding sheet music turn away from the self-portrait panel, as an adoring crowd of women worships the fantastic figures on the right side, one holding up a triumphant wreath. The parallel themes of a mocking crowd, consisting of indifferent revelers, harsh judges, voracious colleagues; and the artist's self-identification as a martyr and Christ-like figure, are evident in Composition with Masks and Weeping Angel. These themes are prefigured by the early Christ's Entry into Brussels. The small figure of a haloed Ensor as Christ in the center background riding on a donkey is almost overwhelmed amidst a feverish Carnival parade. The Dangerous Cooks of 1896 [Private Collection] shows Ensor's colleagues from Les Vingt serving a fish with Ensor's head on a platter, with the label Art Ensor, a play on the words "hareng saur", or sour herring (Susan M. Canning, in James Ensor The Museum of Modern Art, New York, 2009, p. 390) and an allusion to St. John the Baptist. The fish, a traditional symbol of Christianity, is depicted above the self-portrait panel, another reference to the martyr
This work is not lined and there is no visible restoration. The work has not been touched for at least 60 years. There is a small U-shaped tear (4 x 3 mm in size) with a tiny puncture above, with no loss of surface, roughly 13.5 cm above the lower frame moulding. It is located above the raised hand of the celebrant in the right foreground. Few tiny paint flakes in the dark green pigment at the top right corner, as well as a few tiny specs of paint loss at upper left corner area. Frame rubbing.

Auktionsarchiv: Los-Nr. 29
Auktion:
Datum:
05.05.2015
Auktionshaus:
Doyle New York - Auctioneers & Appraisers
East 87th Street 75
New York, NY 10128
Vereinigte Staaten von Amerika
info@doyle.com
+1 (0)212 4272730
Beschreibung:

James Ensor Belgian, 1860-1949 Composition with Masks and Weeping Angel, circa 1930 Signed Ensor (lc) and inscribed VIVAT on a placard (cr) Oil with touches of crayon on canvas 21 1/4 x 25 5/8 inches (54 x 65 cm) Provenance: Acquired from the Galerie Georges Giroux, Brussels, 1953 Thence by descent Ensor was born in the North Sea resort town of Ostend, Belgium in 1860, the son of an English father and a Belgian mother, whose family owned a souvenir and antique shop filled with shells, china figures, stuffed animals and Carnival masks. Ensor studied at the Royal Academy of Fine Arts in Brussels, admiring the Old Masters Rubens, Rembrandt and Bosch, from whom he seems to have inherited his gleeful demonic zest. Ensor also copied the work of Courbet and Manet in his sketchbooks. In 1883, together with a group of twenty politically liberal artists and designers, he cofounded 'Les Vingt' (Les XX), which held annual exhibitions, inviting Impressionists Pissarro, Monet and Renoir, as well as Neo-Impressionists like Seurat. Ensor's break with Les Vingt was in part occasioned by their championing the work of Seurat, whose monumental Un Dimanche Apres-Midi a l'Ile de la Grande Jatte [Art Institute of Chicago] was exhibited by Les Vingt in 1887 and whom the group considered more modern than Ensor. Ensor's response to the cool, scientific theories of Pointillism was his equally monumental Christ's Entry into Brussels of 1888, now in the Getty Museum, Los Angeles. Here a teeming city swelled instead of the idyllic Grande Jatte, and pure, bright glaring colors as opposed to the discrete touches of Seurat. Ensor's repeated rejections from Salons and other exhibitions led to frustration and despair, culminating in his attempt to sell the entire contents of his studio. The allegorical painting Composition with Masks and Weeping Angel is presented in two parts like a theatrical sideshow. A weeping angel, surmounted by a donkey manipulating a paintbrush, occupies the center, as well as a pigeon-toed African statuette, with a gesture mimicking the angel's praying hands. The Virgin on the left-hand side faces a panel with a self-portrait of the artist, surrounded by heavenly figures. The left-side combines two works of Ensor: La Vierge Consolatrice from 1892, in which the artist holding his palette kneels before the Virgin (Xavier Tricot, James Ensor Catalogue Raisonne of the Paintings 1875-1902, vol. I, 1992, no. 341); and Mes Houris, 1928, with the artist surrounded by the Virgins promised to Islamic martyrs in Paradise (Tricot, Catalogue Raisonne, vol. II, no. 565). On the right, a birdheaded monster with human legs displays Ensor's early masterpiece, The Lamplighter, 1880, the first of his works to enter a museum (the Musees Royaux des Beaux-Arts de Belgique, Brussels, Inv. No. 3294, 1895; Tricot, Catalogue Raisonne, vol. I, no. 142). Men with jubilant grotesque masks holding sheet music turn away from the self-portrait panel, as an adoring crowd of women worships the fantastic figures on the right side, one holding up a triumphant wreath. The parallel themes of a mocking crowd, consisting of indifferent revelers, harsh judges, voracious colleagues; and the artist's self-identification as a martyr and Christ-like figure, are evident in Composition with Masks and Weeping Angel. These themes are prefigured by the early Christ's Entry into Brussels. The small figure of a haloed Ensor as Christ in the center background riding on a donkey is almost overwhelmed amidst a feverish Carnival parade. The Dangerous Cooks of 1896 [Private Collection] shows Ensor's colleagues from Les Vingt serving a fish with Ensor's head on a platter, with the label Art Ensor, a play on the words "hareng saur", or sour herring (Susan M. Canning, in James Ensor The Museum of Modern Art, New York, 2009, p. 390) and an allusion to St. John the Baptist. The fish, a traditional symbol of Christianity, is depicted above the self-portrait panel, another reference to the martyr
This work is not lined and there is no visible restoration. The work has not been touched for at least 60 years. There is a small U-shaped tear (4 x 3 mm in size) with a tiny puncture above, with no loss of surface, roughly 13.5 cm above the lower frame moulding. It is located above the raised hand of the celebrant in the right foreground. Few tiny paint flakes in the dark green pigment at the top right corner, as well as a few tiny specs of paint loss at upper left corner area. Frame rubbing.

Auktionsarchiv: Los-Nr. 29
Auktion:
Datum:
05.05.2015
Auktionshaus:
Doyle New York - Auctioneers & Appraisers
East 87th Street 75
New York, NY 10128
Vereinigte Staaten von Amerika
info@doyle.com
+1 (0)212 4272730
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