James Ensor

Collection C. Snauwaert, Brussels
Collection Desvenain-Snauwaert, Brussels
Collection W. Willems, Brussels
Acquired from the above and sold: Sotheby's, Amsterdam, December 6, 2006, lot 46

Antwerp, Kunst van Heden, 1921, no. 18
Antwerp, Kunst van Heden, 1922, no. 477

G. Le Roy, James Ensor, Brussels, Paris, 1922
J. E. Payro, James Ensor, Paris, 1943, no. 44, illustrated
P. Haesaert, James Ensor, Brussels, 1957, no. 416
Xavier Tricot, James Ensor, Catalogue Raisonné of the Paintings, Antwerp, 1992, no. 473, illustrated

Very good condition. Canvas is unlined. Thinly painted with the canvas weave visible. Under UV light, a few strokes of inpainting to the right of the central reclining bather. Otherwise, fine.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Except for three years spent at the Brussels Academy, from 1877 to 1880, Ensor lived in Ostend all his life. His early works were of traditional subjects: landscapes, still lifes, portraits, interiors, painted in deep, rich and strong colors. In the mid 1880s, influenced by the bright colors of the Impressionists and the grotesque imagery of earlier Flemish masters such as Hieronymus Bosch and Pieter Brueghel the Elder, Ensor turned toward avant-garde themes and styles.

The subject of Baigneuses or bathers was a frequent one for the artist, reminding the viewer of the popularity of bathing in the sea in his hometown of Ostend during the summer months.

The subtitle of the present lot, Baigneuses, lingues courbes et ondulée, (lines curved and waved) may be interpreted in several ways. It refers both to the flamboyant style of the Art Nouveau, but also to the artist's preoccupation with the use of different types of lines.