Petrus van Schendel

Sale Brussels (J. & A. le Roy & Frères), The Artist's Estate, 4 September 1871, lot 11
Private collection, United States

Brussels, Palais des Beaux-Arts, Exposition Générale des Beaux-Arts, 1864, no. 785 (as 'Soirée de Feux de Bengale au Vaux-Hall, Parc de Bruxelles')

The canvas has been relined. Minor vertical filled-in craquelure visible. Otherwise this work is in good condition.
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Although Petrus van Schendel painted portraits, historical scenes and biblical subjects, he earned his greatest fame with his evocative nocturnal scenes illuminated by a lamp or candle. With 'Feux de Bengale Night at Vaux-Hall Park, Brussels', Van Schendel extends his experimentation with illumination to studying a theatrical form of light. Not only a painter but also an engineer interested in science, Van Schendel was intrigued by the possibilities of chemical light sources, most notably the Bengal light, the use of which was much in vogue in the early 1860s. The term references to home made fireworks that had their origin in Bengal, India. Bengal lights were intended for sustained, slow burning, for mood illuminations. Their chemical components would throw forth sparks of various hues.

Here, surrounding the Brussels Vaux-Hall kiosk (a venue for public theatre and musical events), the lights illuminate an academic sculpture. More importantly the illuminations transform a group of pruned trees, benches and paths into a mysterious and magical night realm of eerie greenish yellow, hot red-orange and spectral blue glows and shadows. As revealed by Van Schendel, the intricate chemical make-up of the lights' potassium nitrate, sulphur and antimony provided a brilliant and long lasting flash, enthralling onlookers who shielded their eyes from the glare as they whisper to one another. The hazy effects of the lights' smoke - which was noxious and indeed would prove highly toxic - suggests why some figures cover their mouths and noses. Van Schendel made several studies for 'Feux de Bengal'. The present work is believed to be the final version. A slightly larger version was exhibited in 1869, a year before his death. The artist was so compelled by the mysterious light that he even included himself in the left corner (with hat) among the mesmerized crowd.

The present lot will be recorded by Mr. J.M.M. de Meere under number OS/64. Mr. de Meere dates this painting circa 1864.