James Ensor

Baron Henri de Broqueville, Rhode-St-Genèse (acquired directly from the artist)
Baron Faverau, La Hulpe, Belgium
Sale: Palais des Beaux-Arts, Brussels, 14th March 1950, lot 262
Galerie Veranneman, Brussels
Acquired from the above by the present owner in 1967

Xavier Tricot, James Ensor, Catalogue Raisonné of the Paintings, 1902-1941, Antwerp, 1992, vol. II, no. 793, illustrated p. 665

The canvas is not lined and there are no signs of retouching under UV light. There are some minor scratches to the medium to the right edge, some further scratches to the centre of the left edge, and a 1cm. sq. area of scratches towards the upper left corner. All these scratches are insignificant and probably caused by the stretcher on the reverse. This work is in good condition. Colours: Fairly accurate, although the colours are richer in the original.
"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."

'Anyone who surprised Ensor at work upstairs would see him emerge from a clutter of disparate objects: masks, rags, withered branches, shells, cups, pots, worn-out rugs, books littering the floor, prints piled up on chairs, empty frames standing stacked against the furniture and the inevitable skull surveying the scene with two vacant sockets and no eyes. A friendly layer of dust lies over these innumerable strange objects, protecting them from the clumsy movements of visitors. They are waiting for the painter to breathe life into them, to make them speak, and, thanks to the sympathy he has with them and the eloquence he discerns in their silence, to introduce them into his paintings'
Emile Verhaeren, 1908
(Quoted in Emile Verhaeren, Sur James Ensor, Brussels, 1990)

As indicated in the drawing, Carresses Immatérielles was formally dedicated, probably on the original stretcher: au Baron, à la Baronne Henri de Broqueville. Quelques fleurs et formes fines coquillées et poudrées par les sels irisés de la mer en fusion. James Ensor, Ostende 1939.