William Degouve de Nuncques

Suzanne Degouve de Nuncques (née Poulet; the artist's widow. Suzanne was Degouve de Nuncque's second wife, who was previously married to the polar explorer Adrien de Gerlache)
By descent from the above to the present owner, grandson of Adrien de Gerlache

Knokke-Heist, Casino, Le Symbolisme en Belgique, 1973
New York, The New York Cultural Centre; Houston, Museum of Fine Arts; Painters of the Mind's Eye: Belgian Symbolists and Surrealists, 1974, no. 1, illustrated in the catalogue
Namur, Musée Félicien Rops; Otterlo, Kröller-Müller Museum, William Degouve de Nuncques maître du mystere, 2012

The canvas has an old relining. Under ultra-violet light the old varnish fluoresces quite opaquely and a number of strokes of retouching are visible, notably in the fence to the left of centre and scattered strokes elsewhere in the architecture, some small strokes in the figures, very minor partial signs of strengthening to the 'W' and 'D' of the signature, and scattered in the sky. The overall appearance of the work under normal light is good and it is ready to hang. The colours are somewhat deeper and less bright overall in reality than in the catalogue illustration, and less pink. Presented in a loaner frame, and sold unframed.
"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."

Painted in 1890, the present work is a remarkable expression of life in Brussels’ banlieues. The painter builds up the composition in unrelenting horizontal bands. In the foreground two women, one haggard and bent over, carry baskets along an empty cobbled street. Behind the pavement and wooden fence that close in on them are the facades of terraced houses in serried ranks. Facing outwards, their windows are blank and unseeing. Combining an interest in Social Realism with a Symbolist slant that reflected Degouve’s milieu of the day and the influence of such artists as Henry de Groux and Jan Toorop on the young painter, the work tells an unflattering story about everyday life for the working classes in the Belgian capital.