57
James Ensor
Crânes et Masques (Skulls and Masks), 1888.
Etching
Estimate:
€ 1,800 / $ 2,124 Sold:
€ 4,902 / $ 5,784 (incl. surcharge)
57
James Ensor
Crânes et Masques (Skulls and Masks), 1888.
Etching
Estimate:
€ 1,800 / $ 2,124 Sold:
€ 4,902 / $ 5,784 (incl. surcharge)
James Ensor
1860 - 1949
Crânes et Masques (Skulls and Masks). 1888.
Etching.
On Vidalon wove paper (with watermark). 9 x 13 cm (3.5 x 5.1 in). Sheet: 28,7 x 37,7 cm (11,3 x 14,8 in).
[CH].
• In his studio, James Ensor kept skulls, masks, and headgear, which regularly appeared in his works from 1888 onwards.
• Ensor was almost obsessed with skulls and skeletons and used them in his art not only as a “memento mori,” but also as a symbiosis of reality and fantasy.
• This etching combines several skulls and a mask and is the only print in which Ensor captures such a still life..
We are grateful to Dr. Herwig Todts, honorary curator at the Royal Museum of Fine Arts in Antwerp, for his kind expert advice.
PROVENANCE: Private collection Günther Förg.
LITERATURE: James N. Elesh, James Ensor. The Complete Graphic Work, vol. I, New York 1982, CR no. 29-I/II (illu.).
In good condition. Fine, detailed print image. The sheet is slightly browned at the edges. A few small brown spots. At the top, outside the image, there are traces of a previous mounting, with slight discoloration of the paper and small adhesive residues.
1860 - 1949
Crânes et Masques (Skulls and Masks). 1888.
Etching.
On Vidalon wove paper (with watermark). 9 x 13 cm (3.5 x 5.1 in). Sheet: 28,7 x 37,7 cm (11,3 x 14,8 in).
[CH].
• In his studio, James Ensor kept skulls, masks, and headgear, which regularly appeared in his works from 1888 onwards.
• Ensor was almost obsessed with skulls and skeletons and used them in his art not only as a “memento mori,” but also as a symbiosis of reality and fantasy.
• This etching combines several skulls and a mask and is the only print in which Ensor captures such a still life..
We are grateful to Dr. Herwig Todts, honorary curator at the Royal Museum of Fine Arts in Antwerp, for his kind expert advice.
PROVENANCE: Private collection Günther Förg.
LITERATURE: James N. Elesh, James Ensor. The Complete Graphic Work, vol. I, New York 1982, CR no. 29-I/II (illu.).
In good condition. Fine, detailed print image. The sheet is slightly browned at the edges. A few small brown spots. At the top, outside the image, there are traces of a previous mounting, with slight discoloration of the paper and small adhesive residues.
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