James Ensor

Augusta Boogaerts, Brussels
M. Claes-Boogaerts, Brussels
Marcel Mabille, Rhode-St-Genèse (acquired by 1968)
Private Collection (acquired from the above circa 1993 and sold: Christie’s, London, February 6, 2006, lot 72)
Private Collection, United States (acquired at the above sale)

Antwerp, Cercle royal artistique et littéraire, Le groupe Sélection, 1920, no. 74
Antwerp, Museum voor Schone Kunsten, Kunst van Heden – L’Art contemporain, 1927, no. 245
Brussels, Palais des Beaux-Arts, Rétrospective James Ensor, 1929, no. 245
Brussels, Galerie Georges Giroux, Hommage à James Ensor, 1945, no. 93
Paris, Galerie du Siècle, Ensor, peintures-eaux-fortes, 1948, no. 11
Brussels, Maison Haute, 5éme Salon: James Ensor, 1950, no. 30
New York, Museum of Modern Art; Boston, Institute of Contemporary Art; Cleveland, Cleveland Museum of Art & St. Louis, City Art Museum, James Ensor, 1951, no. 56
Ostend, Stedelijk Museum voor Schone Kunsten, James Ensor, 1960, no. 83
Brussels, Galerie Isy Brachot, Ensor dans les collections privées, 1965-66, no. 27
Paris, Musée de l’Orangerie, L’Art flamand, d’Ensor à Permeke, 1970, no. 71
London, Royal Academy of Arts, Ensor to Permeke, nine Flemish painters 1880-1950, 1971, no. 135
Paris, Musée du Petit Palais, James Ensor, 1990, no. 214, illustrated in color in the catalogue
Utrecht, Centraal Museum, James Ensor 1860-1949, Schilderijen, tekeningen en grafik, enn selectie uit Belgisch en Nederlands bezit, 1993, no. S.40, illustrated in color in the catalogue
Brussels, Galerie Patrick Derom, Ensor, la mort et le charme, un autre Ensor, 1994, n.n.
Brussels, Musées Royaux des Beaux-Arts de Belgique, Ensor, 1999-2000, no.148, illustrated in color in the catalogue

James Ensor, Memoranda "Nos deux portraits," 1905
Grégoire le Roy, Portrait de Mlle A.B., 1908, p. 191 (titled Portrait de Mlle A.B. and dated 1908)
Paul Haesaerts, James Ensor, Brussels, 1957, no. 372, illustrated p. 347
Francine-Claire Legrand, Ensor cet inconnu, Brussels, 1971, no. 196, illustrated p. 28
Gisèle Ollinger-Zinque, Ensor par lui-même, Brussels, 1976, no. 83, illustrated p.132
Gisèle Ollinger-Zinque, Ensor, een zelfportret, Brussels, 1977, no. 83, illustrated p. 136
Jacques Janssens, James Ensor, Naefels, 1978, illustrated in color p. 88
Robert Delevoy, Ensor, Antwerp, 1981, no.303, illustrated p. 382
Diane Lesko, James Ensor, the creative years, Princeton, 1985, fig. 110, illustrated p. 147
Xavier Tricot, James Ensor, Catalogue raisonné of the Paintings, 1902-1941, vol. II, Antwerp, 1992, no. 397, illustrated p. 408
Francine-Claire Legrand, Ensor la mort et la charme – un autre Ensor, Antwerp, 1993, illustrated p. 46

This work is in very good condition. Panel is sound. Some very thin stable craqueleur in the bottom of the woman's dress and in her chair as well as a few other selected areas. There are a few tiny pindot losses at bottom of gentleman's jacket. Under UV light some original pigments as well as pooling varnish fluoresce but no inpainting is apparent.
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.

The present work is a double portrait of Ensor and Augusta Boogaerts, the artist's close companion from the late 1880s until his death. Called La Sirène (The Mermaid) by Ensor, it is highly likely that the two were romantically involved, which Diane Lesko suggests in her discussion of this painting: "She is shown fully dressed, with her gloves on, a fur stole in her lap, and a large flowered hat on her head. The hint of a smile is evident as she looks towards the window at the left edge of the painting. In her right hand she holds a flower; flowers also lie at her feet, seemingly having fallen from a vase on the table... There is a sense of light intrigue here, of clandestine moments stolen by unmarried lovers. Despite the painting's charm, however, the portrait hints at a psychic and physical distance that exists and will remain between the lovers: their heads and bodies are turned in opposite directions and Ensor has further distanced himself from Augusta by portraying his image as across the room, reflected in the glass of a mirrored wardrobe" (Diane Lesko, op. cit., pp. 147-48).