Details
JAMES ENSOR (1860-1949)
Le diable dans le beffroi ('The Devil in the Belfry')
signed ENSOR (in the composition, centre right)
Conté crayon and pencil on paper
22,3 x 17,1 cm. (834 x 634 in.)
Executed in 1886-1888
Provenance
Ernest Rousseau, Sr. (1831-1908), Brussels; acquired directly from the artist.
Ernest Rousseau, Jr. (1860-1949), Brussels; by descent from the above.
Marguerite Klerx Rousseau & Jeanne Demany Rousseau, Brussels; by descent from the above.
The estate of Jeanne Rousseau, until at least circa 1981-1982.
Frans Aerts, Ostend; acquired from the above.
With M. Knoedler, Zurich (with their stock no. 487 K).
Acquired from the above on 16 February 1983; then by descent to the present owners.
Literature
P. Haesaerts, James Ensor, London, 1957, no. 226, p. 378 (illustrated p. 148).
F.C. Legrand, Ensor, cet inconnu, Brussels, 1971, no. 76, p. 111.
P. Haesaerts, James Ensor, Brussels, 1973, p. 174 (illustrated p. 76; with incorrect medium).
R. Hoozee, S. Bown-Taevernier & J.F. Heijbroek, James Ensor, Dessins et Estampes, Antwerp, 1987, p.138 (illustrated).
F.C. Legrand, Ensor, cet inconnu, Brussels, 1990, no. 79.
M. Draguet, James Ensor ou la fantasmagorie, Paris, 1999, no. 203, p. 248 (illustrated p. 188).
Exhibited
Brussels, Palais des Beaux-Arts, James Ensor, January - February 1929, nos. 77-99, p. 20 (titled 'Dessin' and dated '1885').
Antwerp, Musée royal des Beaux-Arts, Rétrospective James Ensor, June - August 1951, no. 47, p. 39 (with incorrect medium).
Otterlo, Rijksmuseum Kröller-Müller, Ensor, June - July 1961, no. 82, n.p. (illustrated n.p.; dated 'circa 1886'); this exhibition later travelled to Rotterdam, Museum Boymans-van Beuningen, August - September 1961.
Basel, Kunsthalle, James Ensor, June - August 1963, no. 146, n.p..
Rome, Palazzo dei Conservatori, Ensor, Dipinti - Disegni - Incisioni, July - August 1981, no. 42, p. 67 (illustrated; with incorrect medium).
Tel-Aviv, Tel Aviv Museum, James Ensor, September - November 1981, no. 57, p. 95 (illustrated p. 64; dated '1888' and with incorrect medium).
Zurich, M. Knoedler, James Ensor, Meisterliche Handzeichnungen, 1880-1888, February - March 1983, no. 23, n.p. (illustrated n.p.).
Zurich, Kunsthaus, James Ensor, May - July 1983, no. 223, pp. 168 & 354 (illustrated p. 169); this exhibition later travelled to Antwerp, Koninklijk Museum voor Schone Kunsten, August - October 1983.
Hamburg, Kunstverein, James Ensor, December 1986 - February 1987, no. 188, p. 173 .
Munich, Kunsthalle der Hypo-Kulturstiftung, James Ensor, Belgien um 1900, March - May 1989, no. 65, p. 182 (illustrated p. 183; dated '1888').
Paris, Musée du Petit Palais, James Ensor, April - July 1990, no. 130, p. 179 (illustrated; titled 'Le diable dans le clocher' and dated '1888').
Madrid, Banco Bilbao Vizcaya, James Ensor, March - May 1996, p. 229 (illustrated).
London, Barbican Art Gallery, James Ensor, Theatre of Masks, September - December 1997, no. 87, n.p. (illustrated n.p.; dated '1888').
Brussels, Musée Royaux des Beaux-Arts de Belgique, Ensor, September 1999 - February 2000, no. 240, p. 276 (illustrated).
New York, The Drawing Center, Between Street and Mirror, The Drawings of James Ensor, April - July 2001, no. 71, p. 251 (illustrated n.p.).
FURTHER DETAILS
The Ensor Advisory Committee has confirmed the authenticity of this work.
Brought to you by

Lot Essay

Le diable dans le Beffroi, inspired by Edgar Allan Poe's The Devil in the Belfry, originally formed part of a monumental ensemble by James Ensor comprising 32 individual drawings mounted on canvas. The group was first owned by Ernest Rousseau Sr., Professor of Physics and later Rector of the Université libre de Bruxelles, who was a close friend and important patron of the artist. The work remained in the Rousseau family for nearly a century, until the early 1980s. Around 1929, the ensemble was dismantled and the individual sheets were subsequently exhibited separately. Today, these works are collectively known as the Rousseau Drawings and are regarded among Ensor's most innovative achievements, celebrated for their extraordinary originality and often hailed as visionary proto-surrealist masterpieces.

Related Articles

Sorry, we are unable to display this content. Please check your connection.

More from
Spellbound: The Hegewisch Collection Part III
Place your bid Condition report

A Christie's specialist may contact you to discuss this lot or to notify you if the condition changes prior to the sale.

I confirm that I have read this Important Notice regarding Condition Reports and agree to its terms. View Condition Report