James Ensor, ‘Les Diables Dzitts et Hihanox conduisant le Christ aux Enfers (The Devils Dzitts and Hihanox Leading Christ to Hell)’, 1895, Christie's

Signed in pencil, a fine, clear impression, with wide margins, pale light-staining, a short repaired tear at the left sheet edge, some pale pinpoint foxmarks
Plate 140 x 174 mm., Sheet 245 x 316 mm.

Christie's Special Notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

Delteil 88; Croquez, Taevernier, Elesh 90

About James Ensor

A major figure of the Belgian avant-garde in the late 19th century and a forerunner of 20th-century Expressionism, James Ensor produced paintings that explored religious subject matter, political satire, and carnivalesque imagery (his family owned an antiques and souvenir emporium that sold grotesque carnival masks). Stylistically, his paintings are characterized by harsh colors and thick layers of oil paint, sometimes applied with palette knives or spatulas. His most famous work, Christ’s Entry into Brussels (1889), incorporated his trademark style and depictions of fairground masks to satirize contemporary religion and politics in Belgium. In his early years, Ensor was a founder and leader of Les Vingt (The Twenty), a group whose goal was to promote new artistic developments in Europe, though they later rejected his work as it became more radical and extreme in subject and method. Ensor admired the works of Francisco Goya and J. M. W. Turner, and felt a particular affinity with their preoccupations with both light and violence.

Belgian, 1860-1949, Ostend, Belgium