61
James Ensor (1860-1949): Place Publique d'Ostende, scenery for La Gamme d'Amour, mixed technique on
1/5
Bitte, bestätigen Sie Ihr Maximalgebot
Sie sind dabei, ein Gebot in Höhe von EUR abzugeben.
Startpreis : EUR
Sobald Sie Ihr Maximalgebot bestätigt haben, erfahren Sie, wie es sich gegen andere Bieter verhält. Behalten Sie als Nächstes Ihren Posteingang im Auge, um festzustellen, ob Sie von jemandem überboten werden. Um die besten Gewinnchancen zu erhalten, loggen Sie sich ein, um zu Beginn der Live-Auktion zu bieten.
Aufgeld oder Transportkosten sind in Ihrem Gebot nicht enthalten.
Durch die Abgabe Ihres Gebotes bestätigen Sie, die AGB von lot-tissimo.com und des entsprechenden Auktionshauses gelesen und akzeptiert zu haben. Ein Zuschlag verpflichtet zum Kauf.
Bitte beachten Sie, dass Sie Ihre Gebote unter Mein Account, vor der Auktion bearbeiten können. Ihr Maximal Gebot kennen nur Sie.
Ihr Gebot weicht von den Bietschritt ab
Wählen Sie eine der folgenden Schnellgebotsoptionen:
Aufgeld oder Transportkosten sind in Ihrem Gebot nicht enthalten.
Durch die Abgabe Ihres Gebotes bestätigen Sie, die AGB von lot-tissimo.com und des entsprechenden Auktionshauses gelesen und akzeptiert zu haben. Ein Zuschlag verpflichtet zum Kauf.
Bitte beachten Sie, dass Sie Ihre Gebote unter Mein Account, vor der Auktion bearbeiten können. Ihr Maximal Gebot kennen nur Sie.
Beschreibung
James Ensor (1860-1949): Place Publique d'Ostende, scenery for La Gamme d'Amour, mixed technique on paper, 1914
Work: 27,5 x 21,5 cm
Frame: 43,5 x 33,5 cm
Provenance:
- The collection of Sidney Rothberg, Philadelphia, USA.
- The collection of Auguste Taevernier, Ghent, Belgium. Published: - Paul Haesaerts, James Ensor, Harry N. Abrams, Inc., New York, 1959 , p. 324, no. 180 (illustrated as Décor pour La Gamme d'Amour). Numbered 27 on the back, which bears no further annotations. (see images 3 and 4) Shown here is a less detailed yet playful version of the Place Publique d'Ostende, the scenery for the second act of Ensor's play La Gamme d'Amour. He also painted a large, populated version, on canvas (Tricot 463). The paintings and the scenery designs were completed in 1912. An enhanced photo of La Place Publique was added to the note he sent to François Franck in 1924 as clarification for the construction of the stage scenery. (see image 5) The work will be reproduced and commented upon, in Xavier Tricot's forthcoming publication, James Ensor: La Gamme d'Amour, to be published with Pandora Publications, Antwerp. According to the author, the work was executed in 1914. Ensor’s fascination for theatre began early, before he embarked on a career as a painter. From his grandmother’s eccentric penchant for dressing up in strange costumes, through the sale of exuberant props in his family’s souvenir shop in Ostend, to the cacophonous annual Carnival celebration, the artist was enthralled by theatre’s many possibilities. He was particularly interested in masks, which regularly appear in his œuvre. For Ensor, masks were both able to disguise identity and reveal inner truth. He said: “The masks mean to me: freshness of color sumptuous decoration, wild unexpected gestures, very shrill expressions, exquisite turbulence.†At fifty, Ensor built on his passion for theatre and produced his own show, La Gamme d’Amour (Flirt pour les Marionettes), which the libretto describes as a “one-act Ballet Pantomime in two tableaux.†Composed solely on the black keys of a harmonium (he feared the white keys) between 1906 and 1911, La Gamme d’Amour debuted as a musical performance on January 17, 1920 to coincide with Ensor’s exhibition at the Galerie Georges Giroux in Brussels, before premiering as a proper ballet at the Antwerp Opera on March 27, 1924. Set during the Ostend carnival, the play opens in Grognelet’s shop, filled with masks, puppets, and other theatrical props, reminiscent of Ensor’s parents’ boutique. The first scenes introduce the main protagonists, love-interests Fifrelin and Miamia, whose passion is compromised by their quarreling families. By the end of the first tableau, however, the two characters are engaged, and the second tableau (the present lot) is devoted solely to preparing a festive wedding march in the town square.
Work: 27,5 x 21,5 cm
Frame: 43,5 x 33,5 cm
Provenance:
- The collection of Sidney Rothberg, Philadelphia, USA.
- The collection of Auguste Taevernier, Ghent, Belgium. Published: - Paul Haesaerts, James Ensor, Harry N. Abrams, Inc., New York, 1959 , p. 324, no. 180 (illustrated as Décor pour La Gamme d'Amour). Numbered 27 on the back, which bears no further annotations. (see images 3 and 4) Shown here is a less detailed yet playful version of the Place Publique d'Ostende, the scenery for the second act of Ensor's play La Gamme d'Amour. He also painted a large, populated version, on canvas (Tricot 463). The paintings and the scenery designs were completed in 1912. An enhanced photo of La Place Publique was added to the note he sent to François Franck in 1924 as clarification for the construction of the stage scenery. (see image 5) The work will be reproduced and commented upon, in Xavier Tricot's forthcoming publication, James Ensor: La Gamme d'Amour, to be published with Pandora Publications, Antwerp. According to the author, the work was executed in 1914. Ensor’s fascination for theatre began early, before he embarked on a career as a painter. From his grandmother’s eccentric penchant for dressing up in strange costumes, through the sale of exuberant props in his family’s souvenir shop in Ostend, to the cacophonous annual Carnival celebration, the artist was enthralled by theatre’s many possibilities. He was particularly interested in masks, which regularly appear in his œuvre. For Ensor, masks were both able to disguise identity and reveal inner truth. He said: “The masks mean to me: freshness of color sumptuous decoration, wild unexpected gestures, very shrill expressions, exquisite turbulence.†At fifty, Ensor built on his passion for theatre and produced his own show, La Gamme d’Amour (Flirt pour les Marionettes), which the libretto describes as a “one-act Ballet Pantomime in two tableaux.†Composed solely on the black keys of a harmonium (he feared the white keys) between 1906 and 1911, La Gamme d’Amour debuted as a musical performance on January 17, 1920 to coincide with Ensor’s exhibition at the Galerie Georges Giroux in Brussels, before premiering as a proper ballet at the Antwerp Opera on March 27, 1924. Set during the Ostend carnival, the play opens in Grognelet’s shop, filled with masks, puppets, and other theatrical props, reminiscent of Ensor’s parents’ boutique. The first scenes introduce the main protagonists, love-interests Fifrelin and Miamia, whose passion is compromised by their quarreling families. By the end of the first tableau, however, the two characters are engaged, and the second tableau (the present lot) is devoted solely to preparing a festive wedding march in the town square.
Auktionsdetails
Versand
AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
James Ensor (1860-1949): Place Publique d'Ostende, scenery for La Gamme d'Amour, mixed technique on paper, 1914
Work: 27,5 x 21,5 cm
Frame: 43,5 x 33,5 cm
Provenance:
- The collection of Sidney Rothberg, Philadelphia, USA.
- The collection of Auguste Taevernier, Ghent, Belgium. Published: - Paul Haesaerts, James Ensor, Harry N. Abrams, Inc., New York, 1959 , p. 324, no. 180 (illustrated as Décor pour La Gamme d'Amour). Numbered 27 on the back, which bears no further annotations. (see images 3 and 4) Shown here is a less detailed yet playful version of the Place Publique d'Ostende, the scenery for the second act of Ensor's play La Gamme d'Amour. He also painted a large, populated version, on canvas (Tricot 463). The paintings and the scenery designs were completed in 1912. An enhanced photo of La Place Publique was added to the note he sent to François Franck in 1924 as clarification for the construction of the stage scenery. (see image 5) The work will be reproduced and commented upon, in Xavier Tricot's forthcoming publication, James Ensor: La Gamme d'Amour, to be published with Pandora Publications, Antwerp. According to the author, the work was executed in 1914. Ensor’s fascination for theatre began early, before he embarked on a career as a painter. From his grandmother’s eccentric penchant for dressing up in strange costumes, through the sale of exuberant props in his family’s souvenir shop in Ostend, to the cacophonous annual Carnival celebration, the artist was enthralled by theatre’s many possibilities. He was particularly interested in masks, which regularly appear in his œuvre. For Ensor, masks were both able to disguise identity and reveal inner truth. He said: “The masks mean to me: freshness of color sumptuous decoration, wild unexpected gestures, very shrill expressions, exquisite turbulence.†At fifty, Ensor built on his passion for theatre and produced his own show, La Gamme d’Amour (Flirt pour les Marionettes), which the libretto describes as a “one-act Ballet Pantomime in two tableaux.†Composed solely on the black keys of a harmonium (he feared the white keys) between 1906 and 1911, La Gamme d’Amour debuted as a musical performance on January 17, 1920 to coincide with Ensor’s exhibition at the Galerie Georges Giroux in Brussels, before premiering as a proper ballet at the Antwerp Opera on March 27, 1924. Set during the Ostend carnival, the play opens in Grognelet’s shop, filled with masks, puppets, and other theatrical props, reminiscent of Ensor’s parents’ boutique. The first scenes introduce the main protagonists, love-interests Fifrelin and Miamia, whose passion is compromised by their quarreling families. By the end of the first tableau, however, the two characters are engaged, and the second tableau (the present lot) is devoted solely to preparing a festive wedding march in the town square.
Work: 27,5 x 21,5 cm
Frame: 43,5 x 33,5 cm
Provenance:
- The collection of Sidney Rothberg, Philadelphia, USA.
- The collection of Auguste Taevernier, Ghent, Belgium. Published: - Paul Haesaerts, James Ensor, Harry N. Abrams, Inc., New York, 1959 , p. 324, no. 180 (illustrated as Décor pour La Gamme d'Amour). Numbered 27 on the back, which bears no further annotations. (see images 3 and 4) Shown here is a less detailed yet playful version of the Place Publique d'Ostende, the scenery for the second act of Ensor's play La Gamme d'Amour. He also painted a large, populated version, on canvas (Tricot 463). The paintings and the scenery designs were completed in 1912. An enhanced photo of La Place Publique was added to the note he sent to François Franck in 1924 as clarification for the construction of the stage scenery. (see image 5) The work will be reproduced and commented upon, in Xavier Tricot's forthcoming publication, James Ensor: La Gamme d'Amour, to be published with Pandora Publications, Antwerp. According to the author, the work was executed in 1914. Ensor’s fascination for theatre began early, before he embarked on a career as a painter. From his grandmother’s eccentric penchant for dressing up in strange costumes, through the sale of exuberant props in his family’s souvenir shop in Ostend, to the cacophonous annual Carnival celebration, the artist was enthralled by theatre’s many possibilities. He was particularly interested in masks, which regularly appear in his œuvre. For Ensor, masks were both able to disguise identity and reveal inner truth. He said: “The masks mean to me: freshness of color sumptuous decoration, wild unexpected gestures, very shrill expressions, exquisite turbulence.†At fifty, Ensor built on his passion for theatre and produced his own show, La Gamme d’Amour (Flirt pour les Marionettes), which the libretto describes as a “one-act Ballet Pantomime in two tableaux.†Composed solely on the black keys of a harmonium (he feared the white keys) between 1906 and 1911, La Gamme d’Amour debuted as a musical performance on January 17, 1920 to coincide with Ensor’s exhibition at the Galerie Georges Giroux in Brussels, before premiering as a proper ballet at the Antwerp Opera on March 27, 1924. Set during the Ostend carnival, the play opens in Grognelet’s shop, filled with masks, puppets, and other theatrical props, reminiscent of Ensor’s parents’ boutique. The first scenes introduce the main protagonists, love-interests Fifrelin and Miamia, whose passion is compromised by their quarreling families. By the end of the first tableau, however, the two characters are engaged, and the second tableau (the present lot) is devoted solely to preparing a festive wedding march in the town square.
The exclusive sale: 75 must-haves for 2025
Auktionsdatum
Lose: 1-75
Ort der Versteigerung
Steenweg 144/A
Nazareth
9810
Belgium
Transport:
Our in-house shipping department can arrange your shipping for most small objects. Please don't hesitate to ask a quote before the auction, free of charge or obligation.
For larger shipments, usually freight and crating, by air or sea transport, please get in touch with one of these shippers.
* Mail Boxes Etc.
Blvd. du Regent 54
1000 Brussel
Phone: +32(0)22422939
E-mail: mbebrussels@mbebelgium.be
*The Packengers
hello@thepackengers.com
* Eastern Boat Logistics
Chinese speaking international logistics
Email: info@eboatlogistics.com
Web: www.eboatlogistics.com
Phone: +32 27212703
* A. Hartrodt Airfreight n.v.
International worldwide forwarding from small parcels to full container loads. Shipping via ocean - air - road.
Bedrijvenzone Machelen Cargo 733, 1st Floor
1830 Machelen
Belgium
Phone +32 2 751 92 10
Email: dst.bru@hartrodt.com
Website: www.hartrodt.com
* Embelco
International shipping and packing company – Zaventem, Belgium
Tel: +32.2.725.09.69
Fax: +32.2.721.54.35
e-mail: embelco@embelco.be
website: www.embelco.be
* Transports Expéditions Intl (België Frankrijk)
Emballages d'Oeuvres d'Art NIMP 15
Tel +33 (0) 6 84 45 50 07
E-mail: julio.saavedra@free.fr
Website: www.emballageart.com
* Gaumont Transports (België Frankrijk)
5 Rue Albert Michel
62128 Fontaine les Croisilles
Frankrijk
Tel.: +33 6 08 49 18 68
E-mail: pierre.gaumont@free.fr
Wichtige Informationen
Evening session: December 20, 7:30pm (Brussels time zone)
Contact:
E-mail: info@coronariauctions.com
Phone: +32(0)93123240
Auction & viewing address: Steenweg 144A, 9810 Nazareth, Belgium
Website: www.coronariauctions.com
In-house sales commission is 30%, all taxes included. This means that the final price to be paid will be the hammer price plus 30% of the hammer price.
However, invoices paid within 14 days after the auction (payments reaching us by the 15th calendar day after the last auction day), will be subject to the premium rate of 27.5%.
Online bidders on The-Saleroom or Lot-Tissimo pay an additional 5% fee.
Viewing is possible from Saturday 14 to Wednesday 18 December, every day from 10am to 6pm.
Please contact us to let us know which lots are of interest, so we can make their condition reports for you. Once complete, they will be published on our website. High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com. The absence of a condition report does not imply that a lot is in perfect condition.
AGB
- The sale is conducted by:
Coronari Auctions BV
Address: Steenweg 144A, 9810 Eke (Nazareth), Belgium
VAT: BE 0727.720.823
Tel.: +32 (0) 9 312 32 40
E-mail: info@coronariauctions.com - Sales are conducted by auction according to the Belgian law.
- Payments for lots purchased are expected within 5 working days after the last day of auction.
According to Belgian anti-money laundering laws, amounts from €3.000 can only be paid by bank transfer or card payment. - Bidding increments are:
0-100 Euro: + 10 Euro
100-500 Euro: + 20 Euro
500-1000 Euro: + 50 Euro
1000-2000 Euro: + 100 Euro
2000-5000 Euro: + 200 Euro
5000-20000 Euro: + 500 Euro
20000-100000 Euro: + 2000 Euro
+ 100000 Euro: + 5000 Euro
Alteration of the bidding increments are possible at the auctioneer’s discretion. Commission bids or absentee bids which don’t comply with these increments will be rounded up or down to the nearest bid amount following these increments. This means that, for example, a bid of 1240 Euro will be rounded down to 1200 Euro and a bid of 1250 Euro will be rounded up tot 1300 Euro. -
Sales commission is 30%, all taxes included. This means that the final price to be paid will be the hammer price plus 30% of the hammer price.
However, invoices paid by bank transfer, European debit card or cash (up to €2.999), within 14 days after the auction (payments reaching us by the 15th calendar day after the last auction day), will be subject to the premium rate of 27.5%.External partners allowing their clients to bid with us, may charge a fee for this, which will then be added to our sales commission. These fees vary per partner and are subject to change at the partner’s discretion. We have no influence on this and payments not including this fee will be seen as incomplete.
- Goods are sold "as is" at the moment of adjudication.
- All statements made by the auctioneer, be it in writing, digitally or orally, are not to be relied on as statements of fact. They are only an opinion, given to the best of our knowledge and are for guidance only. The buyer is due to verify the condition of the goods by personal inspection. On request every opportunity will be provided to conduct additional expertise as long as the goods are not damaged. As a result, after the adjudication no complaint will be accepted.
- Customers and buyers must take into account possible visual deviations with the photos displayed on screens, printed matter and other media. We strive to convey as realistic a picture as possible. Nevertheless, deviations arise due to differences in contrast, brightness, saturation and type of screen or degree of brightness, light and ambient colors. Colors and color description have to do with individual perception and no rights can be derived from this. Lens distortion is also possible. Return shipments for color deviations and lens distortion cannot therefore be accepted.
- Anyone damaging goods during viewing days or at any other moment, is obliged to inform us. Failure to do so may result in legal action. Should the auctioneer deem compensation necessary, the amount will be set at the high estimate multiplied by 1.275.
- After adjudication the buyer is responsible for his/her purchases. The auctioneer will guard and store the items(s) to the best of his ability but can not be held liable for any damage occurred after adjudication. During the auction goods can not be collected.
- Every buyer needs to provide identification. A bidding number can be acquired during the viewing days and before the auction. During the auction this is also possible through the front desk. However, we strongly advise acquisition of said number before the auction to allow a smooth auction process. Identification measures include but are not necessarily limited to: requesting a copy of your passport or identity document, a transcription of your personal contact details. Your personal details will not be shared with third parties, can be consulted at your request and may be removed from our database on simple request.
- Each person is assumed to bid on his own account. Bids are binding contracts. In default of payment, liability to another person will not be accepted.
- Any dispute occurring during the auction can only be resolved by the acting bailiff/notary. His or her decision is definite and irrevocable. He may decide to recall any lot, cancel any adjudication, during or even after the sale, for whichever reason. His word is final.
- The international rules on copyright law (droit de suite) oblige us to require an extra premium on the hammer price of original works of art made by still living artists, or within seventy years after his or her decease. The premium is required only on hammer prices from €2.000. The amounts required are:
4% on the total sum up to € 50.000
3% on the amount from € 50000,01 up to € 200000
1% on the amount from € 200000,01 up to € 350000
0.5% on the amount from € 350.000,01 up to € 500000
0.25% on the amount from € 500000
The maximum amount of the right should not exceed € 12500.
Even in the unlikely event where this resale right was not charged to the buyer, he will still be obliged to pay this premium up to 5 years after the sale.
All info on Resale rights in Belgium can be found on www.resaleright.be - Collection of purchases is only possible after the auctioneer has received full payment. Collection dates will be announced individually per auction and are also available on request. It is the buyer's duty to inquire about collection options. Goods not collected within 14 calendar days, counted from and including the first day after the sale day on which the item was sold, will be subject to a storage fee of 1,5 Euro per item per day, even if the payment is completed in full, unless other arrangements have been made to our satisfaction.
- We accept payments by means of:
Cash (under €3.000)
Bank transfer of the full amount, indicating the invoice number in the commentary section. Any and all fees should be handled by the sender, on this bank account:
Beneficiary: Coronari Auctions BV
Beneficiary address: Steenweg 144A, 9810 Eke (Nazareth), Belgium
Bank: KBC Bank
Bank address: Stationsstraat 111, 9880 Aalter, Belgium
IBAN: BE18 7360 5816 1365
BIC: KREDBEBBCredit and debit card payments, as well as Unionpay payments, can be accepted with the cardholder present in our rooms.
Most credit and debit cards can also be accepted online. - Payments for lots purchased are expected within 5 working days after the last day of auction. Invoices remaining unpaid or only partly paid, 30 calendar days after the auction, will be subject to the following late payment interest fees:
On day 31: Administrative fee of 25 Euro per lot and a late payment fee of 1.5% of the total invoice amount.
Per additional 14 calendar days: an additional late payment fee of 1.5% of the total invoice amount. -
We can also arrange shipping for some purchases. We can give you a non-binding pre-sale estimate on simple request. The exact cost for this service will be specified after reception of your full payment, or added to your invoice upon request. The order of packing/shipping is the same as the payment reception order. We work with several different companies for this: Belgian Post Office, Post.NL (TNT), DHL, UPS and Fedex. When choosing for Fedex, UPS or DHL, we will only charge for packing. Clients are responsible for arranging and paying for pick-up and shipping costs directly to the courrier service. Please note that shipping is a service offered, but all risks associated with shipping are carried by the client. We can not be held responsible for any issues arriving during the shipping process. Shipping insurance does not always cover all risks associated, neither does it always cover the entire amount paid.
-
Both foreign and national buyers who can’t be present during the auction, can bid by telephone or bid live online on our website or through one of our third party partners. As we can not guarantee the proper functioning of available communication channels, we strongly suggest to also send in a back-up absentee bid, or book a telephone line and arrange for online bidding simultaneously.
Foreign buyers will need to identify themselves in full at least 24 hours before the auction. If necessary, a bank guarantee or deposit will be requested which will serve as a guarantee in case of non-payment. Failure to provide requested bank guarantees or deposits may result in the non-acceptance of any bids.
The auctioneer can not be held responsible in case of disfunctioning of the available communication channels and any consequences related to this, nor from unavailability on the bidders’ side. -
Professionals are required to identify themselves as such and disclose their business details when bidding or requesting a bid number.
-
In case of non-payment the lots may be put up for sale in a later sale. The non-paying bidder will be obliged to reimburse the difference in case of a lower hammer price, according to Belgian law. He will not have any claims over the possible difference above the original hammer price. He will also need to cover all costs related to the re-offering.
-
Every buyer is supposed to know and comply with the import regulations of his or her country of destination. The auction house can not be held responsable for any problems arising with the export of certain goods, be they legal or illegal in any country.
-
Every buyer and seller is supposed to know the current regulations regarding the sale or exposition of animals or wildlife species, such as, but not limited to, ivory, minerals, gems, rhino horn, bone, taxidermy, ... but also for works of art partially consisting of such material. The auction house denies any responsability in regard to possible seizure, destruction or penalties imposed by Belgian or foreign governments. The full 100% responsability for any issue arising lies with the consignor-seller and/or bidder-buyer.
-
By taking part in our sales any person agrees to these condition, be it directly through us or through one of our partners which allow bidders to bid with us.
- The auction house reserves the right to refuse bidders or to request a deposit from certain bidders. Deposits will be deducted from payable invoices for winning bidders or completely refunded on the first working day following the auction, in case of a non-winning bidder.
-
Every participant to our sales is supposed to be aware of and comply with these conditions.
-
Any arising dispute shall only be governed by the Belgian law and only the justice court in Ghent, Belgium, can deal with these disputes.
