by Fernand Khnopff, Auto-Lithograph on paper; c1898. From The Studio Volume 14 by Ralph Nevill; 29.5 x 20.8 cm. A fine print bearing The Studio’s blind stamp.
£180 (inc. UK delivery)
Possibly a portrait of the Belgian violinist Irma Sèthe (b. Brussels 1876), a violinist famously painted by Belgian neo-impressionist painter Théo van Rysselberghe and who, in November 1895, made her first appearance in London and was pronounced to be, “with the exception of Lady Hallé, the most remarkable lady violinist who had ever appeared before the public in England, and where her excellent technique, perfect intonation, warmth of feeling, and musical insight were highly, almost extravagantly, praised.”
(Henry Lahee über Irma Saenger-Sethe, in: Famous Violinists of To-day and Yesterday. 10. Aufl., Boston 1916, S. 336). Read more.
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Condition
Very good condition consistent with age.
The Artist
Fernand Khnopff, (September 12, 1858 – November 12, 1921, Brussels), was a Belgian painter, draftsman, photographer, sculptor, and writer associated with Symbolism and known best for paintings that blend precise realism with an ethereal dreamlike atmosphere.
In 1883 Khnopff became a founding member of the Belgian avant-garde artists’ group Les Vingt, which at its founding included 19 other artists, James Ensor among them. Khnopff created notable works such as Listening to Schumann (1883), After Joséphin Péladan: The Supreme Vice (c. 1884), and In Fosset. An Evening (1886). After Joséphin Péladan: The Supreme Vice served as the frontispiece to French writer and Symbolist Joséphin Péladan’s popular erotic novel Le Vice suprême (1884).