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Jan Baptist Huysmans

Belgium (1826 -  1906 )
HUYSMANS Jan Baptist Portrait De Ahmed Ben-allel Dit Bel-haadj

Sotheby's /Jun 23, 2010
6,000.00 - 8,000.00
11,875.00

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Variants on Artist's name :

Huysmans Jean-Baptiste

 

Along with Jan Baptist Huysmans, our clients also searched for the following authors:
Theophile Alexandre Steinlen, Auguste Renoir, Henri De Toulouse-Lautrec, Edvard Munch, Paul Signac, Edwin Lord Weeks, Ferdinand Roybet
Artworks in Arcadja
71

Some works of Jan Baptist Huysmans

Extracted between 71 works in the catalog of Arcadja
Jan Baptist Huysmans -  Sketches For A Hall In The Townhall Of Mortsel

Jan Baptist Huysmans - Sketches For A Hall In The Townhall Of Mortsel

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Lot number: 1159
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Description:
Description: JEAN-BAPTISTE HUYSMANS (1826 - 1906) A set of 12 drawings and preliminary sketches for a hall in the Townhall of Mortsel. Gouache, watercolour and pencil. We join by the same one other sheet. Different sizes. Gevarieerd lot van twaalf tekeningen en studies voor het ontwerp van een zaal in het gemeentehuis van Mortsel. Gouache, aquarel, potlood. Bijgevoegd: één ander. Verschillende afmetingen. Un lot varié de 12 études pour des murailles. Gouache, aquarelle, mine de plomb. Dimensions variables.
Jan Baptist Huysmans - A Private Meeting

Jan Baptist Huysmans - A Private Meeting

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Lot number: 91
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LOT 91 - JAN BAPTIST HUYSMANS BELGIAN, 1826-1906 A PRIVATE MEETING signed J. B. Huysmans lower right oil on canvas 20,000—30,000 GBP 44.5 by 74cm., 17½ by 29 in. signed J. B. Huysmans lower right oil on canvas Leo van der Eerden, Rotterdam (by 1959)Sale: Christie's, London, 19 June 2006, lot 5Purchased by the present owner at the above sale
Jan Baptist Huysmans - The Celebration

Jan Baptist Huysmans - The Celebration

Original
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Lot number: 111
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Description:
(n/a) Jan Baptist Huysmans (Belgian,1826-1906) The Celebration signed 'J B-Huysmans' (lower right) oil on panel 63.5 x 91.44cm (25 x 36in). PROVENANCE: Sale, Sotheby's Paris, 24 October 2007, lot 30 During the course of his long and prolific career, Jan BaptisteHuysmans visited Greece, Turkey, Syria, Palestine, Egypt, andAlgeria. The sketchbooks, studies, paintings, and written accountsthat resulted from these travels reveal an artist entranced by thecultures and landscapes he encountered and sensitive to theintricacies of local costume, accessory, and custom. It is all themore surprising, therefore, to find a picture such as TheCelebration in Huysmans' Orientalist oeuvre. A group of Arabmen spending their leisure hours with bottles of champagne seems aviolation of everything that this veteran traveler would have known- as dictated by the Qur'an, Muslim religion strictly forbids theconsumption of alcohol or any intoxicant, 5:90-91. Huysmans' composition participates in a broader art historicaltradition that can be traced to seventeenth-century Holland.(Huysmans' preference for painting on panel is also characteristicof this art.) Convivial genre scenes of men drinking, playinggames, singing, and otherwise carousing abound in Dutch art fromthis period, inspiring generations of artists in the Netherlandsand beyond. In the nineteenth century, the renewed popularity ofsuch subjects among European audiences encouraged Orientalistpainters to adopt similar conventions for themselves; rather thanfocusing on a sober and ethnographic approach, or on the topographyof foreign surroundings, artists such as Jean-Léon Gérôme(1824-1904) produced scores of paintings in which Arab subjectswere portrayed in more light-hearted moments, playing chess,strumming a lute, or blowing smoke at their favorite dog (Cf. The Chess Players , 1859; Bashi Bazouk Singing , 1868; Une plaisanterie [Arnaute fumant au nez d'un chien/Un lévrierqui n'aime pas le tabac] ). Huysmans, a near contemporary of Gérôme, would certainly have knownhis works. After completing his studies at the Antwerp Academy in1849, he traveled and exhibited extensively in France, England, andScotland. Huysmans would also live in Paris for most of hisprofessional life. Either in the galleries or through the widedispersal of Gérôme's prints, Huysmans could not help but be awareof Orientalism's greatest master. Huysmans may also have beeninfluenced by the popular British Orientalist painter JohnFrederick Lewis (1804-1876), whose "domesticated" Middle Easterngenre scenes were drawing effusive international praise. In The Celebration , four Arab figures have gathered in atraditional North African house. Though Huysmans does not specifythe location of this scene, the patterns on the tiles bear a closeresemblance to Tunisian decorative work. Three of the men areseated on a built-in mastaba , or bench, while the other, aNubian servant, hovers by the mastaba 's railing to bettersee the impending show. The turbaned man over whose shoulder heleans is dressed in a woolen or wool and cotton blend abayah , its voluminous folds showing off the traditionalpattern of broad brown and cream vertical stripes. Beneath this, hewears a purple qumbaz . His lightweight leather slippers havebeen removed and his bare feet rest on the thin woven reed mat thatlies across the mastaba 's seat. In the man's hands is abottle of champagne. The label is illegible, but the gold foil atthe neck indicates that it is a reputable French brand. Eyestrained forward, the man places his thumb on the cork, and readieshimself to pop the bottle open. Interestingly, this figure bears amarked resemblance to Huysmans himself; Cf. The Artist Sketchingin a Courtyard in Damascus , 1858. Such sly self-portraits werenot uncommon in Orientalist pictures, and particularly in those byJ. F. Lewis. Seated across from this intently focused individual is another Arabfigure. He wears the traditional North African djellaba ,distinguished by its pointed hood. Though usually worn outdoors,for protection from the elements, this gray-bearded man has foundanother use for his woolen top: he draws it cautiously around hisface, in order to shield it from the cork's possible trajectory. Inhis hand is a porcelain teacup, positioned to invite the firstpour. Beside this hesitant figure, and looking far more assured about thesafety of his friend's endeavors, is a smartly dressed horseman.(He may be meant to represent a Spahi, or native light cavalrymenconscripted by the French army.) He wears gathered white salvar (here adorned with richly decorated leggings), a redsash (into which daggers were often tucked), a tailored red jacketwith black embroidery, and an embroidered vest. His head is coveredby a white hatta , which is secured by a black tassled agal , or rope. In one hand he holds a long-stemmed chibouk ; in the other, he cradles a porcelain teacup. Likehis partner, he has placed one bare foot atop the reed mat; theother foot, slipper still in place, rests on a small prayer rug.Its unusual geometries and colors suggest that it is drawn from theartist's imagination, as is its placement here. In addition to this group of colorful figures, Huysmans has filledhis composition with accessories that add anecdotal interest to thescene. Narghiles and additional chibouks are set onsmall painted tables and copper trays; a brass incense burner hasbeen placed on the black and white tiled floor; two additionalbottles of champagne await the men's attention, and, far to theright, a flag-shaped fan, woven from palm fronds, lies unneeded onthe rug. On the windowsill, there is a clear glass bowl with agoldfish in it - an animal associated with the East's exoticwonders - and in the niche to the right, balanced precariouslybetween the heads of two of the men, is a plate with a crescentmoon on it, a symbol of Islam. Many of these details can be foundin other Orientalist works by Huysmans, suggesting that they werepersonal souvenirs or studio props (Cf. Jugglers , 1883; Chef de Derviches benissant les enfants , 1885). Such alien objects would have delighted Huysmans viewers, hungryfor original genre subjects and information about the Muslim world,while the familiarity of the event portrayed – a champagne toast –would have made this "exotic" scene quite easy to comprehend. Thisparticular conflation of themes, however, Muslim men and Frenchalcohol, has a deeper meaning as well. The men in Huysmans' pictureraise their glasses in defiance of their religion, seemingly unableto resist the influence of this valuable French import. Europeans'widely held beliefs about the weakness of Arab character would seemto be confirmed by this action, but so too does the corruptiveimpact of French colonial culture on North African souls. We are grateful to Dr. Emily M. Weeks for writing the abovenote.
Jan Baptist Huysmans - Portrait De Ahmed Ben-allel Dit Bel-haadj

Jan Baptist Huysmans - Portrait De Ahmed Ben-allel Dit Bel-haadj

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Lot number: 10
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LOT 10 JAN-BAPTIST HUYSMANS ANVERS 1826 - 1906 HOVE, ECOLE BELGE PORTRAIT DE AHMED BEN-ALLEL DIT BEL-HAADJ PORTRAIT DE AHMED BEN-EL-MENARA, D'AHMED BEN ALLEL DIT BEL-HADJ ETDE BEN BOUCHIJA PORTRAIT D'AHMED BEN-EL-MINORA [ JAN-BAPTIST HUYSMANS ; PORTRAIT OF AHMED BEN-ALLEL CALLEDBEL-HAADJ PORTRAIT OF AHMED BEN-EL-MENARA, AHMED BEN ALLEL CALLED BEL-HADJAND BEN BOUCHIJA, PORTRAIT OF AHMED BEN-EL-MINORA ; SIGNED, LOCATEDAND DATED LOWER RIGHT ; OIL ON PANEL, LOT OF THREE IN ONEFRAME] 6,000—8,000 EUR measurements 21,8 x 15,9 cm ; 8 2/3 by 6 1/4 in et 15,9 x 21,8 cm ; 6 1/4 by8 2/3 in
Jan Baptist Huysmans - The Artist Sketching In A Courtyard In Damascus

Jan Baptist Huysmans - The Artist Sketching In A Courtyard In Damascus

Original 1858
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Lot number: 11
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Description:
Jan Baptist Huysmans (Belgian, 1826-1906) The artist sketching in a courtyard in Damascus signed and inscribed 'J.B.Huysmans-Anvers' (lower centre right); and signed again, inscribed and dated 'Je soussigné domicilé à Anvers déclare être l'auteur de ce tableau, et /qu'il n'en existe aucune copie J:Bste.Huysmans/20 mai 1858' and signed with initials and inscribed 'Anvers' (on the reverse) oil on panel 19¾ x 23 5/8 in. (50 x 60 cm.) Painted in Antwerp in 1858. Jan-Baptist Huysmans was one of the most important painter-travellers of the Belgian Orientalist movement. Graduating from the Antwerp Academy of Fine Art in 1849, he worked for seven years in his native city before choosing to travel around Eastern Europe, the Middle East and North Africa. During his first journey in 1856, he visited Italy, Greece, Turkey, Syria, Palestine, Egypt and Algeria. Two years later, he was to return to Syria and especially Damascus, one of the cities that impressed him most. This wonderful painting dates from this second trip and is the only self-portrait known of the artist. The setting for such an occasion is unique, and is probably the Azm Palace in the centre of Damascus (fig. 2). Originally built in 1750 as a residence for the Ottoman governor of the city, As the palace of ad Pasha al-Azm was damaged by the French army in 1925, during the Syrian revolution. Huysmans shows in this painting one of the many courtyards of the Palace, with its fountain in the middle and trees planted to provide shade. Instead of appearing alone with his palette, he prefers to surround himself with friends and is shown sketching a model who, interestingly, stares at the viewer. This composition is not only original, it symbolizes the whole process of the painter-traveller: being able to paint anywhere under any conditions, getting to meet people who might serve as useful guides or even models, multiplying the sketches in order to faithfully reproduce on the canvas anything worthwhile. Huysmans also adds a touch of humour to the whole scene: he represents himself in the typical light-coloured colonial outfit, as the stranger he is, and meticulously details the costumes of his friends, all standing around him, including their servant waiting in the background.
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