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5 - Fernand KHNOPFF (1858–1921)
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Estimate €300,000 - €400,000
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Description
Fernand KHNOPFF (1858–1921) Study for ‘La Défiance’ – 1897 Oil over pencil lines on canvas Monogrammed ‘FK’ (interlaced) on the reverse of the stretcher 19 x 24 cm Provenance: The artist’s studio Collection of Marguerite Freson-Khnopff, the artist’s sister, Liège Thibaut de Maisières Collection, Seneffe, according to a label on the reverse HK Fine Paintings Gallery, Brussels Acquired from the gallery by the current owner on 11 January 2018 Louis Grandchamp des Raux Collection Exhibitions: Namur, Félicien Rops Museum, ‘Symbolist Prints – Edmond Deman, Art Publisher’, January–May 2011, no. 2, reproduced on p. 58 Bibliography: R. L. Delevoy, C. de Croës and G. Ollinger-Zinque, Fernand Khnopff, Catalogue raisonné, Lebeer Hossmann Editions, Brussels, La Bibliothèque des arts, Paris, 2nd edition, 1987, no. 287, reproduced on pp. 301–302 M. Draguet, *Khnopff ou l’ambigu poétique*, Ghent, Snoeck-Ducaju & Zoon, 1995, no. 198, reproduced on p. 194 Oil and pencil on canvas; 7 1/2 x 9 1/2 in. A leading figure of Belgian Symbolism, Fernand Khnopff was an enigmatic and singular artist with a complex personality. A painter, draughtsman, engraver and sculptor, he explored themes of melancholy, introspection and escapism from reality in his work. His dreamlike and mysterious visions are symptomatic of a society in the throes of change and reflect the questions of a generation marked by doubt. Our painting is a preparatory study for *La Défiance*, which was first exhibited at the Salon de la Rose+Croix in Paris in the year of its creation, 1897 (no. 85), and then at the Vienna Secession the following year (no. 223). The work was also exhibited twice in 1899, in Dendermonde and Brussels, before being shown in Berlin in 1900. Although the painting no longer exists, it is known from an old photograph and two preparatory studies: a drawing¹ and our canvas, both of which focus on the framing of the face within the picture plane. The face serves as an allegory of Defiance. It sits above a circular object, shown here in fragments but fully visible in the final work. For Fernand Khnopff, the circle is conceived as an instrument of contemplation: the artist often drew inspiration by standing in the centre of the magic circle drawn directly onto the floor of his studio, which he regarded as a ‘temple of the Self’. However, when associated with the theme of defiance, this motif can also evoke a shield, a symbol of protection. Fernand Khnopff’s work on portraiture constitutes a well-known and much-appreciated aspect of his oeuvre. Here, the artist draws inspiration from a model photographed by his friend Albert Édouard Drains, known as Alexandre, whose photographic prints he used on several occasions, enhancing them with pencil, chalk or watercolour to create new works.² Whilst Khnopff often used his sister Marguerite as a model – who, incidentally, owned this painting and with whom he shared a unique bond – the face depicted here is that of Lily Maquet, a young Englishwoman whose family lived in Brussels. The chosen framing, cropped above the eyebrows and at chin level, draws the viewer’s attention to the model’s deep gaze and her closed lips. The painter seems to be seeking to probe this woman’s soul in an enigmatic portrait. In the final version, the figure’s eyes are just below the top edge of the frame, whilst the shield is positioned beneath her lips, echoing the tight framing of the study. This shield, adorned with indecipherable symbols, lends the figure a symbolic quality whose meaning eludes the viewer, thus inviting silent and mystical contemplation. Michel Draguet sees in it an image that ‘crystallises in a suspended moment detached from all action, yet rich in possibilities’, ‘a figure, condemned to immutability, [who] appears secluded in her ideal solitude’3.   1. Fernand Khnopff, Study for *La Défiance*, pencil and pastel on paper, H. 11; W. 27 cm, signed lower right, Brussels, private collection (Robert L. Delevoy, Catherine de Croës and Gisèle Ollinger-Zinque, Fernand Khnopff, catalogue raisonné, Brussels, Paris, 2nd edition, 1987, p. 286). 2. Several works are known; see, for example: Paris, Christie’s, 23 October 2020, lot 144; and Paris, Artcurial, Gérard Lévy Collection, ‘Fin-de-Siècle Reveries’, 11 February 2025, lot 7. 3. Michel Draguet, *Khnopff ou l’ambigu poétique*, Ghent, Snoeck-Ducaju & Zoon, 1995, p. 195.       Fernand KHNOPFF (1858–1921) 19 x 24 cm A leading figure of Belgian Symbolism, Fernand Khnopff was an enigmatic and unique artist with a complex personality. A painter, draughtsman, engraver and sculptor, his work explores themes of melancholy, introspection and the escape from reality. His dreamlike and mysterious visions are symptomatic of a society undergoing profound change and reflect the questions of a generation marked by doubt. This canvas is a preparatory study for *La Défiance*, which was exhibited for the first time at the Salon de la Rose-Croix in Paris in 1897, the year it was painted (No. 85), and then at the Vienna Secession the following year (No. 223). The work was also exhibited twice in 1899, in Termonde and in Brussels. Now considered lost, the painting is known thanks to an old photograph and two preparatory studies: a drawing¹ and this work, both focusing on the framing of the face within the composition. The face itself serves as an allegory of defiance. It sits atop a circular object, which here appears fragmented but is fully visible in the final work. For Fernand Khnopff, the circle was a tool for contemplation: the artist often found inspiration by standing in the centre of the magic circle he had drawn directly onto the floor of the studio in his house, a place known as the ‘Temple de Moi’. However, when associated with the theme of defiance, this same image can also evoke a shield, a symbol of protection. Fernand Khnopff’s work in the field of portraiture constitutes a well-known and much-appreciated aspect of his oeuvre. Here, the artist draws inspiration from a model photographed by his friend Albert Édouard Drains, known as Alexandre, whose photographic prints he used on several occasions, enhancing them with pencil, chalk or watercolour to create new works2. Although Khnopff often used his sister Marguerite as a model – who, incidentally, owned this painting and with whom he shared a unique bond – the face depicted here is that of Lily Maquet, a young Englishwoman whose family lived in Brussels. The way in which it is framed – cropped above the eyebrows and at the chin – draws attention to the model’s deep gaze and her closed mouth. In this enigmatic portrait, the painter seems to be exploring her very soul. In the final version, the figure’s eyes sit just below the top edge of the frame, whilst the shield is positioned beneath her lips, echoing the tight framing seen in the study. This shield, adorned with indecipherable symbols, lends the figure a symbolic quality whose meaning eludes the viewer, inviting silent and mystical contemplation. Michel Draguet sees in it an image that “crystallises in a suspended moment detached from all action, yet rich in possibilities”, “a figure, condemned never to change, [who] appears sequestered in her ideal solitude”3. 1. Fernand Khnopff, Study for *La Défiance*, pencil and pastel on paper, 11 x 27 cm, signed bottom right, Brussels, private collection (Robert L. Delevoy, Catherine de Croës and Gisèle Ollinger-Zinque, *Fernand Khnopff*, catalogue raisonné, Brussels, Paris, 2nd edition, 1987, no. 286). 2. Several such works are known; see: auction, Paris, Christie’s, 23 October 2020, lot 144; and auction, Paris, Artcurial, Gérard Lévy Collection, *Rêveries Fin-de-Siècle*, 11 February 2025, no. 7. 3. Michel Draguet, *Khnopff ou l’ambigu poétique*, Ghent, Snoeck-Ducaju & Zoon, 1995, p. 195.
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About the sale The Louis Grandchamp des Raux Collection
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Auction time 10/24/2026 at 4:00 PM
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