Petrus Van Schendel Bel. 1806–1870 Soirée de feux de Bengale au Vaux-Hall, Parc de Bruxelles Signed "P. van Schendel" on the base of the statue Oil on canvas 27 1/5 x 39 in. 68.6 x 99.1 cm

A study 6.8 in. x 10 in.(Height 17.2 cm.; Width 25.4 cm) for the current lot was offered at Christie's, London, November 18, 2004
The Artist's estate sale, J.& A le Roy & Frères, Brussels, September 4, 1871, lot 11
Sotheby's Amsterdam 24 April 1989, lot 333
Sotheby's London, 20 June 1990, lot 104;
De Vuyst, Lokeren, Belgium, 12 December 1998, lot 433
To the current owner
Also offered 19th Century European Art including Spanish Paintings, at Bonhams, London, Wednesday, July 10, 2013, Lot 3, and Bonhams New York, Wednesday, November 6, 2013, Lot 98

27 1/5 x 39 in. 68.6 x 99.1 cm
Petrus Van Schendel
Brussels, Palais des Beaux-Arts, 1864, as Soirée de Feux de Bengale au Vaux-Hall, Parc de Bruxelles
Brussels, Exposition Générale des Beaux-Arts, 1866 as Feux de Bengale, dans le jardin du Théâtre lyrique, à Bruxelles
Portland, Maine, Portland Art Museum, Haffenreffer Gallery, 2012
A study 6.8 in. x 10 in.(Height 17.2 cm.; Width 25.4 cm) for the current lot was offered at Christie's, London, November 18, 2004
Jan de Meere, Petrus van Schendel (1806-1870). Een leven tussen licht en donker, Leiden 2012, p.194, illustrated
Registered in the van Schendel archive, number OS/64

Oil on canvas
"P. van Schendel" on the base of the
statue

According to Bonham's, London, in 2013 (see the description in regard to provenance) the restoration is "by no means excessive...The condition report - prepared by a very reputable restorer in London stated as follows: The canvas has been lined. There is an opaque varnish covering extensive but fine craquelure that has been infilled. This is most evident in the lower half. Supplemental condition report prepared by Hamish Dewar unconditional and without prejudice. Structural Condition: The canvas has been lined and this is ensuring a sound and secure structural suppor. Paint surface: The paint surface has an even varnish layer. Inspection under ultra-violet shows the varnish layers to be very opaque and it is difficult to be certain as to the extent of retouchings applied in the past. It is possible to identify many thin lines apparently infilling pale lines of craquelure which are characteristic of the artist. There is one very small line of retouching in the lower left corner which fluoresces clearly. There may well be other retouchings which are not identifiable under ultra-violet light. Summary: The painting is therefore in stable condition and no further work is required." No further work has been done.