§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Handwritten note about Egg Sculptures written by Broodthaers in French, c.1966. English Translation: `I am returning to the matter, To the matter`s value I rediscover the tradition of the primitives I was born during the XV century Egg painting Egg painting sculpture Tiler Mr Nos? ?32424 Quote 5 and 6 hours Phone him` PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. The ideas written on this note were reflected in the work `I Return to Matter, I Rediscover the Tradition of the Primitives, Painting with Egg, Painting with Egg`, 1966 in the Tate, London (ref: T03089). This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 7.90 x 4.30in. (20 x 11cm) Slight creases, rough edges and slight discolouration to the paper§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.
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§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Children`s stencilled play bricks a b c stencilled in black on a set on twelve childs play bricks in Dr. Pusscat on the Mouse B M Series box. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 2 x 7 x 5½in. (5 x 18 x 13cm) each brick 3.5cm x 3.5cmExtensive wear to the boxes and bricks. Each brick 3.5cm x 3.5cm § ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.
§ MARCEL BROODTHAERS, BELGIAN (1924-1976). `Un Chateaubriand bien saignant pour deux` 1973. A rare chateaubriand for two. Stenciled (?) on un-primed/back of canvas. Unsigned, framed and glazed. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar works are included in `Peintures` (Pictures), a 1973 work comprising nine canvases currently in the Tate collection. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 43½ x 36in. (109 x 91cm) Test paintings to reverse of canvas.Test paintings to reverse of canvas. Has been out of frame, no damage found condition good.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.
André BLAVIER (1922-2001). 34 L.S. ou L.A.S. et 1 P.S., Verviers 1957-1977, à Pascal PIA ; 39 pages formats divers, enveloppes. , Octobre 1957. Il a appris le décès de Robert CHATTE, évoque des souvenirs et transmet quelques textes de ses chansons à Pia… Il parle de sa revue Temps mêlés et propose à Pia de collaborer à la partie " Dada " d`un numéro spécial sur PICABIA et PANSAËRS. Plus tard, Blavier prépare sa publication des Ecrits complets de René MAGRITTE (1979) et son travail sur Les Fous littéraires (1982), et Pia une anthologie érotique et sa bibliographie sur Les Livres de l`Enfer (1978) ; ils échangent des références littéraires et bibliographiques, des conseils, des précisions… Blavier lui fait parvenir des copies de poèmes d`IRINE, Ithos et La Partie remise (1971), de Georgette, intermède d`après un populaire érotique de Paul NOUGE (L`expérience continue, 1981), Les Infortunes de la vertu, Promenade, Onan, Narcisse de Raymond QUENEAU (Ziaux, 1943)… Etc. ON JOINT une coupure de presse, quelques invitations, tracts et programmes, un extrait des registres de l`état civil de Verviers (acte de naissance d`Henri GUILBEAUX), divers documents…
René MAGRITTE(1898-1967)Le Géant(Paul Nougé), 1937Tirage au gélatino-bromure d’argent sur papier agfa. Tirage effectué en 1978 par Jacques Evrard et numéroté 1/2. Certifié au dos par Georgette Magritte. Référence: La fidélité des images, p. 45.Gelatine zilverbromide fotoafdrukop agfa papier. Fotoafdruk gemaakt en 1978 door Jacques Evrard en genummerd 1/2. Certificaat achteraan door Georgette Magritte. Verwijzing: La fidélité des images, pg 45.18 x 24 cm / / 13,3 x 8,8 cm
René MAGRITTE(1898-1967)Les extra-terrestres(Marcel Lecomte, Georgette Magritte), 1935Tirage au gélatino-bromure d’argent sur papier agfa. Tirage effectué en 1978 par Jacques Evrard et numéroté 1/2. Certifié au dos par Georgette Magritte. Référence: La fidélité des images, p. 39.Gelatine zilverbromide fotoafdruk op agfa papier. Fotoafdruk gemaakt en 1978 door Jacques Evrard en genummerd 1/2. Certificaat achteraan door Georgette Magritte. Verwijzing: La fidélité des images, pg 39.18 x 24 cm / / 13,3 x 8,8 cm
René MAGRITTE (1898-1967) Le rendez-vous (Georgette Magritte), 1938 Tirage au gélatino-bromure d’argent sur papier agfa. Tirage effectué en 1978 par Jacques Evrard et numéroté 1 / 2. Certifié au dos par Georgette Magritte. Référence: La fidélité des images, p. 52. Gelatine zilverbromide fotoafdruk op agfa papier. Fotoafdruk gemaakt en 1978 door Jacques Evrard en genummerd 1 / 2. Certificaat achteraan door Georgette Magritte. Verwijzing: La fidélité des images, pg 52. 18 x 24 cm//15,5 x 12,2 cm
(Musique, Partition) - Partitions illustrées par Peter De Greef (3), René Magritte (2) ou Anto Carte (1).In-f° (pet. déchirures, qqs plis ou taches aux bords).Est. : 150/ 200 €- DE GREEF, Peter.- "Bing !... Bam !... Boum !... Fox-trot-blues". Mus. de Teddy Moon. Brux., Office musical, s.d.— "Le Coiffeur pour Dames. Fox-trot-step". Mus. de F. Wangermée. Lodelinsart, Titie, s.d.— "Mélodies". Mus. de Aug. Deboeck. Brux., Maison du- MAGRITTE, René.- "Pour tes dents de nacre". Par Aug. De Boeck. Brux., Vriamont, 1933. Signée Emair (Typp-Ex dans le coin sup. dr.). # Schwilden 55 (tirage unique).— "Bal de fleurs". Par J. Jongen. Brux., Éd. musicales de l`Art belge, s.d. La composition- ANTO-CARTE.- "La route d`émeraude". D`après Demolder, mus. de Aug. De Boeck. Brux., Pletinckx, 1922, 2 parties (Berceuse & Cantilène). Plats monogrammés et datés.Joint, 3 partitions (ens. 9 pièces) : PUCCINI.- La Tosca, trad. de Ferrier. Milano, Ricordi, 1908.— DE SÉVERAC, D.- Deux mélodies nouvelles. Paris, Philioo, s.d.— TIESOT, Julien.- Charts de la Vieille France. P., Ménestrel, s.d.
(Belgique, Arts & Lettres) - Art : 17 personnalités (16 peintres et 1 chorégraphe).Signatures avec ou sans dédicace sur des affiches, posters, invitations à des vernissages, reproductions de peinture, photos, etc., qqs lettres (remerciements), voeux de fin d`année, etc. Enveloppes jointes.Pat Andrea (1 affiche), Maurice Béjart (3 photos), Gaston Bogaert (2), Dubrunfaut (1), Luc Genot (2 affiches), Vic Gentils (2 dont 1 carte avec dessin orig.), Octave Landuyt (2 dont 1 photo orig.), Claude Lyr (1), Georgette Magritte (1), Pol Mara (10 signatures dont 3 sur des affiches, 5 lettres dont 4 de Maria Mara, 1 photo originale du couple, 1 ouvrage dédicacé), Roger Raveel (1), Roger Somville (7 dont 1 affiche), Christian Silvain (1 affiche), Charles Szymkowiz (1 affiche pliée), Jan Van Riet (1 affiche), Jef Van Tuerenhout (1 affiche), Cornelis Zitman (1 grande photo orig.).
ETCHING - `Ceci n`est pas Une Pipe` or `Les Deux Mysteres` by Rene Magritte (Belgian, 1898-1967), pencil signed and numbered 77/77 in lower margin, Plate VII from `Aube a l`Antipode`, a suite of seven etchings printed at Atelier Rigal, Paris as illustrations for a book of poems by Alain Jouffrey, Editions de Soleil Noir, Paris, 1966, this from Version II of the deluxe edition, Pasquale Iannetti Art Galleries of San Francisco label verso, in gilt molded panel frame, linen mat, glazed, 7 1/16" x 5 1/16" impression, OS: 21" x 18", fine condition.
SERIGRAPH - `Les Bijoux Indiscrets` by Rene Magritte (Belgium, 1898-1967), pencil signed lr, titled and numbered `HC 17/20` as an artist`s proof, Pasquale Iannetti Art Galleries of San Francisco label verso, in gold molded frame, matted, under plexi, 9 1/4" x 11 3/4" impression, OS: 21" x 23", fine condition.
ETCHING - `Le Sourire de Diable` by Rene Magritte (Belgian, 1898-1967), pencil signed and numbered 1/17 in lower margin, Plate II from the suite `Aube a l`Antipode`, a suite of seven etchings printed at Atelier Rigal, Paris as illustrations for a book of poems by Alain Jouffrey, Editions de Soleil Noir, Paris, 1966, Pasquale Iannetti Art Galleries of San Francisco label verso, in gilt and black lacquered mitered frame, matted and glazed, 7" x 5" impression, OS: 20 1/4" x 17 3/4", fine condition.
ETCHING - `Usage Externe` or `Le Bouchon d`Epouvante` by Rene Magritte (Belgian, 1898-1967), pencil signed and numbered 12/17 in lower margin, from an edition of 87, the first 17 deluxe, of which this is one, Plate IV from `Aube a l`Antipode`, a suite of seven etchings printed at Atelier Rigal, Paris as illustrations for a book of poems by Alain Jouffrey, Editions de Soleil Noir, Paris, 1966, R.S. Johnson - International Gallery of Chicago label verso, in gilt molded frame, linen mat, glazed, 7 1/16" x 5 1/16" impression, OS: 22" x 18", single brown spot lr.
Vasarely (Victor). Plastic Arts of the Twentieth Century, Prefatory Remarks by Marcel Joray, 3 vols., Edition du Griffon Neuchatel, 1965, 1973 & 1974, numerous col. and b & w illusts., some folding, orig. boards in d.j., square 4to, together with ÔPrimitivism` in 20th Century Art. Affinity of the Tribal and the Modern, edited William Rubin, 2 vols., Museum of Modern Art, New York, 4th printing, 1988, numerous col. and b & w illusts., orig. cloth in d.j. and slipcase, folio, with other modern art, including Miro, Magritte, Degas, Chagall, Matisse, Picasso et al, G/VG (3 shelves & a carton)
* After Georges Rouault, French 1871-1958- Femme Assise; varnished print laid down on cradled panel, 22 x 16cm: European School late 19th Century/Early 20th Century- Study of steps to a house (recto), 2 head studies (verso); oil on panel, 12.5 x 21.5cm: 2 booklets by Marcel Duchamp, Paris 1941, from an edition of 200, copyright by Georges Hugnet, 9.7x14.6cm:A booklet "Moralité du Sonmeil" by Paul Eluard with drawings by Rene Magritte no 42/50, published by L`Aiguille Aimantee, 18.3x13.7cm: A booklet with the poem `Booz Endormi` by Victor Hugo, published by Guy Lévis Mano in April 1964, number 223 from a limited edition of 390, 11.2x19cm (unframed) (6)
Rene Magritte (1898-1967) Lithographie I the complete portfolio of eight lithographs printed in colours 2003 after the original gouaches each with the stamped signature and signed by the publisher numbered 241/300 published by Phillipe Moreno Paris with Magritte Estate blindstamp with title-page justification and list of plates loose in the original red faux leather portfolios with title embossed in gold on the uppers each on wove paper with full margins in good condition each 775 x 575 mm (30 1/2 x 22 3/4 in)
After Rene Magritte (1898-1976) La Folie Almayer, from Le Lien de Paille (Kaplan & Baum 18) etching and aquatint in colours, 1968, on BFK Rives paper, with the artist's stamped signature and the 'Gravure Originale, Atelier Ren Magritte' blindstamp, numbered 128/150 (there were also 150 on Japon nacré), with margins, apparently in excellent condition, unexamined out of the frame P. 195 x 150 mm. View on Christie's.com
Minotaure. Revue Artistique et Littéraire, nos. 6, 7, 10, 11, & 12/13, 1935-39, tipped-in colour plates, numerous b & w plts. and illusts., orig. pictorial wrappers, generally worn and frayed, with loss to spines (no. 7 re-spined), some covers detached and with adhesive tape repairs, 4to. Cover designs by René Magritte, Max Ernst, André Masson, Marcel Duchamp and Joan Miro. (5)
Rene Magritte (1898-1967), Lithographie II, the complete portfolio of eight lithographs printed in colours, 2003, after the original gouaches, each with the stamped signature and signed by the publisher, numbered 282/300, published by Phillipe Moreno, Paris, with Magritte Estate Blindstamp, with title-page, justification and list of plates, loose in the original red faux leather portfolios with title embossed in gold on the uppers, each on wove paper, with full margins, each 775 x 575mm (30.5 x 223/4in)
* Clive Barker b.1940- "Hommage to Magritte # 1"; 1969, three screenprints from the original edition of ten, screenprint on gold foil (two examples on mat foil and one example on shine), each signed, titled, numbered 4/10, 9/10 and 8/10, respectively, all dated 1969 in ball point pen, the full sheets printed to the edge, each with handling marks, tears, scuffs and surface dirt to the bottom edges of the sheets, stored rolled, 75.5x50cm., (3) (unframed) (multiple image) (may be subject to Droit de Suite)
Rene Magritte (1898-1967) Le Cicerone, lithograph, c.1960, signed in pencil by Georgette Berger, numbered 58/100, published by Gabriel Brissaud, Paris, on wove paper, with full margins. in good condition, 200 x 180 mm (73/4 x 7 in) Provenance: Sotheby’s- Sale of The Remaining Contents of the Studio of Rene Magritte; The Property of the late Georgette Berger, the widow of Rene Magritte. 2nd of July, 1987, London
Walberg (Patrick). Rene Magritte, trans. Austryn Wainhouse, 1965, num. col. and b & w illusts., ex-lib. copy with usual marks, orig. boards in sl. frayed d.j., 4to, together with Rewald (John), Post-Impressionism, from van Gogh to Gauguin, 3rd ed., 1978, num. col. and b & w illusts., orig. cloth in d.j., square 4to, plus Byron (Robert and Rice, David Talbot), The Birth of Western Painting. A History of Colour, Form, and Iconography, Illustrated from the Paintings of Mistra and Mount Athos, of Giotto and Duccio, and of El Greco, 1st ed., 1930, num. b & w illusts., ex-lib. copy with a few marks, recent quarter cloth (in imitation of the original binding), 4to, and other miscellaneous art reference, mostly G/VG (3 shelves)
Chris Vine (b.1949), "Argument", Signed, inscribed verso, oil on canvas, 76cm by 63.5cm. Born in 1949, Chris Vine studied at the Regional College of Art, Bradford (1965-1970) looking at the work of Rene Magritte, Saul Steinberg, Anthony Earnshaw and the films of Luis Bunuel. After lecturing in art, (Carlisle and London) he became a free-lance artist in 1983. See Illustration
DALI SALVADOR: (1904-1989) Spanish Surrealist Painter. An excellent, early and rare A.L.S., Gala et Dali, on the verso of a picture postcard showing the sun terrace of the Arizona Inn, n.p. (postally cancelled Blythe, California), n.d. (3rd February 1937), to Rene Magritte (1898-1967, Belgian Surrealist Artist), in French. Dali writes, in full, `Surrealism is making its mark in New York. We are dominant on the poetry scene. Your friends, Gala and Dali`, the artist also signing on behalf of his wife. Dali has also signed his name (`Salvador Dali`) at the head of the message. Addressed in a different hand (possibly even that of Magritte himself). Although brief, this letter is of fine content and wonderful association between the two Surrealists. Heavy vertical central fold, and some slight corner creasing, otherwise about VG. Dali had been introduced to America by art dealer Julian Levy in 1934. An exhibition of his works, including Persistence of Memory, was held in New York and created an immediate sensation. Magritte`s work was exhibited in New York in 1936.
Cooper (Suzanne Fagence). Pre-Raphaelite Art in the Victoria and Albert Museum, 2003, num. col. illusts., orig. cloth in d.j., 4to, together with Whitfield (Sarah), Magritte, pub. South Bank Centre, London, 1992, num. col. illusts., orig. paperback binding, both 4to, with other art and design, etc., mostly G/VG (3 shelves)
René Magritte (1898-1967) untitled (croquis) collection of 4 drawings two in graphite two in ball-point pen 1945-46 on various papers in good condition various sizes(4) ***In 1945-46 Magritte produced a series of drawings for a printing of Eluard`s book Les necessites de la vie et les consequences des reves precede dexemples published by Editions Lumiere. The present drawings are sketched designs for proposed vignettes for the publication. Provenance: Private Collection Japan. Sotheby`s London Impressionist and Modern Paintings Drawings and Watercolours October 25 1989 [Lot 217]..
René Magritte lithographies i-iii three portfolios containing a total of twenty-four lithographs printed in colours 2003 after the original gouaches each numbered 286/300 and signed by the publisher published by Philippe Moreno Paris with the Magritte Estate blindstamps with title-page justification and list of plates loose in the original red faux leather portfolios with title embossed in gold on the uppers each 810 x 615mm(24)
(Fine Art) A quantity chiefly of large format modern titles including: Adhemar's Toulouse-Lautrec Complete Lithographs & Drypoints (1987); Wilson-Bareau's Goya Truth & Fantasy (1994); Hajek's Japanese Graphic Art (1989); Shone's Sisley (1992 BCA edn); Macmillan's Scottish Art (1990); Meuris' Magritte (1988); Gronberg's Manet (1988); Lampert's Rodin (1986); & Robertson's Atkinson Grimshaw (1988). All with dustwrappers where called for (24)
Crevel (Rene). Le Clavecin de Diderot, Paris, Editions Surrealistes, 1932, untrimmed, orig. printed wrappers, some foxing, 8vo, limited ed. 152/200, together with Mesens (E. L. T.), Poemes, 1923-1958, illust. Rene Magritte, Paris, Terrain Vague, 1959, untrimmed, orig. wrappers, spine lightly browned, 8vo, with author's inscription in ink to half-title, dated 1959, limited ed. 95/1050. (2)
After Rene Magritte (1898-1967) Le Prtre Marie (Kaplan & Baum 13) etching and aquatint in colours, 1968, on japon nacr, with stamped signature, numbered 3/150 (there was also an edition of 150 on Rives, a total of 50 hors commerce copies and a few artist's proofs), published by G. Visat, Paris, with full margins, a very soft and unobtrusive crease in the upper left margin, otherwise in very good condition P. 95 x 140mm., S. 275 x 218mm.
Marc Eemans, 1907-1998 LA VISION signed and dated 28; titled and dated 1928 on the reverse oil on canvas 72.5 by 92cm.; 20K by 36Din. Painted in 1928. In the 1920s, Belgian painter and poet Marc Eemans, developed a surrealist idiom in his paintings. He was inspired by his contact with Paul Van Ostaijen and the Surrealists associated with the periodical L'Esprit as well as with Andre Breton's first Manifeste du Surrealisme of 1924. In 1928, E.L.T. Mesens organised the first exhibition of Eemans' work at the Galerie L'Epoque. In 1930 Eemans was one of three Belgian Surrealists (alongisde Magritte and Mabour) to be included in the De Onahankeltjken exhibition at the Stedelikj Museum in Amsterdam.
Torczyner (Harry) Magritte, Ideas and Images, New York, 1977 § De Bock (P.-A.) Paul Delvaux, Brussels, 1967 § Hans Richter, Opera Grafica dal 1902 al 1969, n.p., n.d. § Fouchet (Max-Pol) Wifredo-Lam, Barcelona, n.d. § Carluccio (Luigi) 194 Drawings by Giorgio de Chirico, New York, n.d. § Salvador Dali, Retrospective 1920-1980, Paris, 1980 § Vovelle (Jose) Le Surrealisme en Belgique, Brussels, 1972, plates and illustrations, all but final two in original cloth with dust-jackets; and 22 others, Surrealism, 8vo & 4to (c.30).
SAN LAZZARO ET SES AMIS SAN LAZZARO ET SES AMIS, Hommage au fondateur de la revue XXe siècle. Textes de P. Volboudt, A. Pieyre de Mandiargues, N. Kandinsky, P. Courthion, M. Chagall, A. Jouffroy, J. Cassou, J. Lassaigne, B. Dorival, A. Verdet, M. Marini, Y. Taillandier, H. Moore, A. Fornari, M. Milani et de G. Di San Lazzaro. Lithographies originales de Max Bill, Alexander Calder, Marc Chagall, Max Ernst, Hans Hartung, Alberto Magnelli, Joan Miro, Henry Moore, Graham Sutherland et Zao Wou-Ki. Lithographies en second tirage de Georges Braque, Lucio Fontana, Alberto Magnelli, René Magritte, Pablo Picasso et Serge Poliakoff. XXe siècle PARIS. En feuilles, sous couverture papier et dans l’emboîtage toilé beige de l’édition, tirage à 275 exemplaires, le nôtre porte le numéro 274, report de l’impression au verso de certaines planches et au recto de quelques pages de texte. Très bon état général, légères salissures sur l’emboîtage, petits frottements au dos.
Violette Nozières. Bruxelles. Editions Nicolas Flamel. 1933. 1 volume in-12, broché. Edition originale. 1 des 2000 exemplaires sur vélin non numérotés. 1er plat de couverture illustré d`une photographie de Man Ray. Illustrations à pleine page de Arp, Dali, Ernst, Tanguy, Magritte, Giacometti. Couvertures salies. Infimes rousseurs sur les premiers feuillets.
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