We found 715 price guide item(s) matching your search

RENE MAGRITTE(after) (1898-1967)Le viol (after) Lithographie en couleurs. Signée par sa femme Georgette MagritteKleurenlithografie. Gesigneerd door zijn vrouw Georgette MagritteLithograph in colours. Signed by his wife Georgette Magritte56 x 43 cmFor further information on this lot please visit Bonhams.com

lithograph printed in colors after a work by René Magritte - with atelier stamp, stamp of the Succession Magritte and signed by Charly Herscovici || MAGRITTE RENÉ (1898 - 1967) kleurlitho n° 209/275 naar een werk uit 1969 : "L'art de la conversation" - 38 x 45 met een atelierstempel, stempel van de Succession Magritte en een paraf van Charly Herscovice

lithograph printed in colors after a work by René Magritte - with atelier stamp, stamp of the Succession Magritte and signed by Charles Herscovice || MAGRITTE RENÉ (1898 - 1967) kleurlitho n° 134/300 naar een werk uit 1935 : "La corde sensible" - 25 x 32 met een atelierstempel, stempel van de Succession Magritte en een paraf van Charles Herscovice

COLQUHOUN (ITHELL)Archive of 'magical writings', manuscripts, typescripts, original illustrations and printed material, comprising: i) Manuscript and typescript essays and lecture notes, including typed essays on Qabalah with manuscript amendments ('The Crown and the Kingdom' in four parts '...The ten circles, centres or concentrations of force are the Sephioth or Divine Emanation...'), Druidry and Gnosticism, 'Fire and the Pyramid of Flame' ('...the progeny of Electricity... the essence of our divine ancestors, the celestial hierarchies...'), typescript of her one-act play 'The Pilgrimage', essay on Aleister Crowley ('Heaven & Earth: The Dying Kick of the Dying-God'), on ritual ('Ceremony Connected with the Banishing Ritual of the Pentagram... The altar is arranged as for the Neophyte Grade of the G.D... Rose and Dagger in E., Incense, lamp and Fire-Wand in S., Cup in W.... if the pentacle is not ready, a gold coin may be substituted...'), on interior stars ('De Astris Interioribus'), a long descriptive essay on 'The Isiac Tablet of Bembo', also 'The Taro as Colour', 'Zodiacal Rulership of the Taro Court Cards' and descriptions of 17 of the 22 Major Arcana of the Tarot ('The Fool', 'The High Priestess', 'The Hanged Man', etc.), and much else; illustrated with some 23 original diagrams in biro, some coloured in gouache, including 'The Cube' (5), the Tree of Life (10), 'Tatwass Through the Day' (collection of loose coloured-paper shapes), 'Taro Trumps in the Cube of Space' (4), c.244 pages, typed or written in blue or black biro on lined paper, many annotations and amendments, illustrations and diagrams in biro and gouache, mostly 4to, [undated]; ii) File of incoming correspondence, some published as appendices (Dorothy Empson, Maxwell Armfield (3), Robert Temple (3), Colin Murray of the Golden Section Order), typed article by Mrs Armer on 'Worship of the Old Deity', printed matter concerning Colquhoun's Masonic affiliations, and 4 pages of unpublished notes and diagrams, 80 pages, various sizes, etc. [1970's]; iii) Colquhoun's research material pertaining to W.B. Yeats, Maude Gonne and Ireland, including notes taken at the Yeats International Summer School at Sligo, her 'Irish' address book (including those of Jack Yeats and Mrs W.B. Yeats), various photographs, maps, guidebooks, timetables etc., c.47 pages of notes, c.1966-1968; with first edition copies of Ithell Colquhoun's Sword of Wisdom: MacGregor Mathers and the Golden Dawn, London and New York, 1975, one inscribed by the author to Kitty (2), The Crying of the Wind, Ireland, 1955, and The Living Stones, Cornwall, 1957, [second half twentieth century] (collection)Footnotes:'THE OPENING OF THE SEALS IS FOLLOWED BY THE SOUNDING OF SEVEN TRUMPETS & THE POURING OF SEVEN VIALS': MAGICAL WRITINGS AND ILLUSTRATIONS BY THE IMPORTANT BRITISH SURREALIST PAINTER, OCCULTIST & AUTHOR.Until recently the surrealist works of Ithell Colquhoun (1906-1988) have been somewhat overshadowed by better-known contemporaries such as Leonora Carrington and Eileen Agar, but interest in her art and writing is now firmly in the ascendant. Indeed, the scholar Amy Hale has noted that Colquhoun '...is becoming recognized as one of the most interesting and prolific esoteric thinkers and artists of the twentieth century...' (Amy Hale, 'The Magical Life of Ithell Colquhoun' in Nevill Drury, Pathways in Modern Western Magic, 2012) and argues that through Colquhoun's work '...we can see an interplay of themes and movements which characterizes the trajectory of certain British subcultures ranging from Surrealism to the Earth Mysteries movement and also gives us a rare insight into the thoughts and processes of a working magician...'.The magical material in this archive, save for four pages of notes and diagrams, was gathered together and published as The Magical Writings of Ithell Colquhoun in 2007 by Steve Nichols, a copy of which is included in the lot. It serves as a complement to Colquhoun's 1974 work, Sword of Wisdom: MacGregor Mathers and the Golden Dawn, her only published book on magical theory. The four essays entitled 'The Crown and the Kingdom' were also published by Steve Nichols as a separate volume in 2006. Much of it was delivered as lectures, notably to Countess Tamara Bourkhoun's Golden Dawn-inspired Order of the Pyramid and Sphinx in the 1960's, of which she was a prominent member, or articles in such publications as Prediction. She was an initiate of several different orders representing Hermetic and Pagan traditions including the OrdoTempli Orientis, the Masonic Order, the Fellowship of Isis and the French Gnostic Church. Colquhoun discovered surrealism through the work of Dali and Magritte whilst studying at the Slade under Henry Tonks, and joined the English Surrealist Group in 1939, exhibiting with Roland Penrose at the Mayor Gallery the same year. Her involvement with the British Surrealist movement, however, was to be brief as she was soon expelled from the group for refusing to abandon the occult research which had become central to her work. She was interested in the occult from an early age, particularly the principles of the Hermetic Order of the Golden Dawn, introduced through her cousin Edward Garstin, and she infused her art with elements of occult colour theory and sacred geometry, both of which she returned to in her later writings as evidenced here (see Amy Hale, The Magic Surrealism of Ithell Colquhoun, Art UK online, June 2020).The present collection represents many of her wide-ranging interests, drawing together her magical and artistic careers. In her short article of 1977, 'The Taro as Colour', a modern typed copy of which is included in the archive, she talks of her magical theory of colour and the surrealistic painting technique of automatism: '...It renders the essence of each card by the non-figurative means of pure colour, applied automatically in the manner of the psychomorphological movement in surrealism...' she explains. Also evident is her admiration for Celtic lore (one letter is from a Deaconess of the Ancient Celtic Church) and in particular W.B. Yeats, a Golden Dawn Adept who also used automatism in his work ('...Through his hermetic studies under MacGregor Mathews, Yeats was deeply embued with Qabalistic thought...'). Ithell's influential article about Aleister Crowley which appeared originally in the London Broadsheet, no.4, April 1955, is also present, typed and amended by the author: '...Ithells' attitude to Aleister Crowley was ambivalent. He chased her around a house once, but she managed to escape his advances...' (Nichols, p.3). Amongst the wealth of material here is a detailed description of a ritual, 'The Outline of Preliminary Ceremony Connected with the Banishing Ritual of the Pentagram', running to some five handwritten pages with red and black inks used to clarify which are spoken words and which are actions. As might be expected, there are also several striking illustrations, including a series of colourful painted diagrams depicting various configurations of The Cube. Provenance: Steve Nichols, editor of The Magical Writings of Ithell Colquhoun, 2007.For further information on this lot please visit Bonhams.com

Mars 1925, 2e Année. No 14. Cover ill. lithogr. by Magritte, signed in the plate. Added: (2) Le Centaure. Chronique Artistique no. 1, Mensuelle 2e Année, octobre 1927. Poor copy, cover restored at spine. First 8 p. w. advertorials des. by Magritte. (total 2)

Collection of art books surrealism in Belgium/Netherlands ao Spilliaert, Magritte, Delvaux, LanduytLot kunstboeken surrealisme in Belgie/Nederland oa Spilliaert, Magritte, Delvaux, Landuyt

René Magritte (1898-1967)Lithograph after Magritte's work L'oiseau du ciel, numbered 121/275 and signed in the plateLithografie naar Magrittes werk L'oiseau du ciel, genummerd 121/275 en getekend in de plaat52 x 37 cm Provided with the dry stamp of the 'Succession Magritte' and a paraf from Charly Herscovici fondation Rene MagritteA proof of edition is printed on the back of the lithograph

René MAGRITTE (1898-1967)Lithograph La grande famille after a 1963 work, numbered 41/300.With drystamp ADAGP and Succession Magritte.paraf from Charly Herscovice (The Fondation Magritte).Lithografie La grande famille naar een werk uit 1963, genummerd 41/300.Met droogstempel ADAGP en Successie Magritte.paraf van Charly Herscovice (De Fondation Magritte).30.5 x 25 cm

René MAGRITTE (1898-1967)Lithograph Le faux miroir after a 1935 work, numbered 51/300.With drystamp ADAGP and Succession Magritte.paraf from Charly Herscovice (The Fondation Magritte).Lithografie Le faux miroir naar een werk uit 1935, genummerd 51/300.met droogstempel ADAGP en Succession Magritte.paraf van Charly Herscovice (The Fondation Magritte).23.5 x 33.5 cm

René MAGRITTE (1898-1967)Lithograph after the 1954 painting Un peu de l'ame des bandit, numbered 60/275.Lithografie naar het schilderij uit 1954 Un peu de l'ame des bandit, genummerd 60/275.49 x 38 cm Dry stamps of the Magritte Foundation and countersigned in pencil by Mr. Charly Herscovici, President of the Magritte FoundationDroge stempel van de Magritte Stichting en medeondertekend in potlood door de heer Charly Herscovici, voorzitter van de Magritte Stichting.

René Magritte (1898-1967)Lithograph after Magritte's work Le maître d'école, numbered 121/275 and signed in the plateLithografie naar Magrittes werk Le maître d'école, genummerd 121/275 en getekend in de plaat51 x 38 cm Provided with the dry stamp of the 'Succession Magritte' and a paraf from Charly Herscovici fondation Rene MagritteA proof of edition is printed on the back of the lithograph

René Magritte (1898-1967)Lithograph after Magritte's work La Flèche de Zénon, numbered 121/275 and signed in the plateLithografie naar Magrittes werk La Flèche de Zénon, genummerd 121/275 en getekend in de plaat38 x 45 cm Provided with the dry stamp of the 'Succession Magritte' and a paraf from Charly Herscovici fondation Rene MagritteA proof of edition is printed on the back of the lithograph

René MAGRITTE (1898-1967)Lithograph L'Empire des lumières after a 1964 work, numbered 135/275.With dry stamp ADAGP and Succession Magritte.Paraf by Charly Herscovice (The Fondation Magritte).Lithografie L'Empire des lumières naar een werk uit 1964, genummerd 135/275.Met droogstempel ADAGP en Successie Magritte.paraf van Charly Herscovice (De Fondation Magritte).35.5 x 52 cm

Magritte, René (1898-1967) "Seize Septembre", Farbradierung, H.C., u.l. bez., u.r. Signaturstempel und Prägestempel "Atelier René Magritte", PM 15x10cm, BM 27,6x22cm, leicht vergilbt, Provenienz: Slg. Karin Szekessy u. Paul Wunderlich/Hbg.

JANE GRAVEROL (1905-1984)La chute de Babylone 1967Signé, situé et daté 'JANE GRAVEROL Bruxelles 1967' au reversHuile et collage sur masoniteGesigneerd, gelokaliseerd en gedateerd 'JANE GRAVEROL Bruxelles 1967' op de achterzijde Olieverf en collage op masonietSigned, located and dated 'JANE GRAVEROL Bruxelles 1967' on the reverseOil and collage on masonite 92.5 x 72.3cm (36 7/16 x 28 7/16in).Footnotes:ProvenanceCollection Solley, Indiana Collection privée / Privé collectie, Belgique.BibliographyRené de Solier, Jane Graverol, André de Rache, Bruxelles, 1974, p. 63 (ill.)ExhibitionJane Graverol, Galerie Le Ranelagh, 10-31 May 1967, Paris. Cette oeuvre sera reprise dans le Catalogue Raisonné de l'artiste en préparation par Marie Godet.Jane Graverol s'est engagée dans le mouvement surréaliste avec la ferveur des âmes impétueuses. Proche des écrivains Paul Nougé, Louis Scutenaire et Marcel Lecomte, elle partage pendant un temps sa vie avec Marcel Mariën avec lequel elle anime la revue « Les Lèvres nues ». Elle côtoie René Magritte qui lui témoignera toujours d'une sincère amitié.Celle qui déclare qu'« Être surréaliste est un état que l'on porte en soi ou non » a été bercée dès sa plus tendre enfance dans une atmosphère de bohême artistique. Son père, aristocrate et anarchiste, croyant au pouvoir de l'envoûtement et de la télépathie, mystique sans religion, est un fervent disciple des symbolistes. Il n'est pas étonnant que la jeune fille se tourne vers les images et leur pouvoir évocateur.Sincère et passionnée, sa peinture embrasse naturellement certains des préceptes du mouvement surréaliste, même si elle n'en épouse pas tous les ressorts. Ainsi, les toiles de Jane Graverol sont des « rêves éveillés, des rêves conscients » qui n'ont besoin ni de l'automatisme, ni de l'onirisme chers aux Surréalistes. Elles répondent au besoin qu'elle a de s'évader par-dessus la foule et de penser que le monde aurait pu être différent de ce qu'il est. « Parler de ma peinture, c'est parler de ma peau », déclare l'artiste. La représentation féminine y occupe une place importante, militante et sensuelle, comme dans cette « Chute de Babylone » dont la composition, éprouvée à plusieurs reprises par Jane Graverol, définit le corps de la femme par son absence. La silhouette féminine est sculptée dans un bloc indéterminé sur lequel l'artiste a appliqué des collages, des fragments de journaux. L'illusion est parfaite, le dépaysement poétique efficace. La présence de la rose, dont la coupe révèle l'appareil reproducteur de la fleur, tout en étant un élément intrinsèquement surréaliste, charge l'œuvre d'une forte dimension érotique. Une charge encore accentuée par la palette de couleurs, du rose chaleureux qui enveloppe le bassin au bleu froid des extrémités.Jane Graverol is betrokken geweest bij de surrealistische beweging met de hartstocht van onstuimige zielen. Paul Nougé, Louis Scutenaire en Marcel Lecomte behoren tot haar vriendenkring. Zij deelt een tijd haar leven met Marcel Mariën, samen runnen ze het tijdschrift « Les Lèvres nues ». Zij is ook bevriend met René Magritte die haar altijd een oprechte vriendschap zal getuigen. Graverol die beweert dat « surrealistisch zijn, een toestand is die men in zich draagt of niet » werd van jongs af aan gewiegd in een artistieke bohemian sfeer. Haar vader, een aristocraat en anarchist, gelovend in de kracht van betovering en telepathie, een mysticus zonder religie, is een fervent aanhanger van de symbolisten. Het is niet verwonderlijk dat de jonge vrouw zich wendt tot beelden en hun evocatieve kracht.Oprecht en gepassioneerd, omarmt haar schilderkunst op natuurlijke wijze enkele principes van de surrealistische beweging, ook al volgt zij niet alle veren ervan. Zo zijn de schilderijen van Jane Graverol « wakkere dromen, bewuste dromen » die noch het automatisme, noch het onirisme nodig hebben dat de surrealisten zo dierbaar zijn. Ze spelen in op haar behoefte om boven de menigte te ontsnappen en te denken dat de wereld anders had kunnen zijn. « Praten over mijn schilderijen, is praten over mijn huid », zegt de kunstenares. De vrouwelijke voorstelling neemt een belangrijke, militante en sensuele plaats in, zoals in deze « Chute de Babylone » waarvan de compositie, meermaals getest door Jane Graverol, het lichaam van de vrouw definieert door haar afwezigheid. De vrouwelijke figuur is gebeeldhouwd uit een onbestemd blok waarop de kunstenares collages en krantenknipsels heeft aangebracht. De illusie is perfect, de poëtische verandering van omgeving effectief. De aanwezigheid van de roos, waarvan de snede het voortplantingsapparaat van de bloem onthult, is een intrinsiek surrealistisch element en geeft het werk een sterke erotische dimensie. Een lading die nog wordt geaccentueerd door het kleurenpalet, van het warme roze dat de heupen omhult tot het koude blauw van de uiteinden.This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

Kerwien, Benjamin -- Die StilleÖl auf Preßspanplatte. 2019.20 x 60 cm.Unten links mit Pinsel in Grün signiert "KERWIEN".Einsam, nüchtern und akribisch ausformuliert erstreckt sich in langgezogenem Querformat ein Interieur mit wenig Mobiliar, belebt nur von einigen Gräsern und Bäumchen, vor den Augen des Betrachters. Der Blick wandert, angezogen vom Tageslicht, zum Fenster und durch eine Raumflucht hin zu einem rosablauen, surreal wirkenden Himmel, der an Renée Magritte denken lässt. Benjamin Kerwien ist seit 1995 als Maler und Illustrator tätig. Seine Bilder strahlen eine teils bedrückende Ruhe und Melancholie aus. In ihren nüchternen, zumeist menschenleeren Bildwelten findet eine postmoderne Sachlichkeit Ausdruck. Häufig behandelt er das Thema Pflanzen, stets präzise und bis ins kleinste Detail ausgearbeitet.Provenienz: Privatbesitz AmsterdamPrivatbesitz Berlin - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

René MAGRITTE (1898-1967) /!\ /!\ /!\ Pour enchérir sur ce lot, il sera exigé un dépôt de garantie de 5.000 euros - Merci de prendre contact avec la maison de vente /!\ /!\ /!\ La Légende des Siècles, 1950 Crayon et crayons de couleur sur papier Signé en haut à gauche Titré, daté et signé au dos H. 28,5 cm. L. 22 cm Dessin préparatoire pour différentes versions de ce sujet, dont une version sur toile de 1950 conservée à la Scottish National Gallery of Modern Art. Selon les auteurs du Catalogue Raisonné, le titre choisi pour cette série d'oeuvres, "qui est tiré de Victor Hugo, figurait sur une liste de titres possibles établie par Magritte dans une lettre à Mariën de juillet 1944. Magritte et Mariën prétendaient tous deux l'avoir appliqué à cette image particulière, une image décrite par Magritte (au dos d'un dessin de 1958) comme une chaise rouge sur une chaise de pierre érodée par le temps' " Un certificat du comité Magritte sera délivré à l'acquéreur Avec son certificat d'exportation Les droit de suite sera à la charge de l'acquéreur

Nikos Engonopoulos (Greek, 1907-1985)Trois philosophes signé en grec et daté '37' (en bas à droite)huile sur toile106 x 93cm (41 3/4 x 36 5/8in).Peint en 1937.signed in Greek and dated (lower right) oil on canvasFootnotes:ProvenanceThe Artist's Estate.Private collection, Athens.ExpositionsAthens, Nicolas Calas residence, Exhibition of Paintings by Nikos Engonopoulos, 1939 (possibly).Venice, XXVII Esposizione Biennale Internationale d'Arte, Greek Pavilion, Nikos Engonopoulos, June 19 - October 17, 1954, no. 2 (listed in the exhibition catalogue, p. 294).Sao Paolo, Brazil, III Bienal de Sao Paolo, Museum de Arte Moderna, July-October 1955 (listed in the general exhibition catalogue, p. 161, no. 1).LittératureFiche Descriptive des Oeuvres Pavillon Grec, Venice Biennale, 1954, handwritten list, p.5, no. 40.K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 204, p. 76 (shown in a 1954 photograph with the artist), p. 241 (illustrated), p. 409 (catalogued and illustrated).Nikos Engonopoulos, Painter and Poet, conference minutes, Benaki Museum, Athens 2010, p. 177, fn.18 (mentioned).Nikos Engonopoulos, exhibition catalogue, Andros, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, 2017, p. 257 (shown in a 1954 photograph with the artist).A significant missing piece of 20th c. Greek art, discovered recently by Bonhams and returned to public view after nearly 70 years,1 this pioneering work—Engonopoulos's first surrealist oil—was shown in the 1954 Venice Biennale,2 where for the first time, Greece was represented by one artist alone.In Venice, Engonopoulos showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the theme of Surrealism. Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'Here, the artist subverts—in a typical surrealist fashion—the conventional ways with which rational thought perceives the world by replacing the heads of the three philosophers with archetypal geometric forms. Paying homage to the great Cézanne who exhorted painters to depict reality in terms of simple geometric shapes and volumes, he finds in the cube, the sphere, and the triangle the underlying, basic structure of the world, the all-encompassing essential force that binds the universe. These archetypal forms echo the ideal world of Plato who considered them pure beauty and fundamental elements for building the world. Elemental and three-dimensional, these forms also seem like stemming from a Bauhaus workshop in the 1920s, forming an imaginary cultural bridge that spans the millennia. As noted by Walter Gropius, the great German architect and founder of the Bauhaus School, these original geometric shapes are purely abstract entities that dash through time and all countries, ensuring validity in all human creations.The visual act, set against the schematised and unmistakably Engonopoulian formations of travelling clouds, takes place in a shallow stage-like space that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting,3 has once said that 'under the stage lights, with the most harmonious moves, in a coordinated whole, amidst colours and music, every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'4 Conceived on a human scale, this kind of contained setting that both frames and accentuates human activity, seems like a faithful emulation of Greece's natural environment. The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element.5 Navigating the viewer to a magical world of poetic metaphor, a host of details trigger various associations ranging from Medieval and Renaissance times (the chequered tilework echoes similar motifs by Mantegna and Giovanni Antonio Fasolo) to Giorgio de Chirico's pittura metafisica (highlighted by the triangular shape used in constructing the philosopher's head). In the left middleground, the red figure carrying a heavy bag possibly alludes to the myth of Sisyphus and the philosophical theory that existence is absurd, while in the upper right corner, the tall buildings perched on a steep hill are reminiscent of similar structures in works by Parthenis and de Chirico. Although the unexpected staging of dream-like scenes is a fascinating feature of Engonopoulos's art, no less impressive is his handling of colour. The shimmering yellow, green and orange tunics worn by the three standing figures and the enamel-like blues and reds applied without tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.1 The painting remained accessible to scholarly research only though a black and while archival photograph published in the artist's catalogue raisonée (see Littérature).2 Up until the mid-20th century the famous Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.3 P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou-A.Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141.4 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.5 See S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters - 20th Century[in Greek], Melissa editions, Athens 1974, p. 261.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

ERWIN STOLZ* (Kyselka 1896 - 1987 Wien) Jüngling mit Schwan Tusche und Bleistift/Papier, 21,5 x 17 cm SCHÄTZPREIS °€ 800 - 1500 STARTPREIS °€ 800 Erwin Stolz erhielt eine Ausbildung zum Agraringenieur, doch in seiner Freizeit beschäftigte er sich intensiv mit der Malerei. Während des Ersten Weltkrieges diente er als Offizier und kam als Kriegsgefangener nach Italien. Nach Kriegsende widmete er sich ganz der Malerei. Anfangs als Schildermaler, Industriegraphiker und Zeitungszusteller tätig, besuchte er zahlreiche Kurse, um sich künstlerisch weiterzubilden. Er hatte Kontakte zu Gustav Karl Beck, Erich Mallina, George Kenner, Alexander Rothaug und den Künstlern des Hagenbunds. Stolz war auch mit dem Komponisten Josef Matthias Hauer befreundet, einem Musiker und Musiktheoretiker aus dem Umfeld von Arnold Schönberg, der unter den Nazis als entartet galt. Im Schaffen von Stolz finden sich Einflüsse von Jugendstil (Gustav Klimt, Carl Moll, Koloman Moser, Otto Wagner, Joseph Maria Olbrich, Josef Hoffmann, Art Déco (Wiener Werkstätte), Neuer Sachlichkeit (Carry Hauser, Franz Lerch, Sergius Pauser, Franz August Sedlacek, Ferdinand Bruckner, Robert Musil, Franz Nabl, Robert Michel, Robert Neumann, Joseph Roth), Symbolismus (Léon-François Comerre, Eugen Bracht, Arnold Böcklin, Edward Burne-Jones, Pierre Puvis de Chavannes, Mikalojus Konstantinas ?iurlionis, Lovis Corinth, Henry Cros, Tivadar Kosztka Csontváry, Jean Dampt, Jean Delville, Maurice Denis, Francisco Durrio de Madrón, James Ensor, Johann Heinrich Füssli, Akseli Gallen-Kallela, Paul Gauguin, Isobel Lilian Gloag, Henry de Groux, Vilhelm Hammershøi, Per Hasselberg, Dora Hitz, Ferdinand Hodler, Ludwig von Hofmann, Wjatscheslaw Iwanowitsch Iwanow, Rudolf Jettmar, Fernand Khnopff, Max Klinger, Georges Lacombe, Franz von Lenbach, Sigmund Lipinsky, Frances MacDonald McNair, Josef Madlener, Jacek Malczewski, George Minne, Gustave Moreau, Edvard Munch, Michail Wassiljewitsch Nesterow, Max Nonnenbruch, Odilon Redon, Auguste Rodin, Félicien Rops, Sascha Schneider, Giovanni Segantini, Leon Spilliaert, Franz von Stuck, Per Adolf Svedlund, Jan Toorop, Adolfo Wildt, Jens Ferdinand Willumsen, Michail Alexandrowitsch Wrubel) und Surrealismus (André Breton, Louis Aragon, Philippe Soupault, René Magritte, Salvador Dalí, Joan Miró, Frida Kahlo). Stolz war ebenso der Anthroposphie zugeneigt wie seine Zeitgenossin und Künstlerkollegin Gertraud Reinberger-Brausewetter.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.  

Art books - Modern Art, Surrealism, Hyper-realism - David Hockney ‘A Retrospective’, Ellsworth Kelly ‘A Retrospective’, Magritte ‘Ideas and Images’, Yvette Zklein, Edward Hopper, Oxtoby, Beryl Cook, etc, qty.

Griffelkunst - - Sammlung von 38 Photographien von René Magritte, El Lissitzky, A&B Blume, Wols, Silke Grossmann u.a. Verschiedene Phototechniken auf verschiedenen Papieren. Zum großen Teil verso oder recto signiert und verso typographisch bezeichnet, teils datiert und mit Nachlassstempel. 1984-2001. Motivmaße von 16 x 12 cm bis 50 x 60 cm. Blattmaße von 40 x 30,5 cm bis 50 x 60 cm.Alle Photographien entstammen Editionen der Griffelkunst-Vereinigung, Hamburg. - Enthalten sind auch: Cècilie Bauer, Stephen Wilks, Klaus Beck (BUK 94), Fritz Brill, Franz Roh, Pierre Boucher und Vladimir Kupijanov. - Mannigfaltige Zusammenstellung verschiedenster Photographen, Techniken, Größen und Motiven. - Teils etwas gewellt, selten an den Ecken und Kanten minimal knickspurig.

lithograph printed in colors after a work by Rene Magritte - with atelier stamp, stamp of the Succession Magritte and signed by Charles Herscovice||MAGRITTE RENÉ (1898 - 1967) kleurlitho n° 104/300 naar een werk uit 1954 : "Le bouquet tout fait" - 30 x 25 met een atelierstempel, stempel van de Succession Magritte en een paraf van Charles Herscovice

lithograph printed in colors after a work by Rene Magritte - with atelier stamp, stamp of the Succession Magritte and signed by Charles Herscovice||MAGRITTE RENÉ (1898 - 1967) kleurlitho n° 50/300 naar een werk uit 1964 : "La flèche de Zénon" - 25 x 30 met een atelierstempel, stempel van de Succession Magritte en een paraf van Charles Herscovice

several Sabena memorabilia amongst which cutlery and cups with a decor based on René Magritte ||Lot Sabena - memorablia waaronder bestek en servies met decor gebaseerd op René Magritte-voorstelling

Rene Magritte (1898-1967), Oil Painting Image Size: 46 by 35 1/8 in. (116 by 89 cm.) All measurements are approximate. Signed (lower right) Rene Francois Ghislain Magritte (21 November 1898 - 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.

A LARGE PRINT AFTER MAGRITTE.

SALVADOR DALÍ (1904-1989)Rideau-chevelure semi-humain séparé par une fermeture éclair (Hairy half-human curtains separated by a zipper) signed 'Dalí' (lower right)pen and India ink on card27 x 22cm (10 5/8 x 8 11/16in).Executed circa 1937Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceJohn U. Sturdevant Collection, Palm Beach (acquired by 1971).Daniel Varenne Collection, Switzerland.Thence by descent to the present owner.ExhibitedBaden-Baden, Staatliche Kunsthalle, Dalí, Gemälde, Zeichnungen, Objekte, Schmuck, 29 January – 18 April 1971, no. 139.LiteratureHouston Chronicle, 13 February 1937 (detail illustrated p. 9 with the caption: 'A Pair of 'Hairy, Half-Human Curtains Separated by a Zipper' Will Be a Feature of One of M. Dalí's Rooms Fifty Years From Now. In the Doorways of an Apartment These Curtains Will Be Hung to Warn a Person of the Fate That May Await in the Next Room. They Will Quiver and Shake at the Sign of Danger, and Caress the Oncomer If Joy or Good Fortune Waits Within'), later reproduced in Detroit Free Press, 18 February 1937; Florence (S.C.) News, 21 February 1937; Birmingham (ALA.) News-Age, 21 February 1937; Tulsa (OKLA.) Tribune, 21 February 1937).Exh. cat., Dalí, Paris, 2012 (illustrated p. 252).Rideau-chevelure semi-humain séparé par une fermeture éclair presents a rectangular doorway, entrance through which must be made through a zippered curtain of flowing hair. The hard vertical and horizontal ink strokes forming the flooring, skirting and architrave juxtapose sharply with the organic waves of hair which drape gently to the floor. Drawn circa 1937, the work is closely related to Dalí's magnificent oil and collage work, Singularitats of 1935-1936 – which was featured on the front cover of the catalogue for the 2022 exhibition Salvador Dalí: Myth and Singularity at the Museum of Cycladic Art in Athens. The finished composition picks out features in blood-red pigment against an inky black background and shows the curtained doorway of the present work to the left of an eerie landscape. Here, the door is situated on a small box-like red building, a certain faded elegance recalled by a triangular pediment and cracking exterior. The zip and curtains of hair conjure obvious sexual overtones, as does the intrigue of what is to be found within the box, guarded by a feathery silhouette to the right, and a flamboyant, goddess-like woman to the foreground.The concept of the door as a sexual gateway was revisited by Dalí in 1939 when he constructed the Dream of Venus installation at the New York World's Fair, transforming the pavilion into an erotic funhouse which was entered through a monumental pair of gartered legs. Dalí explored the use of different materials in the 1930s to enhance the erotic associations of an artwork, believing, in Dawn Ades' opinion, that 'the erotic can find expression in a variety of ways, most obviously via the gaze and the touch. The object as incarnation of desire is realised in, for instance, the fur pom-poms on Dalí's Venus de Milo with Drawers' (D. Ades, 'Eroticism', in Dalí/Duchamp, exh. cat., London, 2017, p. 108). Created in 1936, Dalí's version of the famous Venus de Milo was provocatively adorned with tactile mink tufts to her forehead, bare breasts, stomach, and uncovered knee.It is thought that the artist was a virgin when he first met his wife at the age of 25 ('until Gala entered his life, Dalí was clearly afraid of young women, with the fear of fascination' – R. Descharnes & G. Néret, Salvador Dalí, The Paintings, Vol. I, 1904-1946, Cologne, 2007, p. 70) and was rumoured to prefer masturbation or voyeurism more than the act of consummation. A fixation with sexuality played out across his oeuvre, noticeably in the late 1920s-1930s, a period which spawned controversial works such as Le grand masturbateur (1929) – Dalí's 'main obsession at that time can best be termed desire' (ibid, p. 145).The Mae West Room in the Dalí Theatre-Museum in Figueres (opened in 1974) revisits the idea of hair as curtain. Dalí constructed an apartment with the help of designer Òscar Tusequets, which, when viewed through a reducing lens, conjured the face of the Hollywood film star. Her out-scale hair was lavishly arranged to form a grand theatre-like curtain, framing the tableau formed by the furniture and paintings beyond. The concept came from the artist's collage of 1934-1935, Le visage de Mae West qui peut être utilisé comme appartement surréaliste, whose curtain-like hair and red tones echo elements of Singularitats.The present work was executed in the midst of Dalí's most successful years, following his marriage to Gala in 1934 and his celebrated debut in New York. During his trip to the US in 1934, Dalí held six solo exhibitions and delivered a lecture at MoMA. He embraced his fame, going out of his way to court publicity: 'Dalí liked going into drugstores with an immense loaf tucked under his arm, ordering fried eggs, and then eating them with a small piece of bread cut off the loaf – to the great amusement of anyone who happened to be there at the time [...] Before they departed, Caresse Crosby threw a Dream Ball in Dalí's honour. The Americans vied to out-Dalí each other. Dalí confessed that even he (who was so rarely impressed by anything) was astounded by the riotousness of the ball at the 'Coq Rouge'' (op. cit, p. 235).Despite his individual success, Dalí maintained a dialogue with his fellow Surrealists, most notably René Magritte, whose 1966 sketch Le Viol ('The Rape') undoubtedly echoes the present work. The composition by the same name to which it refers was painted in 1934, preceding Dalí's Singularitats, and depicts a female face formed by her torso, a triangle of pubic hair taking the place of her mouth, the whole framed by her auburn hair. When the painting was exhibited at the Palais des Beaux-Arts de Bruxelles in the year of its execution, it was deliberately excluded from the exhibition catalogue and displayed behind a velvet curtain, in an area reserved for adults only. The portrait is believed to allude to the artist's mother's tragic suicide by drowning when Magritte was just fourteen – she was discovered with her face veiled by her gown, her naked body exposed. The peep-show nature of the presentation of Le Viol in 1934 leads us to question what is behind the curtain in the present work, shown to be the portal to a red booth in the larger composition. Eroticism was intrinsically linked with danger and uncertainty for Dalí, as the enticement of sexual promise in Singularitats is threatened by the eerie setting, filled with unknown and inexplicable objects. An animate object is draped in red cloth to the lower left, while the Dalínian clock melts to the lower right, and the faceless female figure morphs into foliage. Choosing to focus solely on the curtained doorway in Rideau-chevelure semi-humain séparé par une fermeture éclair, Dalí invites the viewer to step through to an alluring unknown.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Five framed British Surrealist postcards, published by the Surrealist Group in England and showing E. L. T. Mesens' The Well of Truth, produced for the International Surrealist Exhibition, 1936each 15 x 11cmOn Thursday 11 June 1936, Britain’s very first Surrealist exhibition opened at the Burlington Galleries. Representing fourteen nations, the exposition included works by Dali, Agar, Oppenheim, Duchamp, Man Ray, Banting, Magritte, Picasso, Fini, Calder and Breton, amongst many others. Representing Belgium was E.L.T Messens, who produced the present postcards to advertise the show. In addition to the flat art and sculptures displayed in the gallery, a number of symposiums and performances were held. Dali, for example, held a lecture whilst wearing a deep-sea diving suit, whilst, on another occasion, poet Dylan Thomas carried around a cup of boiled string, asking visitors would they rather it "weak or strong?”. Initially opening to a crowd of around 2,000, the daily visitor numbers to the exhibition averaged around 1,000 until its close on Saturday 4 July 1936.

Full title: Rene Magritte (1898-1967, after): 'Lithographies IV', ten lithographs in colours, dated 2010 and 2011Description: Work: ca. 51 - 46 x 38 cm Paper: 60 x 45 - 44 cm The lithographs based on the paintings by Rene Magritte and edited by Philippe Moreno, with the autorisation and under control of the ADAGP, representing 'La Succession Magritte' (see also the blind stamps in the lower left and right corner). The lithographs also countersigned in pencil by Mr. Charly Herscovici, President of the Magritte Foundation, Chairman of the Magritte Museum and unique representative of the Magritte Succession. A proof of edition is printed on the back of each lithograph, guaranteeing its authenticity. Different editions.

Full title: Rene Magritte (1898-1967, after): 'La bataille de l'Argonne', lithograph in colours, ed. 4/275, dated 2010Description: Work: ca. 46 x 38 cm Paper: ca. 53 x 43 cm Frame: 83 x 69 cm The lithograph based on the painting 'La bataille de l'Argonne' by Rene Magritte and edited by Philippe Moreno, with the autorisation and under control of the ADAGP, representing 'La Succession Magritte' (see also the blind stamps in the left and right bottom corner).

Full title: Rene Magritte (1898-1967, naar): 'Le domaine de l'Arnheim', lithograph in colours, ed. 120/275, dated 2010Description: Work: 48,3 x 38 cm Frame:83 x 69,3 cm The lithograph based on the painting 'Le domaine de l'Arnheim' by Rene Magritte and edited by Philippe Moreno, with the autorisation and under control of the ADAGP, representing 'La Succession Magritte' (see also the blind stamps in the left and right bottom corner).

Full title: Rene Magritte (1898-1967, after): 'L'art de la conversation', lithograph in colours, ed. 209/275, dated 2011Description: Work: ca. 45,5 x 38 cm Paper: 51 x 44 cm Frame: 83,3 x 69 cm The lithograph based on the painting 'L'art de la conversation' by Rene Magritte and edited by Philippe Moreno, with the autorisation and under control of the ADAGP, representing 'La Succession Magritte' (see also the blind stamps in the left and right bottom corner).

A FRAMED MAGRITTE PRINT OF A SUPERIMPOSED CRESCENT MOON IN FRONT OF A TREE, TITLED LE SEIZE SEPTEMBRE

Rene Magritte. "The metamorphosis of the object". 1933. Polychrome porcelain ashtray presented in a Plexiglas box. Signed in the image. 1st edition after a gouache project from 1933. Edition of 150 ex. number (no. 130). At the bottom of the ashtray is represented Magritte's gouache. Signature stamp and numbering under the base. Edition Rosenthal Studio-Line. - Weight: 1.14 kg - Shipping available - Region: Belgique - Sizes: Coffret 250*250mm Cendrier D=185mm - At first glance: very good condition - Author / artist: Rene Magritte

Rene Magritte (after) 'The Invitation To Travel' lithography print, limited edition of 100, plate signed bottom right, numbered with pencil bottom left 25/100, bottom left publishing house stamp 'SPADEM, Paris', fine art paper, sheet size: 50 x 70cm, without additional documentation, sold unframed

Rene Magritte (after) 'The Kiss' lithography print, limited edition of 100, plate signed bottom right, numbered with pencil bottom left 15/100, bottom left publishing house stamp 'SPADEM, Paris', fine art paper, sheet size: 50 x 70cm, without additional documentation, sold unframed

JANE GRAVEROL (1905-1984)Le trait de lumière signé et daté 'Jane Graverol 1959' (en bas à droite) ; signé, inscrit et daté '1959 Jane Graverol Trait de lumière' (au revers)huile sur isorelPeint en 1959signed and dated 'Jane Graverol 1959' (lower right); signed, inscribed and dated '1959 Jane Graverol Trait de lumière' (on the reverse)oil on masonite Painted in 1959 80 x 60cm (31 1/2 x 23 5/8in).Footnotes:ProvenanceCollection particulière, Belgique. Collection particulière, Belgique (acquis auprès de celle-ci par le propriétaire actuel circa 1990). BibliographieL. Scutenaire, Peintures de Jane Graverol in Les Lèvres nues, Bruxelles, 1962 (illustré p. 16).R. de Solier, Jane Graverol, Bruxelles, 1974 (illustré p. 136)ExpositionBruxelles, Galerie Isy Brachot, Salon d'Automne, 18 octobre - 4 novembre 1968.«Pour moi le surréalisme est mon évasion du monde – c'est la recherche d'un passé indéfinissable vers l'infini que nous cherchons follement sans l'atteindre – et la vision des choses établies et qui pourraient ne pas être – qui pourrait être autre et que le commun des mortels ne peut imaginer.» Jane Graverol mérite d'être reconnue comme étant l'un de plus grands peintres surréalistes. Elle a grandi auprès d'un père écrivain et peintre symboliste Alexandre Graverol. Après avoir étudié à l'Académie des Beaux-Arts d'Etterbeek, elle fréquente l'Académie Royale des Beaux-Arts de Bruxelles, où elle a pour professeurs Montald Constant et Jean Delville. Dès la fin des années 1930, sa peinture se rapprochera des préceptes du mouvement surréaliste qu'elle n'intègrera qu'en 1940. L'un de ses premiers contacts avec le groupe remonte à 1936, lorsqu'elle rencontre E.L.T. Mesens à Paris. En 1949, Graverol fait la connaissance des membres fondateurs du surréalisme belge que sont Louis Scutenaire, Camille Goemans, Marcel Lecomte ; elle obtiendra ensuite le soutien de René Magritte qui lui organisa une exposition en 1950, lui témoignant d'une sincère amitié. Sa relation amoureuse avec Marien renforça encore plus son implication dans le groupe. En 1952, elle fonde avec André Blavier la revue Temps mêlés à Verviers ; et à partir de 1954, elle anime avec Mariën et Paul Nougé Les Lèvres nues, autre revue défendant avec ardeur les engagements révolutionnaires du surréalisme. Dès les années 1950, la presse qui commente ses expositions la compare à Magritte, mais aussi à de Chirico dont elle assume l'admiration. Le travail de Graverol n'a pas la dimension conceptuelle et philosophique du travail de Chirico dont hérita Magritte. Résolument poétique, davantage ancré dans un univers onirique et surnaturel, il est également empreint d'un climat symboliste dans lequel baigne l'enfance de l'artiste au contact de la peinture de son père. Toutefois, son œuvre partage avec celle de Magritte et de Delvaux une série de caractéristiques issues de l'univers Chiricien, du moins au cours des premières années de sa carrière. Comme de Chirico, et avide des Métamorphoses d'Ovide, Jane Graverol est fascinée par les mythes et l'esthétique antique qu'elle redécouvre lors de son voyage en Grèce en 1961 et que l'on retrouve dans plusieurs de ses compositions. Graverol s'apparente aux plus grandes que sont Leonora Carrington, Leonor Fini, Key Sage, Toyen, Dorothea Tanning ... Par le biais d'une technique aussi lisse que précise, Graverol bouleverse les perceptions du réel, initiant des sentiments répondant tant au domaine de l'étrange qu'à celui de la poésie. Elle avouera «mes toiles sont des rêves éveillés, des rêves conscients». Elle associe également ces objets quotidiens à des éléments fantasmagoriques, ou les extrait de leur contexte habituel pour leur attribuer une nouvelle fonction. Si le caractère surnaturel de cette toile reste poétique, il n'en relève pas moins que l'artiste joue sur la rencontre de deux espaces contraires, l'intérieur et l'extérieur. Comme le dévoile cette toile, le personnage féminin de la peinture de Graverol est placé sous le signe de la dualité : la clarté et les ténèbres, la douceur et la sévérité, l'érotisme et la monstruosité de créatures sans visage. Cette œuvre est une ode à la liberté semblable à la représentation féminine qu'elle réalisa dans l'Esprit Saint. C'est également une ode à l'évasion et à une certaine forme d'indépendance féministe. La tension émanant de ce tableau est un voyage vers l'intérieur malgré l'étau représenté par la roche qui enferme la femme dans un ensemble semble-t-il hermétique. Cette toile est l'alliance parfaite de la technique au service du rêve conscient. Les toiles de cette qualité sont extrêmement rares et méritent d'être présentées auprès des plus grands. Comme Delvaux une immuable poésie ressort de ces toiles, comme Magritte elle représente des rêves éveillés, comme De Chirico elle emmène son lecteur vers une interprétation plus subtile qu'une image figée.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

RENÉ MAGRITTE (1898-1967)La descente de la courtille, Camille Goemans, René Magritte, Georgette Magritte inscrit et daté 'Au Perreux 1928 près de Nogent' (en bas au centre sur le support) photographie sur carton inscribed and dated 'Au Perreux 1928 près de Nogent' (lower centre on the support) photograph laid on card5.9 x 8.4cm (2 5/16 x 3 5/16in).Footnotes:ProvenanceCollection particulière, Belgique.ExpositionBruxelles, Galerie Christine et Isy Brachot, Un Hommage à Magritte 1898-1967, 19 mars - 31 mai 1998. BibliographieM. Paquet, Photographies de Magritte, Paris, 1982, (illustré p. 79).L. Scutenaire, La Fidélité des Images. René Magritte. Le cinématographe et la photographie, Bruxelles, 1976, (illustré p. 11).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

RENÉ MAGRITTE (1898-1967)LETTRE AUTOGRAPHE SIGNÉE ILLUSTREE DE 9 DESSINS ORIGINAUX à mon cher Andrieu. Jette-Bruxelles, 6 septembre 1948, 2 pages in-4 à l'encre (léger manque de papier en bas de page sans affectation au texte). René Magritte propose à Pierre Andrieu de lui vendre 9 tableaux qu'il reproduit ici à la main avec des notes et dimensions concernant chaque peinture dont certaines célèbres: La magie noire, Leçon de choses, Folie des grandeurs. ... 'Bre...Bre... la mort approche à grand pas! Le temps dévore avec rapidité notre laps de durée qui nous reste...Bre...Bre...Que faire pour arrêter cette marche dévorante. Et comment passer de cela à ceci : des propositions picturales que vous me demandiez dans votre dernière lettre. Passons-y sans transition '. AUTOGRAPH LETTER, SIGNED, WITH 9 ORIGINAL DRAWINGS to my dear Andrieu. Jette-Bruxelles, 6 September 1948, 2 pages, ink (slight lack of paper at the bottom of the page without affecting the text), 4to.René Magritte proposes to Pierre Andrieu to sell him 9 paintings that he reproduces here by hand with notes and dimensions concerning each painting, some of which are famous: La magie noire,Leçon de choses, Folie des grandeurs....'Bre...Bre... la mort approche à grand pas ! Le temps dévore avec rapidité notre laps de durée qui nous reste...Bre...Bre...Que faire pour arrêter cette marche dévorante. Et comment passer de cela à ceci: des propositions picturales que vous me demandiez dans votre dernière lettre. Passons-y sans transition '.Footnotes:ProvenanceCollection particulière, France.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

MARCEL MARIËN (1920-1993)Le cœur sur la main signé, inscrit et daté 'Le cœur sur la main 1991 Marcel Mariën' (sous la base)pierre et ruban dans une boîte en Plexiglas Exécuté en 1991signed, inscribed and dated 'Le cœur sur la main 1991 Marcel Mariën' (under the base)stone and ribbon in a Perspex boxExecuted in 199121 x 21 x 21cm (8 1/4 x 8 1/4 x 8 1/4in).Footnotes:ProvenanceCollection Jacques Schroeder, Belgique. Acquis auprès de celle-ci par le propriétaire actuel. Né à Anvers en 1920, Marcel Mariën est rapidement devenu l'un des membres les plus prolifiques du mouvement Surréaliste belge.Mariën a découvert le surréalisme en 1935 à travers deux peintures de son compatriote belge René Magritte lors d'une exposition d'art contemporain organisée au centre communautaire d'Anvers. Il rencontra Magritte deux ans plus tard en 1937 et rejoignit ensuite le groupe surréaliste dont il était le membre le plus jeune agé de 17 ans seulement. Ce fut cette année qu'il créa et exposa son tout premier objet surréaliste et son travail le plus connu : L'introuvable, une paire de lunettes à un seul verre.Ses travaux jouent avec la norme et la déforment, formant des ponts entre le langage, l'image et l'objet, jouant en concurrence avec la perception de la réalité. Ses expérimentations artistiques à travers différents media sont une preuve de sa polyvalence comme artiste et membre du mouvement.En dehors de sa participation au Surréalisme, Mariën était écrivain, poète et théoricien. Il écrivit la première monographie de René Magritte, publiée en 1943. En 1954 il fonda le magazine Les Lèvres Nues avec Jane Graverol et Paul Nougé et en 1979 il signa le premier livre de référence sur le Surréalisme en Belgique intitulé L'activité surréaliste en Belgique (1924-1950), pour ne nommer que ses publications les plus célèbres.Ses travaux sont conservés dans les institutions artistiques les plus prestigieuses du monde comme la Tate Modern à Londres, le Getty Museum à Los Angeles, le MoMA à New York, et le Musée royal des Beaux-arts à Bruxelles.Born in Antwerp in 1920, Marcel Mariën swiftly became one of the most prolific members of the Belgian Surrealist movement.Mariën discovered Surrealism in 1935 through two paintings by fellow Belgian René Magritte during a contemporary art exhibition organized at the Antwerp community centre. He met Magritte two years later in 1937 and subsequently joined the Surrealist group - he was the youngest member at 17 years old. It was this year that he made and exhibited his very first surrealist object and his most famous work: L'introuvable, a set of single-lens glasses.His works play and distort the accepted norm, creating bridges between language, image and object, all concurrently playing with the viewer's perception of reality. His experimentation with different media is testament to his versatility as an artist and member of the movement.Aside from his involvement with the Surrealists as an artist, Mariën was a writer, poet and theorist. He penned the first monograph of René Magritte, published in 1943; in 1954 he founded the magazine Les Lèvres Nues with Jane Graverol and Paul Nougé and in 1979 he authored the first reference book on Surrealism in Belgium titled L'activité surréaliste en Belgique (1924-1950), to name just a few.His works are housed in some of the world's most prominent modern art institutions such as Tate Modern in London, The Getty Museum in Los Angeles, MoMa in New York, and the Royal Museums of Fine Arts in Brussels.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

RENÉ MAGRITTE (1898-1967)LETTRE AUTOGRAPHE SIGNÉE à MARIEN, AVEC DESSIN signé 'Magritte' et daté 26 mars [1952], 4 pages, in-16 (155 x 101mm.) à l'encre.Lettre amicale de Magritte à son disciple et ami Marcel Mariën (1920-1993), figure incontournable du surréalisme en Belgique. Avec Louis Scutenaire ou Paul Nougé, c'est lui qui trouvait les titres de certaines toiles du peintre, comme l'atteste cette lettre: 'Les deux titres « La Rose des vents» et «Les Paradis artificiels», sont très bien, surtout le second qui paraît convenir aux 2 tableaux avec les fumées.'En décembre 1951 Mariën s'était engagé à Rotterdam comme garçon de mess sur le Silver Ocean, un cargo suédois transporteur de fruits qui faisait la navette entre les Antilles françaises et la Normandie. Sans nouvelles de son ami, Magritte exprime son inquiétude avec un humour pince sans rire: 'Heureusement, vos cartes mentionnées ci-dessus et 2 nouvelles encore que je reçois ce jour même de Varangéville depuis le 22 mars permettent d'attribuer à votre silence momentané une cause inconnue, mais ne menaçant pas notre tranquillité relative. Envisagez-vous un terme à vos déplacements sur l'eau, même si ce terme n'exclut pas votre persévérance à naviguer aussitôt ce terme expiré?'Dans cette lettre, Magritte aborde une variété de sujets, y compris la récente visite de Magritte à l'exposition d'Alfred Pietercelie, 'Hier j'ai visité l'exposition d'Alfred Pietercelie dont je vous envoie le catalogue.... Et la peinture de Pietercelie, vous la connaissez, c'est également miteux et honnête et d'une inefficacité complète, comme d'ailleurs il est possible de la trouver dans n'importe quoi si l'on veut.' Le peintre belge Alfred Pietercelie (1879-1955), auteur principalement de paysages dans un style assez traditionnel, fait ensuite les frais de la férocité de Magritte.Le beau dessin qui illustre cette lettre est ainsi légendé par le peintre: 'livre et interrupteur électrique'. On y voit un livre, un interrupteur, puis, à côté, l'interrupteur monté sur le livre, ce qui donne un appareil photo. Ainsi que l'explique Magritte, il s'agit d'une 'variante' du tableau L'Explication, construit sur le même principe: une bouteille, une carotte et une bouteille-carotte, qui réunit les deux. Dans le cas présent, un interrupteur, un livre et un livre-interrupteur. L'artiste ne semble jamais avoir réalisé ce tableau qui, comme il l'explique, ne le 'satisfait pas énormément'.La lettre témoigne des liens très étroits qui unissaient Magritte à Marcel Mariën. Le peintre lui parle avec une entière confiance, faisant de lui un de ses interlocuteurs privilégiés, auquel il pouvait communiquer en toute franchise ses idées et ses jugements.AUTOGRAPH LETTER TO Marcel Mariën, SIGNED 'Magritte', WITH SKETCH, 26 March [1952]. 4pp., ink on paper, 16mo (155 x 101mm.). Friendly letter from Magritte to his disciple and good friend Marcel Mariën (1920-1993), one of the essential figures of the surrealist movement in Belgium. It was him, alongside Louis Scutenaire and Paul Nougé, who suggested titles to Magritte for his paintings, as is attested by this letter: 'Les deux titres « La Rose des vents» et «Les Paradis artificiels», sont très bien, surtout le second qui paraît convenir aux 2 tableaux avec les fumées.'In this letter Magritte touches upon a variety of other subjects, including his recent visit to an exhibition of works by the artist Alfred Pietercelie, 'Hier j'ai visité l'exposition d'Alfred Pietercelie dont je vous envoie le catalogue.... Et la peinture de Pietercelie, vous la connaissez, c'est également miteux et honnête et d'une inefficacité complète, comme d'ailleurs il est possible de la trouver dans n'importe quoi si l'on veut.' The Belgian painter, Alfred Pietercelie (1879-1955), author mainly of landscapes in a fairly traditional style, is here criticized by Magritte.The letter is also adorned by a little sketch, that is captioned by Magritte as: 'livre et interrupteur électrique'. In the drawing we see a book, a light switch, and then again, the light switch added to the book, which become thus a photographic camera. As is explained by Magritte, this is a variant of his painting L'Explication, which was composed around the same principle: a bottle, a carrot and a bottle-carrot that brought the two together. In this case a book, a light switch and a book-light-switch. Magritte never realised this painting, and as he himself explains it ' ne me satisfait pas énormément'This letter bears witness to the very close bon between Magritte and Marcel Mariën. The painter speaks to Mariën in complete confidence, making him one of his privileged interlocutors – on he could communicate to his ideas and judgments in complete frankness and honesty.Footnotes:ProvenanceCollection particulière, France.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

RENÉ MAGRITTE (1898-1967)Bonne bonne fort bonne année à E. Langui et sa femme signé, daté 'René et Georgette Magritte 1953' et inscrit 'Bonne Bonne fort bonne année à E. Langui et sa femme'collage et stylo sur papier Exécuté en 1953signed and dated 'René et Georgette Magritte 1953' and inscribed 'Bonne Bonne fort bonne année à E. Langui et sa femme'collage and ballpoint pen on paperExecuted in 195313.5 x 18cm (5 5/16 x 7 1/16in).Footnotes:ProvenanceCollection Emile et Stephy Langui.Acquis auprès de celle-ci par le propriétaire actuel.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

RENÉ MAGRITTE (1898-1967)LETTRE AUTOGRAPHE SIGNÉE à André BOSMANS. Bruxelles, 31 juillet 1963. 1 page ½ in-8 à l'encre sur papier à entête de Magritte Lettre autographe de René Magritte adressée à son ami André Bosmans dit le peintre-paysan,... «J'ai reçu la visite d'un architecte qui est « croyant » ... c'est un croyant plutôt tiède. Il trouve une peinture à son goût et il s'exprime en disant « que c'est spécial ». Il admire aussi le Christ de Dali et ne se doute pas que l'on peut distinguer comment peindre un « sujet » quel-conque et ce qu'il faut peindre. Peindre le Christ ou peindre une messe noire n'exige aucun génie. Mais il faut un « technicien » pour bâtir et celui-là ou un autre fera l'affaire, il vaut peut-être mieux qu'il n'ait pas de génie» ....SIGNED AUTOGRAPH LETTER to André BOSMANS. Brussels, 31 July 1963. 2pp, ink on paper Magritte letterhead, 8vo.Autograph letter from René Magritte to his friend André Bosmans, known as the peasant painter,... «J'ai reçu la visite d'un architecte qui est « croyant » ... c'est un croyant plutôt tiède. Il trouve une peinture à son goût et il s'exprime en disant « que c'est spécial ». Il admire aussi le Christ de Dali et ne se doute pas que l'on peut distinguer comment peindre un « sujet » quel-conque et ce qu'il faut peindre. Peindre le Christ ou peindre une messe noire n'exige aucun génie. Mais il faut un « technicien » pour bâtir et celui-là ou un autre fera l'affaire, il vaut peut-être mieux qu'il n'ait pas de génie» ....Footnotes:ProvenanceCollection particulière, France.For further information on this lot please visit Bonhams.com

RENÉ MAGRITTE (1898-1967)LETTRE AUTOGRAPHE SIGNÉE à un cher Monsieur. Bruxelles, 10 août 1962. 1 page ½ in-8 à l'encre sur papier à entête de Magritte Lettre adressée à l'auteur d'un livre sur le tabac dans laquelle Magritte expose sa théorie sur la technique en peinture. ...'je vous adresse une photographie de mon tableau L'Etat de grâce (je tiens à l'apostrophe L) que vous souhaitez reproduire dans votre livre sur le tabac... Permettez-moi de vous dire mon étonnement en lisant: ...ni sa technique ne doit rien à personne, car vous ne pouvez je crois vous accorder avec cette idée que «la technique» a l'importance qui lui est donnée à présent par des soi-disant peintres... dont le génie consiste à se servir par exemple d'une plaque d'aluminium au lieu de la toile'....... 'La technique vraiment excellente est celle qui n'est pas apparente et dont il n'est pas fait état'...AUTOGRAPH LETTER SIGNED to a dear Sir. Brussels, 10 August 1962. 2pp., ink on Magritte's letterhead, 8vo.Letter addressed to the author of a book on tobacco in which Magritte explains his theory on technique in painting.... 'je vous adresse une photographie de mon tableau L'Etat de grâce (je tiens à l'apostrophe L) que vous souhaitez reproduire dans votre livre sur le tabac... Permettez-moi de vous dire mon étonnement en lisant: ...ni sa technique ne doit rien à personne, car vous ne pouvez je crois vous accorder avec cette idée que «la technique» a l'importance qui lui est donnée à présent par des soi-disant peintres... dont le génie consiste à se servir par exemple d'une plaque d'aluminium au lieu de la toile'....... 'La technique vraiment excellente est celle qui n'est pas apparente et dont il n'est pas fait état' ...Footnotes:ProvenanceCollection particulière, France.For further information on this lot please visit Bonhams.com

RENÉ MAGRITTE (1898-1967)Les moyens d'existence (Kaplan & Baum 20), 1968 eau-forte et aquatinte en couleurs sur papier vélin, cachet signé et numéroté au crayon XXIV/XXV, avec le cachet de l'Atelier René Magritte, cachet à l'aveugle, imprimé par l'Atelier Georges Visat, Paris, à marges complètes, avec rouge atténué.etching and aquatint in colors on wove paper, stamp signed and numbered in pencil XXIV/XXV, with the Atelier René Magritte blindstamp, printed by Atelier Georges Visat, Paris, with full margins, with toned down red.19 x 13.5cm (7 1/2 x 5 5/16in).Footnotes:ProvenanceCollection Heinz Berggruen, Berlin & Paris.Collection Françoise de Pfyffer.Collection particulière, Espagne (par descendance).For further information on this lot please visit Bonhams.com

MARCEL DUCHAMP (1887-1968)LETTRE AUTOGRAPHE SIGNÉE à René MAGRITTE. New-York, 26 octobre 1965, 2 pages in-8 au stylo à bille. Lettre autographe à Magritte consacrée en partie aux échecs. 'Étant rentré à New-York il y a 8 ou 10 jours, je n'ai pas encore mis ma tête en ordre et je vous enverrai sous peu une eau-forte que j'ai spécialement faite pour chaque artiste donateur. Le jeune Bobby Fischer est certainement un miracle de la nature mais je crains bien que le succès ne fasse éclater sa tête et qu'en fin de compte il ne devienne jamais qu'un des 25 meil-leurs joueurs du monde. Jouez-vous beaucoup ? Moi plus, sauf en passe-temps.'AUTOGRAPH LETTER to René MAGRITTE, SIGNED. New-York, 26 October 1965, 2pp., ballpoint ink on paper, 8vo.Autograph letter to Magritte about a chess game.'Étant rentré à New-York il y a 8 ou 10 jours, je n'ai pas encore mis ma tête en ordre et je vous enverrai sous peu une eau-forte que j'ai spécialement faite pour chaque artiste donateur. Le jeune Bobby Fischer est certainement un miracle de la nature mais je crains bien que le succès ne fasse éclater sa tête et qu'en fin de compte il ne devienne jamais qu'un des 25 meil-leurs joueurs du monde. Jouez-vous beaucoup ? Moi plus, sauf en passe-temps.'Footnotes:ProvenanceCollection particulière, France.For further information on this lot please visit Bonhams.com

LISA SOTILIS, A PAIR OF ANCIENT STYLE BEAD AND GOLD COLOURED EAR CLIPSThe tapered reeded panels with a circular glass antique style bead bases, the reverse of one with an applied panel embossed with Sotilis, clip fittingsSize/dimensions: 4.7cm longGross weight: 31.5 gramsKnown in artistic circles as the Golden Greek, Lisa Sotilis was born in Athens, Greece in 1939. She studied in Athens and then at the Academy of Arts in Milan. Sotilis was in initially an artist and sculptor, but embarked on designing and making her own jewellery, having decided she didn't like contemporary jewellery design . Her first solo exhibition was at the age of 16 in Milan, and her first international exhibition was held in Berlin two years later. The world leading art dealer and gallery owner Alexander Iolas noticed her work, and allowed Sotilis to exhibit her work at international galleries alongside many of the 20th century greats such as René Magritte, Andy Warhol, and her great mentor Giorgio de Chirico. Her pieces have been collected by many in the contemporary artworld including Salvador Dali. In 1970 she entered an exclusive contract with Cartier to design watch dials and bezels. Her home Via Dante in Milan was known as a cultural space where Andy Warhol and Rudolph Nureyev were frequent guests.She has exhibited in many of the best international galleries, and examples of her work can be found in some of the finest museums and private collections in the world. She has said of her artistry: 'I sleep three hours a day because my creativity never ends. When I get tired of making jewellery, which I call micro-sculptures, I paint, I design furniture. I don't make traditional jewels; they are different, my way, because I have to recreate what I see in my dreams'. Condition Report: The ear clips have some light wear, commensurate with occasional use, they will need new replacement rubber ear cushions as the original ones have perished. There are some patches to the panels from construction, thick solder to the reverse as typical of her pieces.One of the beads has large worn chip, but as the beads are quite possibly ancient it has been worn down and smoothed out, as part of the beads history. There are some further smaller chips as typical with ancient beads. The beads are not completely matching in side profile, one has more banding than the other. Condition Report Disclaimer

LISA SOTILIS, A PAIR OF ABSTRACT CUFFLINKSThe two colour panels with textured finish and applied spots, the backs of the pierced shaped panels with an applied customary signature panel, one with an embossed SSize/dimensions: principal panels approximately 2.5cm x 3cmGross weight: 17.5 gramsKnown in artistic circles as the Golden Greek, Lisa Sotilis was born in Athens, Greece in 1939. She studied in Athens and then at the Academy of Arts in Milan. Sotilis was in initially an artist and sculptor, but embarked on designing and making her own jewellery, having decided she didn't like contemporary jewellery design . Her first solo exhibition was at the age of 16 in Milan, and her first international exhibition was held in Berlin two years later. The world leading art dealer and gallery owner Alexander Iolas noticed her work, and allowed Sotilis to exhibit her work at international galleries alongside many of the 20th century greats such as René Magritte, Andy Warhol, and her great mentor Giorgio de Chirico. Her pieces have been collected by many in the contemporary artworld including Salvador Dali. In 1970 she entered an exclusive contract with Cartier to design watch dials and bezels. Her home Via Dante in Milan was known as a cultural space where Andy Warhol and Rudolph Nureyev were frequent guests.She has exhibited in many of the best international galleries, and examples of her work can be found in some of the finest museums and private collections in the world. She has said of her artistry: 'I sleep three hours a day because my creativity never ends. When I get tired of making jewellery, which I call micro-sculptures, I paint, I design furniture. I don't make traditional jewels; they are different, my way, because I have to recreate what I see in my dreams'. Condition Report: There is light wear to the panels, no noticeable damage or repairs.Condition Report Disclaimer

ATTRIBUTED TO LISA SOTILIS, A 1970S QUATREFOIL PENDANT The textured quatrefoil panel with a central cultured pearl accent, loop fitting verso, in a Sotilis lozenge shaped boxSize/dimensions: 5.1cm longGross weight: 9.3 grams Together with a jewellery exhibition catalogue titled Sotilis, for the Alexandre Iolas Gallery, with a forward by Salvatore Quasimodo, 1970; and an exhibition catalogue for artwork, 1963Known in artistic circles as the Golden Greek, Lisa Sotilis was born in Athens, Greece in 1939. She studied in Athens and then at the Academy of Arts in Milan. Sotilis was in initially an artist and sculptor, but embarked on designing and making her own jewellery, having decided she didn't like contemporary jewellery design . Her first solo exhibition was at the age of 16 in Milan, and her first international exhibition was held in Berlin two years later. The world leading art dealer and gallery owner Alexander Iolas noticed her work, and allowed Sotilis to exhibit her work at international galleries alongside many of the 20th century greats such as René Magritte, Andy Warhol, and her great mentor Giorgio de Chirico. Her pieces have been collected by many in the contemporary artworld including Salvador Dali. In 1970 she entered an exclusive contract with Cartier to design watch dials and bezels. Her home Via Dante in Milan was known as a cultural space where Andy Warhol and Rudolph Nureyev were frequent guests.She has exhibited in many of the best international galleries, and examples of her work can be found in some of the finest museums and private collections in the world. She has said of her artistry: 'I sleep three hours a day because my creativity never ends. When I get tired of making jewellery, which I call micro-sculptures, I paint, I design furniture. I don't make traditional jewels; they are different, my way, because I have to recreate what I see in my dreams'.  Condition Report: There is solder to the reverse and a couple of patches to the front of the pendant, but this is from construction. Some light wear. Condition Report Disclaimer

Y LISA SOTILIS, A PAIR OF ABSTRACT EAR CLIPSThe ear clips each with two shaped panels with textured borders, with gold coloured disc sides, and a trio of mother of pearl discs above, with ancient style bead accents, the bottom panels signed Sotilis, with clip fittingsSize/dimensions: 5.1cm longGross weight: 36.1 gramsKnown in artistic circles as the Golden Greek, Lisa Sotilis was born in Athens, Greece in 1939. She studied in Athens and then at the Academy of Arts in Milan. Sotilis was in initially an artist and sculptor, but embarked on designing and making her own jewellery, having decided she didn't like contemporary jewellery design . Her first solo exhibition was at the age of 16 in Milan, and her first international exhibition was held in Berlin two years later. The world leading art dealer and gallery owner Alexander Iolas noticed her work, and allowed Sotilis to exhibit her work at international galleries alongside many of the 20th century greats such as René Magritte, Andy Warhol, and her great mentor Giorgio de Chirico. Her pieces have been collected by many in the contemporary artworld including Salvador Dali. In 1970 she entered an exclusive contract with Cartier to design watch dials and bezels. Her home Via Dante in Milan was known as a cultural space where Andy Warhol and Rudolph Nureyev were frequent guests.She has exhibited in many of the best international galleries, and examples of her work can be found in some of the finest museums and private collections in the world. She has said of her artistry: 'I sleep three hours a day because my creativity never ends. When I get tired of making jewellery, which I call micro-sculptures, I paint, I design furniture. I don't make traditional jewels; they are different, my way, because I have to recreate what I see in my dreams'.  Condition Report: The clips with some light wear. There is solder and glue at the backs of the clips, but this appears to be from construction. Sotilis is known to have mostly created her jewellery in 18 carat gold, however these are unmarked, the solder at the back is quite thick, giving support to the gold fronts. On one of the clips top panel there is some solder coming through the top of one of the panels where there must have been a hole at construction. The beads appear to possibly be ancient, they show wear and some losses, they are not identicalCondition Report Disclaimer

ARMSTRONG LOUIS: (1901-1971) American jazz trumpeter and vocalist. A printed folio edition of the French publication America, Number 5, being a special edition entitled Jazz 47, with essays by Jean-Paul Sartre, Jean Cocteau, Charles Delaunay and others, and illustrations by Fernand Leger, Jean Dubuffet, Rene Magritte etc., signed by Armstrong in bold blue fountain pen ink with his name alone to a full-photo page, the image depicting the young Satchmo in a head and shoulders pose, also signed to the title page by various members of Armstrong's 'All Stars' including Arvell Shaw (1923-2002) American jazz double-bassist, Velma Middleton (1917-1961) American jazz vocalist, Trummy Young (1912-1984) American trombonist, Bob McCracken (1904-1972) American jazz clarinettist, Marty Napoleon (1921-2015) American jazz pianist, and one other. Binding loose and with a few detached pages, overall age wear, light staining, creasing and some pages with small tears to the edges. G 

After Magritte - The artists studio, gouache, 36 x 26cm

D'après René MAGRITTE (1898-1967)LE PRETRE MARIE, 1968 (Kaplan & Baum, 13)Planche I issue de l'ouvrage 'Signe de survie au temps d'amour' par Guy RoseyEau-forte et aquatinte sur vélinSignée du cachet de la signature et annotée « HC »Ateliers Georges Visat, éditeur & imprimeur, Paris 27 x 20 - encadréeFor further information on this lot please visit Bonhams.com

D'après René MAGRITTE (1898-1967)L'OEIL, 1969 (Kaplan & Baum, 17)Planche issue de l'album « Le lien de Paille »Eau-forte et aquatinte sur vélinSignée du cachet de la signature et annotée « HC »Ateliers Georges Visat, éditeur & imprimeur, Paris (timbre sec)27 x 20 - encadréeFor further information on this lot please visit Bonhams.com

D'après René MAGRITTE (1898-1967)LA LECON DE MUSIQUE, 1968 Eau-forte en couleurs sur JaponPorte le cachet de la signatureNumérotée 141/150Porte le timbre sec de l'Atelier René Magritte27,5 x 22 cm Footnotes:Provenance : Ancienne Collection Mira JacobFor further information on this lot please visit Bonhams.com

Untitled, Surreal landscape with door and two owls in a tree, oil on thin board, signed lower left and dated '69. Provenance: This small painting was gifted to the consigner by a descendent of a prominent Mexican family who owned and operated a resort outside of Mexico City, where many artists of renown vacationed in the 50s and 60s. Overall size: 8 x 10 in. Sight size: 4 1/4 x 6 1/4 in. Painting size: 5 x 7 in. Gertrude Abercrombie was an American painter known for her modestly scaled Surrealist works. Born in Austin, Texas, her parents worked for an opera company that traveled around America and Europe. The family eventually settled in Chicago, where Abercrombie went on to study languages at the University of Illinois and attended classes at the School of the Art Institute Chicago. She painted many variations through the years of her favored subjects: sparsely furnished interiors, barren landscapes, and self-portraits. Abercrombie argued that technique was not as important as ideas and developed a style emulating Naive artists. She took little interest in other artists' work, although she admired Rene Magritte. Largely self-taught, Abercrombie did not regard her lack of extensive formal training as a hindrance. She said of her work, "I am not interested in complicated things nor in the commonplace. My work comes directly from my inner consciousness and it must come easily. It is a process of selection and reduction." During the 1930s, Abercrombie became friends with several jazz musicians including Charlie Parker and Dizzy Gillespie, and often hosted music sessions and parties in her home. By the late 1950s her health declined due to financial trouble, alcoholism, and arthritis, and she became reclusive. After 1959 her paintings diminished in number as well as scale. In the final year of her life, a major retrospective of her work was held at the Hyde Park Art Center in Chicago.

Salvador Dali (1904-1989), Spain, Print. Titled "Metamorphosis of Narcissus" on the bottom. Metamorphosis of Narcissus was originally titled "Metamorphose de Narcisse: and is from his paranoiac-critical period and depicts his interpretation of the Greek myth of Narcissus. Bottom says Salvador Dali | Metamorphosis of Narcissus. Salvador Dali was born May 11, 1904 in Figueres, Spain. From an early age Dali was encouraged to practice his art and would eventually go on to study at an academy in Madrid. In the 1920's Dali went to Paris and began interacting with Picasso, Magritte, and Miro leading to his first Surrealist phase. The rise of the fascist leader Franco in Spain led to Dali's expulsion from the Surrealist movement, but that did not prevent him from painting. Overall size: 25 x 31 1/2 in. Sight size: 17 1/4 x 26 1/2 in.

Framed print titled "L' Apotheose D' Homer" by Salvador Dali. Signature printed on bottom center. Salvador Dali was born May 11, 1904 in Figueres, Spain. From an early age Dali was encouraged to practice his art and would eventually go on to study at an academy in Madrid. In the 1920's Dali went to Paris and began interacting with Picasso, Magritte, and Miro leading to his first Surrealist phase. The rise of the fascist leader Franco in Spain led to Dali's expulsion from the Surrealist movement, but that did not prevent him from painting. Overall size: 24 1/2 x 32 1/2 in. Sight size: 15 x 27 1/2 in.

Salvador Dali (1904-1989), Spain, Print titled "Saint Jacques". Salvador Dali was born May 11, 1904 in Figueres, Spain. From an early age Dali was encouraged to practice his art and would eventually go on to study at an academy in Madrid. In the 1920's Dali went to Paris and began interacting with Picasso, Magritte, and Miro leading to his first Surrealist phase. The rise of the fascist leader Franco in Spain led to Dali's expulsion from the Surrealist movement, but that did not prevent him from painting. Overall size: 32 3/8 x 24 1/2 in. Sight size: 26 1/2 x 20 in.

Framed poster of Christ on the cross by Salvador Dali. Words on the bottom say Christ of St. John of the Cross, Salvador Dali, Huntington Graphics, Inc. Salvador Dali was born May 11, 1904 in Figueres, Spain. From an early age Dali was encouraged to practice his art and would eventually go on to study at an academy in Madrid. In the 1920's Dali went to Paris and began interacting with Picasso, Magritte, and Miro leading to his first Surrealist phase. The rise of the fascist leader Franco in Spain led to Dali's expulsion from the Surrealist movement, but that did not prevent him from painting. Overall size: 31 x 24 3/4 in. Sight size: 27 1/2 x 15 1/2 in.