MAGRITTE RENÉ: (1898-1967) Belgian Surrealist Painter. An exceptional artistic and philosophical essay written by Magritte only three months before his death. A.L.S., `René Magritte´, one page, 4to, n.p., May 1967, in French. A very important and detailed statement by Magritte on his understanding of Art and his own mission as artist, stating in part `Je conçois la peinture comme art de juxtaposer des couleurs de tlle sorte que leur aspect effectif s´efface et laisse apparaitre une image où sont unies – dans un ordre poétique – des figures familieres du visible: ciels, personnes, arbres, montagnes, meubles, astres, solides, inscriptions, etc.. La poésie de cette image se passe de significations symboliques anciennes ou nouvelles. L´image poétique ne cache rien: elle ne montre que des figures du visible, puisque la peinture est impropre a représenter l´invisible. L´invisiblee, c´est a dire ce que la lumiere ne peut éclairer, a une valeur inestimable. mais il faudrait la reconnaitre pour désirer rendre visibles, par exemple: le plaisir et la douleur, la connaissance et l´ignorance, la voix et le silence....´ (“I conceive painting as an art of juxtaposing colours in such a way that their appearance fades, and an image is allowed to appear in which familiar figures of the visible are united—in a poetic order—skies, people, trees, mountains, furniture, stars, solids, inscriptions, etc. The poetry of this image consists of symbolic meanings, old or new. The poetic image hides nothing: it only shows figures of the visible, since painting is an unsuitable way of representing the invisible. The invisible, meaning what light cannot reveal, has an inestimable value. But one would have to ignore this value, if one desire to make such things visible, for example: pleasure and pain, knowledge and ignorance, the voice and silence...”) Magritte died three months later on 15th August 1967. Accompanied by an unsigned photograph of Magritte, April 1967, an image by Daniel Frasnay for his work “Leur Monde. Peintres et Sculpteurs” (“Their World. Painters and Sculptors”). The present manuscript was written for this book which obtained the award of Best Book at the Francfort fair book. Small remnants of former affixing to the verso and very small overall age wear, otherwise G to VG
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δ René Magritte (1898-1967) after. Le Domaine Enchanté VI, from Les Enfants trouvésLithograph printed in colours, 1968, signed by Fernand Mourlot in pencil, one of 30 artist's proofs numbered in Roman numerals, printed by Fernand Mourlot, Paris, published by Ed. A.C. Mazo et Cie, Paris, on BFK Rives paper, with full margins, sheet 445 x 600mm (17 1/2 x 23 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Benoît Dutour Journey of a Fly on the Ceiling for Five Minutes During a Beautiful Summer Afternoon (Orange), 2022 Crayon and Posca on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About French artist based in Paris. Inspired by the new realists, the humor of Magritte or the conceptual work of Duchamp, I use a wide range of techniques and mediums to offer multiple entry points into my universe. Education self-taught Select Exhibitions/Awards EXHIBITION: 2007 Willinsky & Scotto, Paris 2015 Solo-show "rue de Seine", Paris 2016 Bryan Cave, Paris 2019 Solo-show campus Ferrero (N°1 tennis player in 2003) in Spain 2019 Collective exhibition at gallery N'Oblige, Paris 2019 Series «Tears for Life» in the flagship of the luxury brand Smalto, Paris 2020 Gallery Teodora, Paris INSTALLATION/PERFORMANCE: 2015 Art video « Shooting Stars » at Palais de Tokyo (via Souvenirs From Earth) 2019 Montsouris parc, Nuit Blanche 19 2019 Contribution to the "Amazing Panda" project in collaboration with the "Shanghai Exhibition Center" and Galeries Lafayette in China 2020 Place des Vosges, Nuit Blanche 20 MUSEUM: 2021 Painting « Easter confined » integrates the permanent collection of the MUCEM 2021 Optical Art Museum of Porrentruy, Switzerland PUBLIC AUCTION: 2014 Drouot Paris 2017 France Kurdistan 2021 Drouot Online Paris Gallery Representation Ateliers Saint Honoré, Paris H-Art, France DNA Original Studio, Shanghaï Lynne Consulting, Doha Statement about AOAP Submitted Artwork The painting sent to AOAP is literally a "JOURNEY OF A FLY ON THE CEILING FOR FIVE MINUTES DURING A BEAUTIFUL SUMMER AFTERNOON". What trace will we leave on earth? Probably no better than the course of this fly which turns in circles. The graphic result is however very harmonious and for that alone, life is worth living. Very proud to contribute to an important health cause You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Benoît Dutour Journey of a Fly on the Ceiling for Five Minutes During a Beautiful Summer Afternoon (Yellow), 2022 Crayon and Posca on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About French artist based in Paris. Inspired by the new realists, the humor of Magritte or the conceptual work of Duchamp, I use a wide range of techniques and mediums to offer multiple entry points into my universe. Education self-taught Select Exhibitions/Awards EXHIBITION: 2007 Willinsky & Scotto, Paris 2015 Solo-show "rue de Seine", Paris 2016 Bryan Cave, Paris 2019 Solo-show campus Ferrero (N°1 tennis player in 2003) in Spain 2019 Collective exhibition at gallery N'Oblige, Paris 2019 Series «Tears for Life» in the flagship of the luxury brand Smalto, Paris 2020 Gallery Teodora, Paris INSTALLATION/PERFORMANCE: 2015 Art video « Shooting Stars » at Palais de Tokyo (via Souvenirs From Earth) 2019 Montsouris parc, Nuit Blanche 19 2019 Contribution to the "Amazing Panda" project in collaboration with the "Shanghai Exhibition Center" and Galeries Lafayette in China 2020 Place des Vosges, Nuit Blanche 20 MUSEUM: 2021 Painting « Easter confined » integrates the permanent collection of the MUCEM 2021 Optical Art Museum of Porrentruy, Switzerland PUBLIC AUCTION: 2014 Drouot Paris 2017 France Kurdistan 2021 Drouot Online Paris Gallery Representation Ateliers Saint Honoré, Paris H-Art, France DNA Original Studio, Shanghaï Lynne Consulting, Doha Statement about AOAP Submitted Artwork The painting sent to AOAP is literally a "JOURNEY OF A FLY ON THE CEILING FOR FIVE MINUTES DURING A BEAUTIFUL SUMMER AFTERNOON". What trace will we leave on earth? Probably no better than the course of this fly which turns in circles. The graphic result is however very harmonious and for that alone, life is worth living. Very proud to contribute to an important health cause You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Benoît Dutour Journey of a Fly on the Ceiling for Five Minutes During a Beautiful Summer Afternoon (Pink), 2022 Crayon and Posca on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About French artist based in Paris. Inspired by the new realists, the humor of Magritte or the conceptual work of Duchamp, I use a wide range of techniques and mediums to offer multiple entry points into my universe. Education self-taught Select Exhibitions/Awards EXHIBITION: 2007 Willinsky & Scotto, Paris 2015 Solo-show "rue de Seine", Paris 2016 Bryan Cave, Paris 2019 Solo-show campus Ferrero (N°1 tennis player in 2003) in Spain 2019 Collective exhibition at gallery N'Oblige, Paris 2019 Series «Tears for Life» in the flagship of the luxury brand Smalto, Paris 2020 Gallery Teodora, Paris INSTALLATION/PERFORMANCE: 2015 Art video « Shooting Stars » at Palais de Tokyo (via Souvenirs From Earth) 2019 Montsouris parc, Nuit Blanche 19 2019 Contribution to the "Amazing Panda" project in collaboration with the "Shanghai Exhibition Center" and Galeries Lafayette in China 2020 Place des Vosges, Nuit Blanche 20 MUSEUM: 2021 Painting « Easter confined » integrates the permanent collection of the MUCEM 2021 Optical Art Museum of Porrentruy, Switzerland PUBLIC AUCTION: 2014 Drouot Paris 2017 France Kurdistan 2021 Drouot Online Paris Gallery Representation Ateliers Saint Honoré, Paris H-Art, France DNA Original Studio, Shanghaï Lynne Consulting, Doha Statement about AOAP Submitted Artwork The painting sent to AOAP is literally a "JOURNEY OF A FLY ON THE CEILING FOR FIVE MINUTES DURING A BEAUTIFUL SUMMER AFTERNOON". What trace will we leave on earth? Probably no better than the course of this fly which turns in circles. The graphic result is however very harmonious and for that alone, life is worth living. Very proud to contribute to an important health cause You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
René Magritte (1898-1967) Lithograph Souvenir de Voyage Numbered 160/275 with dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Lithografie Souvenir de Voyage Genummerd 160/275 met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice (The Fondation Magritte). 48.5 x 38 cm
René Magritte (1898-1967) Lithograph La Bataille de l'Argonne Numbered 270/275 with dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Lithografie La Bataille de l'Argonne Genummerd 270/275 met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice (The Fondation Magritte). 38 x 46 cm
René MAGRITTE (1898-1967) Lithograph 'La trahison des images', numbered 101/300 and signed. Lithografie 'La trahison des images', genummerd 101/300 en getekend. 24.5 x 33.5 cm With dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice (The Fondation Magritte).
René Magritte (1898-1967) Lithograph Souvenir de Voyage Numbered 182/275 with dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Lithografie Souvenir de Voyage Genummerd 182/275 met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice182 (The Fondation Magritte). 46.5 x 38 cm
René MAGRITTE (1898-1967) Lithograph 'L'empire des lumières', numbered 11/300 and signed. Lithografie 'L'empire des lumières', genummerd 11/300 en getekend. 31.5 x 24.5 cm With dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice (The Fondation Magritte).
René Magritte (1898-1967) Lithograph La grande guerre. Signed and numbered 179/275. with dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Lithografie La grande guerre. Getekend en genummerd 179/275. met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice (The Fondation Magritte). 51 x 38 cm
René Magritte (1898-1967) Lithograph Le Bouquet Tout Numbered 176/275 with dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Lithografie Le Bouquet Tout Genummerd 176/275 met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice (The Fondation Magritte). 46 x 38 cm
![Artist: Karima Muyaes (Mexican, b.1960). Title: "My Magritte [etching & aquatint]". Medium: Etching & aquatint. Date:](https://cdn.globalauctionplatform.com/beed72d7-6e66-48e8-88e0-aeae0118fe36/fc7541cd-7739-4549-a598-aeb00124e11c/468x382.jpg)
Artist: Karima Muyaes (Mexican, b.1960). Title: "My Magritte [etching & aquatint]". Medium: Etching & aquatint. Date: Composed 2018. Dimensions: Overall size: 22 x 19 1/4 in. (559 x 489 mm). Image size: 11 5/8 x 9 5/8 in. (295 x 244 mm).Lot Note(s): Signed, titled, dated, and edtioned in pencil. Edtion of 30. High-grade archival paper. Fine impression. Fine condition. Provenance: Estate of a private collector, Rome. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [29977-0-400]
Surrealismus nach Réne Magritte (1898 Lesines - 1967 Brüssel)Les Bijoux indiscrets. 1975. Farblithographie auf Arches. 30,2 x 23,6 cm (26,5 x 35,5 cm). In der Platte signiert und betitelt. Auf der rechten Seite mit dem Schöpfrand. Samtig zarter Plattenton in abgestufter Tonalität. Lithographie für das Mappenwerk "San Lazzaro et ses amis", für den Gründer der Zeitschrift XXe siècle Gualtieri di San Lazzaro. Druck bei Mourlot in Paris. Coloured Lithograph on Arches. 25 x 18 cm (26,5 x 35,5 cm). Velvety delicate plate tone in graduated tonality. Signed and titled in the plate. Lithograph for the portfolio "San Lazzaro et ses amis", for the founder of the magazine XXe siècle Gualtieri di San Lazzaro. Printed by Mourlot in Paris.
Original vintage advertising poster for Toiles de Maitres 1993 / Paintings of Masters 1993, Robert Delaunay Paul Klee Marie Laurencin Magritte Joan Miro Georges Braque Fernand Leger, featuring a colourful design of the Eiffel tower set over blue background and colourful bold lettering. Good condition, minor creasing, minor staining, paper loss on bottom right corner. Country of issue: France, designer: Unknown, size (cm): 48x59, year of printing: 1992.
A GROUP OF BOOKS ON EUROPEAN ARTISTS Comprising nine titles; including Magritte, Ferdinand Hodler, Salvador Dali, John Singer Sargent, Lives of the Great 20th Century Artists, Ferdinand Hodler Le Paysage, Gustav Klimt and Claudel et Rodin Condition: Minor signs of wear commensurate with age and sure
Equipo Crónica -- Homenaje a Magritte Farbsiebdruck auf Velin. 1977/78.59,5 x 50 cm (76 x 61,7 cm). Mit dem Signaturstempel. Auflage 100 num. Ex. Die spanische Künstlergruppe "Equipo Crónica" war zwischen 1964 und 1981 in Valencia aktiv. Sie wurde gegründet von Manolo Valdés, Rafael Solbes und Juan Antonio Toledo, die sich im Stile der Pop Art kritisch mit der spanischen Politik, insbesondere mit der Diktatur Francos auseinandersetzten. Ganz ausgezeichneter Druck mit breitem Rand. - 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.
Fotografie Sammlung von 8 Fotografien erschienen in der Griffelkunst-Edition. Schöne Sammlung mit Nachlassabzügen aus der Griffelkunst-Edition. Vorhanden: El Lissitzky, Der Konstrukteur (1924). Griffelkunst 1988. 39,5 : 29,6 cm. - Linker Rand mit kl. Knickspur. - René Margritte, Vogelfänger; René Magritte , Boulevard Lambermont (1955). Griffelkunst 1988. 40,3 : 30,2 cm. - Lásló Moholy-Nagy, Ohne Titel, Skandinavienreise (um 1936). Griffelkunst 1995. - 40 : 30 cm. - Derselbe, Plexiglas-Mobile in Bewegung. (Chicago 1943). Griffelkunst 2005. 30 : 24 cm. - Man Ray, L'oeuf de le coquillage (1931). Griffelkunst 1991. - 30,5 : 24,3 cm. - Derselbe, Marcel Duchamp . (1916). Griffelkunst 1992. 30,5 : 23,8 cm. - Alexander Rodtschenko, Der Sprung mit dem Stab (1937). Griffelkunst 1987. 17,9 : 24 cm. - Raoul Ubac, L'envers de la face (1939). Griffelkunst 2008. 30,5 : 24 cm. Fine collection of 8 photographs (estate prints) released in the Griffelkunst edition. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Marcel Paquet La philosophie et la peinture de René Magritte. Paris, Art 204 1979-1980. Vollständige Folge von 10 Farblithographien von René Magritte mit einem Begleittext von Marcel Paquet. 1 von 330 numerierten Exemplaren auf Arches Fidelis, im Druckvermerk numeriert und dort sowie auf den Tafeln mit Trockenstempel des Herausgebers. Tafelgröße 74 : 53 cm. - Vorhanden die Lithographien: Eloge de la dialectique, Magie noir, Scheherazade, Le chant de la violette, La corde sensible, La page blanche, Le réveil-martin, L'ille au trésor, Le domaine d'Arnheim und Le beau monde . Wie andere surrealistische Werke auch, verbinden Magrittes Bilder eine präzise nachahmende Technik mit befremdlichen abnormalen Motivkonfigurationen, die die Gesetze der Logik und Natur außer Kraft setzen. So ist z. B. ein Kamm so groß wie ein Schrank, Felsen schweben im Himmel und Wolken schieben sich durch eine geöffnete Tür. Das Resultat ist oft witzig, manchmal beunruhigend und verleitet uns immer dazu, jenseits des Sichtbaren auf das zu achten, „was durch das verdeckt wird, was wir sehen“. EINBAND: Lose Blatt und Tafeln in Folien, in Orig.-Halbledermappe mit Deckeltitel, in Orig.-Leinenschuber. 77 : 59 cm. - ILLUSTRATION: Mit 10 Farblithographien mit Stempel-Signatur von R. Magritte sowie von seiner Frau signiert und numeriert. Portfolio of 10 photo-lithographs printed in colors on Arches Fidelis, each with the artist's stamped signature, each signed in pencil by the artist's wife, Georgette Magritte, and numbered 233/300. Loose leaves and sheets in foil, in orig. half calf binding with front cover title and orig. cloth case. - Clean copy. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
SALVADOR DALÍ* (Figueres 1904 - 1989 Figueres) Venus à la Giraffe Bronze, 56,7 x 9,3 x 27,5 cm signiert im Guss Dalí, am Sockel beschriftet Euro art venturi arte und nummeriert 437/1000Provenienz: Sammlung Gusel, Privatbesitz WienSCHÄTZPREIS: °€ 500 - 1.000 Spanischer Maler, Grafiker, Schriftsteller, Bildhauer, Filmemacher und Bühnenbildner des 20. Jahrhunderts. Bedeutender Künstler der Moderne, Vertreter der Avantgarde, Hauptvertreter des Surrealismus. Studierte ab 1922 an der Akademie die San Fernando in Madrid, im Studentenwohnheim traf er auf Luis Buñuel und Federico García Lorca. Auseinandersetzung mit Psychoanalyse und Sigmund Freund. 1926 erste Reise nach Paris und erster Kontakt mit Pablo Picasso. Auf Anregung von Joan Miró trat er 1929 in Paris der Gruppe der Surrealisten um Hans Arp, André Breton, Max Ernst, Yves Tanguy, René Magritte, Man Ray, Tristan Tzara, Paul Éluard und dessen Frau Gala bei. Gala wurde seine Lebensgefährtin und Muse, inspirierte ihn zu Darstellungen von Venus und Madonna, stand ihm als Akt Modell. Stilistische Entwicklung zwischen frühen impressionistischen Versuchen, Einflüsse von Kubismus, Pointilismus und Futurismus, hin zu Surrealismus und Dadaismus. Themen wie das Verschlüsselte, Mystische, Symbolische, das Unbewusste, Träume und Phantasiewelten. Verschmelzung von Traum und Wirklichkeit, Mensch und Tier wie hier in der Bronze-Plastik Venus à la Giraffe.
Magritte, René. Die graue Eminenz / Das Sterben der Phantome. 2 Bromsilbergelatineabzüge auf Agfa-Papier. 1928/1984. Bildgröße: 30,5 x 20 cm. Blattgröße: 40,3 x 30,2 cm.Griffelkunst 237 B1 und B3. - Abzüge von Photographien aus dem Nachlass. - Verso mit dem Stempel der Griffelkunst und faksimilierter Signatur von Magritte. - Leicht wellig, sonst sehr gut erhalten.
Nikos Engonopoulos (Greek, 1907-1985)L' Archéologue signé en grec et daté '43' (en bas à droite)huile sur toile74.5 x 56.5cm (29 5/16 x 22 1/4in).Peint en 1943.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceThe artist's estate, Athens.ExpositionVenice, XXVII Esposizione Biennale Internationale d'Arte, Padiglione della Grecia, Nikos Engonopoulos, June 19 - October 17, 1954, no. 17 (listed in the exhibition catalogue, p. 295).LittératureArdin magazine, no. 57-58, December 2005 - February 2006, p. 27 (illustrated).N. Engonopoulos, Man: the Measure, Ypsilon/Books editions, Athens 2007, p. 47 (listed), p. 7 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 309, p. 64 (illustrated), p. 257 (illustrated), p. 424 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 665-666 (discussed), p. 977 (listed), p. 667, fig. 278 (illustrated).Painted in 1943, the year Engonopoulos wrote his emblematic Bolivar, L'archéologue is no less a masterpiece, introducing the viewer to a magical pictorial world of poetic metaphor. Merging symbols of different origin and character, and using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in miniature manuscripts and narthex decoration,2 Engonopoulos combines the ancient past with modern-day elements to subvert, in a typical surrealist fashion, the conventional ways with which rational thought perceives the world. Yet, as noted by theatre director and playwright Alexis Solomos, what is astonishing with him is the all prevailing spirit of Greece in his work. 'Everything Engonopoulos touches becomes Greek.'3 Here, set against a bright blue Greek sky interrupted by an ancient temple, a schematized tree and an unmistakably Engonopoulian travelling cloud, the visual act takes place in a shallow space reminiscent of a stage set that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to introduce the theatrical into his work, has once said that 'under the stage lights 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 At the centre of the composition, a standing figure in a green tunic, possibly the archaeologist himself, seems determined to gain control over this fascinating gathering of images and restore a sense of order. Captured both frontally and in profile by means of the late cubist pictorial convention of contraction, he is flanked by a phantom figure with a picassesque head and a dazzling red clamys, and a helmeted kouros-like warrior holding a walking stick and a topper hat. The three monumental figures are being stared at by a woman-like wig stand with voluptuous curves and daringly rendered nipples, while a host of details, including a Doric column drum juxtaposed to ionic volutes in the extreme foreground, a lamp (a distinct and recurring theme in Engonopoulos's work with symbolic overtones), a chequered tile, and the artist's signature red-and-white bathing suit partially shown on the right, undermine the accepted narrative cohesion of images to explore the uncharted trails of the mind. Although this unexpected staging of dream-like images and objects is a fascinating feature of the work, no less impressive is the handling of colour. Dazzling reds, blues, greens and oranges, applied side by side with minimal tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.L'archéologue was exhibited in the 1954 Venice Biennale6, where, for the first time, Greece was represented by one artist alone. As noted by K. Perpinioti-Agazir, who prepared the painter's catalogue raisonné, this was perhaps the most important milestone in Engonopoulos's career.7 In Venice, he 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.'1 O. Elytis, Open Papers [in Greek], Asterias editions, Athens 1974, p. 294.2 See D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 228.3 J. Lehman ed., New Writing and Daylight, New Direction editions, England 1946, p. 126.4 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. 261.6 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.7 See K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural [in Greek and French], exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 78.For further information on this lot please visit Bonhams.com
René MAGRITTE (1898-1967) Lithograph Golconde 1953 Numbered 165/275 with dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Lithografie Golconde 1953 Genummerd 165/275 met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice (The Fondation Magritte). 37.5 x 45 cm Justification on the back Justificatie op de achterzijde
René MAGRITTE (1898-1967) Lithograph Decalcomanie 1966. Numbered 106/275 with dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Lithografie Decalcomanie 1966. Genummerd 106/275 met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice (The Fondation Magritte). 38 x 47 cm
René MAGRITTE (1898-1967) Lithograph L'Entrée en scène 1961 Numbered 234/275 with dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Lithografie L'Entrée en scène 1961 Genummerd 234/275 met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice (The Fondation Magritte). 52 x 36.5 cm Justification on the back Justificatie op de achterzijde
René Magritte (1898-1967) Lithography La reconnaissance infine 1963. Signed in the plate. Numbered 163/275. Stamp Succesion Magritte. Justification de tirage (back). Lithografie L La reconnaissance infine 1963. Gesigneerd in de plaat. Genummerd 163/275. Met stempel successie Magritte. Met justificatie. 38 x 46.5 cm
René Magritte (1898-1967) Lithography La magie noire 1945. Signed in the plate. Numbered 198/275. Stamp Succesion Magritte. Justification de tirage (back). Lithografie La magie noire 1945. Gesigneerd in de plaat. Genummerd 198/275. Met stempel successie Magritte. Met justificatie. 51 x 37.5 cm
René MAGRITTE (1898-1967) Lithograph La trahison des images 1929 Numbered 106/275 with dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Lithografie La trahison des images 1929 Genummerd 106/275 met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice (The Fondation Magritte). 38.5 x 51.5 cm Justification on the back Justificatie op de achterzijde
René MAGRITTE (1898-1967) Lithograph La Bataille d'Argonne. Numbered 269/275 with dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Lithografie La Bataille d'Argonne. Genummerd 269/275 met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice (The Fondation Magritte). 38 x 45.5 cm
René MAGRITTE (1898-1967) Color Lithograph La nuit de pise Numbered 263/275 with dry stamp ADAGP and Succession Magritte. initials by Charly Herscovice (The Fondation Magritte). Kleurenlithografie La nuit de pise Genummerd 263/275 met droogstempel ADAGP en Succession Magritte. paraf van Charly Herscovice (The Fondation Magritte). 38 x 49 cm
René Magritte (1898-1967) Lithography L'Empire des lumières 1954. Signed in the plate. Numbered 193/275. Stamp Succesion Magritte. Justification de tirage (back). Lithografie L'Empire des lumières 1954. Gesigneerd in de plaat. Genummerd 193/275. Met stempel successie Magritte. Met justificatie. 47.5 x 37.5 cm
Richard Humphry (1942). Lethean Bloom. 1964. Öl/Holz, 74 x 97,5 cm, l. u. sign. und dat. Richard Humphry 1964, verso auf Etikett betitelt sowie erneut sign. und dat. - Britischer Surrealist. H. stellte bei der avantgardistischen Produzentengalerie I.C.A. in London aus und nahm auf Einladung von R. Penrose 1966 an einer großen Surrealisten-Ausstellung in Santa Barbara teil, wo seine Werke zusammen mit denen von Magritte, Dalí und anderen zu sehen waren. Mus.: Carmarthenshire County Museum. Humphry, Richard (1942). Lethean Bloom. 1964. Oil/wood, 74 x 97,5 cm, lo. le. sign. and dat. Richard Humphry 1964, on the reverse titled on label as well as sign. and dat. again. - British surrealist. H. exhibited at the avant-garde producer gallery I.C.A. in London and, at the invitation of R. Penrose, took part in a major surrealist exhibition in Santa Barbara in 1966, where his works were shown together with those of Magritte, Dalí and others. Mus.: Carmarthenshire County Museum.
STOPPARD, Tom (b. 1937). A group of 40 works, including:Lord Malquist & Mr Moon. 1966. -- Another copy. -- Rosencrantz and Guildenstern are Dead. 1967. SIGNED. -- Enter a Free Man. 1968. SIGNED. -- Another copy. -- Albert's Bridge and if You're Glad I'll be Frank.1969. -- The Real Inspector Hound. 1970. Second issue. SIGNED. -- After Magritte. 1971. REVIEW COPY. -- Jumpers. 1972. -- Artist Descending a Staircase and Where are they Now? 1973. -- Another copy. --Travesties. 1975. -- Another copy. NY, 1975. “First Evergreen edition.” SIGNED on laid-in bookplate. -- Dirty Linen and New-Found-Land. 1976. UNCORRECTED PROOF. -- Another published copy. -- Another copy. NY, 1976. -- Albert's Bridge and other Plays. NY, 1977. SIGNED. -- Every Good Boy Deserves Favour… and Professional Foul. 1978. SIGNED. -- The Coast of Utopia a Trilogy. NY, 2007. Slipcase. LIMITED EDITION, 36 of 250. SIGNED. -- And 21 others. Together, 40 works in 40 volumes, most published in London, various 8vo and 12mo sizes, most in original printed wrappers or cloth with unrestored and unclipped dust jackets, ALL FIRST EDITION, many SIGNED BY STOPPARD, condition generally fine. Complete list available upon request.
§ AFTER RENE MAGRITTE (FRENCH 1898-1967) LA GRANDE FAMILLE Lithograph, 246/300, signed in plate, numbered in pencil to margin and stamped 'Magritte Succession,' and another 'La Grande Guerre,' Lithograph, 246/300, signed in plate, numbered in pencil to margin and stamped 'Magritte Succession'(the sheet 44cm x 30cm (17.25in x 11.75in), unframed)
FÉLIX LABISSE (France, 1905- 1982)."La profanation des chênes", 1940.Gouache on paper.Signed in the lower left corner.Size: 35 x 44,5 cm; 53 x 63 cm (frame).French surrealist painter whom the surrealists have refused to recognise as one of their own. On the fringes of André Breton's movement, he was linked between 1947 and 1948, due to his friendship with Christian Dotremont, with the adventure of revolutionary surrealism. In the early 1940s, his work was recognised and supported by Robert Desnos, Paul Eluard, Philippe Soupault and Jacques Prévert. Patrick Waldberg devoted an important monograph to him in 1970. Labisse made his debut as a painter in 1922, under the protective wing of James Ensor. Together with his friend Henri Storck, he founded the "Galerie d'Art Moderne" and the "Club du Cinéma de Ostend". From 1932 he settled in Paris, where he became friends with Antonin Artaud, Jean-Louis Barrault and Robert Desnos, who dedicated a text to him. In 1935 he joined the group of Surrealists and met Paul Delvaux, Max Ernst, André Masson and René Magritte, as well as Jacques Prévert and Raymond Queneau. Mobilised in 1939 at the outbreak of the Second World War, he returned to Paris from the front in 1940 and became one of the leading artists among the young French painters. From 1943 he devoted himself entirely to painting and stage design. In 1947 he joined the group Surréalism Révolutionnaire, founded in Paris by Noel Arnaud and in Brussels by Christian Dotremont. The group, which did not last 18 months, sought to "reconcile the need for revolutionary action based on Marxism-Leninism and freedom of research and expression specific to surrealism". André Breton's condemnation of the group marked the first major split in Surrealism after World War II. In June 1951 he made the sets for the play "The Devil and the Good God" by Jean-Paul Sartre, staged by Louis Jouvet. During this time he spent his time between Paris and Knokke Le Zoute in Belgium. At the end of 1951, he moved to Neuilly-sur-Seine, near Paris, and continued to exhibit in France and the rest of Europe. In 1966 he was made a member of the Académie des Beaux-Arts and was buried in the Douai cemetery. Parallel to his career as a painter, Labisse pursued a career as a decorator for theatre, dance and opera. His early creations were influenced by Ensor and Flemish Expressionism. His mature work, under the sign of metamorphosis, such as the naked woman with the head of Leona de la Felicity to be loved (1943), explores the limits of fantasy, ritual, magic and eroticism. In 1964-1965, the first blue women appeared and contributed to his fame: The Impeccable Catechumen (1964), Maria d'Apparecida16 (1965), "Turquoise Bath" (1968). Today Labisse is represented in major national and international museums, such as the Centre Pompidou. In 1973, his paintings were shown in a retrospective exhibition at the Boijmans Van Beuningen Museum, Rotterdam.
Fluxus etc. Konvolut von ca. 30 Bänden, Kleinschriften, Künstlerbüchern, Ephemera zur Kunst der 1960er, 70er und 80er Jahre. Mit zahlreichen Abbildungen. Verschiedene Formate, Einbände und Verlage. 1955-1983.Enthält: Happenings (& Actions) U.S. Pop Art, Nouveau Realisme etc. Kalender 65. Düsseldorf 1965. - Eines von 300 Exemplaren. - Bindung defekt. - Electronic Art. Kalender 69. Düsseldorf 1969. - Eines von 500 Exemplaren. - Kalender-Rolle 1961. Mit zahlreichen Abb. 11,5 x 240 cm. Wuppertal 1961. - Mehrere Klebestellen, einige Abb. ausgeschnitten. - Al Hansen. A Primer of Happenings & Time/Space Art. New York, Something Else Press, 1965. - Daniel Spoerri. The Mythological Travels of a modern Sir John Mandeville. New York, Something Else Press, 1970. - Hans Arp. Unsern täglichen Traum ... Zürich 1955. - Der Löwe. Zwei Ausgaben. Nr. 7, April 1976 und Nr. 8, August 1976. - Rolf-Gunter Dienst. Pop Art. Wiesbaden 1965. - Joseph Beuys. Aus Berlin: Neues vom Kojoten. New York und Berlin, Ronald Feldman bzw. René Block, 1979. - Heinz Ohff. Pop und die Folgen. Visualisiert von Vostell. Düsseldorf 1968. - Dennis Oppenheim 1967-1971. Paris 1972. - Pierre Demarne. René Magritte. 1961 (Rhétorique No. 3). - Rhétorique No. 10. Oktober 1963. - La Monte Young und Marian Zazeela. Selected Writings. München 1969. - Claus Böhmler zeigt: Pinocchio. Ein lineares Programm. Köln, Gebr. König, 1969. - Claus Böhmler. Grant. Bildroman. 1969. - Joseph Kosuth. Function, Funzione, Funcion, Fonction, Fubnktion. Turin 1970. - Paolo Barrile. Il secondo libro di Messaggio Terra. Turin 1980. - An Anthology of Music etc. Köln 1959. - Lawrence Weiner. Innerhalb vorwärtsgerichteter Bewegung. Bremerhaven 1973. - Eines von 500 Exemplaren. - Nummer zwei (und:) drei. Köln (1971)-1972. - Hans Peter Riegel und Jörg Immendorff. FF bringts. München, Maximilian Verlag Sabine Knust, 1983. - Eduard Trier. Max Ernst. Recklinghausen 1959. - Andy Warhol. Katalog Ileana Sonnabend. Paris 1965. - Mit Einladungskarte. - Salvador Dalí. Le mythe tragique de l'Angélus de Millet. (Paris), J.-J. Pauvert, 1963. - Salvador Dalì. Ich und die Malerei. Zürich 1959. - Salvador Dalì. Da Da Dali mit Bildern von Werner Bokelberg. Bremen 1966. - Pascal Pia. Guillaume Apollinaire in Selbstzeugnissen und Bilddokumenten. Reinbek 1961. - Zwei T-Shirts, designed and tailored by Norbert Watts: eines simuliert einen nackten weiblichern Oberkörper, das andere einen Smoking mit schwarzer Schleife. - Alle Bände in gutem bis sehr gutem Zustand, meist mit Exlibris.
Vingtième siècle. Nouvelle série. Konvolut von 10 Bänden der Reihe. Mit sehr zahreichen Textabbildungen und zusammen 13 Orig.-Graphiken u. a. von Miró, Marc Chagall, Jean Arp und Marino Marini. 31,5 x 24,5 cm. Farbig illustrierte OPappbände (4; geringe Gebrauchsspuren) bzw. OBroschuren (6; geringe Gebrauchsspuren). Paris 1962-1966.Vorhanden sind: No. 18. 1962. Mit Orig.-Graphik von Vieira da Silva. - Umschlag vom Block gelöst. - No. 19. 1962. Mit Orig.-Graphik von Jean Arp. - No. 21. 1963. Mit 2 Orig.-Graphiken von Lam und Marino Marini. - No. 22. 1963. Mit 3 Orig.-Graphiken von René Magritte, Victor Brauner und César. - No. 23. 1964. Ohne Orig.-Graphik. - No. 24. 1964. Mit 2 Orig.-Graphiken von Hartung und Miró. - No. 25. 1965. Mit Orig.-Graphik von Estève. - No. 26. Mit 2 Orig.-Graphiken von Marc Chagall (doppelblattgroß) und Vieira da Silva. - No. 27. 1966. Ohne Orig.-Graphik. - No. 28. Mit gefalteter Orig.-Graphik von Miró. - Wohlerhalten.
RENÉ MAGRITTE 1898 - 1967 HOMME AU CHAPEAU MELON 1969 Radierung auf Velin mit Trockenstempel Gravure Original Atelier René Magritte. Posthume Edition. Mit Signaturstempel. Ex. H.C. Edition Georges Visat, Paris. 19,7 x 14,9 cm (28 x 22,5 cm). Kaplan/Baum 19. (Schwache Alters- und Montagespuren).
A TERRACOTTA RELIEF OF NANDI, GUPTA PERIODIndia, Uttar Pradesh, 6th century. Finely and heavily potted, the recumbent holy bull with the legs tucked in and head raised looking toward the upper corner, a neatly incised column capped with a fierce tiger head to the right.Provenance: The James and Marilynn Alsdorf Collection, Chicago, USA. Christie's New York, 21 September 2007, lot 232. An English private collection, acquired from the above. Over four decades, James and Marilynn Alsdorf assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miro, and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Married in 1952, James and Marilynn built a life centered on art, philanthropy and family. “My grandparents were the picture of elegance, and they had impeccable taste, but to their family they were known for their warmth, wit, and humor,” recalls Bridget Alsdorf, the couple's granddaughter.Published: Pratapaditya Pal, A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection, 1997, Chicago, p. 260, cat. 350.Exhibited: The Art Institute of Chicago, 2 August to 26 October 1997, A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection.Condition: Very good condition, commensurate with age. Extensive wear, some losses, small chips and nicks, minor bruises, structural cracks, encrustations.Weight: 8.4 kgDimensions: Length 35 cm
Full title: RenŽ Magritte (1898-1967, after): 'La reconnaissance infinie', lithograph in colours, ed. 84/275, dated 2010Description: Work: ca. 46,4 x 38 cmÊ Frame: 87,7 x 74,8 cmThe lithograph based on the painting 'La reconnaissance infinie' by Rene Magritte and edited by Philippe Moreno, with the autorisation and under control of the ADAGP, representing 'La Succession Magritte' (see also the stamps in the left and right bottom corner).Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: RenŽ Magritte (1898-1967, after): 'Lithographies V', twenty lithographs in colours, dated 2010Description: Work: ca. 46,5 x 38 cmThe 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 stamps in the left and right bottom 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.Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Guillaume Corneille van Beverloo (Corneille, 1922-2010): 'En pensant ˆ Magritte', mixed media on paper, dated (19)74Description: Work: ca. 27,5 x 22 cmÊ Frame: 47,8 x 41,5 cmRef.:Ê - 'Corneille. Het complete grafische werk, 1948-1975', Amsterdam, 1992, p. 284, n° 379.Our work is the original for the laterserigraphfor the book 'Journal de la Tour' (1975).Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
ANDRÉ BRETON (1896-1966)Minuit juste carved wood and garter belt84.6cm (33 5/16in). highExecuted in 1959Footnotes:ProvenanceAndré Breton Collection; his sale, Calmels Cohen, Paris, 15 April 2003, lot 4135.Private collection, Paris (acquired at the above sale).ExhibitedParis, Galerie Daniel Cordier, EROS, Exposition Internationale du Surréalisme, December 1959 – January 1960. Frankfurt, Schirn Kunsthalle, Surreal Objects, Three-Dimensional Works from Dalí to Man Ray, 11 February – 29 May 2012, no. 3.Halmstad, Mjellby konstmuseum, Surrealistiska ting, Surreal objects, 16 June - 30 September 2012.What one hides is worth neither more nor less than what one finds.-André Breton, Le Surréalisme et la peinture, 1928.Seeking magic in the everyday, André Breton transformed ordinary objects into pathways between the physical world and the imagination. Today's art-consuming society is well familiar with objects lacking discernible meanings or narratives, that are found, combined and metamorphosed into mysterious, humorous and erotic enigmas. But it was Breton and his band of Surrealists that forged the conceptual and creative foundations for this timeless gesture of art. Minuit juste (also titled 'The stroke of midnight') stands as a waystone upon the shifting crossroads of art history, linking Dadaism and Surrealism with Conceptualism, Abstract Expressionism, Fluxus, and the artists of today.Objects were the quintessence of Breton's Surrealist dogma. His second Manifesto of Surrealism (1929) built upon the 'pure psychic automatism' of his first manifesto (1924), calling on Surrealists to access the inner recesses of the subconscious via the 'mystique of the object'. By stripping objects of their regular functions and placing them into surprising contexts, objets surrealists could spark an explosive reaction between reason and intuition, releasing the mind from the constraints of reality. With this, the Surrealists – among them Man Ray, Méret Oppenheim and Joan Miró – applied the Surrealist ethics of combination, alienation and metamorphosis to a dazzling array of objects. Their mantra was the poet Isidore Ducasse's (Comte de Lautréamont) oft-cited simile: 'as beautiful as an accidental encounter between a sewing machine and an umbrella on a dissecting table.' The resulting assemblages sought, in the words of René Magritte, to 'make everyday objects shriek out loud', achieving comical, erotic or gruesome subtexts. Breton preferred the term 'object' over 'sculpture', as the former evokes not just a physical entity but also an 'objective', while the latter seemed overburdened with outmoded notions of beauty and authorship. Marcel Duchamp's readymades directly influenced this Surrealist subgenre. In revolutionary acts of 'non-art', Duchamp selected mass produced objects, inscribing them with artistic signatures and elevating them to the status of art. The project began with his Bottle Rack (1915) and culminated in the iconic Fountain (1917), a commercially manufactured urinal signed 'R. Mutt.' Duchamp's subsequent 'assisted readymades' juxtaposed multiple banal objects in seemingly random yet carefully orchestrated tableaux. His goal, which transformed the course of twentieth century art, was to deconstruct core notions of art, talent and genius. Breton echoed this with his use of objets trouvés, whose forgotten lives miniaturised the drama of modern Paris and evoked fragmented narratives. These were incorporated into his poèmes-objets, two-dimensional and three-dimensional collages that united the poetic and the visual in destabilising fusions of fantasy and reality.The present work stands as such a juxtaposition. A log of dense hardwood has been directly carved with aggressive motions, exhibiting a rough-hewn, dappled surface revealing its natural properties. The resulting phallic totem emanates a raw, lustful impulse, inviting a tactile response (as signalled by the work's innuendo-laden title). Indeed, the apparently discarded ladies' garters punctuate the otherwise minimal composition with whispers of an erotic backstory. Ironically delicate and submissive, the criss-crossed garters both temper and rupture the bombastic phallus, the nails with which they are attached generating a perverse crucifix. Breton's poem-object therefore forms a variegated mise-en-scène with gruesome, comical and erotic connotations. With its grotesque religiosity, the present work evokes the Surrealist notion that objects can possess certain magical and talismanic powers. Minute juste additionally incorporates Breton's approach of organic abstraction, which fuses modern material goods (the garters) with wider forces of nature (the unfinished hardwood). Breton's direct wood carving builds upon the materials and methods of the indigenous Pacific Island, African and North American creators he revered. The present work's verticality and stature evokes the gravitas of the totem poles which formed part of Breton's Wunderkammer-atelier. Breton's diverse trove of treasures reflected not only his rebellion against the Western world's cultural imperialism, but also his reverence toward a collective ideal of creativity – one inextricably linked with magic and mythology. Across Pacific cultures, for instance, carving is treasured not just for its aesthetic and practical uses, but also for its spiritual significance and connection to one's divine ancestors. Having published L'Art magique (1957) two years before the present work, Breton was then subsumed with the notion of 'magic', positing that objects become magical when their meanings and associations transcended their formal properties. By juxtaposing a timeless mode of magic with a readymade object, Breton generated in the present work an abstract archaeology of the everyday.Indeed, Breton's art-making practice was indistinguishable from his collecting practice. The trinkets he trawled for in the Parisian flea market of Saint-Ouen were as significant to Breton as his connoisseurship of fine art and ethnographic objects. In his wanderings, he crafted his own semi-mythologised artistic persona, merging two popular archetypes of Modern Paris, the first being the Chiffoniers (ragpickers) who were frequently portrayed in artworks, cartoons and songs, sifted through the debris of modern Paris, identifying reusable materials and objects for resale in the flea market. The second was the flaneur of Charles Baudelaire's writings, a marginalised character who merged with the urban landscape and observed the frenetic and fragmentary realities of Modern society. Enhancing these identities with instincts of automatism and objective chance, Breton utilised the flea market as an urban studio, seeking shock and awe in the everyday. He would select indeterminate objects that provoked the imagination in some way, later assembling them with disparate companions in order to reveal surprising networks of association. For Breton, the random occurrences he experienced with such objects were creative activities in themselves. In Le Surréalisme et la peinture, he opined: 'Every piece of flotsam and jetsam within our grasp should be considered a precipitate of our desire' (p. 283). The discarded garters in the present work stand as a relic of such wanderings, a symbol of desire, and a conduit to the subconscious.The present work was conceived for the 1959 Exposition inteRnatiOnale du Surréalisme ('EROS') – its Dada underpinnings marked by its playful typograp... 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
JOHN TUNNARD A.R.A. (1900-1971)Flurry signed, numbered and dated 'John Tunnard/F4/63' (lower left); signed, titled, numbered and dated 'Flurry/F4/1963/John Tunnard' (on the reverse)gouache on paper38.1 x 55.9cm (15 x 22in).together with three further works (all unframed) (4)Executed in 1963Footnotes:ProvenanceThe artist's collection.McRoberts & Tunnard, London.Tunnard Estate.Entwistle, London.Private collection, UK.ExhibitedLondon, Royal Academy of Arts, John Tunnard 1900-1971, 6 March - 11 April 1977, no. 69 (later travelled to Cambridge, Kettering, Manchester, Newcastle-upon-Tyne, Penzance).LiteratureExh. cat., London, Arts Council, John Tunnard 1900-1971, 1977, no. 69, p.35 (illustrated).A. Peat & B. Whitton, John Tunnard; His Life and Work, Aldershot, 1997, p. 198.John Tunnard began his artistic career as a designer in the Manchester textile industry and this is likely where he first began to experiment with abstraction and geometry in his work and designs. By the late 1920s, he took up painting in earnest and started exhibiting works with the London Group, whose primary aim was to advance public awareness of contemporary visual art. As his output matured and became more and more avant-garde in its approach, his paintings maintained an organic quality, reflecting his interest in natural history and the Cornish coastline where he lived most of his life. Although proficient in many mediums, Tunnard favoured gouache which he used throughout his career with excellent and varied effect, being well-suited to his modernist style. Tunnard was an advocate of Surrealism in Britain, encouraged perhaps by his interest in experimental techniques and imaginative imagery. Although never formally a member of the movement, Tunnard participated in a number of key group exhibitions in the 1930s, including Surrealism, held in 1939 at Gordon Fraser Gallery in Cambridge, which featured works by Ernst, Klee, Magritte, Miró and others.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 rêve traversé signed and dated 'Mariën 1969' (lower left, within the box)assemblage in the artist's box15 x 16.4 x 7.4cm (5 7/8 x 6 7/16 x 2 15/16in).Executed in May 1969Footnotes:ProvenancePrivate collection, Italy (a gift from the artist in the late 1960s).Thence by descent to the present owner.Literature'Le surréalisme au-delà des alternances', in Clés pour le spectacle, no. 18, February 1972 (illustrated on the front cover & p. 21).M. Mariën, 'To the unhappy few', in Les Lèvres Nues, no. 21, May 1969 (illustrated).M. Mariën, Trattato della pittura ad olio e aceto, Milan, 1972 (illustrated p. 21).M. Mariën, Crystal Blinkers, Sidmouth, 1973 (illustrated p. 28).X. Canonne, A. Nounckele, C. Sohie & J. Waseige, Marcel Mariën catalogue raisonné, online catalogue, no. MM-O-288 (illustrated).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 - the youngest member at only 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: * 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
MAYO (ANTOINE MALLIARAKIS) (1905-1990)Invitation à la valse signed 'Mayo' (lower right); signed, inscribed and numbered 'A138 Invitation à la valse Mayo Rome' (on the reverse)oil on canvas55 x 46cm (21 5/8 x 18 1/8in).Painted in Rome in 1972Footnotes:ProvenanceGalleria Annunciata, Milan.Private collection, Milan.ExhibitedMilan, Galleria Annunciata, Mayo, 15 November – 4 December 1972, no. 39.Athens, Institut Français de Grèce, Mayo, 1983.LiteratureE. Yeatman-Eiffel, Antoine Malliarakis, dit Mayo, Venice, 2012 (illustrated p. 268).Antoine Malliarakis was born in Egypt in 1905 to a Greek father who worked as an engineer for the Suez Canal Company, and a French mother. He moved to France in 1914 and studied architecture in Paris, before being accepted at the École des Beaux-Arts in 1924. He frequented Parisian avant-garde circles and attended the Surrealists' meetings from 1924, where he met André Breton, Max Ernst, René Magritte and Yves Tanguy. He first exhibited alongside De Chirico, at the Galerie des Quatre Chemins in 1929, and also made a living as a costume and set designer. The present paintings are emblematic of his Surrealist work. Focusing on the human figure, Mayo explored the communion between beings and nature. Depicting volumes and depths through a masterful and bold use of colour, Mayo painted mosaics composed of fragments and reflections taken from nature and the human body. Playing with anthropomorphic cut-outs, these paintings give freedom to the mind's perception and invite the viewer to explore the dual nature of the world. Mayo's oeuvre is gaining increased recognition from major museums in the world, and his work is included in the current exhibition organised by Tate Modern in London and The Metropolitan Museum of Art in New York. Entitled Surrealism Beyond Borders, this exhibition explores the internationalism of the Surrealist movement beyond its Parisian epicentre and foregrounds artists who were historically overlooked because they were on the wrong side of the map.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
FÉLIX LABISSE (France, 1905- 1982)."La profanation des chênes", 1940.Gouache on paper.Signed in the lower left corner.Size: 35 x 44,5 cm; 53 x 63 cm (frame).French surrealist painter whom the surrealists have refused to recognise as one of their own. On the fringes of André Breton's movement, he was linked between 1947 and 1948, due to his friendship with Christian Dotremont, with the adventure of revolutionary surrealism. In the early 1940s, his work was recognised and supported by Robert Desnos, Paul Eluard, Philippe Soupault and Jacques Prévert. Patrick Waldberg devoted an important monograph to him in 1970. Labisse made his debut as a painter in 1922, under the protective wing of James Ensor. Together with his friend Henri Storck, he founded the "Galerie d'Art Moderne" and the "Club du Cinéma de Ostend". From 1932 he settled in Paris, where he became friends with Antonin Artaud, Jean-Louis Barrault and Robert Desnos, who dedicated a text to him. In 1935 he joined the group of Surrealists and met Paul Delvaux, Max Ernst, André Masson and René Magritte, as well as Jacques Prévert and Raymond Queneau. Mobilised in 1939 at the outbreak of the Second World War, he returned to Paris from the front in 1940 and became one of the leading artists among the young French painters. From 1943 he devoted himself entirely to painting and stage design. In 1947 he joined the group Surréalism Révolutionnaire, founded in Paris by Noel Arnaud and in Brussels by Christian Dotremont. The group, which did not last 18 months, sought to "reconcile the need for revolutionary action based on Marxism-Leninism and freedom of research and expression specific to surrealism". André Breton's condemnation of the group marked the first major split in Surrealism after World War II. In June 1951 he made the sets for the play "The Devil and the Good God" by Jean-Paul Sartre, staged by Louis Jouvet. During this time he spent his time between Paris and Knokke Le Zoute in Belgium. At the end of 1951, he moved to Neuilly-sur-Seine, near Paris, and continued to exhibit in France and the rest of Europe. In 1966 he was made a member of the Académie des Beaux-Arts and was buried in the Douai cemetery. Parallel to his career as a painter, Labisse pursued a career as a decorator for theatre, dance and opera. His early creations were influenced by Ensor and Flemish Expressionism. His mature work, under the sign of metamorphosis, such as the naked woman with the head of Leona de la Felicity to be loved (1943), explores the limits of fantasy, ritual, magic and eroticism. In 1964-1965, the first blue women appeared and contributed to his fame: The Impeccable Catechumen (1964), Maria d'Apparecida16 (1965), "Turquoise Bath" (1968). Today Labisse is represented in major national and international museums, such as the Centre Pompidou. In 1973, his paintings were shown in a retrospective exhibition at the Boijmans Van Beuningen Museum, Rotterdam.
René Magritte ( 1898 – 1967 ) Lithograph after the painting 'La valse hesitation' ( 1950 ) Numbered 144/275. With the studio stamp / stamp of the Succession / and initials of Charly Herscovice. Lithografie naar het schilderij ‘ La valse hésitation‘ ( 1950 ) Genummerd 144/275. Voorzien van de Atelierstempel / stempel van de Succession / en paraf van Charly Herscovice. 37.5 x 47.5 cm
René MAGRITTE (1898-1967) Lithograph 'Le chef d’œuvre ou les mystères de l’horizon‘ ( 1965) Numbered 144/275 Lithografie ‘Le chef d’œuvre ou les mystères de l’horizon‘ ( 1965) Genummerd 144/275 38 x 49 cm With dry stamp of ADAGP and the Succession Magritte as well as the initials of Charly Herscovice Met droogsptempel van ADAGP en van de Succession Magritte alsook de paraf van Charly Herscovice
René MAGRITTE (1898-1967) Lithograph 'La corde sensible' (1960) Numbered 144/275 Lithografie ‘ La corde sensible ‘ ( 1960 ) Genummerd 144/275 38 x 48.5 cm With dry stamp of ADAGP and the Succession Magritte as well as the initials of Charly Herscovice Met droogsptempel van ADAGP en van de Succession Magritte alsook de paraf van Charly Herscovice
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