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Titled "Bell Jar", lithograph numbered 24/25, surreal landscape with a timepiece. Signed and dated in margin: Arona/81. Overall size: 16 x 14 1/4 in. Sight size: 8 1/2 x 8 in. Arona Reiner was born in Boston in 1940 and raised on a kibbutz in Israel. She had her first one-woman showing in 1972 in Jerusalem which established her reputation instantly as one of the best of Israel’s surrealist painters. Her paintings follow the European tradition of Dali and Magritte. Compositionally, they present unusual juxtapositions of still life and figurative elements.

After RENE MAGRITTE (1898-1967) Belgium, The Rape, a patinated bronze. 37 cm high.

René Magritte (1898-1967) Lithography after the painting 'Le maître d'école' numbered 192/275 with jutification Lithografie naar het schilderij 'Le maître décole'. genummerd 192/275 met justificatie. 60 x 45 cm

René Magritte (1898-1967) Lithography after the painting 'La grande famille' numbered 186/275 with jutification Lithografie naar het schilderij 'La grande famille'. Genummerd 186/275 met justificatie. 60 x 45 cm

René Magritte (1898-1967) Lithograph 282/300. Signed in pencil. with dry stamp succession Magritte Lithografie 282/300. Met potlood gesigneerd. met droogstempel successie Magritte 51.5 x 39 cm

René Magritte (1898-1967) Lithograph after the painting 'Ceci n'est pas une pomme' Numbered 54/275, signed in pencil. Justification on the back Litho naar het schilderij 'Ceci n'est pas une pomme' Genummerd 54/275, gesigneerd in potlood. Justificatie op de achterkant 52 x 35 cm

René Magritte (1898-1967) Lithograph aftre the painting 'Un peu d'âme des bandits' numbered 54/275. Signed in pencil. Justification on the back Lithografie na het schilderij 'Un peu d'âme des bandits' genummerd 54/275. Met potlood gesigneerd. Justificatie op de achterkant 49 x 38.5 cm

René Magritte (1898-1967) Lithograph La voix du sang numbered 126/300. stamp succesion Magritte With justification du tirage (back) Lithografie 'La voix du sang'. genummerd 126/300 met stempel successie Magritte Met justificatie. 66 x 50 cm

René Magritte (1898-1967) Lithograph Le printemps 95/300. Signed in the plate. Stamp Succesion Magritte Justification de tirage (back) Lithografie 'Le printemps' 95 / 300. Gesigneerd in de plaat met stempel successie Magritte. Met justificatie. 50 x 61 cm

René Magritte (1898-1967) Lithograph after the painting 'Le grand style' numbered 279/300. Signed in the plate. Justification on the back. Litho naar het schilderij 'Le grand style' genummerd 279/300 en gesigneerd in de plaat. Met justificatie op de achterzijde. 66.5 x 49.5 cm

RENÉ MAGRITTE (1898-1967)La chambre d'Ecoute signed 'Magritte' (lower right)pen and black ink on paper15.5 x 20.8cm (6 1/8 x 8 3/16in).Footnotes:The authenticity of this work has kindly been confirmed by the Comité Magritte.ProvenanceLouis K. Meisel Gallery, New York, no. 6701. Private collection, US (a gift from the above in December 2009).La chambre d'Ecoute celebrates one of Magritte's most famous motifs, the apple, which was oft repeated in playful yet unsettling compositions. Illustrating the artist's virtuoso draughtsmanship, the present work shows the mature realisation of the artist's iconic style which was first ignited by his meeting key figures from the Surrealist movement in the 1920s.The twenties were a decade which sculpted the young Belgian into a prominent artist within the Surrealist group and helped carve his name into the annals of modern art history. A defining moment in the lead up to Magritte's visit to Paris in 1927 and involvement with the likes of Salvador Dalí and André Breton was an earlier encounter with Giorgio de Chirico's metaphysical masterpiece The Song of Love, in 1923. It was a profoundly moving experience for the artist, both emotionally and artistically, and the work of de Chirico was hugely influential for not only Magritte, but also a great number of the Surrealist artists. The work's inconsequential objects, its sinister architectural forms, vacuous passageways and a train that flicks past just out of sight, conjures feelings of both the absurd and the ominous. The presence of absurdity coupled with the quietly disconcerting is a common element of the Surrealist output, although it was by no means of their sole invention. The group had in fact found this common ground within the prose-poem Les Chants de Maldoror (1868-1869) by the Comte de Lautréamont. Having existed in something of obscurity at the time of publishing, this piece of transgressive literature was rediscovered by the Surrealists, who found mutual sentiment in the verse's themes of violence and the absurd. The piece also captured one of the most important principles of the Surrealist aesthetic: to challenge the observer's preconceived and preconditioned perception of reality through the juxtaposition of two entirely foreign realities.This principle is most evidently revealed in the biomorphic abstraction that was so prevalent with the Surrealists through the late 1920s, in particular in the work of the Joan Miró and Jean (Hans) Arp (see lot 45). From the Greek words for life, 'bios', and form, 'morphe', the abstracted imagery adopted by these artists presented a world of bulbous, enticing, sexually-charged forms that were simultaneously totally alien to the viewer whilst maintaining a presence of uncanny familiarity. In contrast, Magritte's figurative creations challenged the real world through a naturalistic and highly detailed depiction of ordinary objects suspended in everyday settings, juxtaposed in an entirely illogical manner, often transposing the monumental into the seemingly mundane or vice versa: 'In view of my determination to make the most familiar objects scream aloud, these had to be disposed in a new order and to be charged with a vibrant significance' (R. Magritte quoted in P. Waldberg, René Magritte, Brussels, 1965, p. 116).It is from this methodology that Magritte's use of the motif is so entirely important whilst, in a most satirically Magritte-ian way, remaining utterly irrelevant. His works are characterized by a series of these motifs – apples, curtains, bowler hatted men, birds, objects in flames, and more – which he endlessly arranges and re-arranges within varying settings whilst the viewer struggles to find meaning and theory in his image. His most iconic and successful subjects challenge the viewer. They challenge the viewer to find and define reason, clarity and meaning in the work, to question their idea of what is real and what is not.In addition to his use of motifs, Magritte used the titles of his works to divert and test the thought process of his viewers, subverting their expectations by assigning descriptions that bore almost no relevance to the depicted scene. In his own words, 'the titles are meant as an extra protection to counter any attempt to reduce poetry to a pointless game' (R. Magritte quoted in D. Sylvester (ed.), René Magritte, catalogue raisonné, Vol. V, Supplément, London, 1997, p. 20). La chambre d'Ecoute presents the viewer with the iconic, orb-like apple hanging seemingly unaided within a room. Immediately we must question which object is 'real'; is it the apple that is oversized, or is the room extremely small? Of course, our questioning is futile, for the presence of either must discredit the reality of the situation entirely and regardless, the artist has led us into an endless loop of unanswerable uncertainty. Aside from probing the viewer's constructs of reality, Magritte prompts us to question what we are not seeing, to question that which is hidden within. Objects in his works are often partially concealed, as in the 1964 Son of Man, so the viewer can deduce that the apple here may well be concealing something – or indeed nothing at all. It is a somewhat Schrödinger's cat-like situation; the potentially hidden presence is both simultaneously present and absent. It is another characteristic of the quietly ominous.Whilst it is easy to attribute the playful, potentially Machiavellian nature of this to nothing more than toying with his viewership, a more disturbing explanation for Magritte's use of the everyday object to obscure can be found in his childhood memories of his mentally ill mother. As a young boy he would sit for long periods of time locked in her room until after several attempts she eventually escaped and took her own life in the River Sambre in 1912. The claustrophobic nature of the expanded apple sucking the space from the room in the present work could certainly be linked to this experience, as the artist attempts to eliminate what was once his normality with an alternate reality, leading us also to question what, or who, is hidden behind the apple.As a study for two seminal paintings from 1952 and 1958 titled La chambre d'écoute, or The Listening Room, the present work sits firmly within Magritte's seminal mature period and its importance as a study for one his most recognisable works cannot be understated, with both finished paintings now residing in public collections in the US and Switzerland.The nature of Magritte's studies for his paintings offers the viewer an intimate insight into the bubbling mind of this Surrealist master like no other. Whilst the present work appears to be a study for the aforementioned paintings, we are immediately drawn to the highly finished nature of the draughtsmanship and the considered ink line, which, coupled with the artist's signature in the lower right corner, offers an elevated position for the work and almost allows it to be placed within The Listening Room series as a finished work in its own right.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

LEONOR FINI (1907-1996)Portraits de famille (Pale Sphinx: Winter) signed 'Leonor Fini' (lower right)decalcomania, watercolour, wash and pen and India ink on paper32.3 x 25.6cm (12 11/16 x 10 1/16in).Executed in 1949-1950Footnotes:The authenticity of this work has kindly been confirmed by Mr. Richard Overstreet.ProvenanceEdward James Collection; his sale, Christie's, New York, 6 October 1988, lot 43.Acquired at the above sale by the present owner.LiteratureM. Brion, Léonor Fini et son œuvre, Paris, 1955 (illustrated).C. Jelenski, Leonor Fini, Milan, 1963 (illustrated).R. Overstreet & N. Zukerman, Leonor Fini, Catalogue Raisonné of the Oil Paintings, Zurich, 2021 (illustrated p. 72).Portraits de famille (Pale Sphinx: Winter) belonged to one of Surrealism's most revered private collectors, Edward James. Born to a wealthy family, James used his inheritance to support the arts and literature, and is famously known for his patronage to Salvador Dalí and René Magritte. He met Leonor Fini in 1936 at a gathering hosted by Dalí, which was later followed by a visit from Fini to his West Dean estate in Sussex in 1948. The present work is part of a series of four works (Winter, Spring, Summer and Autumn) which Fini designed for her illustrated book Portraits de famille in 1950. James most likely acquired the group directly from the artist, and the works remained in the West Dean collection up until his death in 1984. The group eventually split up when they were offered at James' estate sale in 1988, where Pale Sphinx was acquired by the present owner.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

Brosche mit Magritte-Taube. ADAGP 1997

René Magritte (1898 - 1967) Etching aquatint in colors. In the plate René Magritte, ** L'Oeil **, 1968, (from: Le Lien de Paille), gen: E / A. - size height and width 36 X 27 cm - frame 70 X 65 cm

René Magritte (1898 - 1967) Etching aquatint signed. René Magritte, ** Le 16 September **, No. VIII / XXV. - size height and width 39 X 31 cm - frame 81 X 73 cm

René Magritte (1898 - 1967) Lithograph in the plate signed. René Magritte, ** La bouquet tout fait 1954 **, No. 75/300. - size height and width 38 X 31 cm - frame 73 X 63 cm

René Magritte (1898 - 1967) Lithograph signed in the René Magritte plate, ** The Battle of Argonne 1959 **, No. 75/300. - size height and width 33 X 38 cm - frame 66 X 73 cm

René Magritte (1898 - 1967) Lithograph signed in the René Magritte plate, ** La Page d´Agnés **, No. 186/300. - size height and width 70 X 57 cm - frame 105 X 89 cm

Magritte, René (1898 Lessines, Belgien - 1967 Brüssel) - "La Folie des Grandeurs II", 1948/49, Farblithographie auf BFK Rives Papier, nach dem gleichnamigen Ölgemälde, unten links nummeriert 125/300, von Magrittes Nachlassverwalter Charly Herscovici signiert, rechts Prägestempel "Succession Magritte" und Drucksignatur "Magritte", links Prägestempel "ADAGP", Plattenmaße ca.60,5x50cm, Blattgröße ca.78x58cm, im Passepartout freigestellt und unter Glas gerahmt, Gesamtmaße ca.98x77cm

MAGRITTE, RENÉBlue Box. Deluxe-Ausgabe. Ausstellungskatalog "Magritte" der Galerie National du Jeu de Paume in Paris, hrsg. von Daniel Abadie. Paris: Ed. Jeu de Paume und Amsterdam/Gent: Ludion 2003. 27 x 22 cm (Katalog) und 37 x 30 cm (Kassette). Mit 3 Portfoliobeigaben mit Reproduktionen: 3 hs. nummerierte Radierungen auf Rivers-Papier mit Blindstempel, 5 Farbdrucke auf Leinen (von ca. 28 x 17 bis 25 x 32 cm); 16 Reproduktionen auf 4 Blatt selbstklebendem Papier. Katalog mit zahlr. Farbabb. 303 SS. OrLn. mit illustr. Schutzumschlag und 4 illustr. kartonierte Portfoliomappen zusammen in OrHMaroquinKassette mit Trompe-l'oeil-Illustration hinter Plexiglas auf dem Deckel. OrHMaroquinSchuber. Ex. 492/950 (GA 1000). - Gutes Exemplar, aufwendig produziert.

After René Magritte (1898-1967), 'Le Beau Monde', together with another, limited edition lithographs, both signed in the plate, and both numbered 174/200 and inscribed 'Georgette Magritte' lower left, 73 x 52cm; together with Leonardo Cremonini (1925-2010) Canicule, aquatint, éprouve d'artiste, inscribed in pencil 'E. A.' lower left and signed lower right, dated 1971 to the reverse. Provenance: Galerie d'Art Moderne, Monte Carlo; and another aquatint by different hand, numbered in pencil in Roman numerals 'VI / XXV', signed in pencil lower right (4)

§ JAMES MCNAUGHT R.S.W., R.G.I. (SCOTTISH B.1948) WAITING FOR MAGRITTE Signed and dated April 2008, signed, inscribed and dated verso, watercolour and gouache(31cm x 67.5cm (12.25in x 26.5in))Footnote: Provenance: Ewan Mundy Fine Art

A WUCAI ‘HONEYSUCKLE’ DISH, YONGZHENG MARK AND PERIODChina, 1723-1735. The shallow rounded sides resting on a short foot. The interior delicately decorated in a wucai palette with stylized honeysuckles rendered in neatly arranged scrolls, all within an underglaze-blue double-circle repeated at the rim. The base inscribed in underglaze blue with the six-character reign mark da Qing Yongzheng nianzhi within a double-circle and of the period.Provenance: Robert Somerville Chinese Art, Chicago, 30 March 1956. The James and Marilynn Alsdorf Collection, Chicago, USA, acquired from the above (invoice not available). Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró 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. Condition: Excellent condition with minor wear and firing irregularities, two minute nicks to foot rim, expected light wear to enamels, a near-invisible glaze line to the exterior (inspected under strong blue light).Weight: 302.0 gDimensions: Diameter 21.3 cmThe exterior decorated with stylized honeysuckles picked out in three different forms, the flowers alternating with six stylized foliate scrolls,Literature comparison: A similar dish was included in the Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, National Palace Museum, Taipei, 1988, cat. no. 42.Auction result comparison: Compare with a closely related dish at Sotheby’s Hong Kong in Important Chinese Art on 6 April 2016, lot 3626, sold for HKD 300,000, and another at Sotheby’s Hong Kong in Marchant – Fifty Qing Imperial Porcelains on 11 July 2020, lot 3123, sold for HKD 275,000.雍正款和年代五彩忍冬紋盤 中國，1723-1735年。盤敞口，淺弧腹，下腹內斂，圈足。內外繪五彩忍冬紋，整體佈局規整，疏密有致，勾畫精細，色彩艷麗，寓意吉祥。圈足内青花雙圈六字款“大清雍正年制”。 來源：芝加哥Robert Somerville 中國藝術藝廊, 1956年3月30日。美國芝加哥James and Marilynn Alsdorf 收藏，購於上述藝廊，發票已遺失。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。 詹姆斯和瑪麗琳於1952年結婚，創造了以藝術、慈善事業和家庭為中心的生活。 他們的孫女布里奇特·阿爾斯多夫（Bridget Alsdorf）回憶說：“我的祖父母是優雅的體現，他們的品位無可挑剔，但對他們的家人而言，他們以熱情、機智和幽默而著稱。”圖片: James and Marilynn Alsdorf 1950年在邁阿密 品相：狀況極佳，有輕微磨損和燒制不規則現象，足部邊緣有兩処小刻痕，釉面會有輕微磨損，外壁釉面裂線幾乎看不見（在強藍光下檢查）。 重量：302.0克 尺寸：直徑21.3厘米 繪畫細膩工整，色彩艷麗，為清代官窯經典紋飾之一。忍冬紋，因為忍冬這種植物越冬而不死，所以被大量運用於佛教題材裝飾上，比作人的靈魂不滅、輪迴永生，後繪於官窯瓷器之上，被賦予多福多壽，長壽萬年之吉祥寓意。 文獻比較: 一件相近的盤子曾在臺北故宮博物院特展K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty ce Museum展出，臺北故宮博物院, 臺北, cat. no. 42. 拍賣結果比較：一件相似的盤子售于香港蘇富比 Important Chinese Art 拍場2016年4月 6日，lot 3626, 售價HKD 300,000；另一件售于香港蘇富比 Marchant – Fifty Qing Imperial Porcelains 拍場2020年7月 11日，lot 3123, 售價HKD 275,000。

A RARE GILT BRONZE ‘RECUMBENT HOUND’ WEIGHT, MING OR EARLY QINGChina, 1368-1700, most likely early 15th century. Shown with head raised and turned slightly to the right, with fine incision work detailing the hair on the neck, spine, tail, and legs. The small hound shows a calm, obedient expression with large eyes and both the tail and ears lowered, the legs elegantly placed on the underside.Provenance: The James and Marilynn Alsdorf Collection, Chicago, USA. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró 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: The Arts Club of Chicago, Chinese Art from the Collection of James W. and Marilynn Alsdorf, Chicago, 1970, B35, exhibited between 21 September and 13 November 1970.Condition: Good condition with wear to gilt and some minor surface scratches, few minuscule nicks, the right front paw with old repair, malachite-green encrustations here and there. Attractive natural patina.Weight: 151.7 gDimensions: Length 6 cmThis bronze weight is exceptional for the extraordinary quality of its gilding and the fine details. The animal’s relaxed pose is rendered in a highly naturalistic manner, in contrast to its exaggerated bulging eyes.Paperweights of this type originate from bronze mat weights made in the Western Han dynasty, although their popularity increased in the Tang period when bronze and jade versions were made in relatively large numbers. Small animal sculptures such as the present were made from the early Ming dynasty, due to a renewed interest in bronze wares for the scholar’s desk during the Xuande reign. Examples from this period, however, are very rare, and no other paperweight of this form and design appears to have been published.Expert’s note: While bronze weights of this type were produced well into the Qing dynasty, the style and quality of casting and carving as well as the exceptional gilding clearly indicate an early fifteenth century date.Auction result comparison: Compare with a related bronze weight depicting a mythical beast offered by Sotheby’s New York in Important Chinese Art on 20 March 2019, lot 550, bought-in at an estimate of USD 60,000-80,000, and a gilt-bronze paperweight depicting a hound and bird offered by Sotheby’s Hong Kong in Scholarly Works from the Mary and George Block Collection on 23 October 2005, lot 63, bought-in at an estimate of HKD 350,000-400,000.明或清初罕見鎏金銅臥犬鎮紙 中國，1368-1700，更可能是十五世紀初。如圖所示，犬首抬起並稍微向右轉，頸部、脊柱、尾巴和腿部毛髮表現細緻生動。小獵犬神情鎮定，大眼睛、尾巴和耳朵低垂，腿優雅地放在了下側。 來源：美國芝加哥James and Marilynn Alsdorf 收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。 詹姆斯和瑪麗琳於1952年結婚，創造了以藝術、慈善事業和家庭為中心的生活。 他們的孫女布里奇特·阿爾斯多夫（Bridget Alsdorf）回憶說：“我的祖父母是優雅的體現，他們的品位無可挑剔，但對他們的家人而言，他們以熱情、機智和幽默而著稱。” 圖片：James and Marilynn Alsdorf，攝於1950邁阿密 出版: The Arts Club of Chicago, Chinese Art from the Collection of James W. and Marilynn Alsdorf, Chicago, 1970, B35, exhibited between 21 September and 13 November 1970. 品相：狀況良好，鎏金磨損，一些輕微的表面划痕，極少的微小划痕，右前爪舊時經過修復，多處銅綠色結殼，天然銅綠包漿。 重量：151.7 克 尺寸：長6 厘米 專家注釋：這種類型的鎏金銅鎮紙在清代就很流行了，但其鑄造和雕刻的風格與質量以及出色的鍍金清楚地表明了十五世紀初風格特徵。 拍賣結果比較：一件相近的青銅獸形鎮紙曾見於紐約蘇富比Important Chinese Art拍場，2019年3月20日，lot 550, 估價USD 60,000-80,000；另一件鎏金銅犬與鳥的鎮紙見於香港蘇富比Scholarly Works from the Mary and George Block Collection拍場，2005年10月23日，lot 63，估價HKD 350,000-400,000.

A GILT-BRONZE AND CLOISONNE ENAMEL STUPA, QIANLONGChina, 1736-1795. The domed cloisonne section bears a miniature door surrounded by flames and a stepped finial surmounted by sun and moon symbols. All supported by a waisted pedestal with a band of Buddhist lion masks in relief and a votive plaque with a neatly incised depiction of Buddha.Provenance: The James and Marilynn Alsdorf Collection, Chicago, USA. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró 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. Condition: Excellent condition. The base plate is original with minimal remnants of old glue visible at the edges. Minuscule chip to the enamel near the mandorla and some firing flaws. The gilding on plinth and base is extensively worn. Expected minor dents and nicks.Weight: 409 g Dimensions: Height 13.5 cmThe stupa is raised on two stepped square bases with incised lappet bands and cloud scrolls, separated by a group of rectangular reliefs with gilt Buddhist lions.A stupa is a hemispherical structure containing relics such as sarira, the remains of Buddhist monks or nuns, that is used as a place of meditation. Note that when shaken, a sound from loose objects hidden inside the present stupa is clearly audible. A related architectural term is a chaitya, which is a prayer hall or temple containing a stupa. In Buddhism, circumambulation or pradakhshina has been an important ritual and devotional practice since the earliest times, and stupas always have a pradakhshina path around them. Auction result comparison: Compare with a closely related cloisonne stupa from the same period at Sotheby's Paris in Arts d'Asie, 18 December 2012, lot 45, sold for EUR 15,000.乾隆鎏金銅掐絲琺琅佛塔 中國，1736-1795。塔身施藍色琺琅釉地，一側有火焰包圍的歡門，十三相輪有太陽和月亮符號。塔座呈四方形，上有浮雕佛獅和帶有雕刻精美的佛像刻畫的奉獻牌匾。 來源：美國芝加哥James and Marilynn Alsdorf 收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。 詹姆斯和瑪麗琳於1952年結婚，創造了以藝術、慈善事業和家庭為中心的生活。 他們的孫女布里奇特·阿爾斯多夫（Bridget Alsdorf）回憶說：“我的祖父母是優雅的體現，他們的品位無可挑剔，但對他們的家人而言，他們以熱情、機智和幽默而著稱。”圖片：James and Marilynn Alsdorf, 1950年在邁阿密 品相：良好狀況，底板是原始的，在邊緣可見少量舊膠。 曼陀羅附近的釉面有微細磕損。底座上的鎏金已廣泛磨損。小凹痕和刻痕。 重量：409克 尺寸：高13.5 厘米 此塔屬供養塔，一般置於佛前供案上，以示觀想。該塔製作為分段燒製，後粘合而成。 拍賣結果比較：一件來自同一時期的相似景泰藍佛塔售于巴黎佳士得Arts d'Asie，2012年12月18日，lot 45，售價EUR 15,000.

AN IMPERIAL ‘DOUBLE DRAGON’ SPINACH-GREEN JADE SEAL, THE SEAL FACE INSCRIBED IN MANCHU AND CHINESEChina, 18th century. Of large and massive square form, surmounted by a superbly articulated pair of addorsed dragons, each powerfully depicted with eyes bulging and nostrils flaring above curling whiskers and jaws bearing sharp fangs, the scales and flowing mane meticulously incised, the bodies tightly intertwined and crouching on the haunches.The seal face inscription: ‘Jiangning fudu Chenghuang zhi yin’ (‘The seal of Chenghuang in the Capital of Jiangning’), written in both Manchu and Chinese. Chenghuang, god of the boundaries, is an important deity in China who protects the local people and affairs of a village, town, or capital, both in life and death.The inscriptions incised to the sides, added in 1878: ‘Zhuchi Xianding li’ (consecrated by abbot Xianding), ‘Puren Juntong Ye Wenquan kan’ (amended by Ye Wenquan of Pu region) and ‘Guangxu san'nian zao’ (in the third year of the Guangxu reign). Ye Wenquan was an official during the Guangxu period, from Jiangsu province, who passed the imperial examination in 1890. Provenance: Nicholas Grindley, Inc., Asian Works of Art, New York, 28 September 1982 (label to side). The James and Marilynn Alsdorf Collection, Chicago, USA, acquired from the above. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Nicholas Grindley (born 1951) is a well-known dealer and scholar of Chinese art. Since 1998 he has published two catalogs a year, and exhibited in London, New York and Hong Kong. Many works from these exhibitions are in museums and important private collections throughout the world.Condition: Good condition with old wear, some nicks and nibbling to edges and corners, the stone with natural flaws, fissures and inclusions. Fine patina.Weight: 1,678 g Dimensions: Height 8.8 cm, Width 10.1 cmThe present seal illustrates the mastery of Imperial jade craftsmanship during the Qing Dynasty, and especially the Qianlong period. It appears to be one of the better-preserved examples of Imperial lapidary work from the 18th century and is notable for its high-quality jade of pure dark green color, vigorous rendering of the dragons, and inscriptions to the sides added during the Guangxu period. Large top-quality jade stones such as in the present example were not readily available during the later Qing dynasty. For this reason, seals inherited by emperors after 1850 were sometimes re-purposed and provided with additional inscriptions on various occasions. The fine material, the fullness of the crouching body, the three-dimensionality in the facial features, and the intricately carved scales set the present seal clearly apart from the characteristic stiffness of typical Guangxu seals (see literature comparison further down below for two such seals). It is therefore concluded that despite the incised inscriptions to the top sides being dated 1878, the seal itself is from an earlier date – the Qianlong period. As opposed to the present lot, Imperial seals belonging to the Guangxu court and related officials, carved at the time, typically are of a lesser material, already reflecting the financial constraints of the period. The limited availability of good-quality jade stone during these days is demonstrated by the use of serpentine and wood in the production of Imperial seals. Several 'double-dragon' seals belonging to the Dowager Empress Cixi and made of serpentine are known, see the example sold at Christie's Paris, 14 June 2006, lot 139 (see literature comparison further down below). The reign of the Guangxu Emperor was witness to one of the most disruptive periods in the 5000-year history of China, which eventually led to the demise of the entire Qing Dynasty Empire. Naturally, these hard times saw a significant decline in both the quality of artwork created and the quality of materials available to the workshops. Literature comparison: For typical seals carved during the Guangxu period, see a wooden double-dragon seal belonging to the Guangxu Emperor, sold at Sotheby's Paris, 11 June 2009, lot 233, and a green serpentine double-dragon seal belonging to the empress dowager Cixi, sold at Christies Paris, June 14 2006, lot 139. For a seal that is stylistically related to the present lot, but created for Emperor Qianlong’s eightieth birthday, see Sotheby’s London, 4 November 2009, lot 136.Auction result comparison: Compare the present seal with a related, but slightly larger double-dragon seal, also with an inscription in Manchu and Chinese, at Sotheby’s Hong Kong, Important Chinese Art, 7 October 2015, lot 3698, bought-in at an estimate of HKD 5,000,000-7,000,000. Also compare with a double-dragon seal from the 18th century, with the seal face re-carved during the Guangxu reign for the Empress Dowager Cixi, at Sotheby’s London, Fine Chinese Ceramics and Works of Art, 16 May 2012, lot 186, sold for GBP 313,250.御制碧玉滿漢文交龍鈕中國，十八世紀。印面呈方形，立體高浮雕交龍鈕，神龍挺胸，龍首微昂，圓目張吻，平視前方，豎角橫須，鬃發飛揚，凜然神威。龍身捲曲交纏而龍首相背，龍爪緊抓印面，龍脊微隆，軀幹遒勁，威猛張揚。龍身鱗片雕琢精細。印文：印文規整，刻工精湛，滿漢雙語，江寧福都城隍之印。款識：光緒三年造；主持賢定立 ；濮人俊同葉文銓刊。葉文銓，江蘇人， 1890年光緒時期進士。來源：紐約Nicholas Grindley 亞洲藝術藝廊，1982年9月28日 (可見標簽)。美國芝加哥James and Marilynn Alsdorf 收藏，購於上述收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。Nicholas Grindley 出生於1951，是知名中國藝術學者與商人。自1998 年起他出版了兩本畫冊並在倫敦、紐約和香港舉辦展覽。這個展覽裏的很多展品曾在全球重要博物館和私人收藏展出過。圖片：1950年James 與 Marilynn Alsdorf在邁阿密圖片：Nicholas Grindley品相：狀況良好，有舊磨損，輕微划痕，邊角磕損，玉石有天然裂縫和內含物。 良好的包漿。重量： 1,678 克尺寸：高8.8 厘米, 寬10.1 厘米這枚龍鈕碧玉章充分體現了清代對玉雕工藝的精通，並且似乎是該時期御用文物保存最完好的例子之一，純正的深綠色玉石，生動交龍紋以及兩側精湛的刻字。在本例子中，大型的優質玉石在19世紀後期並不容易獲得。 出於這個原因，有時會重新利用繼承的印章，並在各種場合增加額外的文字。 精美的材料，精湛的雕工，明顯不同於典型的光緒印章的特有硬度（請參閱下面的文獻比較，進一步了解這兩種印章 ）。 因此得出的結論是，儘管上面刻有切刻的銘文是1878年，但封印本身必須是較早的日期，乾隆時期。相反的是，光緒朝廷和官員的印章材料等級較次，反映了該時期的財務限制，因此優質玉石的供應有限。這可通過使用蛇紋石和木料來生產皇家印章的現象來佐證。 慈禧太后“雙龍”印章是眾所周知的，請參見巴黎佳士得於2006年6月14日139號拍出的示例（請參見下面的文獻比較）。文獻比較: 光緒時期的印章以光緒帝一件木製雙龍印售于巴黎蘇富比，2009年6月11日 lot 233；慈禧的蛇紋石雙龍印售于巴黎佳士得2006年6月14日 lot 139。一件乾隆八十歲閑章見倫敦蘇富比2009年11月 4日，lot 136。拍賣結果比較：一件相近但更大的滿漢文雙龍印見香港蘇富比 Important Chinese Art拍場2015年10月7日，lot 3698, 估價HKD 5,000,000-7,000,000。慈禧雙龍印見倫敦蘇富比 Fine Chinese Ceramics and Works of Art拍場2012年5月16日 lot 186, 售價GBP 313,250。

AFTER RENNIE MAGRITTE - AN UNFRAMED PEN AND INK MODERNIST HEAD STUDY

Assorted reproduction prints, to include after Picasso and Magritte; H Pennington - Pair of maritime etchings; and a Victorian portrait silhouette (8)Condition report: See extra images

§ JOHN BYRNE (SCOTTISH B.1940) CECI N’EST PAS UN AUTO-PORTRAIT, 2003 Signed lower right and inscribed with title, oil and mixed media(78cm x 72cm (30.75in x 28.25in))Footnote: Literature: This work was featured on the front cover of 'John Byrne: Art and Life', by Robert Hewison, published by Lund Humphries, 2011. Note: 'Ceci n'est pas un auto-portrait' is a significant work in Byrne's career, as reflected by its inclusion in the artist's retrospective at the Scottish National Portrait Gallery and the decision to feature it on the cover of the artist's monograph. The title makes a clear allusion to the famous work 'Ceci n'est pas une pipe' by the Belgian Surrealist master René Magritte, to whom this work is an homage. Byrne was an avid admirer of Magritte which often tells in the whimsical qualities and the quietly uncanny nature of his work. As well as resonating with the older artist's painting in a visual and ideological sense, Byrne also found comfort in the tales of Magritte's early difficulties finding his foothold in the art world. In 1967 when Byrne was in his late twenties, a struggling artist working as a carpet designer in a factory, he penned a letter of admiration to his hero, addressing it simply 'Margritte, Brussels' and dispatching it, probably with little hope, in the post. Extraordinarily, the letter found its way to Magritte, who touchingly took the time to write a supportive response which must have buoyed the young Byrne immensely. “Like you, I have known what it is like to work as a draughtsman in a factory, and I had to paint in the evenings and on Sunday. “ I think each of us has to get through these years of trial, without hope, and without despair. Life for me – now – is ‘easier’, but I know that there is nothing that can necessarily be learned.” Though there were no keys for the "secret of success" to be handed over, there was empathy and solidarity, and encouragement to keep forging on. In the portrait offered here, Byrne depicts himself with an intriguing look in his eyes. There is something at once wild and wise - a knowing nod to Magritte perhaps - that his words had been true and that the artist's road is a long, hard and strange one.

§ RENE MAGRITTE (FRENCH 1898-1967) LES BIJOUX INDISCRETS - 1963 Lithograph, signed and dated in plate, published by Mourlot, Paris(24cm x 31.5cm (9.5in x 12.5in), unframed)

A FAMILLE ROSE ‘MAGPIES’ GARDEN STOOL, QING DYNASTY China, 19th century. Of barrel form with a slightly convex top, centered by a pierced cash symbol, brightly enameled around the exterior with magpies perched on flowering wisteria issuing from rockwork, divided by two pairs of pierced double-cash symbols. Condition: Excellent condition with some old wear and firing imperfections. One of the small knobs lost. Provenance: From the personal collection of Alexander Iolas. Sold at Sotheby’s London in “Alexander Iolas” (a single owner sale), on 25 May 2017, lot 140. A private collector, acquired from the above. Alexander Iolas (1907- 1987) was a famous Greek art dealer and collector. He owned galleries in the United States and Europe and contributed to many highly important private and public art collections. Iolas was a personal friend of René Magritte, Jean Tinguely and Niki de Saint Phalle. Weight: 17.4 kg Dimensions: Height 45.5 cm Note the numerous raised knobs situated in two circumferential borders around the top and base. 粉彩陶瓷鼓凳, 清代 中國，十九世紀。鼓形，錢幣形孔，琺琅彩繪制牡丹紫荊花喜鵲紋。 品相：良好，一些舊磨損和燒製瑕疵，缺一小鼓釘。 來源：Alexander Iolas 私人收藏，現藏家為私人藏家，購於2017年5 月25日倫敦蘇富比Alexander Iolas收藏拍賣場，拍號140。Alexander Iolas (1907 – 1987) ，著名希臘藝術品商人及藏家，他曾在美國以及歐洲擁有藝廊，曾協助很多私人及公立重要藝術收藏，也是René Magritte, Jean Tinguely 與Niki de Saint Phalle的私友。 重量： 17.4 公斤 尺寸：高 45.5 厘米

Title: RenŽ Magritte (1898-1967, after): 'Le printemps', lithograph in colours, ed. 195/300, dated 2003Description: Work: 60,5 x 50,3 cmÊ Frame: 98,5 x 87,5 cmÊ Ê The lithograph based on the painting 'Le printemps' by René 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).Ê Ê

Magritte, René (1898 - 1967), nach Zwei Schwarzweiß-Fotografien (1x min. Randmangel). Je verso bez. und Stempel "Georgette Magritte Nachlass", einmalige Auflage für Griffelkunst 236, A5 un A6 Wahl, IV. Quartal 1984. Blattgröße ca. 40,2x 30,5 cm.

Magritte, René (1898 - 1967), nach Drei Schwarzweiß-Fotografien, dabei "Königin Semiramis (mit Blatt und Wasserglas), Belohnte Tugend (Mann rechts, Dorf links) und Wahrsagerinnen (3 Gesichter gucken auf den Tisch)". Je verso bez. und Stempel "Georgette Magritte Nachlass", einmalige Auflage für Griffelkunst 236, A3, 4, 6 Wahl, IV. Quartal 1984. Blattgröße ca. 40,2x 30,5 cm.

Magritte, René (1898 - 1967), nach Fünf Schwarzweiß-Fotografien, dabei "Die graue Eminenz (Magritte in Badehose), Liebe (Magritte malt seine Frau), Das Sterben der Phantome (Rückenfigur mit Hut), Der Schatten und sein Schatten (Halbfiguren, Magritte hinter seiner Frau) und Stelldichein (seine Frau mit 2 Vögeln)". Je verso bez. und Stempel "Georgette Magritte Nachlass", einmalige Auflage für Griffelkunst 237, B1, 2, 3, 5, 6 Wahl, I. Quartal 1984/5. Blattgröße ca. 40,2x 30,5 cm.

(See English version below)René Magritte (Lessines 1898 – 1967 Brüssel). Éloge de la dialectique. Um 1937Tuschfeder, stellenweise laviert, auf hellbraunem Papier. 23,8 × 17,7 cm ( 9 ⅜ × 7 in.). Unten rechts signiert: Magritte.[3041] Gerahmt. Provenienz: Privatsammlung, Berlin (vor 2002 bei Annely Juda, London, erworben)Addendum/Erratum: Wir danken dem Comité Magritte, Brüssel, für die Bestätigung der Authentizität der Zeichnung. Das Zertifikat wird uns in Kürze zugesandt.Wir berechnen auf den Hammerpreis 30% Aufgeld.René Magritte (Lessines 1898 – 1967 Brussels). Éloge de la dialectique. Circa 1937Pen and India ink, washed in places, on light brown paper. 23,8 × 17,7 cm ( 9 ⅜ × 7 in.). Signed lower right: Magritte.[3041] Framed. Provenance: Private Collection, Berlin (acquired before 2002 at Annely Juda, London)Addendum/Erratum: We would like to thank the Comité Magritte, Brussels, for kindly confirming the authenticity of the drawing. The certificate will be sent to us soon.We charge 30% premium on the hammerprice.

(See English version below)René Magritte (Lessines 1898 – 1967 Brüssel). „Le domaine enchanté“. 1953Gouache auf leichtem Karton. 12,7 × 24,8 cm (14 × 26,2 cm) ( 5 × 9 ¾ in. (5 ½ × 10 ⅜ in.)). Unten links signiert (verblasst): Magritte. Rückseitig oben mit Bleistift beschriftet: Appartient à Monsieur Laurent Fierens.Sylvester 1363. Die Farben etwas geblichen. [3041] Gerahmt. Provenienz: Laurent Fierens, Antwerpen / Klaus und Helga Hegewisch, Hamburg (1969) / Galerie Levy, Hamburg (1977) / Privatsammlung, Berlin (in der Galerie Levy, Hamburg, erworben)Wir berechnen auf den Hammerpreis 30% Aufgeld.René Magritte (Lessines 1898 – 1967 Brussels). ”Le domaine enchanté”. 1953Gouache on light cardboard. 12,7 × 24,8 cm (14 × 26,2 cm) ( 5 × 9 ¾ in. (5 ½ × 10 ⅜ in.)). Signed lower left (faded): Magritte. On the reverse at the top inscribed in pencil: Appartient à Monsieur Laurent Fierens..Sylvester 1363. The colours somewhat faded. [3041] Framed. Provenance: Laurent Fierens, Antwerp / Klaus and Helga Hegewisch, Hamburg (1969) / Galerie Levy, Hamburg (1977) / Private Collection, Berlin (acquired at Galerie Levy, Hamburg)We charge 30% premium on the hammerprice.

Modern Art.- Ollinger-Zinque (Gisele) & Frederik Leen. Magritte 1898-1967, Ghent, 1998 § Lloyd (J.) & Michael Peppiatt, editors. Christian Schad. Das Frühwerk 1915-1935: Gemälde, Zeichnungen, Schadographien, Munich, 2002 § Lee (Jane) Derain, Oxford & New York, 1990 § Cendrars (B.) & others. F.Leger, Basle, 1970 § Selz (Jean) Foujita, Naefels, 1981, illustrations, many colour, original cloth or boards with dust-jackets; and c.65 others on early-mid 20th century art, many catalogues, v.s. (c.70)

René Magritte (Lessines 1898 - Brüssel 1967) Königin Semiramis Silbergelatineabzug, 30,5 x 40,5 cm, verso Nachlass-Stempel Georgette Magritte sowie Griffelkunst-Stempel 1984, ungerahmt. - Belgischer Maler, einer der Hauptvertrteter des Surrealismus. M. studierte an der Brüsseler Akademie und malte zunächst impressionistisch. Durch einen befreundeten Kunsthändler wurde er in die Dadaistische Bewegung eingeführt, 1927-30 hielt er sich in Paris auf und erfuhrt reiche Anregung von den französischen Surrealisten. Neben der Malerei arbeitete er als Redakteur verschiedner Zeitschriften, drehte Kurzfilme und entwarf Bronzen. In seinen Werken benutzte M. gerne wiederkehrende Objekte (den Apfel, die Pfeife, den Bowler u.a.) und verblüffte den Betrachter mit Gegensätzen und Elementen aus der Traumwelt. Letzten Endes ist sein Schaffen aber darauf gerichtet, die Wirklichkeit zu verdeutlichen. Magritte, René (Lessines 1898 - Brüssel 1967) Queen Semiramis Gelatin silver print, 30,5 x 40,5 cm, estate stamp of Georgette Magritte and stamp of Griffelkunstgesellschaft Hamburg 1984 on the reverse, unframed. - Belgian painter, one of the most important surrealist artists. M. studied at the Brussels Academy and initially paints impressionistically. He was introduced to the Dadaist movement by a friend. 1927 to 1930 he stayed in Paris and was inspired by the French surrealists. Besides his work as a painter he was as an editor of various magazines, produced short films and designed bronzes. In his works, M. likes to use recurrent objects (the apple, the pipe, the bowler, etc.) and amazes the observer with contrasts, and elements of the dream world. Ultimately, his work is focused on clarifying reality.

René Magritte (Lessines 1898 - Brüssel 1967) Vogelfänger Silbergelatineabzug, 40,5 x 30,5 cm, verso Nachlass-Stempel Georgette Magritte sowie Griffelkunst-Stempel 1984, ungerahmt. - Belgischer Maler, einer der Hauptvertrteter des Surrealismus. M. studierte an der Brüsseler Akademie und malte zunächst impressionistisch. Durch einen befreundeten Kunsthändler wurde er in die Dadaistische Bewegung eingeführt, 1927-30 hielt er sich in Paris auf und erfuhrt reiche Anregung von den französischen Surrealisten. Neben der Malerei arbeitete er als Redakteur verschiedner Zeitschriften, drehte Kurzfilme und entwarf Bronzen. In seinen Werken benutzte M. gerne wiederkehrende Objekte (den Apfel, die Pfeife, den Bowler u.a.) und verblüffte den Betrachter mit Gegensätzen und Elementen aus der Traumwelt. Letzten Endes ist sein Schaffen aber darauf gerichtet, die Wirklichkeit zu verdeutlichen. Magritte, René (Lessines 1898 - Brüssel 1967) Bird Catcher Gelatin silver print, 30,5 x 40,5 cm, estate stamp of Georgette Magritte and stamp of Griffelkunstgesellschaft Hamburg 1984 on the reverse, unframed. - Belgian painter, one of the most important surrealist artists. M. studied at the Brussels Academy and initially paints impressionistically. He was introduced to the Dadaist movement by a friend. 1927 to 1930 he stayed in Paris and was inspired by the French surrealists. Besides his work as a painter he was as an editor of various magazines, produced short films and designed bronzes. In his works, M. likes to use recurrent objects (the apple, the pipe, the bowler, etc.) and amazes the observer with contrasts, and elements of the dream world. Ultimately, his work is focused on clarifying reality.

René Magritte (Lessines 1898 - Brüssel 1967) La vertu récompensée - Belohnte Tugend Silbergelatineabzug, 30,5 x 40,5 cm, verso Nachlass-Stempel Georgette Magritte sowie Griffelkunst-Stempel 1984, ungerahmt. - Belgischer Maler, einer der Hauptvertrteter des Surrealismus. M. studierte an der Brüsseler Akademie und malte zunächst impressionistisch. Durch einen befreundeten Kunsthändler wurde er in die Dadaistische Bewegung eingeführt, 1927-30 hielt er sich in Paris auf und erfuhrt reiche Anregung von den französischen Surrealisten. Neben der Malerei arbeitete er als Redakteur verschiedner Zeitschriften, drehte Kurzfilme und entwarf Bronzen. In seinen Werken benutzte M. gerne wiederkehrende Objekte (den Apfel, die Pfeife, den Bowler u.a.) und verblüffte den Betrachter mit Gegensätzen und Elementen aus der Traumwelt. Letzten Endes ist sein Schaffen aber darauf gerichtet, die Wirklichkeit zu verdeutlichen. Magritte, René (Lessines 1898 - Brüssel 1967) La vertu récompensée Gelatin silver print, 30,5 x 40,5 cm, estate stamp of Georgette Magritte and stamp of Griffelkunstgesellschaft Hamburg 1984 on the reverse, unframed. - Belgian painter, one of the most important surrealist artists. M. studied at the Brussels Academy and initially paints impressionistically. He was introduced to the Dadaist movement by a friend. 1927 to 1930 he stayed in Paris and was inspired by the French surrealists. Besides his work as a painter he was as an editor of various magazines, produced short films and designed bronzes. In his works, M. likes to use recurrent objects (the apple, the pipe, the bowler, etc.) and amazes the observer with contrasts, and elements of the dream world. Ultimately, his work is focused on clarifying reality.

[^] Magritte, René: Ohne Titel (Mann mit Melone) Ohne Titel (Mann mit Melone) Radierung auf Japon nacré. 1968. 19,7 x 15 cm (27,8 x 21,2 cm). Signiert "Magritte" und bezeichnet "H.(ors)C.(ommerce)". Kaplan/Baum 19 D. Eines von 25 H. C.-Exemplaren neben den numerierten. Prachtvoller, klar zeichnender Druck mit schmalem Rand, unten mit dem Schöpfrand. 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.

Magritte, René: L'Homme Sans Corps (Der Mann ohne Körper) L'Homme Sans Corps (Der Mann ohne Körper) Farblithographie auf dünnem Maschinenpapier, ganzflächig kaschiert auf feines Velin. 1927. 76,1 x 59,6 cm. Originalplakat für das Theaterstück "L'Homme Sans Corps" von Herman Teirlinck in Brüssel, mit dem Bühnenbild und der Kostümausstattung von Frans Masereel. 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.

24 books on Spode, Severes, Faberge, but also Rodin, Magritte, American Photography etc

34 books covering Rembrandt and other Dutch art & artists, Pissarro, Magritte etc

SAN LAZARRO, Gualtieri di (1904-1974). San Lazzaro et Ses Amis. Paris: XXe Siècle, 1975.Folio. 9 original lithographs by Bill, Calder, Chagall, Ernst, Hartung, Miro, Moore, Sutherland, and Wou-Ki; 6 lithographs after Braque, Fontana, Magnelli, Magritte, Picasso, and Poliakoff. (Some slight off-setting of plates to text). Loose as issued in original printed wrappers; linen-backed folding case with photographic portrait of San Lazarro tipped to inner cover (small stain on spine, upper edge slightly bumped).  LIMITED EDITION, number 402 of 575 copies on velin d 'Arches.  Property from the Collection of Michael and Kay MeletFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

Original vintage art exhibition poster - Magritte Galerie Isy Brachot 35 Rue Du Guenegaud Paris 6e - featuring a great design by the notable surrealist artist Rene Magritte (Rene Francois Ghislain Magritte; 1898-1967) of his iconic green apple inside a walled room with a window on the side (from his 1958 painting based on his 1952 artwork with slight variations in each but with the same name: The Listening Room / La Chambre d'Ecoute) and the title text in bold lettering on the border below. Desgrandchamps Printed in France. Good condition, creasing, pinholes, tears. Country of issue: France, designer: Rene Magritte, size (cm): 74.5x54.5, year of printing: 1970s

Mary Milner Dickens - a quantity of plaster and rubber coin/ medal dies, including her designs for the Royal Mint's Fleur-de-Coin medal issued 1994 commemorating Van Gogh and Magritte, 'yellow' moulds and plaster reverse rough moulds, and two Women's Institution medal moulds.Read more on Mary Milner Dickens, Prix de Rome, M.F.A., A.R.C.A. (1932-2019) at https://www.gildings.co.uk/news-item/mary-milner-dickens/?pc=63 

SALVADOR DALÍ (1904-1989)Couple aux têtes pleines de nuages signed, inscribed and dated 'Gala Salvador Dalí 1937' (lower right on the left panel); signed, inscribed and dated 'Gala Salvador Dalí 1937' (lower right on the right panel)oil on two panels within the artist's frames94.5 x 74.5cm (37 3/16 x 29 5/16in) (left panel, including the artist's frame) 87.7 x 65.8cm (34 1/2 x 25 7/8in) (right panel, including the artist's frame)Painted in 1937Footnotes:Please note that online bidding is not available for lot 14. If you wish to bid on this lot, please contact the department to arrange a room paddle, telephone bid or an absentee bid by emailing impressionists@bonhams.com or on +44 (0) 20 7468 8328, or our Client Service Office by emailing bids@bonhams.com or on +44 (0) 20 7447 7447.Provenance(Possibly) Paul Éluard Collection, Paris.Giacinto Scelsi Collection, Rome.Fondazione Isabella Scelsi Collection, Rome (bequeathed by the above in 1987).ExhibitedVenice, Palazzo Grassi, Dalí, The Centenary Retrospective, 12 September 2004 – 16 January 2005, no. 155 (later travelled to Philadelphia).Rovereto, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Cent'anni 1900 - 1950. Opere dalla collezione permanente del MART, 2008 - 2009.Rovereto, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Tra avanguardia e tradizione 1912 - 1945 e oltre. Opere dalla collezione permanente del MART, 2009 - 2010.Stockholm, Moderna Museet, Dalí Dalí featuring Francesco Vezzoli, 19 September 2009 - 17 January 2010, no. 18.Milan, Palazzo Reale, Salvador Dalí, il sogno si avvicina, 22 September 2010 – 30 January 2011.Vienna, Kunsthalle, Le Surréalisme, c'est moi! Hommage an Salvador Dalí, 22 June - 23 October 2011.Rome, Complesso Monumentale del Vittoriano, Dalí, un artista un genio, 9 March - 1 July 2012, no. 25.Dublin, Irish Museum of Modern Art, What We Call Love, From Surrealism to Now, 12 September 2015 - 14 February 2016.London, Royal Academy of Arts, Dalí/Duchamp, 7 October 2017 - 3 January 2018, no. 137.Barcelona, Museu Nacional d'Art de Catalunya, Gala Salvador Dalí, A Room of One's Own at Púbol, 7 July - 14 October 2018.LiteratureL. Martinis, 'A proposito di un dittico di Dalí', in I suoni, le onde. Rivista della Fondazione Isabella Scelsi, no. 9, Rome, April - June 2002 (illustrated on the front and back covers). Fundació Gala-Salvador Dalí (eds.), Catalogue Raisonné of Paintings by Salvador Dalí, online catalogue, 2004, no. P 508 (illustrated).R. Descharnes & G. Néret, Salvador Dalí 1904 - 1989, The Paintings, Vol. I, 1904 – 1946, Cologne, 2007, no. 612 (illustrated p. 272; dated '1936').M. Draguet, W. Jeffett & D. M. Johnson, Dalí & Magritte, exh. cat., Brussels, 2019 (illustrated p. 69).'How can one forget that constant play between the interior and exterior worlds created by the large windows facing out on the ruins of the Imperial Forum; the palm in front of the French windows; the American vine on the facade, its fiery red colour in autumn ... The exterior creeping in, regularly interspersed with musical instruments, the creative disorder of the scores and books on the piano and on the tables, the drawers overflowing with recording tapes, the ancient objects, the portraits of the Yoga Masters and the Ascetics – a corner of mysterious Icons - the discreet tapestries, the worn rugs and, on the sofa in a visual axis with the palm, under two golden silhouettes, Giacinto Scelsi' -Luciano Martinis (translated from 'A proposito di un dittico di Dalí', in I suoni, le onde. Rivista della Fondazione Isabella Scelsi, no. 9, Rome, April - June 2002).For the fortunate visitor to Giacinto Scelsi's home in the historic centre of Rome, the sight of Salvador Dalí's Surrealist masterpiece Couple aux têtes pleines de nuages would have been an unforgettable one. In the midst of the composer's many scattered instruments, notes, recording tapes and antiquities, hung these exceptional panels in hand-carved shaped gilt frames: a couple, leaning contemplatively towards each other, their torsos filled with the unmistakable dreamscapes of the Spanish painter's finest work. The enigmatic and revolutionary composer Giacinto Scelsi Conte d'Ayala Valva (1905-1988) dedicated his life to writing innovative music, only achieving critical acclaim a few years prior to his death. Scelsi was born into a noble family in the South of Italy, and started playing the piano at the early age of three. After studying composition and harmony in Rome, Scelsi travelled abroad extensively and moved within Europe's avant-garde elite. Whilst living in Paris in the 1920s he encountered the Surrealists. Notable among these artists, writers and poets was Paul Éluard, the first husband of Gala Dalí and to whom, according to Scelsi, Dalí's stunning diptych Couple aux têtes pleines de nuages first belonged. He recounted to his biographer Luciano Martinis that the work had been gifted to Éluard by Dalí as a wedding present, and that he had in turn acquired the diptych from the French poet. Scelsi keenly followed the currents of Surrealism, and wrote Surrealist poetry in French – he often declared his love of Éluard's poetry to close friends and maintained links to the group, spending time with Salvador Dalí and Gala during their travels in Italy during the Spanish Civil War.Scelsi was a true innovator, and developed an idea of a 'spherical' sound which he translated through microtonal elements in his music. Much like the Surrealists before him, Scelsi was fascinated by the concept of automatic and intuitive improvisation, which he used to create works such as La nascita del Verbo (1948), Quattro pezzi su una nota sole (1959) and String Quartet No. 4 (1963), recorded séance-like on a tape recorder. He collaborated with American composers such as John Cage, Morton Feldman and Earle Brown, and became a source of inspiration for Ennio Morricone's Gruppo di Improvvisazione di Nuova Consonanza. However, Scelsi remained largely unknown for most of his career and he stopped composing in the late 1970s. The Parisian group Itinéraire declared Giacinto Scelsi the father of the avant-garde in 1982, and a series of concerts in the late 1980s debuted many of his pieces to great acclaim shortly before the composer's death. The impact caused by the late discovery of Scelsi's works was described by Belgian musicologist Harry Halbreich: 'A whole chapter of recent musical history must be rewritten: the second half of this century is now unthinkable without Scelsi [...] He has inaugurated a completely new way of making music, hitherto unknown in the West' (Halbreich quoted in P. A. Castanet, Giacinto Scelsi aujourd'hui: actes des journées européennes d'études musicales consacrées à Giacinto Scelsi (1905-1988), Paris, 2005, p. 191). In 1987, Scelsi founded the Isabella Scelsi Foundation and presided over it until his death in 1988. He named the Foundation after his sister Isabella, to whom he had remained close throughout his life. The Foundation is dedicated to the study and dissemination of his work, and the support of new music. Issuing from the height of his Surrealist period, Couple aux têtes pleines de nuages foregrounds some of the most iconographic elements of Salvador Dalí's best-known works. Painted at a time of huge personal and political change, the innovative format of the present work and the fascinating provenance place it as one of the most important works by this extraordinary artist ever to appear at auction.The Catalan artist's involvement with the Surrealist movement and his passionate relationship with his future wife Gala both began in the same year, and from then on, his romantic life and his practice would forever ... 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

After René Magritte (Belgian, 1898-1967)La Leçon de musique (Kaplan 15D) Etching in colours, 1968, on Japon nacré, stamp-signed and inscribed 'H.C.' in pencil, one of 25 hors commerce impressions on this paper aside from the numbered edition of 150, printed and published by Editions Georges Visat, Paris, with the artist's estate blindstamp, the full sheet, 280 x 227mm (11 x 8 7/8in)(SH)For further information on this lot please visit Bonhams.com

After René Magritte (Belgian, 1898-1967)La Folie Almayer (Kaplan 18A) Etching in colours, 1968, on Rives, stamp-signed and numbered 47/150 in pencil (there was also an edition of 150 on Japon nacré), printed and published by Editions Georges Visat, Paris, with the artist's estate blindstamp, the full sheet, 280 x 222mm (11 x 8 3/4in)(SH)For further information on this lot please visit Bonhams.com

RenŽ Magritte (1898-1967, after):Ê 'Une porte s'ouvre sur...', litho in colours, ed. 235/350, [1968] and H. de Toulouse-Lautrec: 'Jane Avril', lith. -- Description: Work: 47,5 x 27 cmÊ Frame: 61 x 45,5 cmÊ Ê The work signed inside the plate 'Magritte'.Ê The work numbered '235/350' and signed by the publisher Fernand Mourlot.Ê Part of the 'Les enfants trouvŽs' series, 1968.Ê Full title: 'Une porte s'ouvre sur la nuit veloutŽe'.Ê Ê Work: 27 x 19,5 cmÊ Frame: 47,2 x 40,3 cmÊ Henri de Toulouse-Loutrec (1864-1901): 'Jane Avril', lithograph in colours (later edition).Ê

CIRCLE OF RENE MAGRITTE (1898-1967). Belgian school, surreal night time composition with figure, moon and row of houses, bears signature upper left, mixed media on paper laid on board, framed and glazed, see Rowley gallery label verso, 25 x 33 cm

Three framed exhibition posters and art prints to include a René Magritte exhibition poster for the Metropolitan Museum of Art, 96 cm x 57 cm, an M.C. Escher exhibition poster, and a print of Dali's Persistence of Memory (3)

'HOMESICKNESS' PRINT BY RENE MAGRITTE 27" X 19.25"

MAGRITTE RENÉ: (1898-1967) Belgian Surrealist Painter. An excellent drawing by Magritte with several annotations in his hand, one page, 8vo, n.p., n.d. [1961]. The drawing corresponds to his drafts and sketches for is well-known painting `La Cascade´ ("The Waterfall"), 1961. Magritte has drawn in bold dark pencil three drawings patterns showing a framed painting inside a painting, with foliage around, annotated beneath the main drawing in his hand `La Cascade´, and to the upper right corner also in his hand `4 arbres´ ("4 trees"). The painting is considered a painting inside the painting "Le Tableau dans le Tableau". Magritte, referring to his way of working, and his drafts before painting, said `I start with several paintings and work on drafts sketches during a period of time which I call "research", and the work which comes after consists of completion´.  Referring to his work La Cascade (1961) Magritte said `..about my painting La Cascade, I have been requested to write few lines related to it which will be edited for the catalogue. I think that the thought can be seen in the forest at the same time than also far from the forest… But such differences on space are united here and send you back to the thought rather than to a measurement matter. The difference of nature becomes this way a spiritual possibility, a poetic power rather than an exercise of the geometric mind.´Magritte wrote on 22nd October 1963 to his friend André Bosmans referring to his painting La Cascade, `…If I have to talk about this painting… it questions the capable thought of uniting the interior forest and the same distant forest. Such kind of contraction also happens with the night and day in L´Empire des Lumieres ("The Dominion of Lights") and some other paintings.    

Artist: Victor Brauner [d'apres] (Romanian/French, 1903-1966). Title: "La paire". Medium: Pastel and pencil on paper. Date: Composed 1941. Dimensions: Overall size: 12 1/8 x 9 7/16 in. (308 x 240 mm).Lot Note(s): Bears signature and dated, lower right. Drawn on grey wove paper. Fine condition. Comment(s): Upon settling in Paris in 1930, Brauner established a deep friendship with the artist Yves Tanguy, who introduced him to the Surrealist circle. Like other Surrealists of the period, such as Salvador Dalí and René Magritte, Brauner was inspired by dreams, the unconscious, and mysticism, as well as diverse religions and ancient mythologies. Image copyright © Artists Rights Society (ARS), New York / ADAGP, Paris. [29849-2-800]

Artist: Victor Brauner (Romanian/French, 1903-1966). Title: "Femme et serpents". Medium: Mixed media on board. Date: Composed c1938. Dimensions: Overall size: 13 x 16 1/16 in. (330 x 408 mm).Lot Note(s): Signed lower right. Fine condition. Comment(s): Upon settling in Paris in 1930, Brauner established a deep friendship with the artist Yves Tanguy, who introduced him to the Surrealist circle. Like other Surrealists of the period, such as Salvador Dalí and René Magritte, Brauner was inspired by dreams, the unconscious, and mysticism, as well as diverse religions and ancient mythologies. Image copyright © Artists Rights Society (ARS), New York / ADAGP, Paris. [29850-2-16000]

Nikos Engonopoulos (Greek, 1910-1985)Jason signed in Greek and dated '51' (lower right)oil on canvas45 x 34.5 cm.Painted in 1951.Footnotes:ExhibitedAthens, Zappeion Hall, 4th 'Armos' Group exhibition, December 10, 1952 - January 10, 1953, no. 93 (listed in the exhibition catalogue, p. 12).Venice, XXVII Biennale, June 19 - October 17, 1954, no. 38, (listed in the exhibition catalogue, p. 295).LiteratureAngloelliniki Epitheorisi, vol. 6, no. 3, Winter 1953-1954, p. 206 (illustrated).N. Engonopoulos, Atlantikos, 1954, p. 4 (illustrated).Nikos Engonopoulos, Painter and Poet, Epta Imeres, Kathimerini weekly magazine, 25.5.1997, p. 30 (illustrated).Nikos Engonopoulos, As Handsome as a Greek, Goulandris-Horn Foundation, Athens 2000 (illustrated on the cover).K. Perpinioti-Agazir, Nikos Engonopoulos, Mythology, Ypsilon editions, Athens 2006, no. 35, pp. 82-84 (discussed), p. 85 (illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, no. 66, p. 221 (discussed and illustrated). N. Engonopoulos, Love is the Only Way, National Book Centre of Greece, Athens 2007, p. 8 (mentioned).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 397, p. 527 (mentioned), p. 270 (illustrated), p. 436 (illustrated).http://www.engonopoulos.gr/_homeEN/bio.html, 2017 (mentioned).The journey beginscome alongwe embarkto foreign landsN. Engonopoulos, Atlantikos, 1954A historic painting, which illustrated N. Engonopoulos's surrealist poem Atlantikos when it was first published in the Angloelliniki Epitheorisi journal in 1954, Jason was exhibited in the 1954 Venice Biennale1 alongside surrealist works by such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte. There, for the first time, Greece was represented by one artist alone. As noted by K. Perpinioti-Agazir, who prepared the painter's catalogue raisonné, 'in the 1946-1954 period, and probably throughout Engonopoulos's career, his most important milestone was the representation of Greece at the Venice Biennale.'2 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.'This brilliant picture shows the ancient Greek hero Jason standing aboard his legendary Argo, which is registered here in the seaside town of Chalkis, wielding a trident in his left hand, while making a characteristic gesture with his right in an effort to discern something in the distance, perhaps the faraway land that stretches on the horizon. This painting was indeed a perfect choice to illustrate Atlantikos, which, as noted by literary critic V. Chadjivassiliou, 'seems to look outward, possibly towards an ontological and existentialist field, where what's primarily at stake is the non-negotiable struggle for freedom, which the poet invokes right from the opening verses: the ship sounds / the train whistles / from the turrets they give the signal / beware / the journey begins / come along / we embark / to foreign lands.'3 Alluding to a heroic past drawn from the treasury of Greek mythology, Jason faithfully reflects the artist's attitude towards painting as an ideal vehicle to probe into the world of Greekness and reinterpret a rich tradition in a modern and vigorous manner. As noted by art historian N. Loizidi, 'Engonopoulos gave us a version of surrealism that's universal, but at the same time deeply rooted in Greekness'.4 His persistence on indigenous cultural sources and experiences clearly indicates that while European surrealists used an irrational vocabulary to break free from the shackles of traditional conventions, Engonopoulos perceived tradition as a connecting cultural link.5 His 'Greekness' is not only achieved through iconographical choices but it is also shaped by the values of ancient Greece and the principles of Byzantine painting and folk art. As a result, the artist is credited with carrying on the tradition of Greek art from antiquity to the present.6 1 Up until the mid-20th century the 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.2 See K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural [in Greek and French], exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 78.3 V. Chadjivassiliou, 'From Bolivar (1944) to Atlantikos (1954): Surrealist Uprising and Defeat in the Poetic Mythology of Nikos Engonopoulos', Lexi magazine, no. 179, January-March 2004, p. 81. 4 N. Loizidi, Surrealism in Modern Greek Art, the Case of Nikos Engonopoulos [in Greek], Nefeli publ. Athens 1984, p. 181.5 See N. Loizidi, 'The Indigenous Surrealism of Nikos Engonopoulos' [in Greek], To Vima daily - Nees Epoches, 21.10.2007, p. A57.6 See L. Tsikouta, 'On Nikos Engonopoulos' [in Greek], Eikastika magazine, no. 48, December 1985, p. 21.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

After Henri Magritte Head of a woman pen on paper, possibly related to Tom Keating the art forger. 25 x 20 cm. P&P Group 3, will be sent without any glass unless otherwise advised, (£25+VAT for the first lot and £5+VAT for subsequent lots)