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René MAGRITTE (1898-1967), D’Après. Les Grands Oiseaux sont ceux de l’Ile au Trésor,1968. Lithographie en couleur sur papier, signée dans la planche. Editeur Mourlot. Signé au crayon par Fernand Mourlot. Edition de 350 exemplaires. 31,5 x 48 cm.

René MAGRITTE (1898-1967), color lithograph ‘La race blanche’, signed in the plate with justification de tirage (verso), numbered 261/300 and dryprint stamp succession MagritteRené MAGRITTE (1898-1967), kleurenlithografie ‘La race blanche’, getekend in de plaat met justification de tirage (verso), genummerd 261/300 en droogstempel succession Magritte67 x 50 cm

MAGRITTE RENE: (1898-1967) Belgian surrealist artist. An excellent A.L.S., Rene, two pages, 8vo, Rue des Mimosas, Brussels, 25th August 1963, to his cousin, in French. Magritte expresses his regret that he probably didn't explain himself very well in his last letter, explaining that he had thought, on reflection, 'pour obtenir un succes evident (et, helas, toujours incertain lorsqu'il s'agit d'etre apprecie pour le public des expositions et par les soi-disant critiques d'art) il aurait ete souhaitable de remettre ta premiere exposition a plus tard' (Translation: 'to obtain an obvious success (and, alas, always being uncertain when it comes to being appreciated by the public at exhibitions and by the so-called art critics) it would have been desirable to postpone your first exhibition until later') and continuing to comment 'Cela ne met pas en cause la qualite deja remarquable de tes travaux. Mais cela implique que de nouveaux travaux auriant plus de chances encore de rencontrer plus de succes……. a la reflexion j'ai pense qu'il serait souhaitable d'avoir "plus d'atouts dans tou jeu" et je devair je pense, te le dire, ne croyant pas que la date de ton exposition est absolument irrevocable. La preuve de mon interet pour les travaux me semble indiscutable' (Translation: 'This does not call into question the already remarkable quality of your work. But this implies that new works would have even more chances of meeting with more success……on reflection, I thought it would be more desirable to have "more assets in your game" and I should, I thought, tell you, not believing that the date of your exhibition is absolutely irrevocable. The proof of my interest in the works seems to me indisputable'). The artist further writes in philosophical tones, 'Pour ma part, je n'accorde aucune importance aux "consequences", le succes ou l'echecpublic......c'est uniquement de l'authenticite des oeuvres qu'il importe et celle de ton travail n'est pas douteuse pour moi. C'est en raison de cette authenticite, que l'on peut attendre de sa part une maitrise plus grande qu'a present. La partie de ta lettre relative a la joie et a la souffrance, je la comprends, je pense, tres bien. La vie n'est jamais un echec pour les imbeciles. Si tu as retenu ce que j'ai ecrit dans un catalogue, tu dois savoir que je ne confonds pas l'importance des "concourantes" avec celle de la presence d'esprit indispensable a la conception d'une oeuvre d'art: j'ai ecrit "l'inspiration est toujours possible - sinon presente - quels que solient le bonheur ou le malheur presents"' (Translation: 'For my part, I do not attach any importance to the "consequences", the success or the public failure……it is only the authenticity of the works that matters and that of your work is not questionable to me. It is because of this authenticity that we can expect greater mastery than at present. The part of your letter relating to joy and suffering, I understand, I think, very well. Life is never a failure for fools. If you have remembered what I wrote in a catalogue, you must know that I do not confuse the importance of "competitors" with that of the presence of mind essential to the design of a work of art: I wrote "inspiration is always possible - if not present - whatever happiness or unhappiness is present"'). A letter of fine content. VG

[SURREALISM]: A printed small 8vo exhibition catalogue (unsigned) for the Exposition Surréaliste at the Pierre Colle Gallery, Rue Cambacérès, Paris, 7th - 18th June (1933). The catalogue lists around seventy works that will be exhibited, arranged alphabetically by artist, including Jean Arp (three works), André Breton (´Objet´), Salvador Dali (one of the largest contributors with eight pieces including Harpe invisible, Chaise atmosphérique, Oeufs sur le plat atmosphériques, and Buste de femme rétrospectif etc.), Marcel Duchamp (´Pharmacie´), Paul Eluard (´Objet basé sur la perversion des oreilles´), Marie-Berthe Ernst (portraits of Max Ernst and André Breton), Max Ernst (seven pieces including Vol nupital, Un libertin attaqué d´une maladie mortelle..., Une lettre, and Objet sans prétention etc.), Alberto Giacometti (six pieces including Mannequin and Sucre minéral etc.), Georges Hugnet (´Le poil de la bête´), Valentine Hugo (seven pieces including Portrait d´Achim d´Arnim and La religieuse portugaise etc.), Rene Magritte (two pieces, both tables), Joan Miro (´Objets´), Man Ray (six pieces including Saucisse-artifice, Oeil-métronome, Portrait manqué etc.), Yves Tanguy (five pieces including Un risque dans chaque main, L´obsession de la prophétie, and L´opinion des oiseaux etc.) and others. Pablo Picasso was also due to exhibit three sculptures, however his name and entries have been neatly covered with a small piece of contemporary paper, evidently having withdrawn the artworks from the exhibition. Bound in the original brown paper wrappers with black printed title to the cover. About EXPierre Colle (1909-1948) French art dealer, painter and poet, a close friend of Max Jacob. Colle opened his second gallery on Rue Cambacérès where he organised notable exhibtions and was one of the first gallery owners to show the works of Salvador Dali.

JEAN HUGO (FRENCH 1894-1984) ⊕ Works from the Estate of Alexander Iolas by Jean Hugo and Niki de Saint Phalle (lots 68-74) Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector whose influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s. Iolas defied family expectations to follow his father into the cotton trade, instead he travelled widely throughout Europe and trained as a ballet dancer before starting to deal in art. Arriving in New York in 1935, he became manager of Hugo Gallery on East 55th Street founded by Elizabeth Arden, Robert Rothschild and Maria dei Principi Ruspoli Hugo in 1945. The gallery gained a reputation for Surrealist art after Iolas staged a pivotal exhibition of new work by Max Ernst, Dorothea Tanning and René Magritte in 1947. Five years later Iolas mounted the landmark show of the yet undiscovered Andy Warhol, staging his artistic debut Fifteen Drawings Based on the Writings of Truman Capote in 1952 and propelling the young American artist to stardom. Iolas and Warhol subsequently worked closely together, with Iolas credited for commissioning one of Warhol’s final print epics The Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding his reputation and market. In 1955, in partnership with Brooks Jackson, Iolas established his own independent gallery franchise across Paris, Milan, Rome, Geneva, Madrid and Athens. Famous for his bombastic claims and often amusing opinions (once dismissing Balthus and Cy Twombly as terrible painters in the same breath), his eye was informed by intuition, his theatrical nature inextricably linked to his professional undertakings. Speaking to art historian Maurice Rheims in 1965, Iolas stated: 'I don’t consider a gallery as a commercial occupation. It’s purely artistic… it’s a show in which the audience members are the dancers, and the scenery is made by the painter. Jean Hugo (lots 68 & 69) The small format gouaches by Jean Hugo (lots 68 & 69) are typical of the artist's colourful and playful style. Great-grandson of the Romantic novelist and politician Victor Hugo (1802-1885), Hugo was raised in a lively artistic environment, and began drawing and writing poetry from an early age. His artistic career spans the twentieth century, from his early sketches of the First World War to the creative fervour of his years in Paris. Part of an extensive artistic circle, he counted Picasso, Cecil Beaton (see lot 54) and Jean Cocteau among his friends. Niki de Saint Phalle (lots 70-74) Executed between 1968 and 1970 the following five lots capture the artist's Saint Phalle's idiosyncratic style in which she combines vibrant colours with a youthful spirit. Teeming with characters, quotations and annotations, the works shed light on the artist's personal state of mind, which later informed her illustrated book AIDS: You Can’t Catch It Holding Hands of 1986, an important work that delivers life-saving healthcare information about the transmission of HIV through colourful cartoons in an attempt to destigmatise the disease. Self-taught, in her early years Saint Phalle's work was dominated by feminist rage and destruction, but she gradually moved on to a period typified by the celebration of womanhood through sculptures of female bodies, often immense, in fibreglass and polyester resin. Her work reached its zenith in such monumental outdoor projects such as Dragon for the son of Roger Nellens, at Knokke-le-Zoute created in the early 1970s in collaboration with her long term creative and romantic partner Jean Tinguely (1925-1991), and The Tarot Garden, a sculpture garden in Pescia Fiorentina, Tuscany featuring twenty-two monumental figures inspired by Guadi's Parc Güell in Barcelona, that opened in 1998. JEAN HUGO (FRENCH 1894-1894) THE GAS TOWER; HARVEST TIME; WORKING LANDSCAPE (I-III) (i) signed Jean Hugo lower right; numbered no. 71 on the reverse (ii) signed Jean Hugo lower left (iii) signed Jean Hugo lower right each gouache and pen and ink on paper (i) 6 x 9cm; 2 1/4 x 3 1/2in (ii) 5.5 x 9cm; 2 1/4 x 3 1/2in (iii) 5.5 x 9cm; 2 1/4 x 3 1/2in 48 x 26cm; 19 x 10 1/4in (framed as one) (3) Property from the Estate of Alexander Iolas Each paper is attached to board with tape along all four edges from the reverse. There is some minor discolouration to the upper and lower edges of the paper (i); and minor discolouration to the sky area (ii), both visible in the image. There is also a very minor hair accretion, visible under very close inspection (ii). There are no apparent condition issues with (iii). Otherwise this work is in very good original condition. The work is framed under glass.

Alexandra Calder Pace/Columbus Exhibition Poster 1971 La Grenouille et la Scie (Large). Magritte. Offset Lithographs titled ‘L'Heureux Donateur’ 63 x 81.5 cm

SALVADOR DALÍ* ( Figueres 1904 - 1989 Figueres )Le detroit de GadaloreRadierung/paper 39,4 x 26 cmsigniert Dali, nummeriert 47/100aus der Serie La quête du Graal (1975)SCHÄTZPREIS / ESTIMATE € 150 - 250STARTPREIS / STARTING PRICE € 150Salvador Dalí war ein spanischer Universalkünstler und gilt er als Hauptvertreter des Surrealismus. Nach Malunterricht in der Kindheit und Jugend studierte er an der Academia de San Fernando. Andere Studenten waren Luis Buñuel und Federico Garcia Lorca. 1926 wurde er auf königlichen Erlass hin von der Akademie verwiesen. In Paris lernte er zu der Zeit Pablo Picasso kennen. Schon früh widmete er sich der surrealistischen Kunst. Auf Anregung von Joan Miró schloss sich Dalí 1929 der Gruppe der Surrealisten in Paris an und begegnete beispielsweise Hans Arp, André Breton, Max Ernst, Yves Tanguy, René Magritte, Man Ray, Tristan Tzara, Meret Oppenheim sowie Paul Éluard. Des letzteren Frau, Gala, heiratete Dalí später selbst. Kontroversen entstanden über sein exzentrisches Verhalten, seine Haltung zu Francisco Franco und sein viel diskutiertes Spätwerk. Künstler die in Verbindung zu Dalí stehen: René Magritte, Man Ray, Max Ernst, Joan Miró, Yves Tanguy, Giorgio de Chirico, Ernst Fuchs, Arik Brauer, Rudolf Hausner, Wolfgang Hutter, Anton Lehmden Andre Masson, Meret Oppenheim, Cindy Sherman.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° beim Schätzpreis gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer hinzu. Diese beträgt 13% bei Gemälden, Aquarellen, Zeichnungen, Grafiken sowie Skulpturen und 20% bei Fotografien und allen anderen Objekten. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

COPLEY, WILLIAM NELSON1919 New York - 1996 Key WestTitel: "Le Roi des Poivreaux". Datierung: 1957. Technik: Öl auf Leinwand. Maße: 114 x 161,5cm. Bezeichnung: Betitelt, signiert und datiert verso unten rechts: LE ROI DES POIVREAUX Cply 57. Rahmen/Sockel: Rahmen. Wir danken Anthony Atlas, William N. Copley Estate, New York, für die freundliche, wissenschaftliche Unterstützung.Provenienz:- Sammlung Hélène Anavi, Paris- Sotheby's, London, Auktion 28.3.1984, Lot 68- Privatsammlung SchweizAusstellungen:- Fondation de l'Hermitage, Lausanne 2010Literatur:- Ausst.-Kat. La Maison et l'Infini, Fondation de l'Hermitage, Lausanne 2010, S. 72 u. 73, Abb.- Bisher selten publiziertes Schlüsselwerk der Pariser Jahre von William N. Copley- Malerei an der Schnittstelle zwischen Surrealismus und Pop- Eine versteckte Hommage an den belgischen Surrealisten René MagritteIkonographie der französischen BohèmeWilliam N. Copley malt "Le Roi des Poivreaux" im Jahr 1957, als er noch in seinem Atelierhaus Longpont-sur-Orge bei Paris lebt, und seine Ikonographie ist in diesem Gemälde noch eindeutig europäisch geprägt. Das Bild wird von der Silhouette des ubiquitären Mannes in Anzug und Melone, mit dem Regenschirm in der Linken bestimmt, der auf einen großen, mit Parkettfußboden ausgestatteten Raum blickt, auf dem sich zahllose kleine nackte Blondinen tummeln. Eine Variante dieser Szene voller cartoonhafter kleiner Frauen, die sich vor dem Mann mit der Melone zeigen, ist ein Paravent mit dem Titel "Harem" aus dem Jahr 1958 (Vgl. Celant, Germano (Hrsg.): William N. Copley, Mailand/Houston 2016, Abb. 232). Die Gestalt des Mannes, der die Szene beherrscht, ist das von René Magritte inspirierte Alter Ego des Künstlers - Melone, Anzug und Regenschirm sind seine feststehenden Attribute. In seinen Werken aus den Pariser Jahren finden sich zahllose Anspielungen und Verweise auf die Kultur und Lebensart im Frankreich der Belle Époque und der künstlerischen Bohème der vorletzten Jahrhundertwende, der sich Copley zugehörig fühlen will. Der Titel "Le Roi des Poivreaux" verweist darauf. Er lässt sich mit "Der König der Säufer" übersetzen und enthält ein Wort aus dem Argot, das buchstäblich "gepfeffert" heißt, aber auch eine Umschreibung für einen Betrunkenen bzw. einen Säufer ist. Das Wort weckt sofort die Assoziationen an Werke wie Picassos "Absinthglas", Degas' "Absinthtrinker" usw. Copley ist in erster Linie vom Surrealismus inspiriert und hat in seiner Zeit als Galerist in Beverly Hills 1946 die Werke von Duchamp, Man Ray, Magritte, Max Ernst u. a. gezeigt und gesammelt, aber er ist auch inspiriert von der Kunst der Pariser Avantgarde insgesamt, die vom Impressionismus bis zum Kubismus und darüber hinaus reicht. Er ist seit Ende der 1940er Jahre mit zahlreichen Künstlerinnen und Künstlern eng befreundet und unterstützt sie sowohl ideell wie materiell. Seine Vorliebe für den Alkohol zeigt sich auch später in seinen Inspirationsquellen aus der amerikanischen Kultur - Dichter wie Robert W. Service oder der Filmkomiker W. C. Fields sind neben anderen auch starke Trinker, die den Alkoholismus in ihren Gedichten und Filmkomödien durchaus verherrlichen. Copleys Welt ist obsessiv, erotisch aufgeladen, hedonistisch und gleichzeitig von unschuldig-kindlicher Naivität geprägt. Er begreift Malerei als Poesie und kümmert sich nicht um technische Aspekte, das macht die Authentizität und anhaltende Frische seiner Malerei aus. Eine Bildwelt zwischen Laster und Reue, gewürzt durch Raffinesse und Witz"Le Roi des Poivreaux" veranschaulicht die beiden zentralen Laster des Künstlers mit Witz und Ironie. Seine Charaktere - die nackten Schönheiten und der Mann im Fischgrät-Anzug bleiben anonym, denn sie verkörpern unser aller Streben nach Glück. Dahinter steht ein ernstes Bewusstsein der Sündhaftigkeit dieses Strebens (mit einem Augenzwinkern) und auch unserer Sterblichkeit. Aus der französischen Geschichte nimmt er sich daher auch die Guillotine als Motiv für die Bestrafung, die unweigerlich auf die Sünde folgt. In "Le Roi des Poivreaux" ist es aber noch nicht so weit, der Protagonist beobachtet zunächst die Auswahl an Frauen, die sich ihm darbieten. Ein neues Abenteuer kann beginnen, das Gemälde markiert einen Eintritt in die eigenwillige Bildwelt von William N. Copley. Das Bild befand sich lange in Privatbesitz und war bisher kaum bekannt. Es ist eine wesentliche Bereicherung des Frühwerks der Pariser Jahre im Werk von Copley.Kay Heymer. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion. Erläuterungen zum Katalog William Nelson Copley USA Surrealismus Pop Art Nachkriegskunst Unikate 1950er Rahmen Mann Gemälde Öl

XXe siècle Nouvelle série. Cahiers d'art publiès sous la direction de Gualtieri di San Lazzaro. 31 Bände der Reihe. Paris 1962-1978. Umfangreiche Reihe des aufwendigen Kunstmagazins, reich illustriert und mit über 60 Orig.-Lithographien ausgestattet. Vorhanden die Bände 20-47 und 49-51. Mit Orig.-Farblithographien von E. Baj, A. Calder, M. Chagall, S. Dalí, S. Delaunay, M. Ernst, R. Indiana, R. Magritte, M. Marini, A. Masson, J. Miró, H. Moore, S. Poliakoff, P. Soulages, Zao Wou-Ki u. a. EINBAND: Orig.-Broschur (5) und Orig.-Pappband (26). 31,5 : 24,5 cm. - ILLUSTRATION: Mit 62 (statt 65; fehlen jew. 1 Graphik von W. Kandinsky, Man Ray und M. Ernst) sowie zahlr. farb. Abbildungen und Tafeln. LITERATUR: Liste auf Anfrage. Extensive series with 31 volumes of this fine art magazine, illustrated with 62 (instead of 65) orig. lithographs printed in color. Orig. wrappers (5) and orig. boards (26). - 4 spines with tears, a few extremities bumped. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=569&obnr=425000227 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=569&obnr=425000227 This lot can be purchased subject to differential or regular taxation.

Farbige Radierung René Magritte1898 Lesines - 1967 Schaerbeek "La lecon de musique" 1968 u. re. Signaturstempel Magritte auf Japan, u. re. mit dem Trockenstempel "Atelier Magritte..." Exemplar 13/150, 15 x 10 cm (Plattenmaß)

René Magritte (1898-1967) L'oeil' etching, aquatint in colors. Stamp signature, Printed by Atelier Georges Visat, Paris, 1968, edition XI/XXV, Kaplan & Baum 15, 15 x 10 cm. size total sheet 28 x 21,7 cm. [1]

pencil on card, signed, titled and dated '85 mounted, framed and under glass Provenance: Pyms Gallery, London (label attached to the reverse of the frame) Exhibited: Pyms Gallery, London, 'Lost Illusions: Works with Romantic and Historic Associations by Charles Oakley', 24th June-19th July 1986, cat. no.2 Literature: Charles Oakley and Mary Hobart, 'Lost Illusions: Works with Romantic and Historic Associations by Charles Oakley', Arts Council of Northern Ireland, Belfast, 1986, cat.31 (unpag.) (illus.) image size 19cm x 35cm, overall size 26cm x 41cm Note: Obituary published in The Independent by Prof Kenneth McConkey 8 April 2008: Charles Oakley was one of an important generation of British painters who, in the late Forties, arrived at the Slade School of Fine Art wearing "demob" suits. He had neither portfolio nor sketchbooks to show, but a single watercolour, depicting a momentous occasion in his youth. Oakley grew up in Urmston, Manchester, the son of an engineer; two previous generations of Oakleys had been naval captains. Family holidays spent in Falmouth provided an ideal playground for the young Charles – rusting old U-boats from the Great War were berthed in the harbour. Then, in the early years of the Second World War, while youth hostelling in the Lake District, he came upon the crash site of two Hurricane fighters. A dead pilot lay by the wreckage of one of the planes. The scene burned itself into his mind and was only exorcised when he sketched it out on paper and coloured it. This single work became a talisman and after his three years' military service with the Royal Artillery in the Himalayas, it was this that he took to his successful Slade interview with Randolph Schwabe in 1947. His tutors, William Townsend and William Coldstream, being well-connected, brought artists and critics such as Francis Bacon, Wyndham Lewis and David Sylvester into the Slade to look at students' work. Oakley's diligent studies in the Antique Room won him the Taylor and Melvill Nettleship awards, as well as the Wilson Steer medal for Northern Landscape, a "summer composition" painting of coal trucks in a railway yard produced in 1950. He remained at the Slade for a postgraduate year and in 1951 married Ann, his life-long partner. In those days, the path from the Slade and the Royal College to the New English Art Club was still in use and Oakley showed industrial scenes at two of its exhibitions before moving north to become an art master at Eden School in Carlisle. A splendid watercolour of the old city bus station remains a popular reproduction sold by Tullie House museum in Carlisle. In 1957 his first solo exhibition was held at the Crane Kalman Gallery, Manchester, and was opened by L.S. Lowry. Oakley recalled Lowry's enthusiasm when he purchased a picture from the show. At this stage, living on a fabric designer's salary, and with a growing family, the Oakleys could not reciprocate – much to their chagrin in later years. Thereafter he showed regularly in Manchester exhibitions, being praised for his "poetry in paint". In 1962 he obtained the post of Senior Lecturer at Belfast College of Art, and it was after this that true poetry arrived, with paintings of ships' engine rooms at Harland and Wolff, recalling the submarines of childhood – one of which was acquired for the Ulster Museum, Belfast. In shows at the Caldwell Gallery in Bradbury Place, Belfast, these intense, claustrophobic interiors were juxtaposed with the wide expanses of Donegal where the Oakley family had a summer cottage. Oakley rhapsodised on the windswept beaches where occasionally he would come across the rotting remains of old fishing boats. When these paintings were exhibited in 1965 at the Bondgate Gallery, Alnwick, along with works by Lord Haig and J.H. Themal, Oakley, according to The Guardian, "stole the show". A few years later, as Seamus Heaney and Michael Longley were emerging as the poetic voices of Ulster, the critic William Feaver praised the "mortuary effect" of the painter's "leaky skies" and "peat trenches". Oakley might easily have been typecast as an Irish landscapist of a conventional kind. However, hints of Edward Hopper and "magic realism" had begun to creep into his painting and around the time of his return to England in 1974, he became interested in working in three dimensions – "dabbling in construction work" and experimenting with trompe l'oeil was how it was described. Repeated visits to the Dutch museums instilled a respect for the measured space of Vermeer, Terborch and Metsu, and took him back to his Slade School exercises in mathematical perspective. In 1982, on a student trip, he visited the massive 360-degree Mesdag Panorama in The Hague which was re-examined in a series of works – as indeed were the methodical approaches of painters such as Thomas Eakins and George Stubbs whose deep visual research led to periods of physical and spiritual isolation. These and the Dutch masters became his new subject matter in what were described as "works with romantic and historical associations", in the first of three exhibitions staged at Pyms Gallery, London in 1984 – perhaps the most fruitful collaboration of Oakley's career since it led to touring shows, in galleries in Hull, York, Kendal and Belfast. What we see in The Eakins Studio (1986), for instance, is a box/vitrine, similar to a stage designer's model. The life room impedimenta, sculpture stands and a "donkey", are recreated in miniature – tiny hand-crafted objects in which experience is locked. And on the back wall are pinned the famous studies of male and female nudes which contain them. Oakley's own experiences had come back to haunt him. A connection between these austere academic rituals and lost heroes such as Scott and Oates of the Antarctic, or Mallory and Irvine on Everest, fused in his mind and led him to produce the evocative Antarctic Triptych (1984) and the Quarter Rupee Triptych (1986) in which the intrepid teams of explorers and mountaineers pose for famous photographs. In the former the image is pinned to the remnants of one of their packing cases, along with other memorabilia, including a postcard of Caspar David Friedrich's The Wreck of the 'Hoffnung', inspired by an attempt on the North Pole in 1823. Embedded in the foreground fragments of cracked ice are remnants of a Union Jack. By the early Nineties, other themes, equally austere, suggested themselves. The discovery of a monument to Roger Casement, the death of Richthoven and new interpretations of Balthus, Winslow Homer and Magritte were added to the repertoire in these later years when two further solo shows were staged at Castleside Gallery, Cockermouth, in 1996 and 2000. In 1999 he won the Singer Friedlander/Sunday Times watercolour prize with The Thomas Eakins Gallery. In a genial, self-deprecating way, Charles Oakley used to claim that he was having fun and that these "tableaux" were just a way of filling time. But it was much more than that. Serious research would take him off to find the Mallory ice axe at the Alpine Club, or in 1996, back to Rajasthan. And with collectors waiting for paintings that might take months of detailed work to complete, he carried on until his late seventies when his eyes began to fail. Thereafter, he still spent his mornings in the studio, listening to Radio 3 and reading, surrounded by the work of a lifetime. Note: Kenneth McConkey is Emeritus Professor of Art History at the University of Northumbria. He is an expert on British, Irish and French painting of the late nineteenth and early twentieth centuries, especially Sir John Lavery, British Impressionism and the New English Art Club, and has published extensively on the art of the period, including on George Clausen.

GUI ROSEY (1896-1981) & RENE MAGRITTE (1898 -1967)Signes de survie aux temps d'amour Eaux-fortes en double-état de Magritte Paris, Georges Visat, 1968.In-4 (280 x 225 mm), 41 pp., 5 ff. 3 eaux fortes en couleurs de Magritte (en double état), dont une en frontispice, avec la signature de l'artiste reproduite en héliogravure et numérotée '25/150'27.6 x 22 cm.10 7/8 x 8 11/16 in. En feuilles, sous étui et chemise toilés.En tout six eaux-fortes, 3 sur Rives et 3 sur japon.Edition originale des poèmes de Gui Rosey, tirée à 175 exemplaires sur vélin de Rives et premier tirage des gravures de Magritte.Un des vingt-cinq exemplaires hors commerce, accompagné des eaux-fortes originales en couleurs en double état : sur vélin de Rives dans l'ouvrage et sur japon nacré pour la suite. Toutes les eaux-fortes sont justifiées au crayon et portent le cachet « Atelier René Magritte, gravure originale », gaufré dans le coin inférieur droite de la feuille.Les trois gravures de Magritte sont : Le Prêtre marié (pommes masquées), d'après la toile de 1961, La Leçon de musique (l'oreille-cloche) d'après la toile de 1965 et Le Seize Septembre (arbre-lune) d'après la toile de 1957.Ces trois images, parmi les plus célèbres du peintre, condensent son univers.Gui Rosey participa à l'activité surréaliste dans les années trente. Il collabora au recueil collectif Violette Nozières, écrivit dans Le Surréalisme au service de la révolution, publia un poème épique sur André Breton édité aux Editions Surréalistes en 1933. L'essentiel de son œuvre poétique a été éditée en trois volumes chez José Corti dans les années soixante sous le titre général de Œuvres vives.René Magritte illustra un autre ouvrage de Gui Rosey, Les Moyens d'existence, publié également par Georges Visat en 1969. Dans une interview, à la question « Qu'attendez-vous de l'humour ? », le peintre répondit : « Un peu de santé de l'esprit, lorsque l'humour n'est pas « vulgaire » et lorsqu'il est « magique » comme le qualifie mon ami, le poète Gui Rosey. »Georges Visat (1910-2001), imprimeur de formation ayant travaillé pour Adrien Maeght, fonda sa propre maison d'édition en 1961, se spécialisant dans les livres illustrés d'œuvres originales, publiés avec le plus grand soin. Les artistes les plus importants de son époque ont collaboré avec lui : Max Ernst, Hans Bellmer, Roberto Matta, Man Ray, Geneviève Asse, Pierre Alechinsky...Un livre particulièrement soigné et magnifiquement illustré par René Magritte.Footnotes:ProvenanceCollection particulière, France.Collection particulière, France (acquis auprès de celle-ci).This lot is subject to the following lot symbols: ## A reduced TVA rate of 5.5% will be charged on Buyer's Premium. This is subject to government change and the rate payable will be the rate in force on the date of the sale.Pour les livres, la commission acheteur est soumise à un taux de TVA réduit de 5,5 %. Ce taux est susceptible à être modifié par les autorités françaises et le taux à payer sera celui en vigueur à la date de la vente.For further information on this lot please visit Bonhams.com

René MAGRITTE (1898-1967), d'après.La voix des airs (1990)Lithographie éditée en 1990 par le Studio d’Arte Perna , Milano.Numérotée en bas à gauche en chiffres romains “/ CC” ( /200 exemplaires)Signée dans la planche.Accompagné d'un document notarial et d'un certificat d'édition.Dimensions : 48 x 34 cm.

MAGRITTE RENÉ (1898 - 1967)lithograph printed in colors after René Magritte's "Le beau monde" painting dd 1939 with dry-stamp of ADAGP and the Magritte Succession and with signature of HerscoviciMAGRITTE RENÉ (1898 - 1967) kleurlitho n° 109/275 naar het werk dd 1939 getiteld "La Victoire" - 60 x 45 met droogstempel van ADAGP en van de Succession Magritte en met signatuur van Charly Herscovici

MAGRITTE RENÉ (1898 - 1967)pendant of lithographs printed in colors - plate signed Magritte & with the signature of Ch. Herscovici (of the Magritte Foundation)MAGRITTE RENÉ (1898 - 1967) pendant kleurlitho's met typisch surrealistische composities - 30 x 45 in de plaat getekend en gecontresigneerd door Ch. Herscovici (van de Magritte Foundation)

MAGRITTE RENÉ (1898 - 1967)lithograph printed in colors after René Magritte's "Le beau monde" painting dd 1962 with dry-stamp of ADAGP and the Magritte Succession and with signature of HerscoviciMAGRITTE RENÉ (1898 - 1967) kleurlitho n° 33/275 naar het werk dd 1962 getiteld "Le beau monde" - 60 x 45 met droogstempel van ADAGP en van de Succession Magritte en met signatuur van Charly Herscovici

MAGRITTE RENÉ (1898 - 1967)series of eight lithographs printed in colors with typical René Magritte surrealistic compositions, such as the world famous "L'Empire des lumières" with stamped signature, stamp of the Succession and the signature of Ch. HerscoviciMAGRITTE RENÉ (1898 - 1967) reeks van acht kleurlitho's n° HC 32/45 telkens met surrealistische compositie zoals "L' Empire des lumières" en "La grande famille" - blad telkens circa 80 x 60 cm genaamstempeld, met droogstempel van de Successie en met signatuur van Ch. Herscovici

* CHARLES OAKLEY (BRITISH 1925 - 2008), DARDANELLES pencil on card, signed, titled and dated '85mounted, framed and under glassProvenance: Pyms Gallery, London (label attached to the reverse of the frame) Exhibited: Pyms Gallery, London, 'Lost Illusions: Works with Romantic and Historic Associations by Charles Oakley', 24th June-19th July 1986, cat. no.2Literature: Charles Oakley and Mary Hobart, 'Lost Illusions: Works with Romantic and Historic Associations by Charles Oakley', Arts Council of Northern Ireland, Belfast, 1986, cat.31 (unpag.) (illus.)image size 19cm x 35cm, overall size 26cm x 41cm Note: Obituary published in The Independent by Prof Kenneth McConkey 8 April 2008: Charles Oakley was one of an important generation of British painters who, in the late Forties, arrived at the Slade School of Fine Art wearing "demob" suits. He had neither portfolio nor sketchbooks to show, but a single watercolour, depicting a momentous occasion in his youth. Oakley grew up in Urmston, Manchester, the son of an engineer; two previous generations of Oakleys had been naval captains. Family holidays spent in Falmouth provided an ideal playground for the young Charles – rusting old U-boats from the Great War were berthed in the harbour. Then, in the early years of the Second World War, while youth hostelling in the Lake District, he came upon the crash site of two Hurricane fighters. A dead pilot lay by the wreckage of one of the planes. The scene burned itself into his mind and was only exorcised when he sketched it out on paper and coloured it. This single work became a talisman and after his three years' military service with the Royal Artillery in the Himalayas, it was this that he took to his successful Slade interview with Randolph Schwabe in 1947. His tutors, William Townsend and William Coldstream, being well-connected, brought artists and critics such as Francis Bacon, Wyndham Lewis and David Sylvester into the Slade to look at students' work. Oakley's diligent studies in the Antique Room won him the Taylor and Melvill Nettleship awards, as well as the Wilson Steer medal for Northern Landscape, a "summer composition" painting of coal trucks in a railway yard produced in 1950. He remained at the Slade for a postgraduate year and in 1951 married Ann, his life-long partner. In those days, the path from the Slade and the Royal College to the New English Art Club was still in use and Oakley showed industrial scenes at two of its exhibitions before moving north to become an art master at Eden School in Carlisle. A splendid watercolour of the old city bus station remains a popular reproduction sold by Tullie House museum in Carlisle. In 1957 his first solo exhibition was held at the Crane Kalman Gallery, Manchester, and was opened by L.S. Lowry. Oakley recalled Lowry's enthusiasm when he purchased a picture from the show. At this stage, living on a fabric designer's salary, and with a growing family, the Oakleys could not reciprocate – much to their chagrin in later years. Thereafter he showed regularly in Manchester exhibitions, being praised for his "poetry in paint". In 1962 he obtained the post of Senior Lecturer at Belfast College of Art, and it was after this that true poetry arrived, with paintings of ships' engine rooms at Harland and Wolff, recalling the submarines of childhood – one of which was acquired for the Ulster Museum, Belfast. In shows at the Caldwell Gallery in Bradbury Place, Belfast, these intense, claustrophobic interiors were juxtaposed with the wide expanses of Donegal where the Oakley family had a summer cottage. Oakley rhapsodised on the windswept beaches where occasionally he would come across the rotting remains of old fishing boats. When these paintings were exhibited in 1965 at the Bondgate Gallery, Alnwick, along with works by Lord Haig and J.H. Themal, Oakley, according to The Guardian, "stole the show". A few years later, as Seamus Heaney and Michael Longley were emerging as the poetic voices of Ulster, the critic William Feaver praised the "mortuary effect" of the painter's "leaky skies" and "peat trenches". Oakley might easily have been typecast as an Irish landscapist of a conventional kind. However, hints of Edward Hopper and "magic realism" had begun to creep into his painting and around the time of his return to England in 1974, he became interested in working in three dimensions – "dabbling in construction work" and experimenting with trompe l'oeil was how it was described. Repeated visits to the Dutch museums instilled a respect for the measured space of Vermeer, Terborch and Metsu, and took him back to his Slade School exercises in mathematical perspective. In 1982, on a student trip, he visited the massive 360-degree Mesdag Panorama in The Hague which was re-examined in a series of works – as indeed were the methodical approaches of painters such as Thomas Eakins and George Stubbs whose deep visual research led to periods of physical and spiritual isolation. These and the Dutch masters became his new subject matter in what were described as "works with romantic and historical associations", in the first of three exhibitions staged at Pyms Gallery, London in 1984 – perhaps the most fruitful collaboration of Oakley's career since it led to touring shows, in galleries in Hull, York, Kendal and Belfast. What we see in The Eakins Studio (1986), for instance, is a box/vitrine, similar to a stage designer's model. The life room impedimenta, sculpture stands and a "donkey", are recreated in miniature – tiny hand-crafted objects in which experience is locked. And on the back wall are pinned the famous studies of male and female nudes which contain them. Oakley's own experiences had come back to haunt him. A connection between these austere academic rituals and lost heroes such as Scott and Oates of the Antarctic, or Mallory and Irvine on Everest, fused in his mind and led him to produce the evocative Antarctic Triptych (1984) and the Quarter Rupee Triptych (1986) in which the intrepid teams of explorers and mountaineers pose for famous photographs. In the former the image is pinned to the remnants of one of their packing cases, along with other memorabilia, including a postcard of Caspar David Friedrich's The Wreck of the 'Hoffnung', inspired by an attempt on the North Pole in 1823. Embedded in the foreground fragments of cracked ice are remnants of a Union Jack. By the early Nineties, other themes, equally austere, suggested themselves. The discovery of a monument to Roger Casement, the death of Richthoven and new interpretations of Balthus, Winslow Homer and Magritte were added to the repertoire in these later years when two further solo shows were staged at Castleside Gallery, Cockermouth, in 1996 and 2000. In 1999 he won the Singer Friedlander/Sunday Times watercolour prize with The Thomas Eakins Gallery. In a genial, self-deprecating way, Charles Oakley used to claim that he was having fun and that these "tableaux" were just a way of filling time. But it was much more than that. Serious research would take him off to find the Mallory ice axe at the Alpine Club, or in 1996, back to Rajasthan. And with collectors waiting for paintings that might take months of detailed work to complete, he carried on until his late seventies when his eyes began to fail. Thereafter, he still spent his mornings in the studio, listening to Radio 3 and reading, surrounded by the work of a lifetime. Note: Kenneth McConkey is Emeritus Professor of Art History at the University of Northumbria. He is an expert on British, Irish and French painting of the late nineteenth and early twentieth centuries, especially Sir John Lavery, British Impressionism and the New English Art Club, and has published extensively on the art of the period, including on George Clausen.

Vibrant and expressive, this limited edition digital print on canvas by celebrated Brazilian artist Romero Britto reimagines Rene Magritte's The Son of Man through the lens of Britto's signature pop art and neo-cubist style. Titled Mr. Magritte, this 2020 work captures the surrealist theme of the hidden self while infusing the composition with bold geometric patterns, swirling lines, and glittering embellishments. The apple-faced figure, clad in a vivid mosaic-like suit and hat, is surrounded by a whimsical, color-rich background featuring expressive hearts, clouds, and playful curvilinear forms. Executed in a limited edition of 100, this piece is hand-signed by the artist and numbered 34/100. Accompanied by a certificate of authenticity from Britto Studios, this work exemplifies Britto's signature visual language of joy, hope, and optimism. Romero Britto is a Brazilian artist known for his distinctive fusion of pop art, cubism, and graffiti-inspired aesthetics. Born in 1963 in Recife, Brazil, Britto displayed an early passion for art, drawing inspiration from the vibrant culture and colorful energy of his homeland. He later moved to Miami, where he gained international recognition for his bold, cheerful works that often depict themes of love, happiness, and hope. His instantly recognizable style, characterized by bright colors, dynamic patterns, and thick black outlines, has earned him worldwide acclaim, leading to collaborations with major brands, corporations, and charitable organizations. Britto's works have been exhibited in prestigious museums and galleries around the globe, and he is regarded as one of the most licensed artists in history. Through his Happy Art Movement, Britto seeks to inspire positivity and social good, reinforcing his belief that art is too important not to share.Artist: Romero Britto (Brazilian/American b. 1963)Issued: 2020Dimensions: 39.50"L x 49.50"HCountry of Origin: Brazil/United StatesCondition: Age related wear.

RENÉ MAGRITTE (1898-1967)Sans titre signed 'Mag' (lower right)pencil on paper10.6 x 14.4cm (4 3/16 x 5 11/16in).Executed circa 1943-1947Footnotes:The authenticity of this work has been confirmed by the Comité Magritte. ProvenanceGeorgette Magritte (née Berger) Collection, Belgium (the artist's wife).Margaret Krebs Collection, Brussels.BrenArt, Brussels (acquired from the above). Private collection, US (acquired from the above in 2012).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

BOOKS, art mainly modern Magritte Gris. Also Rembrant and misc. Other related books.

RENE MAGRITTE (FRENCH 1898-1967), AFTER ONE PLATE FROM 'LES ENFANTS TROUVÉS' - 1968 Lithograph, ed. 350, initialled by Fernard Mourlot to margin, signed in plate, printed by Mourlot, Paris, published by A.C. Mazo, Paris; and the accompanying original red linen portfolio box with lithographic cover, of this image, and associated literature from the original issue (3) the image 30.5cm x 45.5cm (12in x 18in)

René MAGRITTE (1898-1967), D’Après.Un séduisant navire d’eau de mer,1968.Lithographie en couleur sur papier, signée dans la planche. Editeur Mourlot.Signé au crayon par Fernand Mourlot. Edition de 350 exemplaires.44 x 60 cm.

DUANE MICHALS10 Fotografien. Köln: Galerie Wilde 1975.Portfolio mit 10 Silbergelatineabzügen auf Kodak AZO F Fotopapier (Blattgröße 20,4 x 25,2 cm; Foto12,3 x 17,9 cm) in Passepartouts, jeweils vom Künstler signiert, datiert, nummeriert und bezeichnet, verso mit Galeriestempel und weiterer Bezeichnung. 1 Doppelbl. mit Titel, einem Einführungstext von Dr. Wulf Herzogenrath und Impressum. In OrLn.-Kassette mit Deckelschild (44,5 x 33,5 x 4 cm).(Kassette mit minimalen Gebrauchsspuren.)Nr. 25 von 30 arabisch num. Exemplaren (GA 35). – Enthällt folgende Arbeiten: Art Dealer without a Gallery 1970, Robert Duval 1966, Tennessee Williams 1966, Henri Cluzot 1968, Robert Rauschenberg 1963, Claes Oldenburg 1971, Andy Warhol 1958, Joe Dellasandro 1971, René Magritte 1965, Selfportrait as a Devil 1972.

TIMM ULRICHSCeci n'est pas une pipe de Magritte 1968Multiple. Pfeife in Holzbox, Innendeckel mit montierter Farbreproduktion. Signiert. Ex.49/100. Edition Harlekin Art, Wiesbaden. Ca. 6 x 17 x 12 cm. Buchholz/Magnani S. 197.(Leichte Altersspuren; Deckel mit kleineren Kratzern.)

René Magritte (1898-1967, after): 'La nuit de Pise', lithograph in colours, ed. 117/275, dated 2011Work: 51 x 38 cmPaper: ca. 56 x 43,5 cmFrame: 82,5 x 69 cmThe lithograph based on the painting 'La nuit de Pise' by Rene Magritte and edited by Philippe Moreno, with the authorisation and under control of the ADAGP, representing 'La Succession Magritte' (see also the blind stamps in the left and right bottom corner). 

René Magritte (1898-1967, after): 'Les Amants', lithograph in colours, ed. 101/275, dated 2011Work: 51 x 38 cmFrame: 82,5 x 68,5 cm The lithograph based on the painting 'Les Amants' by Rene Magritte and edited by Philippe Moreno, with the authorisation and under control of the ADAGP, representing 'La Succession Magritte' (see also the blind stamps in the left and right bottom corner).

Surrealism A large collection of volumes on Surrealism and by Surrealist Authors to include Sylvester (David) Renee Magritte: Catalogue Raisonne, London: The Menil Foundation and Philip Wilson Publishers, 1992, folio, three volumes including original dustcovers; Bulletin de Liaison Surrealiste, 1970, Paris: Jean Louis Bedouin, 1970-1976, 10 volumes; Bounoure (Vincent) and Camacho (Jorge) Talismans, Paris: Editions Surrealiste, 1967, numbered edition 303/651; further including several volumes by Aragon, Surrealist publications and magazines, unpublished PhD and MA theses, as well as art historical volumes on artists such as Max Ernst, Salvador Dali, Marcel Duchamp, Giorgio de Chirico, Joan Miro and others (qty) The Library of Roger Cardinal Roger Cardinal (1940-2019)Roger Cardinal was one of Britain’s most distinguished art historians, best known for defining what is generally known as Outsider Art - that is, art by people with no formal training. He began his career as a lecturer at the French department of the University of Manitoba, Canada, subsequently moving to Warwick University and finally to the University of Kent at Canterbury, where he taught for fifty years and held a professorship.Roger Cardinal was not only a leading authority on Outsider Art, but also on Surrealism. He was a prolific writer and a master of literary style. His eloquent, percipient writings include several books on a wide range of subjects such as Outsider Art (1972), German Romantics in Context (1975) Figures of Reality (1981), Expressionism (1984), The Landscape Vision of Paul Nash (1989), The Cultures of Collecting (1994), and Kurt Schwitters (2011). He also acted as a curator and was a regular contributor to art-historical publications.Cardinal’s interest in art lay in its margins - the neurodiverse, psychotic, uneducated, autistic, self-taught and ‘other’. His fascination with artists such as the violently psychotic Adolf Wölfli lay in their creativity rather than in the sensationalism of their lives. Certainly, it did not lie in the resale value of their work. That outsider art should have its own multimillion-dollar annual fair in New York and specialist departments at Christie’s auctioneers ran quite contrary to Cardinal’s thinking.Much of Roger Cardinal’s library has recently been donated to the Tate Gallery including the handwritten diaries that he kept his whole life. Cardinal often used books as working tools, heavily annotating in the margins - as with many volumes in the current sale. The library offered reflects Cardinal’s varied interests and fluent command of French and German. Alongside a large collection of art reference works in his specialist subjects, we also find collections of books on fairy tales and science fiction.

Alec Monopoly (American 1986-), 'Richie Magritte', 2023, giclee print in colours on 300gsm Cotton Rag paper, signed and numbered from an edition of 150 in pencil; sheet: 61 x 45.5cm, 75 x 60cm inc framesheet: 61 x 45.5cm, 75 x 60cm inc frameIn very good conditionNo knocks, tears or creases to the sheetFramed in a black frame with Artglass, float mounted leaving all edges and corners of the sheet visibleThis work has not been examined outside of the frame.

René Magritte (1898-1967) after. Homme au Chapeau Melon, from Le Lien de Paille  (Kaplan & Baum 19) Etching with pale ochre platetone, 1969, with the artist's signature stamp and 'Gravure Originale Atelier Rene Magritte' blindstamp, inscribed 'H.C' in pencil, aside from the edition of 150, printed and published by Georges Visat, Paris, on BFK Rives paper, with full margins, sheet 280 x 226mm (11 x 9in)

René Magritte (1898-1967), d'après, "Un séduisant navire d'eau de mer", 1968, lithographie en couleurs, signée et numérotée 25/350, 44,5x60 cm ConditionMinime enfoncement sans atteinte au pigment au niveau du bas du ventre et de la cuisse du corps Non encadrée

Reimer, oder Réne M., "Frauenakt", nach René Magritte, Öl/Lwd., 64 x 51, unten rechts signiert, R.

* CHARLES OAKLEY (BRITISH 1925 - 2008), MOONLIGHT RENDEZVOUS oil on board, titled label verso framed image size 49cm x 95cm, overall size 65cm x 110cm Partial artist's label verso. Note: Obituary published in The Independent by Prof Kenneth McConkey 8 April 2008: Charles Oakley was one of an important generation of British painters who, in the late Forties, arrived at the Slade School of Fine Art wearing "demob" suits. He had neither portfolio nor sketchbooks to show, but a single watercolour, depicting a momentous occasion in his youth. Oakley grew up in Urmston, Manchester, the son of an engineer; two previous generations of Oakleys had been naval captains. Family holidays spent in Falmouth provided an ideal playground for the young Charles – rusting old U-boats from the Great War were berthed in the harbour. Then, in the early years of the Second World War, while youth hostelling in the Lake District, he came upon the crash site of two Hurricane fighters. A dead pilot lay by the wreckage of one of the planes. The scene burned itself into his mind and was only exorcised when he sketched it out on paper and coloured it. This single work became a talisman and after his three years' military service with the Royal Artillery in the Himalayas, it was this that he took to his successful Slade interview with Randolph Schwabe in 1947. His tutors, William Townsend and William Coldstream, being well-connected, brought artists and critics such as Francis Bacon, Wyndham Lewis and David Sylvester into the Slade to look at students' work. Oakley's diligent studies in the Antique Room won him the Taylor and Melvill Nettleship awards, as well as the Wilson Steer medal for Northern Landscape, a "summer composition" painting of coal trucks in a railway yard produced in 1950. He remained at the Slade for a postgraduate year and in 1951 married Ann, his life-long partner. In those days, the path from the Slade and the Royal College to the New English Art Club was still in use and Oakley showed industrial scenes at two of its exhibitions before moving north to become an art master at Eden School in Carlisle. A splendid watercolour of the old city bus station remains a popular reproduction sold by Tullie House museum in Carlisle. In 1957 his first solo exhibition was held at the Crane Kalman Gallery, Manchester, and was opened by L.S. Lowry. Oakley recalled Lowry's enthusiasm when he purchased a picture from the show. At this stage, living on a fabric designer's salary, and with a growing family, the Oakleys could not reciprocate – much to their chagrin in later years. Thereafter he showed regularly in Manchester exhibitions, being praised for his "poetry in paint". In 1962 he obtained the post of Senior Lecturer at Belfast College of Art, and it was after this that true poetry arrived, with paintings of ships' engine rooms at Harland and Wolff, recalling the submarines of childhood – one of which was acquired for the Ulster Museum, Belfast. In shows at the Caldwell Gallery in Bradbury Place, Belfast, these intense, claustrophobic interiors were juxtaposed with the wide expanses of Donegal where the Oakley family had a summer cottage. Oakley rhapsodised on the windswept beaches where occasionally he would come across the rotting remains of old fishing boats. When these paintings were exhibited in 1965 at the Bondgate Gallery, Alnwick, along with works by Lord Haig and J.H. Themal, Oakley, according to The Guardian, "stole the show". A few years later, as Seamus Heaney and Michael Longley were emerging as the poetic voices of Ulster, the critic William Feaver praised the "mortuary effect" of the painter's "leaky skies" and "peat trenches". Oakley might easily have been typecast as an Irish landscapist of a conventional kind. However, hints of Edward Hopper and "magic realism" had begun to creep into his painting and around the time of his return to England in 1974, he became interested in working in three dimensions – "dabbling in construction work" and experimenting with trompe l'oeil was how it was described. Repeated visits to the Dutch museums instilled a respect for the measured space of Vermeer, Terborch and Metsu, and took him back to his Slade School exercises in mathematical perspective. In 1982, on a student trip, he visited the massive 360-degree Mesdag Panorama in The Hague which was re-examined in a series of works – as indeed were the methodical approaches of painters such as Thomas Eakins and George Stubbs whose deep visual research led to periods of physical and spiritual isolation. These and the Dutch masters became his new subject matter in what were described as "works with romantic and historical associations", in the first of three exhibitions staged at Pyms Gallery, London in 1984 – perhaps the most fruitful collaboration of Oakley's career since it led to touring shows, in galleries in Hull, York, Kendal and Belfast. What we see in The Eakins Studio (1986), for instance, is a box/vitrine, similar to a stage designer's model. The life room impedimenta, sculpture stands and a "donkey", are recreated in miniature – tiny hand-crafted objects in which experience is locked. And on the back wall are pinned the famous studies of male and female nudes which contain them. Oakley's own experiences had come back to haunt him. A connection between these austere academic rituals and lost heroes such as Scott and Oates of the Antarctic, or Mallory and Irvine on Everest, fused in his mind and led him to produce the evocative Antarctic Triptych (1984) and the Quarter Rupee Triptych (1986) in which the intrepid teams of explorers and mountaineers pose for famous photographs. In the former the image is pinned to the remnants of one of their packing cases, along with other memorabilia, including a postcard of Caspar David Friedrich's The Wreck of the 'Hoffnung', inspired by an attempt on the North Pole in 1823. Embedded in the foreground fragments of cracked ice are remnants of a Union Jack. By the early Nineties, other themes, equally austere, suggested themselves. The discovery of a monument to Roger Casement, the death of Richthoven and new interpretations of Balthus, Winslow Homer and Magritte were added to the repertoire in these later years when two further solo shows were staged at Castleside Gallery, Cockermouth, in 1996 and 2000. In 1999 he won the Singer Friedlander/Sunday Times watercolour prize with The Thomas Eakins Gallery. In a genial, self-deprecating way, Charles Oakley used to claim that he was having fun and that these "tableaux" were just a way of filling time. But it was much more than that. Serious research would take him off to find the Mallory ice axe at the Alpine Club, or in 1996, back to Rajasthan. And with collectors waiting for paintings that might take months of detailed work to complete, he carried on until his late seventies when his eyes began to fail. Thereafter, he still spent his mornings in the studio, listening to Radio 3 and reading, surrounded by the work of a lifetime. Note: Kenneth McConkey is Emeritus Professor of Art History at the University of Northumbria. He is an expert on British, Irish and French painting of the late nineteenth and early twentieth centuries, especially Sir John Lavery, British Impressionism and the New English Art Club, and has published extensively on the art of the period, including on George Clausen. Very good condition with no visible or known issues.

CONTEMPORARY ARTISTS: Selection of signed colour postcards, and a few slightly larger photographs, by various contemporary artists, most of the images depicting examples of their work and a few of them showing the artists themselves, including Richard Long (Berlin Circle, 1996), Jan Sudak (No! Please Don´t!, 1997), Clive Barker (Homage to Magritte, 1969), Fred Herzog, Sylvie Fleury, Christo & Jean-Claude, Daniel Spoerri etc. Generally VG, 9

MAGRITTE RENÉ: (1898-1967) Belgian Surrealist Artist. His work has influenced Pop Art and Minimalist Art. A.L.S., `René´, one page, to a postcard photograph, Knokke, 16th June 1962, to Alinne Gonne, in French. Magritte states `Un bonjour de Knokke (dont le Casino expose une centaine de mes tableaux jusque fin Août) de Knokke où nous sommes venus, puis partis, puis revenus et où nous reviendrons encore...´ (Translation: "Hello from Knokke (where its Casino is exhibiting a hundred of my paintings until the end of August) from Knokke where we came, then left, then returned and where we will return again...") Also signed at the base by Georgette Magritte, his model, muse and wife. The postcard bears to the front an image of the beach of Knokke. Postcard and stamped. VG

Original script for After Magritte by Tom Stoppard, premiered in 1971 at the Ambience Lunch Hour Theatre Club in London, with original cast members including Josephine Tewson, Prunella Scales and others, the script with some annotations in pen. Provenance: Josephine Tewson Collection

Umfangreiche Sammlung von 89 Ausstellungsplakaten, vorwiegend Kestner-Gesellschaft Hannover2 x Olympia-Plakat 1972; R. Wittenborn; Eduardo Paolozzi; Alfred Hrdlicka; André Thomkins; Christo; Picasso, Nicholas Krushenick, Asger Jorn; Alfred Jensen, Eva Hesse; Wols; Hans-Georg Rauch; August Macke, Claes Oldenburg; Pol Bury; Saul Steinberg; Alfred Ho; Peter Ackermann; H.-J. Breuste; Walter Dexel; Joseph Beuys; Arnulf Reiner; Günther Uecker; Walter Pichler; Bernhard Luginbühl; Bernhard Lüthi; Dada-Foto; Howard Kanovitz; Pierre Alechinsky; Jochen Gerz; Mataré; Rebecca Horn; Vostell; Nikolaus Lang; Jorge Castillo; Gisela Andersch; Morandini; Henri Michaux; George Rickey; Dieter Roth; Cy Twombly; Tomi Ungerer; Almir Mavignier; Jiri Kolar; Richard Lindner; Alan Davie; Roy Lichtenstein; Fruhtrunk - Girke - Pfahler; Jim Dine; Soto; Lucio Fontana; Wotruba; Kalinowski; Werner Heldt; Domenico Gnoli; Gotthard Graubner; Max Bill; Giorgio de Chirico; R. B. Kitaj; Max Ernst; Magritte; Miguel Berrocal; Alex Colville; David Hockney; Mára; Jürgen Brodwolf; Boljka - Zelenko; vorwiegend Edition Kestner-Gesellschaft Hannover, teils Original-Farbserigraphien: u.a. Krushenick, Paolozzi, Lindner, Bill u. Kitaj; unterschiedliche Zustände, Selbstbesichtigung empfohlen!

lithograph printed in colors after the 1963 "La reconnaissance infinie" painting by René Magritte with stamps of ADAGP and the "Magritte Succession" and with a signature of Ch. HerscoviciMAGRITTE RENÉ (1898 - 1967) kleurlitho n° 246/275 naar het werk dd 1963 getiteld "La reconnaissance infinie" - 45 x 60 met droogstempels van ADAGP en van de Succession Magritte en met signatuur van Charly Herscovici

lithograph printed in colors after the 1967 "La page blanche" painting by René Magritte with stamps of ADAGP and the "Magritte Succession" and with a signature of Ch. HerscoviciMAGRITTE RENÉ (1898 - 1967) kleurlitho n° 129/275 naar het werk dd 1967 getiteld "La page blanche" - 45 x 60 met droogstempels van ADAGP en van de Succession Magritte en met signatuur van Charly Herscovici

21st Cent. oil on canvas with a homage to Magritte - signed RoyceROYCE (° 1984) olieverfschilderij op doek getiteld "Hommage à Magritte" - 120 x 90 getekend

framed silk shawl with a work by René Magritte - an edition by Flammarion (1000 ex.)MAGRITTE RENÉ (1898 - 1967) sjaal in zijde met een werk van Magritte - 100 x 100 - ingekaderd editie van Flammarion op 1000 ex.

lithograph printed in colors after the 1969 ""Un peu de l'âme des bandits" painting by René Magritte with stamps of ADAGP and the "Magritte Succession" and with a signature of Ch. HerscoviciMAGRITTE RENÉ (1898 - 1967) kleurlitho n° 147/275 naar het werk dd 1969 getiteld "Un peu de l'âme des bandits" - 60 x 45 met droogstempel van ADAGP en van de Succession Magritte en met signatuur van Charly Herscovici

lithograph printed in colors after the 1955 "Le Maître d'école" painting by René Magritte - name-stamped, stamped by the 'Succession Magritte' and with a signature of Ch. HerscoviciMAGRITTE RENÉ (1898 - 1967) kleurlitho n° 81/275 : "Le Maître d'école" - 50,5 x 38 met monogram van Charly Herscovici, naamstempel en droogstempel van de 'Succession Magritte"

lithograph printed in colors after the 1960 "Le tombeau des lutteurs" painting by René Magritte with stamps of ADAGP and the "Magritte Succession" and with a signature of Ch. HerscoviciMAGRITTE RENÉ (1898 - 1967) kleurlitho n° 129/275 naar het werk dd 1960 getiteld "Le tombeau des lutteurs" - 45 x 60 met droogstempels van ADAGP en van de Succession Magritte en met signatuur van Charly Herscovici

René Magritte, French 1898-1967,Trois Pommes;lithograph in colours, signed by Georgette Magritte in pencil, numbered 78/150, this was the last lithograph co-produced by Magritte, sheet: 52 x 63 cm, (framed) (ARR) 

Clive Barker,  British b.1940- Homage to Magritte #2 (gold), 1969; Homage to Magritte #3 (silver), 1969; two screenprints on paper,  each signed, dated, titled and numbered from the edition of 10 in pencil,  each image: 74 x 46 cm,  (x1 framed/ x1 unframed)  (ARR)  (2)  Provenance: from the collection of Klaus Hinrichsen. Note: Klaus Hinrichsen (1912–2004) was a German-born art historian who fled Nazi Germany in 1938. He was interned at Hutchinsons Camp on the Isle of Man from 1940, where he organised exhibitions featuring refugee artists such as Kurt Schwitters. Prevented from working in public art institutions after his release, he dedicated himself to collecting and researching maps, ethnographic works, and lithographs, meticulously cataloguing his acquisitions. He sourced items from Sotheby’s, Christie’s, and antique dealers, prioritising historical significance and conducted extensive provenance research at the British Library. His archive, including records and ephemera from his time in internment, is now held at the Tate Gallery.

René MAGRITTE (1898-1967), heliogravure “La Folie Almayer”, signedRené MAGRITTE (1898-1967), heliogravure 'La Folie Almayer', getekend19.5 x 14.5 cm Justification issue 1973 on reverseJustificatie uitgave 1973 op de achterzijde

Original offset poster by René Magritte for the World Festival of Cinema and Fine Arts in Knokke 1949, signed in red the plate bottom rightOriginele offset affiche door René Magritte voor het wereldfestival voor film en schone kunsten in Knokke 1949, gesigneerd in rood de plaat rechts onderaan119 x 76.5 cm

After Rene Magritte, 'Decalcomanie', lithograph, with printed Magritte signature, initialled in pencil by Charly Herscovici of the Magritte Foundation, image size 38 x 47cm.

Marcel Broodthaers (Belgian, 1924-1976), 'Portraits' series taken between 1957-1974, a selenium-toned silver gelatin print photograph of René Magritte standing behind a canvas in his 'L'Empire des Lumières' series, 18.5 by 15.5cm, framedNote: See an example in the Art Institute of Chicago, Reference No. 1991.1502

1.Magritte (Poging tot het onverklaarbare) - A book exploring the surrealist works of René Magritte, known for his enigmatic and thought-provoking paintings.2.Ensor - Focuses on the works of James Ensor, a pioneer of expressionism and symbolism, famous for his grotesque and carnival-like scenes.3.Raoul De Keyser (Retour 1964–2006) - Showcases the minimalist and abstract paintings of Raoul De Keyser, blending geometry with poetic simplicity.4.Avermaer (René Turkry) - Likely delves into the works of Albert Avermaet, a Belgian painter with a focus on rural life and historical depictions.5.Leon De Smet - Highlights the impressionist works of Léon De Smet, known for his luminous color palette and intimate domestic scenes.6.Raveel - Features the work of Roger Raveel, a key figure in contemporary Belgian art, bridging abstraction and realism with vivid, everyday themes.7.Roger Raveel (Hij verbeeldde onze tijd) - Another work focusing on Raveel, emphasizing his interpretation of modern life through a personal, colorful lens.8.Henri Evenepoel (1872–1899) - Chronicles the short yet impactful career of Henri Evenepoel, who blended impressionism and post-impressionism with a unique use of color.9.Georges Lemmen - Explores the work of Georges Lemmen, a neo-impressionist painter known for his pointillist style and intimate portraits.10.Floris Jespers - Discusses Floris Jespers, an avant-garde artist who transitioned from expressionism to cubism, creating distinctive, abstract works.11.Magritte - Another book on René Magritte, delving deeper into his surrealist universe and his exploration of reality and illusion.12.Roger Raveel - Focuses on a specific period or thematic element in Roger Raveel’s body of work, emphasizing his innovative approach.

RENÉ MAGRITTE (Belgian 1989 - 1976)A lithograph print of magritte’s les bijoux indescrets Paris, 1958 Lithograph on paper, depicting a hand extending down to a dark pink surface, a face emerging from the wrist, published by San Lazzaro in 1958 and printed by Fernand Mourlot, with certificate of authenticity from N Isen, Philadelphia, Pennsylvania, titled and signed, and numbered 286/575 in pencil along the lower margin, mounted, framed and glazed. Image 26cm x 34.5cmWith frame 53.5cm x 62cm

Rene Magritte (French, 1898-1967) - three Surrealist offset lithograph poster prints. The lot comprising Son of Man, La Magi Noire, and L'Heureux Donateur.Each measures approx. 69cm x 51cm.

René MAGRITTE (1898-1967), D’Après. Un séduisant navire d’eau de mer,1968. Lithographie en couleur sur papier, signée dans la planche. Editeur Mourlot. Signé au crayon par Fernand Mourlot. Edition de 350 exemplaires. 44 x 60 cm.

René MAGRITTE (1898-1967), D’Après. Les Grands Oiseaux sont ceux de l’Ile au Trésor,1968. Lithographie en couleur sur papier, signée dans la planche. Editeur Mourlot. Signé au crayon par Fernand Mourlot. Edition de 350 exemplaires. 31,5 x 48 cm.

NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) ⊕ UNTITLED signed Niki de Saint Phalle and numbered 26/50 lower right screenprint in colours on wove paper 89 x 61cm; 35 x 24in unframed Property from the Estate of Alexander Iolas see note to lot 47 Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, the gallery gained a reputation for Surrealist art after Iolas staged a pivotal exhibition of new work by Max Ernst, Dorothea Tanning and René Magritte in 1947.Five years later Iolas mounted the landmark show of the yet undiscovered artist Andy Warhol, staging his artistic debut Fifteen Drawings Based on the Writings of Truman Capote in 1952 and propelling the young American artist to stardom. Iolas and Warhol subsequently worked extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his market. In 1955, in partnership with Brooks Jackson, Iolas established his own independent gallery franchise across Paris, Milan, Rome, Geneva, Madrid and Athens.Famous for his bombastic claims and often amusing opinions (once dismissing Balthus and Cy Twombly as terrible painters in the same breath), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, his theatrical nature inextricably linked to his professional undertakings. Speaking to art historian Maurice Rheims in 1965, Iolas stated: 'I don’t consider a gallery as a commercial occupation. It’s purely artistic… it’s a show in which the audience members are the dancers, and the scenery is made by the painter.

JEAN HUGO (FRENCH 1894-1984) ⊕ (i) SAILING BY THE LIGHTHOUSE (ii) BUOY AT DUSK (iii) ON FOOT ACROSS THE PLAIN each signed Jean Hugo lower right gouache on paper each: 7.8 x 4.6cm; 3 1/4 x 1 3/4in 55.5 x 23.5cm; 21 3/4 x 9 1/4in (three framed as one) Property from the Estate of Alexander Iolas see note to previous lot Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, the gallery gained a reputation for Surrealist art after Iolas staged a pivotal exhibition of new work by Max Ernst, Dorothea Tanning and René Magritte in 1947.Five years later Iolas mounted the landmark show of the yet undiscovered artist Andy Warhol, staging his artistic debut Fifteen Drawings Based on the Writings of Truman Capote in 1952 and propelling the young American artist to stardom. Iolas and Warhol subsequently worked extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his market. In 1955, in partnership with Brooks Jackson, Iolas established his own independent gallery franchise across Paris, Milan, Rome, Geneva, Madrid and Athens. Famous for his bombastic claims and often amusing opinions (once dismissing Balthus and Cy Twombly as terrible painters in the same breath), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, his theatrical nature inextricably linked to his professional undertakings. Speaking to art historian Maurice Rheims in 1965, Iolas stated: 'I don’t consider a gallery as a commercial occupation. It’s purely artistic… it’s a show in which the audience members are the dancers, and the scenery is made by the painter.

JEAN HUGO (FRENCH 1894-1984) ⊕ (i) ON THE QUAY (ii) BY THE CLIFFS (iii) ACROSS THE SOUND each signed Jean Hugo - (i) lower left, (ii) & (iii) lower right; (i) inscribed no. 103 on the reverse, (ii) inscribed no. 41 on the reverse, (iii) inscribed no. 113 on the reverse gouache on paper 4.8 x 8cm; 2 x 3 1/4in (i) & (iii) 8 x 4.8cm; 3 1/4 x 2in (ii) 55.5 x 23.5cm; 21 3/4 x 9 1/4in (three framed as one) Property from the Estate of Alexander Iolas Jean Hugo was the great-grandson of the Romantic novelist and politician Victor Hugo (1802-1885). Brought up in a lively artistic environment, he began teaching himself drawing and poetry from an early age. His artistic career spans the twentieth century, from his early sketches of the First World War through the creative fervour of his years in Paris thereafter. Part of an extensive artistic circle, he counted Picasso, Cecil Beaton and Jean Cocteau (see lot 68) among his friends. Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, the gallery gained a reputation for Surrealist art after Iolas staged a pivotal exhibition of new work by Max Ernst, Dorothea Tanning and René Magritte in 1947.Five years later Iolas mounted the landmark show of the yet undiscovered artist Andy Warhol, staging his artistic debut Fifteen Drawings Based on the Writings of Truman Capote in 1952 and propelling the young American artist to stardom. Iolas and Warhol subsequently worked extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his market. In 1955, in partnership with Brooks Jackson, Iolas established his own independent gallery franchise across Paris, Milan, Rome, Geneva, Madrid and Athens.Famous for his bombastic claims and often amusing opinions (once dismissing Balthus and Cy Twombly as terrible painters in the same breath), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, his theatrical nature inextricably linked to his professional undertakings. Speaking to art historian Maurice Rheims in 1965, Iolas stated: 'I don’t consider a gallery as a commercial occupation. It’s purely artistic… it’s a show in which the audience members are the dancers, and the scenery is made by the painter.

NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) ⊕ WHY DON'T YOU LOVE ME? signed Niki de Saint Phalle and numbered 24/100 lower right screenprint in colours on wove paper 40 x 60cm; 15 3/4 x 23 1/2in unframed Property from the Estate of Alexander Iolas Executed in 1968. see note to lot 47 Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, the gallery gained a reputation for Surrealist art after Iolas staged a pivotal exhibition of new work by Max Ernst, Dorothea Tanning and René Magritte in 1947.Five years later Iolas mounted the landmark show of the yet undiscovered artist Andy Warhol, staging his artistic debut Fifteen Drawings Based on the Writings of Truman Capote in 1952 and propelling the young American artist to stardom. Iolas and Warhol subsequently worked extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his market. In 1955, in partnership with Brooks Jackson, Iolas established his own independent gallery franchise across Paris, Milan, Rome, Geneva, Madrid and Athens.Famous for his bombastic claims and often amusing opinions (once dismissing Balthus and Cy Twombly as terrible painters in the same breath), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, his theatrical nature inextricably linked to his professional undertakings. Speaking to art historian Maurice Rheims in 1965, Iolas stated: 'I don’t consider a gallery as a commercial occupation. It’s purely artistic… it’s a show in which the audience members are the dancers, and the scenery is made by the painter.