Painter, Illustrator, Sculptor, Photographer, b. 1898 - d. 1967
Belgian surrealist Rene Magritte's early artwork was inspired by Pablo Picasso. Magritte attended art school in Brussels and honed his painting style while working in advertising. His goal was to challenge perceptions by creating images that delved into the dark areas of the mind. However, Rene Magritte's paintings were often panned by critics for looking too much like his advertising illustrations. He also used text, which was frowned upon by artists and critics during that period.
After WWII, Rene Magritte's paintings strayed from darker subjects and abstract art to lighter impressionist-style pieces. This variety is evident in Rene Magritte’s prints for sale, which include everything from classical landscapes to humorous abstract pieces. Browse other abstract paintings for sale online to find interesting pieces to decorate your home.
2 Kunstdrucke als Pendant, jeweils im Druck signiert Magritte, umseitig Künstlerbiografie montiert, René François Ghislain Magritte (* 1898 Lessines, † 1967 Brüssel) war ein belgischer Maler des Surrealismus, Studium 1916 bis 1918 an der Brüsseler Akademie der schönen Künste, schuf dort kubistisch-futuristisch angehauchte Arbeiten, ab 1926 feste Verträge mit der Brüsseler Galerie Le Centaure ermöglichtem ihm ein Auskommen nur über die Kunst, 1927-1930 in Paris, Anregungen durch französische Surrealisten, 1930 Lebensmittelpunkt in Brüssel und in Kultur- und Künstlerkreisen unterwegs, auch internationale Erfolge z.B. 1947 Ausstellung in New York, stirbt 1967 unerwartet an Krebs, sein letztes Bild bleibt bis zum Tod seiner Frau unvollendet auf der Staffelei stehen (Quelle Wikipedia), hier zwei surrealistische Akte als Pendant, Blatt je ca. 29 x 22 cm, montiert, Schrägschnitt-Passepartout hinter Glas in schlichter Holzleiste ca. 42,5 x 32,5 cm, ges. 2 Stück. (EN) 2 art prints as a pair, each signed "Magritte" on the print, with the artist's biography mounted on the reverse, René François Ghislain Magritte (b. 1898 in Lessines, d. 1967 in Brussels) was a Belgian Surrealist painter, studied at the Brussels Academy of Fine Arts from 1916 to 1918, where he created works with Cubist and Futurist influences, starting in 1926, permanent contracts with the Brussels gallery Le Centaure enabled him to make a living solely through his art, 1927–1930 in Paris, inspired by French Surrealists, in 1930, he settled in Brussels and moved in cultural and artistic circles, also achieved international success, e.g., an exhibition in New York in 1947, died unexpectedly of cancer in 1967, his last painting remained unfinished on the easel until his wife’s death (Source Wikipedia), here are two surrealist nudes as a pair, each sheet approx. 29 x 22 cm, mounted, bevel-cut mat behind glass in a simple wooden frame approx. 42.5 x 32.5 cm, set of 2 pieces.
René Magritte (1898-1967) Belgium Eternal Evidence exhibition 2000, after one of his works titled “cut canvases” made in the early 1930s. Four-color reproduction 78 x 30 cm unsigned, unnumbered
René Magritte Porcelain Plate "The Great War" René Magritte Porcelain Plate "The Great War" Fine porcelain plate with the motif "The Great War" by René Magritte, produced exclusively by the estate of the artist René Magritte.
Estampe: Zincographies de partitions musicales complètes (5pc) dont: -Elle danse le Charleston- MAGRITTE René (1888. 1967) -La Belle de Séville- DE GREEF Peter... Engraving: Zincographs of complete musical scores (5 pieces). including: - *Elle danse le Charleston* René MAGRITTE (18881967) - *La Belle de Séville* Peter DE GREEF...
Offset litho drawn on the plate: René MAGRITTE [1898-1967] and numbered 15/100 "La Magne noir" with dry stamp. Dimensions: 70 x 50 cm. with frame 74 x 54 cm.
"The Battle of the Argonne" 1959. Lithograph signed and numbered 93/300. Published by Philippe Moreno with permission from the "Succession Magritte," ADAGP stamp. Dimensions: 30 x 44 cm
"La Flèche de Zénon" 1964. Lithograph drawn and numbered 93/300. Published by Philippe Moreno with the permission of the 'Succession Magritte,' Stamp of the ADAGP. Dimensions: 30 x 44 cm
"L'empire Des Lumières" 1961. Lithograph drawn and numbered 93/300. Published by Philippe Moreno with the permission of the 'Succession Magritte', ADAGP stamp. Dimensions: 30 x 45 cm
"Le Domaine d'Arnheim", 1962 Lithograph, drawn in facsimile and numbered 248/275. Co-signed by Ch. Herscovici of Fondation Magritte. Image: 60 x 45 cm.
"The Smile of the Devil." Color lithograph, drawn H.C. (edition of 50 copies), signed in pencil by Georgette Magritte, framed under a mat in a gilded wooden frame. Image: 40.5 x 30 cm Frame dimensions: 69 x 55 cm
Sculpture in bronze realised after the sculpture "La joconde" 1967 by René Magritte foundery: Paumelle-France 2010 and numbered 120/250 height: 83 cm. with certificat of mr. Charly Herscovici
Sculpture in bronze realized from the Original plaster "Tête" 1960 by René Magritte foundry: Bocquel France 2010 and numbered 125/250 height: 23,5 cm. with certificat of Charly Herscovici
René Magritte (1898-1967) Belgium Eternal Evidence exhibition 2000, after one of his works named “cut-out canvases” made in the early 1930s. Four-color process reproduction 78 x 30 cm Unsigned, unnumbered
René Magritte Porcelain Plate "The Great War" René Magritte Porcelain Plate "The Great War" Fine porcelain plate with the "The Great War" motif by René Magritte, produced exclusively by the René Magritte artist's estate.
René Magritte (1898-1967) Belgium Eternal Evidence exhibition 2000, after one of his works titled "cut canvases" made in the early 1930s. Four-color printing reproduction 78 x 30 cm Unsigned, unnumbered
René Magritte Porcelain plate "The Great War" René Magritte Porcelain plate "The Great War" Fine porcelain plate with the motif "The Great War" by René Magritte, produced exclusively by the estate of the artist René Magritte.
H:44cm (17.32in) W:54cm (21.26in) H:60cm (23.62in) W:67cm (26.38in) The work retains original canvas and period frame with natural signs of age. The painting surface is clean and stable, without visible tear, hole, heavy craquelure or restoration. The overall preservation is consistent with its historical period.All images are taken from the actual lot, fully representing the current condition.No further official archived provenance or exhibition records available. Attributed based on stylistic characteristics of the artist.
Rene Magritte (Belgian, 1898-1967) graphite pencil on sketchbook paper, study of two cats and a dog, signed lower right: Mag. [5 1/2 x 4 1/4 inches (sheet); 9 3/4 x 8 1/4 inches (frame). Property from the William A. Glaser Collection.
René MAGRITTE (1898-1967). Dessin double face. Recto : Buste de femme de profil signé en bas à droite (signature par Georgette Magritte). Verso : Etude d'un livre ouvert face à une fenêtre illustrant une cage à oiseaux et un fer à repasser Dimensions : 20 x 25 (26 en bas) cm. On y joint le certificat d'authenticité du Comité Magritte daté du 15 février 2025. Provenance : Collection privée belge. Rapport d'état : Pli vertical au centre. Greffe de papier dans l'angle supérieur gauche suite à un manque (découpe). Cette zone est vierge et n'impacte pas le dessin. Droits de suite applicables.
René Magritte Porcelain Plate "The Great War" René Magritte Porcelain Plate "The Great War" Fine porcelain plate with René Magritte's "The Great War" motif, produced exclusively by the René Magritte artist's estate.
René Magritte (1898-1967) Belgium Eternal Evidence exhibition 2000, after one of his works named "cut-out canvases" made in the early 1930s. Four-color printing reproduction 78 x 30 cm unsigned, unnumbered
etching, numbered XVIII/XXV cm 11,5 x 14,7 (cm 24,1 x 19,7 sheet size) Signed and dated in pencil lower left Signed lower right in the plate Lower left blind stamp of the Printer Libreria Prandi, Reggio Emilia LITERATURE G. E. Kaplan, T. Baum, The Graphic Work of René Magritte, Ed. Institutional Investor, Inc., New York 1982, n. 2
Work: 51 x 38 cm Paper: ca. 65 x 50 cm Frame: 81 x 61 cm The lithograph based on the painting 'Les amants' (1928) 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).
Work: 48,5 x 38 cm Paper: ca. 65 x 50 cm Frame: 81,5 x 61,5 cm The lithograph based on the painting 'Souvenir de voyage' by René 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).
H:44cm (17.32in) W:54cm (21.26in) H:60cm (23.62in) W:67cm (26.38in) The work retains original canvas and period frame with natural signs of age. The painting surface is clean and stable, without visible tear, hole, heavy craquelure or restoration. The overall preservation is consistent with its historical period.All images are taken from the actual lot, fully representing the current condition.No further official archived provenance or exhibition records available. Attributed based on stylistic characteristics of the artist.
René Magritte (1898-1967) Belgium Eternal Evidence exhibition 2000, after one of his works named "cut-out canvases" made in the early 1930s. Four-color reproduction 78 x 30 cm Unsigned, unnumbered
René Magritte Porcelain Plate "The Great War" René Magritte Porcelain Plate "The Great War" Fine porcelain plate with the pattern "The Great War" by René Magritte, produced exclusively by the René Magritte artist's estate.
RENÉ MAGRITTE (Lessines 1898–1967 Brussels) Untitled. c. 1950. Pencil on tissue paper. 21.1 × 27.4 cm. Certificate: Comité Magritte, Brussels, 20 November 2024. Provenance: - Georgette Magritte, Jette, wife of the artist. - Galerie Isy Brachot, Brussels. - Auction Christie's, London, 18 March 1996, lot 128. - Private collection Switzerland. Exhibited: Paris 1988/89, Magritte. Dessins, croquis et esquisses de l'atelier René Magritte, Galerie Isy Brachot, 22 October 1988–7 January 1989 (verso with label). ------------------------------------------------- RENÉ MAGRITTE (Lessines 1898–1967 Brüssel) Ohne Titel. Um 1950. Bleistift auf Seidenpapier. 21,1 × 27,4 cm. Gutachten: Comité Magritte, Brüssel, 20.11.2024. Provenienz: - Georgette Magritte, Jette, Frau des Künstlers. - Galerie Isy Brachot, Brüssel. - Auktion Christie's, London, 18.3.1996, Los 128. - Privatsammlung Schweiz. Ausstellung: Paris 1988/89, Magritte. Dessins, croquis et esquisses de l'atelier René Magritte, Galerie Isy Brachot, 22.10.1988–7.1.1989 (verso mit Etikett).
RENÉ MAGRITTE (Lessines 1898–1967 Brussels) Portrait d'Arlette Magritte. c. 1950. Oil on canvas. Signed upper left: Magritte. Verso with the confirmation of authenticity by the artist’s wife. 54.9 × 44.9 cm. Provenance: - Raymond Magritte, Brussels, acquired directly from the artist. - Arlette Magritte, Brussels, received by inheritance from the above. - Auction Christie’s, London, 25 June 2001, lot 42 (verso with label). - Private collection USA. Exhibited: - Tokyo/Toyama/Kumamoto 1982, René Magritte, Tokyo Gallery of Art, August–September 1982/Toyama Prefectural Museum of Art, October 1982/Kumamoto Prefectural Museum of Art, October–December 1982, no. 28. - Paris 1984/85, Hommage à Magritte, Centre Wallonie-Bruxelles, 9 November 1984–10 February 1985, no. 20. Literature: David Sylvester (ed.): René Magritte. Catalogue raisonné. Oil Paintings, Objects and Bronzes. 1949–1967, Antwerp 1993, vol. III, p. 176, no. 752 (with ill.). In this captivating portrait by René Magritte, a young woman gazes past the viewer with a calm and elevated expression that is nonetheless imbued with a certain intensity. She is bathed in golden light, while behind her the gentle, tranquil sea merges seamlessly with the vast expanse of the sky. The model is Arlette, the artist’s niece, who was likely around seventeen years old at the time the work was created. Her almond-shaped eyes with finely drawn brows, her sensually curved lips, and the contemplative expression of her face recall Botticelli’s Venus, thus evoking this timeless archetype. Whereas in Botticelli’s work the wind is explicitly depicted in the form of Zephyrus, here Arlette’s blonde curls seem to be softly brushed away from her face by a gentle breeze. Magritte’s work, however, goes far beyond the familiar genre of portraiture or the symbolic representation of beauty. It connects the real, depicted individual with a surreal world, thereby creating new, unexpected associations and possible interpretations. To this end, the artist employs motifs such as the glass of water, the rose, and the three "Bilboquets" in the background. As early as 1926, when Magritte portrayed his wife Georgette, he made use of this latter motif, which he would continue to incorporate repeatedly into his pictorial universe. The bilboquet, originally a children’s dexterity toy, is transformed by Magritte into chess-like, towering figures. Half object, half human, the bilboquets form a bridge between the real and the imaginary world. The boundless expanse of sky and water further reinforces this metaphysical dimension. Renoir, with whose work Magritte engaged deeply, often depicted children with bilboquets in his portraits. While in Renoir’s work they remain mere toys, in Magritte’s paintings they assume the guiding function described above within his surreal universe. Renoir also served as a stylistic model for Magritte: the diffuse handling of light, the subtle gradations of color, the warm palette, and the soft modeling recall Renoir’s late portraits. These impressionistic characteristics, particularly evident in Magritte’s later work, are consistent with the dating of the painting in the catalogue raisonné to around 1950. The estimated age of Arlette—who was born in 1933—based on her depiction, as well as comparison with another portrait from the same period, likewise point to this timeframe. Finally, the exceptional provenance of this work should be emphasized: it remained in the Magritte family for over fifty years before entering the public art market in 2001. Magritte’s "Portrait d’Arlette" was also exhibited in important exhibitions in Japan (1982) and Brussels (1984/85). ------------------------------------------------- RENÉ MAGRITTE (Lessines 1898–1967 Brüssel) Portrait d'Arlette Magritte. Um 1950. Öl auf Leinwand. Oben links signiert: Magritte. Verso mit der Echtheitsbestätigung durch die Ehefrau des Künstlers. 54,9 × 44,9 cm. Provenienz: - Raymond Magritte, Brüssel, direkt beim Künstler erworben. - Arlette Magritte, Brüssel, durch Erbschaft von Obigem erhalten. - Auktion Christie’s, London, 25.6.2001, Los 42 (verso mit Etikett). - Privatsammlung USA. Ausstellungen: - Tokyo/Toyama/Kumamoto 1982, René Magritte, Tokyo Gallery of Art, August–September 1982/Toyama Prefectural Museum of Art, Oktober 1982/Kumamoto Prefectural Museum of Art, Oktober–Dezember 1982, Nr. 28. - Paris 1984/85, Hommage à Magritte, Centre Wallonie-Bruxelles, 9.11.1984–10.2.1985, Nr. 20. Literatur: David Sylvester (Hrsg.): René Magritte. Catalogue raisonné. Oil Paintings, Objects and Bronzes. 1949–1967, Antwerpen 1993, Bd. III, S. 176, Nr. 752 (mit Abb.). In dem faszinierenden Porträt von René Magritte schaut eine junge Frau mit gelassenem und erhabenem Blick, der jedoch zugleich etwas Eindringliches hat, am Betrachtenden vorbei. Sie ist in goldenes Licht getaucht, hinter ihr verschmilzt das sanfte, ruhige Meer mit dem weiten Himmel. Bei dem Modell handelt es sich um Arlette, die Nichte des Künstlers, die zum Zeitpunkt der Entstehung des Werks wohl um die 17 Jahre alt ist. Ihre mandelförmigen Augen mit den feinen Augenbrauen, die sinnlich geschwungenen Lippen und der kontemplative Ausdruck ihres Gesichts ähneln Botticellis Venus und verweisen somit auf diesen zeitlosen Archetypen. Während der Wind bei Botticelli in Form des Zephirus explizit dargestellt wird, scheinen Arlettes blonde Locken hier von einer sanften Brise aus dem Gesicht gestrichen zu werden. Magrittes Werk geht aber bei Weitem über das vertraute Genre des Porträts oder die symbolhafte Darstellung von Schönheit hinaus. Es verbindet die real existierende dargestellte Person mit einer surrealen Welt und schafft so neue, unerwartete Bezüge und mögliche Interpretationen. Dazu dienen dem Künstler Motive wie das Wasserglas, die Rose und die drei "Bilboquets" im Hintergrund. Bereits 1926, als Magritte seine Ehefrau Georgette porträtierte, bediente er sich dieses letzeren Requisits, das er fortan immer wieder in seiner Bilderwelt einsetzte. Das Bilboquet, ursprünglich ein Geschicklichkeitsspiel für Kinder, wird bei Magritte zu schachartigen, überkopfhohen Riesenfiguren. Halb Objekte, halb Menschen, bilden die Bilboquets den Übergang von der realen zur imaginären Welt. Auch die unendliche Weite des Himmels und des Wassers unterstreichen diese übersinnliche Dimension. Renoir, mit dem sich Magritte vertieft auseinandersetzt, stellt Kinder in seinen Porträts oft mit Bilboquets dar. Während sie bei Ersterem jedoch lediglich Spielzeug bleiben, erhalten sie in Magrittes Werk die oben beschriebene Leitfunktion zu seinem surrealen Universum. Renoir dient Magritte aber auch in stilistischer Hinsicht als Vorbild: Die diffuse Behandlung des Lichts, die subtilen Farbverläufe, die warme Farbpalette und die weiche Modellierung erinnern an Renoirs späte Porträts. Diese impressionistischen Merkmale, wie wir sie vor allem in Magrittes Spätwerk vorfinden, passen zur Datierung des Gemäldes im Werkverzeichnis um 1950. Das anhand der Darstellung geschätzte Alter Arlettes, die 1933 geboren wurde, sowie der Vergleich mit einem weiteren, in dieser Zeit entstandenen Bildnis deuten ebenfalls auf diesen Entstehungszeitraum hin. Zuletzt ist die ausserordentliche Provenienz dieses Werks zu betonen: Es blieb über 50 Jahre in der Familie Magritte, bevor es 2001 auf den öffentlichen Kunstmarkt gelangte. Magrittes "Portrait d’Arlette" war zudem auf bedeutenden Ausstellungen in Japan (1982) und Brüssel (1984/85) zu sehen.
Certaines avec pet. déch., pliures, saliss. et/ou taches. - 1-3. Musique par J. Jongen : 1. Chanson roumaine. [Vers 1925]. 8 pp., zincographie, 35,0 x 27,2 cm, signée dans la plaque (tampon). A.B.423. En bleu. Réf. Schwilden 16 C. - 2. Bal de fleurs. [1925]. 8 pp., zincographie, 35,2 x 27,0 cm, signée dans la plaque (nom sur couv.). A.B.291. En fuchsia. Réf. Id. 10 B. - 3. Sarabande triste. (1925). 8 pp., 35,0 x 26,8 cm (2 tampons). A.B.345. - 4. Dupuis, Sylvain - Canzona. 4 pp., 34,8 x 26,9 cm (tampon, lég. frottée). A.B.209. - 5. De Boeck, August - Soirée de septembre. 8 pp., 35,0 x 26,8 cm (2 tampons, annotations au crayon sur les partitions). A.B.210.
Zincographies, signées dans la plaque (certaines avec qqs pet. déch., pliures et/ou saliss.). - 1. Pour tes dents de nacre. Uw parelmoeren tanden [...]. 1933. 4 pp., 34,9 x 27,0 cm (bords lég. brunis). 7161. En rose et vert bronze. Réf. Schwilden 55. - 2. Deuxième menuet...des grâces d'antan. Vers 1933. 8 pp., 34,9 x 26,8 cm (dos lég. frotté). En rose et brun. Réf. Id. 59. Prov. Marcelle Geurts (nom sur couv.). - 3. Épitaphe. Hulde. (1938). 4 pp., 34,9 x 27,1 cm. En noir. Réf. Id. 65. - 4. Jardin d'enfants. Kindertuin. [...]. (1933). 20 pp., 35,0 x 27,0 cm (pli part. fendu, annotations au crayon sur les partitions). 12e édition. En rouge et noir. Dimensions différentes de celles mentionnées par Schwilden. Réf. Id. 61 C. - 5. Maur. Schoenmaker. Psaume (Psalm). [...]. 1933. 8 pp., 34,6 x 27,0 cm (tampon, déch. restaurées sur les bords, plis renforcés, nom sur couv., annotations au stylo à bille sur la couv.). 7150. En brun et noir. Réf. Id. 54.
Zincographies, signées dans la plaque (certaines avec qqs déch., pliures et/ou taches). - 1. Do let me try. Fox trot. Music by David Bee and Peter Packay. Paris; Brux., International Music Company, (1926). 4 pp., 31,0 x 23,2 cm. I.M.C.151. En orange et bleu, cliché photographique en bleu. Réf. Scwilden 32. - 2. Nuits d'Asie. Fox trot. Musique de Willy Stones. Paroles de Charles Tutelier. Brux., Éditions musicales de l'art belge, [1925]. 4 pp., 35,0 x 26,7 cm (lég. insolée). A.B.309. En bleu et rose. Réf. Id. 12 C. - 3. Un rien...(nothing). Music by Willy Stones. Paroles de Fred Dolys. Id., (1925). 4 pp. (+ 1 f. volant), 35,0 x 27,0 cm (bords lég. brunis, lég. frottée). A.B.478. En rose, rouge et vert. Réf. Id. 19 B. - 4. Au pays des mosquées. Musique de Sylvain Hamy. Paroles de Jacques Loar. Id., (1926). 4 pp., 34,8 x 26,6 cm. A.B.273. En rouge, vert et mauve. Réf. Id. 25 A.
Zincographies (certaines lég. frottées, pet. déch., pliures et/ou taches). - 1. Elle danse le charleston. (1927). 4 pp., 35,2 x 27,0 cm. A.B.512. En orange et bleu, non signée. Réf. Schwilden 36 B. - 2. Valse d'amour. [1926]. 4 pp., 35,0 x 26,9 cm, signée dans la plaque (cachet en p. 2, pet. manque au bord sup.). A.B.498. En rouge et fond bleu ciel. Réf. Id. 30 H. - 3. Sérénade d'amour. Musique de Jean Pâques. (1927). 4 pp., 34,2 x 26,3 cm (nom et cachet sur couv.). A.B.508. En fuchsia et mauve. Réf. Id. 35 C. Prov. Merckx (?) (nom sur couv.). - 4. Elle a mis son smoking. (1926). 4 pp., 35,4 x 27,1 cm, signée dans la plaque (bords lég. brunis). A.B.503. En orange et mauve. Réf. Id. 31 B.
8 pp., zincographies (pet. taches min., pet. déch. et pliures sur les bords). - 1. Marie trombone chapeau buse. Poème de Paul Colinet. Musique de Paul Magritte. (Édition Magritte), [1936]. 35,7 x 27,2 cm, non signée. Couv. ill. Unique tirage pour cette zincographie en brun sur papier bleu figurant le portrait de Georgette Magritte, l'épouse du peintre. Réf. Schwilden 64 ("En 1975, dans un envoi à Marcel Piqueray, Colinet qualifiait cette partition de "décisive rareté""). - 2. Prière à mon ange par Toussaint-Masson. Schott Frères, [1924]. 34,0 x 26,5 cm, signée dans la planche "Magrit". Couv. ill. (part. fendue, bords brunis (plus léger sur la première de couv.)). S.F. 5778. Rare zincographie en brun. Réf. Id. 3.
Photogravure, 4,5 x 3,3 cm, sur papier gommé, bords dentelés, marge sup. cons. Très bonne condition. - Rare timbre de propagande antirexiste, non mis dans le commerce, reproduisant l'affiche réalisée par Magritte pour le Comité de vigilance des intellectuels antifascistes. Ce timbre est annoncé dans "La Dernière Heure" du 25 octobre 1936. Ce journal libéral appuyait le projet de Front populaire que promouvait le CVIA. Léon Degrelle, chef du parti rexiste, se regarde dans un miroir où apparaît le visage de Hitler. Tiré en rouge et noir. - Réf. Dohet, J. - Le Comité de vigilance des intellectuels antifascistes (CVIA) belge. Brux., IHOES, 2024, pp. 38, 49. - Cp. Schwilden 74 (affiche). - Prov. [Félicien Bosson, imprimeur à Saint-Gilles (Brux.) et collègue de Bolyn].
In-4° (pet. pliures, 1 pet. déch. marg., lég. traces de décharge et de frottement sur qqs ff.). - Couverture ill. en rouge et noir, signée "Magritte 1925" et titrée "Thé pour deux. Un ensemble d'après-midi, robe et manteau, en fluidine noire et crêpe de Chine imprimé multicolore, créé par Norine". Une des 4 rares couvertures dessinées par l'artiste pour cette luxueuse revue de mode, à laquelle il fournit également des publicités. - réf. Schwilden, Magritte livre l'image, 178, avec reprod. p. 133.
Tirage argentique, 6,5 x 11 cm, passe-partout. - Photographie originale de René Magritte montrant son ami Paul Colinet, son frère musicien Paul Magritte tenant un chien avec son épouse Betty et Georgettes Magritte. Tirage d'époque exposé à la galerie Christine et Isy Brachot, du 19 mars au 31 mai 1998, dans l'exposition "Un hommage à Magritte (1898-1967)". - Prov. Galerie Christine et Isy Brachot, Bruxelles (étiquette au dos).
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