Max Ernst, ‘Le Couple (L'Accolade)’, 1924, Christie's

Signature: signed 'max ernst' (lower right)

The London Gallery, Ltd., Max Ernst, December 1938-January 1939, p. 3, no. 15 (dated 1923).

San Francisco Museum of Art, 20th Century German Paintings, January 1940, no. 1038.

Kunsthalle Bern, Max Ernst, August-September 1956, no. 17 (dated 1923).

Northampton, Massachusetts, Smith College Museum of Art, 1963 (on loan).

Brussels, Deutsche Bibliothek, Peinture allemande du vingtie'me sie'cle dans les collections prive´es en Belgique, November-December 1966, no. 24.

Humblebaek, Louisiana Museum and Brussels, Palais des Beaux-Arts, Six peintres surréalistes: Dalí, Delvaux, Ernst, Magritte, Miró, Tanguy, March-June 1967, nos. 17 and 28 (illustrated).

Stuttgart, Württembergischer Kunstverein, Max Ernst: Gemälde, Plastiken, Collagen, Frottagen, Bücher, January-March 1970, p. 147, no. 13 (illustrated, p. 98).

Bordeaux, Galerie des Beaux-Arts, Surréalisme, May-September 1971, p. 61, no. 83 (illustrated, p. 60).

Munich, Haus der Kunst and Paris, Musée des arts décoratifs, Der Surrealismus, 1922-1942, March-September 1972, nos. 152 and 146 (illustrated).

New York, The Solomon R. Guggenheim Museum and Paris, Grand Palais, Max Ernst: A Retrospective, February-August 1975, p. 113, no. 81 (illustrated) and p. 160, no. 108 (illustrated, p. 59).

Antwerp, Société B.P., Hommage au surréalisme, 1975, no. 25 (illustrated).

Stad Mechelen, Cultureel Centrum Burgemeester Antoon Spinoy, Kunst in Europa, 1920-1960, Een Confrontatie, September-November 1976, no. 54.

Munich, Haus der Kunst and Nationalgalerie Berlin, Max Ernst: Retrospektive, February-July 1979, p. 241, no. 79 (illustrated).

Kunsthalle Frankfurt and Stuttgart, Württembergischer Kunstverein, Kunstgebäude 100 Anniversaire, 1991, no. 13.

Stuttgart, Staatsgalerie and Dusseldorf, Kunstsammlung Nordrhein-Westfalen, Max Ernst: A Retrospective, May-November 1991, p. 376, no. 80 (illustrated in color, p. 124).

Madrid, Banco Bilbao Vizcaya, La juventud del genio, la pintura Europea: de Manet y Degas a Picasso y Bacon, November 1991-January 1992, p. 63 (illustrated in color, p. 62).

New York, The Museum of Modern Art; Houston, The Menil Collection and The Art Institute of Chicago, Max Ernst: Dada and the Dawn of Surrealism, March-November 1993, pp. 158 and 372, no. 177 (illustrated in color, pl. 173; dated 1924-1925).

Lisbon, Museu Nacional de Arte Antiga, Les Tentations de Bosch ou l'Eternel retour, May-August 1994, p. 196, no. 49 (illustrated in color, p. 197).

P. Waldberg, Max Ernst, Paris, 1958, p. 40 (illustrated).

J. Russell, Max Ernst: Life and Work, New York, 1967, p. 349, no. 23 (illustrated).

U.M. Schneede, Max Ernst, Stuttgart, 1972, p. 63, no. 108 (illustrated).

W. Spies, Max Ernst: Collagen, Inventar und Widerspruch, Cologne, 1974, p. 121 (dated 1923-1924).

De spectator, 1975, 5/11.

W. Spies, S. Metken and G. Metken, Max Ernst: Oeuvre-katalog, Werke, 1906-1925, Cologne, 1975, p. 345, no. 664 (illustrated).

R. Passeron, Phaidon Encyclopedia of Surrealism, New York, 1978, p. 161 (illustrated in color).

J.-C. Gateau, Paul Eluard et la peinture surréaliste (1910-1939), Geneva, 1982, p. 359, no. 45 (dated 1923).

R. Hoozee, Vlaams expressionisme in Europese Context, 1900-1930, Ghent, 1990, p. 355, no. 276 (illustrated).

G. Diehl, Max Ernst, New York, 1991, p. 12 (illustrated in color on the cover).

P. Gurdjian, Femmes, chefs-d'oeuvre, Paris, 1991.

W. Spies, Max Ernst: Rétrospective, exh. cat., Musée national d'art moderne, Centre Georges Pompidou, Paris, 1991, p. 387, no. 80 (illustrated in color, p. 124).

E. Quinn, Max Ernst, Cologne, 1997, p. 122, no. 134 (illustrated in color).

Paul Eluard, Paris.

Roland Penrose, London (acquired from the above, 27 June 1938).

Galerie Georges Moos, Geneva (by 1956).

Aram D. Mouradian, Paris.

Comte René Boël, Brussels.

Mme Jean (Margaret) Krebs, Brussels (by 1967).

Private collection, Europe; sale, Sotheby's, London, 8 December 1997, lot 20.

Acquired at the above sale by the present owner.

About Max Ernst

Closely associated with Dada and Surrealism, Max Ernst made paintings, sculptures, and prints depicting fantastic, nightmarish images that often made reference to anxieties originating in childhood. Ernst demonstrated a profound interest in Freudian psychoanalysis, which is apparent in his exploration of Automatism and his invention of the Frottage technique. The artist’s psychoanalytic leanings are evident in his iconic 1923 work Pietà, or Revolution by Night, in which Ernst substitutes the image of Mary cradling the body of Christ with a depiction of the artist himself held by his father. Much of the artist’s work defied societal norms, Christian morality, and the aesthetic standards of Western academic art.

French-American, b. Germany, 1891-1976, Brühl, nr Cologne, Germany