René Magritte, ‘Le miroir invisible’, ca. 1942, Christie's

Signature: signed 'Magritte' (lower right)

(possibly) Liège, Musée des Beaux-Arts, Exposition Magritte, October-November 1960, p. 12, no. 37 (dated 1945; with incorrect dimensions).

Brussels, Museés Royaux des Beaux-Arts de Belgique, René Magritte, March-June 1998, p. 243, no. 274 (illustrated in color).

(possibly) Letter from R. Magritte to A. Bosmans, 2 September 1960, in Lettres à André Bosmans, 1958-1967, Paris, 1990, p. 128.

D. Sylvester, ed., René Magritte: Catalogue raisonné, Gouaches, Temperas, Watercolours and Papiers Collés, 1918-1967, London, 1994, vol. IV, p. 323, app. 136 (titled Le monde invisible).

Galerie Lou Cosyn, Brussels.

Mme Verhas Hostelet, Brussels (acquired from the above, 1945 and until at least 1978).

About René Magritte

With his highly cerebral Surrealist imagery, René Magritte breathed new life into seemingly conventional subject matter. He often painted everyday objects out of context, in juxtapositions forcing the viewer to reconsider things normally taken for granted. In his iconic trompe l’oeil work The Treachery of Images (1928-29), for example, Magritte painted a hyperrealistic pipe and wrote, just beneath it, “this is not a pipe”—a caution not to trust our eyes and reminder that the art object, no matter how convincing, is not the real thing. Magritte’s highly figurative style of Surrealism is often discussed along the work of Salvador Dalí and Giorgio de Chirico, and his persistent interrogation of objects has both influenced and paved the way for seminal artistic movements, from Conceptualism to Pop art.

Belgian, 1898-1967, Lessines, Belgium, based in Brussels, Belgium