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Souvenir de Voyage Click to ZOOM

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Item #: LMagrO061
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Notices Record - Buyer Guideline
Souvenir de Voyage
Publishing Year : 1961-2009
Media : Sculptures
Technique : Bronze
Edition : Numbered 150 ex.
Support :
Signature : in the Wax
Total Size :
Image size :
inch cm
Condition: (View Additional Images and Condition Description)


Bronze sculpture, signed and numbered.
- Patinated bronze from a limited edition of 150 copies.
- Published by Magritte Gallery, Philippe Moreno (
- Foundry: Fonderie Paumelle, France.

Edition Size:
- 150 copies numbered 1/150 to 150/150.
- 20 artist's proofs numbered EA 1/20 to EA 20/20.
Stamp of the signature, numbered, stamp of the Magritte Foundation, stamp of Charly Herscovici President of the Magritte Foundation, Magritte’s copyrights owner & Chairman of the Magritte Museum in Brussels, Foundry stamp Paumelle France.

A certificate of authenticity will be issued with the bronze, signed by Charly Herscovici, President of the Magritte Foundation.

Additional information:
Patinated bronze sculpture after René Magritte, casted in France after the gouache on paper by Rene´ Magritte, "Souvenir de Voyage", 1961.

Inscribed "bronze cast after the gouache on paper "Souvenir de Voyage" 1961 by Rene´ Magritte" under the base.
The masked apple originally appeared in Magritte's work as the design for a cover for an edition of "View", published in December 1946. Other covers for "View" had been designed by artists as diverse as Joseph Cornell, Andre´ Masson and Marcel Duchamp. Clearly, Magritte was pleased with his image, as he returned to the theme of the masked apple in several paintings over the following decade and a half, exploring various compositions and variations. In Magritte's, the masked apple is a dynamic character, shown against a vivid, shimmering background. This added a sense of movement that Magritte has deliberately dispelled in "La Valse Hésitation", where the stillness is both unnatural and, of course, in the case of the apple-subjects, entirely natural.

Masks, disguises, hidden faces--all these are repeated motifs in Magritte's pictures. Whether it is in the images of lovers from the 1920s, with sheets covering their kissing heads, the figure of Fanto^mas in "Le barbare" or later the apple floating in front of the artist's own face in "Le fils de l'homme", these elements introduce a notion of the malleability and illegibility of character, of identity, of selfhood, of life. they are elements used to hide, but also to entertain. they are the accoutrement of the criminal and the actor alike, and in both cases conjure a vivid theatricality. But be it upon the stage or on a moonlit night in the middle of nowhere, these masks are unsettling, as they hide information. they introduce subterfuge, be it in the leisurely suspension-of-disbelief context of the stage or in the more disturbing context of someone concealing their own identity.

In "Souvenir de Voyage", the mask actually appear to perform almost the opposite function of some of those other works--where on human figures, masks and other elements remove any possibility of identification, and thereby remove some of the humanity of the subject, here the masked apple is lent a suspicion of impossible humanity by its mask. It in fact gains character, becoming entertaining, even rakish figures on the beach, rather than mere abandoned fruit. It is through the inclusion of the mask that all our questions emerge, all the implications of possible back-stories that make that apple so intriguing. This simple adornment, added to an inanimate object, dispels the literalness of the scene and introduces a wild card, a joker, an element of unpredictability that engages the viewer actively, presenting the apples as intriguing mysteries that are of course impossible to solve.


Sculpture en bronze, signée et numérotée.
- Bronze patiné, édition limitée à 150 exemplaires.
- Éditée par Magritte Gallery, Philippe Moreno (
- Fonderie: Fonderie Paumelle, France.

Justification du tirage:
- 150 exemplaires numérotés 1/150 à 150/150.
- 20 épreuves d'artiste numérotées EA 1/20 à EA 20/20.
Cachet de la signature, numérotation, cachet de la Fondation Magritte, cachet de Charly Herscovici le président de la Fondation Magritte, propriétaire des droits de Magritte et président du Musée Magritte à Bruxelles, cachet de la Fonderie Paumelle France.

Un certificat d'authenticité sera délivré avec le bronze, signé par Charly Herscovici, Président de la Fondation Magritte.

Informations complémentaires:
Sculpture réalisée d'après la gouache sur papier du même nom, réalisée par René Magritte en 1961.
Le masque exerce une fonction inverse de celle d esautres travaux de Magritte - dans lesquels le visage humain est masqué, retirant toute possibilité d'identification donc une partie de l'humanité du sujet. La pomme est anthropomorphisée grâce au masque, et ceci malgré le fait que nous ne distinguons pas d'yeux derrière le masque. Cependant, le masque en lui-même accorde une forme de vie et d’intelligence à cet objet réputé inanimé. Magritte se sert ici des pommes masquées comme des protagonistes de son thème favori : masquer ou démasquer des visages, lesquels deviennent des figures dont l'individualité reste un mystère.


CERTIFICATE OF AUTHENTICITY: A Certificate of Authenticity come with this piece, delivered by "See pictures and description"
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