Endless Enigma: Eight Centuries of Fantastic Art | David Zwirner
A painting by a contemporary follower of Hieronymus Bosch, titled Garden of Earthly Delights, dated circa 1515.

Endless Enigma: Eight Centuries of Fantastic Art

Organized in collaboration with Nicholas Hall, a specialist in the field of Old Masters and nineteenth-century art, this exhibition takes as its point of departure Alfred H. Barr Jr.’s legendary 1936 exhibition at The Museum of Modern Art, New York, Fantastic Art, Dada, Surrealism, which not only introduced these movements to the American public, but also placed them in a historical and cultural context by situating them with artists from earlier centuries. Drawn from international museum and private collections, the exhibition at David Zwirner will include works from the twelfth century to the present day.

The exhibition will provide a unique opportunity to examine affinities in intention and imagery between works executed across a broad span of time. Endless Enigma will explore the ways artists have sought to explain their world in terms of an alternate reality, drawn from imagination, the subconscious, poetry, nature, myth, and religion. Works on view range from gothic gargoyles; masterworks from the fifteenth and sixteenth centuries by Herri met de Bles, Hieronymus Bosch, Piero di Cosimo, and Titian; seventeenth- and eighteenth-century works by Damiano Cappelli, Pietro Novelli, and Salvator Rosa; nineteenth-century works by William Blake, James Ensor, Francisco de Goya, Gustave Moreau, Odilon Redon, and James Ward; and works from the twentieth century to the present day by Eileen Agar, Francis Alÿs, Louise Bourgeois, Salvador Dalí, Giorgio de Chirico, Max Ernst, Leonor Fini, Robert Gober, José Gutiérrez Solana, Sherrie Levine, René Magritte, Roberto Matta, Pablo Picasso, Wallace Putnam, Man Ray, Kay Sage, Yves Tanguy, and Lisa Yuskavage, among others.

In conjunction with the exhibition, David Zwirner Books will publish a fully illustrated catalogue, which will include new scholarship by Dawn Ades, Olivier Berggruen, and J. Patrice Marandel.

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Image: Contemporary follower of Hieronymus Bosch, The Garden of Earthly Delights, c. 1515 (detail)

Dates
September 12October 27, 2018
Opening Reception
Wednesday, September 12, 6-8 PM
Special Event
"Fantastic Art Revisited: Exhibiting Old Masters and Contemporary Art," Saturday, October 27, The Kitchen, New York
Artist
Hieronymus Bosch
Installation view of the exhibition Fantastic Art, Dada, Surrealism, at The Museum of Modern Art in New York, dated 1936 to1937.

This exhibition celebrates the fantastic themes explored in art across centuries and traces the rich historical throughline that connects artists’ enduring fascination with the imagination, the subconscious, and dreams.

Image: Installation view, Fantastic Art, Dada, Surrealism, The Museum of Modern Art, New York, 1936–1937. Photo by Soichi Sunami. © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY

In 1936, Alfred H. Barr Jr. introduced Dada and Surrealism to the American public with the now legendary exhibition at The Museum of Modern Art, New York, Fantastic Art, Dada, Surrealism. In that exhibition, which brought together 694 works—the earliest of which were represented by late medieval objects—Barr presented the innovations of Dada and Surrealism in the context of what he called "Fantastic Art" by European Old Masters, whose work displayed unexpected thematic and formal relationships with those of the avant-garde.

 

Image: Installation view, Fantastic Art, Dada, Surrealism, The Museum of Modern Art, New York, 1936–1937. Photo by Soichi Sunami. © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY

Installation view of the exhibition Fantastic Art, Dada, Surrealism, at The Museum of Modern Art in New York, dated 1936 to1937.
A painting by Piero di Cosimo, titled The Finding of Vulcan on the Island of Lemnos, circa 1490.

Piero di Cosimo

The Finding of Vulcan on the Island of Lemnos, c. 1490
Oil and tempera on canvas
60 x 66 1/2 inches 152.4 x 168.9 cm Wadsworth Atheneum Museum of Art, Hartford, CT. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1932.1

Although he singled it out as one of the primary tenets of Surrealism, André Breton was hardly the first to laud the imagination and its merits. In 1550, Giorgio Vasari wrote about the work of Piero di Cosimo (1462–1522) in Lives of the Most Eminent Painters, Sculptors, and Architects, noting: "Nor is it possible to describe the different fantastic things that he delighted to paint . . . what with the buildings, the animals, the costumes, the various instruments, and any other fanciful things that came into his head."

Describing Giorgio de Chirico’s paintings of spectral piazzas, Breton writes, "How often have we found ourselves in that square where everything seems so close to existence and yet bears so little resemblance to what really exists?"

A painting by Giorgio de Chirico, titled La grande torre, translated as The Big Tower, dated 1932.

Giorgio de Chirico

La grande torre (The Big Tower), c. 1932
Oil on canvas
12 1/2 x 12 1/2 inches (31.8 x 31.8 cm) Framed: 20 3/4 x 20 3/4 x 2 1/2 inches (52.7 x 52.7 x 6.4 cm) New York / SIAE, Rome Private Collection
A painting by Max Ernst, titled Forêt, soleil, oiseaux ou Le chant à la lune, translated as Forest, Sun, Birds, or Singing to the Moon, dated 1927.

Max Ernst

Forêt, soleil, oiseaux ou Le chant à la lune, 1927
Oil on paper on cardboard
25 3/8 x 19 3/4 inches 64.5 x 50.2 cm Courtesy of Olivier Malingue Ltd.

"We do not know what the dragon means, just as we do not know the meaning of the universe, but there is something in the image of the dragon that is congenial to man’s imagination and thus the dragon arises in many latitudes and ages. It is, one might say, a necessary monster."—Jorge Luis Borges

In this closeup video, Nicholas Hall introduces Endless Enigma and comments on Wallace Putnam’s Mask of the Traveler (1935). 

 

Presented in Barr’s original exhibition and now owned by David Bowie's estate, Putnam’s sculpture features miscellaneous items the artist gathered while walking to and from work—things, as he explained to the art critic Henry McBride, "that spoke to me." A review in The Art Newspaper notes that "A particular pleasure of [Endless Enigma] are its discoveries of little known and anonymous artists, notably Mask of the Traveler . . . with its seemingly random application of found street objects anticipating Robert Rauschenberg’s assemblages that would come 25 years later."

Installation view of the exhibition Endless Enigma: Eight Centuries of Fantastic Art, at David Zwirner in New York, dated 2018.

Symposium: Fantastic Art Revisited
Saturday, October 27, 2018, 1 PM–5:30 PM
The Kitchen, New York

 

A symposium on Fantastic Art, organized by Nicholas Hall and Yuan Fang, took place on the final day of the exhibition. The symposium addressed Endless Enigma’s three integral areas of interest: Fantastic Art across the centuries; the history of exhibition display; Alfred H. Barr, Jr.’s 1936 exhibition Fantastic Art, Dada, Surrealism and its relevance today. What makes art ‘fantastic’ or fantastical? What are the practical and theoretical challenges and rewards of exhibiting Old Masters and contemporary art together? How has the exhibition practice changed since Barr’s day?

 

Participants included Olivier Berggruen (independent art historian and curator), Till-Holger Borchert (Director of Musea Brugge, Bruges), David Freedberg (Pierre Matisse Professor of the History of Art and Director of The Italian Academy for Advanced Studies in America, Columbia University, New York), J. Patrice Marandel (independent art historian and curator), Richard Rand (Associate Director for Collections, J. Paul Getty Museum, Los Angeles), Hannah Segrave (PhD candidate in Baroque Art History, University of Delaware, Newark), Luke Syson (Iris and B. Gerald Cantor Chairman of European Sculpture and Decorative Arts, The Metropolitan Museum of Art, New York), Oliver Tostmann (Susan Morse Hilles Curator of European Art, Wadsworth Atheneum Museum of Art, Hartford, Connecticut), and Anne Umland (The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, The Museum of Modern Art, New York).

 

Image: Installation view, Endless Enigma, David Zwirner, New York, 2018

A selection of prints from the Los Caprichos series by Francisco de Goya, dated 1797 to 1799.

Francisco de Goya

A selection of prints from the Los Caprichos seriesPlate 27: Quien mas rendido? (Who could be more admiring?)Plate 43: El sueño de la razón produce monstruos (The Sleep of Reason Produces Monsters)Plate 59: Y aun no se van! (And still they won't go!)Plate 65: ¿Donde vá mamá? (Where is mom going?), 1797-1799
Four (4) etchings on paper
Plate 27: 7 3/4 x 5 7/8 inches (19.7 x 14.9 cm) Plate 43: 8 3/8 x 6 inches (21.3 x 15.2 cm) Plate 59: 5 7/8 x 8 1/2 inches (14.9 x 21.6 cm) Plate 65: 8 3/8 x 6 3/8 inches (21.3 x 16.2 cm) Framed, each: 15 1/4 x 12 1/8 x 1 1/8 inches (38.7 x 30.8 x 2.9 cm) The Bailey Collection, Canada
A sculpture by an anonymous artist, titled A Grotesque Head from a Corbel, dated in the 12th century.

Anonymous

A Grotesque Head from a Corbel, 12th century
Limestone
9 1/2 x 6 1/2 x 10 3/8 inches (24.1 x 16.5 x 26.4 cm)
A painting by Max Ernst, titled La Belle Saison, translated as The Beautiful Season, dated 1925.

Max Ernst

La Belle Saison (The Beautiful Season), 1925
Oil on canvas
21 1/4 x 29 1/8 inches (54 x 74 cm) Framed: 26 1/2 x 33 3/4 x 1 3/8 inches (67.3 x 85.7 x 3.5 cm)
A sculpture by Louise Bourgeois, titled Nature Study, dated 1984.

Louise Bourgeois

Nature Study, 1984
Bronze, silver nitrate patina, and steel
Overall: 83 1/2 x 25 x 32 inches (212.1 x 63.5 x 81.3 cm) Collection The Easton Foundation
A painting by Leonor Fini, titled Les Baigneuses, translated as the Bathers, dated 1959.

Leonor Fini

Les Baigneuses (The Bathers), 1959
Oil on canvas
9 x 30 1/2 inches (22.9 x 77.5 cm) Framed: 16 5/8 x 38 1/8 x 1 1/2 inches (42.2 x 96.8 x 3.8 cm)
A painting by Lisa Yuskavage, titled Transference Portrait of My Shrink in Her Starched Nightgown with My Face and Her Hair, dated 1995.

Lisa Yuskavage

Transference Portrait of My Shrink in Her Starched Nightgown with My Face and Her Hair, 1995
Oil on linen
84 x 72 inches (213.4 x 182.9 cm) Private Collection
A painting by Lisa Yuskavage, titled Rorschach Blot, dated 1995.

Lisa Yuskavage

Rorschach Blot, 1995
Oil on linen
84 x 72 inches (213.4 x 182.9 cm)
A sculpture by Salvador Dali, titled Venus de Milo aux Tiroirs, translated as Venus de Milo with Drawers, dated 1936 to 1964.

Salvador Dali

Venus de Milo aux Tiroirs (Venus de Milo with Drawers), 1936/1964
Painted bronze and mink pompoms
38 5/8 x 12 3/4 x 13 3/8 inches (98.1 x 32.4 x 34 cm)
A painting by Gustave Moreau, titled Le Poète et La Sirène, translated as The Poet and the Siren, dated 1893.

Gustave Moreau

Le Poète et La Sirène (The Poet and the Siren), 1893
Oil on canvas
38 1/4 x 24 1/2 inches (97.2 x 62.2 cm) Framed: 52 1/4 x 38 1/4 x 3 1/2 inches (132.7 x 97.2 x 8.9 cm) Private Collection
A sculpture by an anonymous artist from Augsburg, titled Automation clock in the form of the Chariot of Bacchus, circa 1590 to 1600.

Anonymous from Augsburg

Automation clock in the form of the Chariot of Bacchus, c. 1590-1600
Gilded bronze, silver, and paint
21 x 18 1/2 x 10 1/4 inches (53.3 x 47 x 26 cm)
A painting by a contemporary follower of Hieronymus Bosch, titled Garden of Earthly Delights, dated circa 1515.

Contemporary follower of Hieronymus Bosch

The Garden of Earthly Delights, c. 1515
Oil on panel transferred to canvas
72 1/4 x 67 7/8 x 1 5/8 inches (183.5 x 172.5 x 4 cm) Framed: 77 1/8 x 72 7/8 x 2 3/8 inches (196 x 185 x 6 cm)
A painting by Louis Finson, titled the Four Elements, dated 1611.

Louis Finson

The Four Elements, 1611
Oil on canvas
70 1/2 x 66 1/2 inches (179.1 x 168.9 cm) Framed: 84 x 80 inches (213.4 x 203.2 cm) Sarah Campbell Blaffer Foundation, Houston
A sculpture by an anonymous artist, titled Gargoyle Pulling a Face, dated in the 15th century.

Anonymous

Gargoyle Pulling a Face, 15th century
Limestone
9 5/8 x 14 5/8 x 14 1/8 inches (24.4 x 37.1 x 35.9 cm)
A painting by René Magritte, titled L'embellie, translated as The Break in the Clouds, dated 1942.

Rene Magritte

L'embellie (The Break in the Clouds), 1942
Oil on canvas
24 x 18 1/8 inches (61 x 46 cm) Framed: 27 3/8 x 33 1/4 x 2 1/8 inches (69.5 x 84.5 x 5.4 cm)
A set of drawings attributed to Jean-Jacques Grandville, titled Fantastiques, circa 1830 to 1840.

Attributed to Jean-Jacques Grandville

Fantastiques, c. 1830-1840
A selection of twenty-five from a set of forty-one watercolors
Dimensions vary with installation
A sculpture from the Grand-Ducal workshops in Florence, titled Pietra dura and Paesine table top, circa 1625.

Grand-Ducal workshops Florence

Pietra dura and Paesine table top, c. 1625
Pietra paesina, pietra lineato dell'Arno, alabaster, lapis lazuli, and various hardstones and marbles
2 x 55 7/8 x 47 1/4 inches (5 x 142 x 120 cm)
A painting by Sigmar Polke, titled Arcimi Boldi, dated 1984.

Sigmar Polke

Arcimi Boldi
Acrylic, artificial resin, lacquer, and dispersion on canvas
59 1/8 x 71 inches (150.2 x 180.3 cm) Framed: 60 3/4 x 72 1/2 x 1 3/4 inches (154.3 x 184.2 x 4.4 cm)
A pair of sculptures by Sherrie Levine, titled Gamelan Figures, dated 2017.

Sherrie Levine

Gamelan Figures, 2017
Cast bronze with steel base
Figure 1: 35 x 10 x 10 inches (88.9 x 25.4 x 25.4 cm) Figure 2: 34 1/2 x 10 x 10 inches (87.6 x 25.4 x 25.4 cm)
A sculpture by Wallace Putnam, titled Mask of the Traveler, dated 1935.

Wallace Putnam

Mask of the Traveler, 1935
Mixed media assemblage on plywood
72 1/4 x 48 x 6 1/4 inches (183.5 x 121.9 x 15.9 cm) David Bowie Archive
A painting by Roberto Matta, titled Au Centre de L'eau, translated as In the Center of the Water, dated 1941.

Roberto Matta

Au Centre de L'eau (In the Center of the Water), 1941
Oil on canvas
21 1/2 x 29 3/8 inches (54.6 x 74.6 cm) Framed: 28 x 35 7/8 x 2 inches (71.1 x 91.1 x 5.1 cm)
A painting by Salvador Dali, titled Paisatge amb telèfons sobre un plat, translated as Landscape with Telephones on a Plate, dated 1939.

Salvador Dali

Paisatge amb telèfons sobre un plat (Landscape with Telephones on a Plate), 1939
Oil on canvas
8 1/2 x 11 5/8 inches (21.6 x 29.5 cm)
A sculpture by Alberto Giacometti, titled Femme (Plat III), translated as Woman [Flat III], circa 1927 to 1929.

Alberto Giacometti

Femme (Plat III) (Woman [Flat III]), c. 1927-1929
Plaster
14 3/8 x 7 x 3 1/4 inches (36.5 x 17.8 x 8.3 cm)
A painting by Man Ray, titled Shakespearean Equations: Julius Caesar, dated 1948.

Man Ray

Shakespearean Equations: Julius Caesar, 1948
Oil on Masonite
24 x 20 inches (61 x 50.8 cm) Framed: 25 1/2 x 21 1/2 x 2 inches (64.8 x 54.6 x 5.1 cm) Rosalind and Melvin Jacobs Collection, New York
A painting by Kerry James Marshall, titled Portrait of Nat Turner with the Head of His Master, dated 2011.

Kerry James Marshall

Portrait of Nat Turner with the Head of His Master, 2011
Oil on canvas
36 x 29 1/2 inches (91.4 x 74.9 cm) Private Collection, Paris
A painting by Giorgio de Chirico, titled L'archeologo, translated as the Archaeologist, dated 1927.

Giorgio de Chirico

L'archeologo (The Archaeologist), 1927
Oil on canvas
37 3/8 x 50 1/2 inches (94.9 x 128.3 cm) Framed: 50 1/2 x 63 1/4 x 2 3/4 inches (128.3 x 160.7 x 7 cm) Private Collection, Monaco
A painting by Giorgio de Chirico, titled La grande torre, translated as The Big Tower, dated 1932.

Giorgio de Chirico

La grande torre (The Big Tower), c. 1932
Oil on canvas
12 1/2 x 12 1/2 inches (31.8 x 31.8 cm) Framed: 20 3/4 x 20 3/4 x 2 1/2 inches (52.7 x 52.7 x 6.4 cm) New York / SIAE, Rome Private Collection
A painting by Tiziano Vecelli, known as Titian, titled "Raczynski Herodias", circa 1540 to 1570.

Tiziano Vecelli known as Titian

Raczynski Herodias"", c. 1540-1570
Oil on canvas
44 7/8 x 37 7/8 inches (114 x 96 cm) Framed: 54 1/4 x 48 x 2 1/2 inches (137.8 x 121.9 x 6.4 cm)

Francis Picabia

Anthinea, L'Atlantide, c. 1938
Oil on canvas
24 x 19 3/4 inches (61 x 50.2 cm) Framed: 34 3/4 x 30 1/4 x 2 1/2 inches (88.3 x 76.8 x 6.4 cm) Private Collection
A painting by Max Ernst, titled Une Oreille Prêtée, translated as The Lent Ear, dated 1935.

Max Ernst

Une Oreille Prêtée (The Lent Ear), 1935
Oil on wood
27 1/2 x 31 3/8 inches (69.9 x 79.7 cm) Framed: 32 5/8 x 34 1/2 x 2 3/4 inches (82.9 x 87.6 x 7 cm) Private Collection
A painting by Max Ernst, titled Forêt, soleil, oiseaux ou Le chant à la lune, translated as Forest, Sun, Birds, or Singing to the Moon, dated 1927.

Max Ernst

Forêt, soleil, oiseaux ou Le chant à la lune, 1927
Oil on paper on cardboard
25 3/8 x 19 3/4 inches 64.5 x 50.2 cm Courtesy of Olivier Malingue Ltd.
A painting by Odilon Redon, titled L'Ange du Destin previously called L'Homme à la Barque, circa 1900.

Odilon Redon

L'Ange du Destin (The Angel of Destiny), c. 1900
Oil on canvas
35 1/2 x 31 1/2 inches (90.2 x 80 cm) Framed: 41 1/2 x 37 5/8 x 2 1/2 inches (105.4 x 95.6 x 6.4 cm)
An untitled sculpture by Robert Gober, dated 2000 to 2001.

Robert Gober

Untitled, 2000-2001
Willow, wood, beeswax, human hair, silver-plated cast brass, and pigment
16 x 32 1/2 x 26 inches (40.6 x 82.6 x 66 cm) The Rachofsky Collection
A painting by Yves Tanguy, titled Les Survenants I, translated as The Chance-Comers I, dated 1941.

Yves Tanguy

Les Survenants I (The Chance-Comers I), 1941
Oil on canvas
17 x 27 7/8 inches (43.2 x 71.1 cm) Framed: 24 3/8 x 35 5/8 inches (62 x 90.5 cm) Private Collection
A painting by Kay Sage, titled I Walk Without Echo, dated 1940.

Kay Sage

I Walk Without Echo, 1940
Oil on canvas
25 1/4 x 21 1/8 inches (64.1 x 53.7 cm) Framed: 29 1/4 x 25 1/4 x 2 3/8 inches (74.3 x 64.1 x 6 cm)
A sculpture by Eileen Agar, titled The Wings of Augury, dated 1936.

Eileen Agar

The Wings of Augury, 1936
Mixed media assemblage
12 1/2 inches (31.8 cm)
A painting by Piero di Cosimo, titled The Finding of Vulcan on the Island of Lemnos, circa 1490.

Piero di Cosimo

The Finding of Vulcan on the Island of Lemnos, c. 1490
Oil and tempera on canvas
60 x 66 1/2 inches 152.4 x 168.9 cm Wadsworth Atheneum Museum of Art, Hartford, CT. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1932.1
A sculpture from the workshop of Severo di Ravenna, titled An Inkstand in the form of a Triton Wrestling with Snakes, dated in the early 16th century.

An Inkstand in the form of a Triton Wrestling with Snakes, early 16th century
Bronze on wooden base
7 3/4 x 8 1/4 x 7 1/4 inches (19.7 x 21 x 18.4 cm)
A painting by Leonor Fini, titled La Peinture et l'Architecture, translated as Painting and Architecture, dated 1938 to 1939.

Leonor Fini

La Peinture et l'Architecture (Painting and Architecture), 1938-1939
Oil on panel in two parts
Each: 66 x 27 1/4 inches (167.6 x 69.2 cm)
A sculpture by Joseph Cornell, titled Hotel de l'Etoile, circa 1950.

Joseph Cornell

Hotel de l'Etoile, c. 1950
Box construction
22 1/2 x 12 3/4 x 7 inches (57.2 x 32.4 x 17.8 cm) Collection of Robert Lehrman, Courtesy of Aimee & Robert Lehrman
A sculpture by Joseph Cornell, titled Grand Hotel Semiramis, dated 1950.

Joseph Cornell

Grand Hotel Semiramis, 1950
Box construction
18 x 11 7/8 x 4 inches (45.7 x 30.2 x 10.2 cm) Private Collection, Courtesy Adler Beatty
A sculpture by Joseph Cornell, titled Untitled (Hotel du Nord), dated 1950.

Joseph Cornell

Untitled (Hotel du Nord), 1950
Box construction
15 x 10 1/2 x 4 inches (38.1 x 26.7 x 10.2 cm)
A painting by Odilon Redon, titled Orpheus, circa 1900 to 1905.

Odilon Redon

Orpheus, c. 1900-1905
Oil on cardboard
20 7/8 x 26 5/8 inches (53 x 67.5 cm) Framed: 26 3/4 x 32 5/8 x 2 3/4 inches (68 x 83 x 7 cm)
A painting by Kurt Seligmann, titled Prophet Walking by Night, dated 1948.

Kurt Seligmann

Prophet Walking by Night, 1948
Oil on canvas
40 1/2 x 20 inches (102.9 x 50.8 cm) Framed: 47 1/2 x 27 1/2 x 1 1/2 inches (120.7 x 69.9 x 3.8 cm) Collection Timothy Baum, New York
A photograph by Pablo Picasso, titled Portrait de Dora Maar, translated as Portrait of Dora Maar, dated 1936 to 1937.

Pablo Picasso

Portrait de Dora Maar (Portrait of Dora Maar), 1936-1937
Gelatin silver print after an original cliché-verre photogram
Window: 11 1/4 x 8 5/8 inches (28.6 x 21.9 cm) Framed: 22 3/4 x 19 5/8 x 1 inches (57.8 x 49.8 x 2.5 cm)
A drawing by Salvador Dali, titled Vulcain et Vénus, translated as Vulcan and Venus, dated 1941.

Salvador Dali

Vulcain et Vénus (Vulcan and Venus), 1941
Watercolor, gouache, and ink on card
10 5/8 x 14 5/8 inches (27 x 37.1 cm) Framed: 23 1/4 x 26 1/8 inches (59 x 66.5 cm)
A work on paper by Marcel Dzama, titled Hope until death, dated 2018.

Marcel Dzama

Hope until death, 2018
Watercolor, ink, and graphite on paper
49 7/8 x 38 1/2 inches (126.7 x 97.8 cm) Framed: 53 3/8 x 42 x 1 3/4 inches (135.6 x 106.7 x 4.4 cm)
A painting by Richard Humphrey, titled The Cause of Thunder, dated 1965.

Richard Humphry

The Cause of Thunder, 1965
Oil on Masonite
18 x 19 1/8 inches (45.7 x 48.6 cm) Framed: 18 3/4 x 19 3/4 x 1 1/4 inches (47.6 x 50.2 x 3.2 cm) Rosalind and Melvin Jacobs Collection, New York
A painting by Filipo Napoletano, titled Dante and Virgil in the Underworld, circa 1620.

Filippo Napoletano

Dante and Virgil in the Underworld, c. 1620
Oil on slate
16 3/4 x 23 1/4 inches (42.5 x 59.1 cm) Framed: 23 5/8 x 29 3/8 x 1 3/8 inches (60 x 74.6 x 3.5 cm)
A painting by André Masson, titled Tarragona, dated 1934.

Andre Masson

Tarragona, 1934
Oil on canvas
21 1/4 x 28 3/4 inches (54 x 73 cm) Framed: 31 1/2 x 38 1/4 inches (80 x 97 cm) Private Collection, Monaco
A sculpture by Damiano Cappelli, titled Male and Female Witch among Demons, circa 1660.

Damiano Cappelli

Male and Female Witch among Demons, c. 1660
Bronze and stone in two (2) parts
Part 1: 16 3/4 x 24 3/4 x 9 inches (42.5 x 63 x 23 cm) Part 2: 16 3/8 x 21 7/8 x 8 5/8 inches (41.5 x 55.5 x 22 cm)
A painting by Salvator Rossa, titled La Strega, translated the The Witch, circa 1945.

Salvator Rosa

La Strega (The Witch), c. 1645
Oil on canvas
83 1/2 x 57 7/8 inches (212.1 x 147 cm)
A painting by Pietro Novelli, known as Il Monrealese, titled Prometheus Creating Man, circa 1630.

Pietro Novelli known as Il Monrealese

Prometheus Creating Man, c. 1630
Oil on linen
82 1/2 x 64 1/2 inches (209.6 x 163.8 cm) Framed: 96 3/4 x 78 3/4 x 4 inches (245.7 x 200 x 10.2 cm)
A painting by the school of Hieronymus Bosch, titled Temptation of Saint Anthony, not dated.

School of Hieronymus Bosch

Temptation of Saint Anthony, n.d.
Oil on panel
Framed, each: 50 5/8 x 22 5/8 x 2 inches (128.6 x 57.5 x 5.1 cm)
A drawing by Max Ernst, titled Ascenseur somnambule I, translated as Somnambulist Elevator I, dated 1920.

Max Ernst

Ascenseur somnambule I (Somnambulist Elevator I), 1920
Gouache, watercolor, and pencil on engraving on paper
7 5/8 x 4 5/8 inches (19.4 x 11.7 cm) Framed: 18 x 15 inches (45.7 x 38.1 cm) Collection Timothy Baum, New York
A print by Francisco de Goya, titled Visiones, circa 1819 to 1823.

Francisco de Goya

Visiones, c. 1819-1823
Ink on paper
9 1/4 x 5 3/4 inches (23.5 x 14.6 cm) Framed: 23 7/8 x 17 7/8 x 1 1/4 inches (60.6 x 45.4 x 3.2 cm)
A drawing by William Blake, titled The Grave Personified, dated 1805.

William Blake

The Grave Personified, 1805
8 x 11 3/4 inches (20.3 x 29.8 cm) Framed: 15 5/8 x 19 1/4 x 1 inches (39.7 x 48.9 x 2.5 cm) Private Collection
A print by Edvard Munch, titled Madonna, dated 1895 to 1902.

Edvard Munch

Madonna, 1895-1902
Lithograph printed in color on Japanese paper
26 1/8 x 19 1/4 inches (66.4 x 48.9 cm) Framed: 33 3/8 x 28 x 1 inches (84.8 x 71.1 x 2.5 cm)
A drawing by Odilon Redon, titled Head of a Cyclops, dated 1880.

Odilon Redon

Head of a Cyclops, 1880
Graphite on paper
4 1/2 x 6 1/4 inches (11.4 x 15.9 cm) Framed: 11 x 12 1/2 x 1 inches (27.9 x 31.8 x 2.5 cm) Collection of Frances Beatty and Allen Adler
A drawing by Alfred Kubin, titled The Pond, dated 1905.

Alfred Kubin

The Pond, 1905
Ink and watercolor on paper
6 3/4 x 9 3/8 inches (17.3 x 23.8 cm) Framed: 14 1/2 x 17 x 1 1/8 inches (36.8 x 43.2 x 2.9 cm) Private Collection; Courtesy Richard Nagy Ltd., London
A drawing by Victor Hugo, titled Burg au milieu des flots, translated as Burg Amidst the Waves, dated 1857.

Victor Hugo

Burg au milieu des flots (Burg Amidst the Waves), 1857
Ink, gouache, and gum arabic on paper
9 3/4 x 7 inches (24.8 x 17.8 cm) Framed: 17 1/2 x 14 3/8 x 1 1/2 inches (44.5 x 36.5 x 3.8 cm)
A painting by Paul Klee, titled Schwarzer Herold, translated as Black Herald, dated 1924.

Paul Klee

Schwarzer Herold (Black Herald), 1924
Watercolor, gouache, and ink on paper
12 7/8 x 8 3/8 inches (32.7 x 21.3 cm) Framed: 19 5/8 x 14 3/8 x 1 1/2 inches (49.8 x 36.5 x 3.8 cm) Collection of the Olivier Berggruen Trust
A painting by Gustave Doré, titled Le Chevalier Errant, translated as The Wandering Knight, not dated.

Gustave Dore

Le chevalier errant (The Wandering Knight), n.d.
Oil on panel
7 1/2 x 5 3/8 inches (19.1 x 13.7 cm) Framed: 11 5/8 x 9 1/2 x 1 1/8 inches (29.5 x 24.1 x 2.9 cm)
A drawing by Victor Brauner, titled Rêve surréaliste, translated as Surrealist Dream, dated 1935.

Victor Brauner

Rêve surréaliste (Surrealist Dream), 1935
Ink and gouache on paper
10 x 10 1/2 inches (25.4 x 26.7 cm) Framed: 19 1/8 x 217 x 1 3/8 inches (48.6 x 561.3 x 3.5 cm) Collection Timothy and André Baum, New York
A print by James Ensor, titled Les Péchés capitaux dominés par la Mort, translated as The Deadly Sins Dominated by Death, dated 1904.

James Ensor

Les Péchés capitaux dominés par la Mort (The Deadly Sins Dominated by Death), 1904
Etching with hand-coloring on Simili Japon paper
Image: 3 1/4 x 5 1/4 inches (8.3 x 13.3 cm) Window: 4 1/2 x 6 3/8 inches (11.4 x 16.2 cm) Framed: 12 x 15 x 1 1/4 inches (30.5 x 38.1 x 3.2 cm)
A print by James Ensor, titled La Paresse, translated as Sloth, from the Seven Deadly Sins series, dated 1902.

James Ensor

La Paresse (Sloth), from the Seven Deadly Sins series, 1902
Etching with hand-coloring on Simili Japon paper
Image: 3 3/4 x 5 1/4 inches (9.5 x 13.3 cm) Window: 5 x 7 inches (12.7 x 17.8 cm) Framed: 12 x 15 x 1 1/4 inches (30.5 x 38.1 x 3.2 cm)
A print by James Ensor, titled L'Avarice, translated as Avarice, from the Seven Deadly Sins series, dated 1904.

James Ensor

L'Avarice (Avarice), from the Seven Deadly Sins series, 1904
Etching with hand-coloring on Simili Japon paper
Image: 3 1/8 x 5 3/4 inches (7.9 x 14.6 cm) Window: 5 x 7 inches (12.7 x 17.8 cm) Framed: 12 x 15 x 1 1/4 inches (30.5 x 38.1 x 3.2 cm)
A print by James Ensor, titled L'Orgueil, translated as Pride, from the Seven Deadly Sins series, dated 1904.

James Ensor

L'Orgueil (Pride), from the Seven Deadly Sins series, 1904
Etching with hand-coloring on Simili Japon paper
Image: 3 1/8 x 5 3/4 inches (7.9 x 14.6 cm) Window: 5 x 7 inches (12.7 x 17.8 cm) Framed: 12 x 15 x 1 1/4 inches (30.5 x 38.1 x 3.2 cm)
A print by Giovanni Battista Piranesi, titled Carceri d'invenzione, translated as Imaginary Prisons, dated in 1749 and 1761.

Giovanni Battista Piranesi

Carceri d'invenzione (Imaginary Prisons), 1749/1761
Set of sixteen (16) etchings
33 x 21 inches (83.8 x 53.3 cm)
A painting by Antoni Tàpies, titled Parterre du jardin du Batafra, translated Flowerbed of the Batafra Garden, dated 1949.

Antoni Tapies

Parterre du jardin de Batafra (Flowerbed of the Batafra Garden), 1949
Oil on canvas
23 5/8 x 28 5/8 inches (60 x 72.7 cm) Framed: 25 1/4 x 30 1/4 x 1 3/4 inches (64.1 x 76.8 x 4.4 cm)
A drawing by Maurice Sand, titled Monstres grotesques: études pour la tentation de saint Antoine, translated as Grotesque Monsters: Studies for the Temptation of Saint Anthony, not dated.

Maurice Sand

Monstres grotesques: études pour la tentation de saint Antoine (Grotesque Monsters: Studies for the Temptation of Saint Anthony), n.d.
Ink on paper
6 1/2 x 11 inches (16.5 x 27.9 cm) Framed: 14 1/2 x 19 x 1 1/2 inches (36.8 x 48.3 x 3.8 cm)
A painting by Herri met de Bles, titled Extensive Coastal Landscape with the Calling of Saint Peter, not dated.

Herri met de Bles

Extensive coastal landscape with the calling of Saint Peter, n.d.
Oil on panel
12 5/8 x 19 3/4 inches (32.1 x 50.2 cm) Framed: 25 x 19 1/8 x 1 1/2 inches (63.5 x 48.6 x 3.8 cm)
A painting by Jan Brueghel the Younger, titled The Temptation of Saint Anthony, not dated.

Jan Brueghel the Younger

The Temptation of Saint Anthony, n.d.
Oil on panel
12 1/4 x 17 3/4 inches (31.1 x 45.1 cm) Framed: 23 3/4 x 18 3/8 x 1 3/4 inches (60.3 x 46.7 x 4.4 cm)
A painting by Michaël Borremans, titled Fire From the Sun, dated 2017.

Michaël Borremans

Fire from the Sun, 2017
Oil on canvas on cardboard
9 1/8 x 14 1/8 inches (23.1 x 35.9 cm) Framed: 16 1/2 x 21 3/8 x 1 5/8 inches (41.9 x 54.3 x 4.1 cm)
A print by Edvard Munch, titled Vampyr II, translated as Vampire II, dated 1895 to 1902.

Edvard Munch

Vampyr II (Vampire II), 1895-1902
Lithograph with woodcut printed in color on fine white oriental paper
16 7/8 x 23 5/8 inches (42.9 x 60 cm) Framed: 25 3/4 x 34 x 1 1/2 inches (65.4 x 86.4 x 3.8 cm)
A drawing by Odilon Redon, titled L'extase, translated as Ecstasy, dated 1885.

Odilon Redon

L'extase (Ecstasy), 1885
Charcoal on paper
19 5/8 x 14 5/8 inches (49.8 x 37.1 cm) Framed: 28 1/2 x 23 1/2 x 1 1/2 inches (72.4 x 59.7 x 3.8 cm)
A painting by James Ensor, titled Skeletons Warming Themselves, dated 1889.

James Ensor

Skeletons Warming Themselves, 1889
Oil on canvas
29 3/8 x 23 5/8 inches (74.6 x 60 cm) Framed: 39 1/2 x 33 1/2 inches (100.3 x 85.1 cm) Kimbell Art Museum, Fort Worth, Texas
A painting by José Gutiérrez Solana, titled Murga (Máscaras Tocando) – Carnival Street Musicians (Masked Figures Playing Music), circa 1906.

Jose Gutierrez Solana

Murga (Máscaras Tocando) – Carnival Street Musicians (Masked Figures Playing Music), c. 1906
Oil on canvas on cardboard
16 1/8 x 13 1/8 inches (41 x 33.2 cm) Framed: 21 5/8 x 19 x 1 3/4 inches (54.9 x 48.3 x 4.4 cm) On loan from The Hispanic Society of America, New York, NY.
A painting by Francis Alÿs, titled London, dated 2005.

Francis Alÿs

London, 2005
Oil on canvas on panel
11 1/4 x 13 7/8 inches (28.6 x 35.2 cm)
A painting by Gustave Moreau, titled Hélène Glorifée, translated as Helen Glorified, dated 1896.

Gustave Moreau

Hélène Glorifée (Helen Glorified), 1896
Watercolor, gouache, and shell gold on paper
12 x 9 1/8 inches (30.5 x 23.2 cm) Framed: 29 1/2 x 24 x 3 3/4 inches (74.9 x 61 x 9.5 cm)
A print by Martin Schongauer, titled The Temptation of Saint Anthony, circa 1475.

Martin Schongauer

The Temptation of Saint Anthony, c. 1475
Engraving on laid paper
11 7/8 x 8 5/8 inches (30.2 x 21.9 cm) Framed: 54 1/4 x 48 x 2 1/2 inches (137.8 x 121.9 x 6.4 cm)
A painting by James Ward, titled Ignorance, Envy, and Jealousy, dated 1837.

James Ward

Ignorance, Envy, and Jealousy, 1837
Oil on canvas
47 3/4 x 66 inches (121.3 x 167.6 cm)

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