MAX ERNST (1891-1976)
MAX ERNST (1891-1976)
MAX ERNST (1891-1976)
MAX ERNST (1891-1976)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A DISTINGUISHED PRIVATE SWISS COLLECTION
MAX ERNST (1891-1976)

eh bin l'vla l'petit chien

MAX ERNST (1891-1976)
eh bin l'vla l'petit chien
signed ‘max ernst’ (lower right); titled ‘eh bin l’vla l’petit chien’ (lower left)
gouache on card
8 x 9 1/2 in. (20.3 x 23.7 cm.)
Executed circa 1924
Solange Dreyfus, Paris.
Dr Ewald Rathke, Frankfurt.
Dr Hans Feith, Frankfurt.
Elisabeth Feith, Frankfurt, and thence by descent.
Galerie 1900-2000, Paris, by 2018.
Private collection, by whom acquired from the above.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Further details
This work will be included in the forthcoming volume of the Max Ernst Catalogue raisonné, currently being prepared by Werner Spies in collaboration with Sigrid Metken and Jürgen Pech.
Sale room notice
Please note the medium for this work is 'gouache on card' and not 'on paper' as stated in the printed catalogue.

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Ottavia Marchitelli
Ottavia Marchitelli Senior Specialist, Head of The Art of The Surreal Sale

Lot Essay

Created in 1924, eh bin l'vla l'petit chien marks Max Ernst’s transformation from a Dadist into a future Surrealist. After serving in the German army during the First World War, Ernst embraced Dada, a political, nihilistic art movement that emerged directly in response to the war’s horrors. ‘We young people,’ he explained, ‘came back from the war dazed and our disgust simply had to find an outlet. This quite naturally took the form of attacks on the foundations of the civilization that had brought this war about – attacks on language, syntax, logic, literature, painting and so forth’ (M. Ernst, quoted in Max Ernst, exh. cat., Tate Gallery, London, 1991, p. 82).
Ernst’s abandonment of Dada for Surrealism was gradual but not unexpected: Already, he had begun to incorporate Freudian references into his compositions and was deeply drawn to Giorgio de Chirico’s metaphysical paintings. The transition accelerated during the summer of 1921, when Ernst met members of the Paris Dada group. According to Louis Aragon, however, Ernst was already a staunch devotee to ‘the vice called Surrealism . . . the immoderate and passionate use of the drug which is the ‘image’’ (L. Aragon, quoted in M. Raymond, From Baudelaire to Surrealism, New York, 1950, p. 286). In Surrealism’s commitment to the dream world, Ernst found a language that suited his pictorial poetics. After he saw the artist’s first exhibition in 1921, Breton, who would go on to write the Surrealist Manifesto in 1924, said that Ernst’s paintings of those years had a ‘wonderful ability to reach, without leaving the field of our experience, two widely separated worlds, bring them together, and strike a spark from their conjunction’ (A. Breton, quoted in W. Spies, Max Ernst: Collages, London, 1988, p. 228).

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