TOYEN (MARIE CERMINOVA, 1902-1980) (after) Untitled Surrealist Beach Scene. Watercolor with pencil and pen and ink on cream wove paper. 439x303 mm; 17¼x12 inches. Initialed and dated in pencil with watercolor, lower right recto. 1935. Provenance: private collection.
ink on paper, 31 x 21 cm, cutout of passe-partout: 18.8 x 12 cm signed lower left: T. Provenance: – significant collection, Paris Expertise of the recognized expert of the work, Dr Karel Srp, dated 15. 1. 2024, enclosed. Further consulted with Dr Irena Zantovska Murray HonFRIBA, Professor Jaromir Zemina, Dr Jiri Machalicky and Vladimir Lekes.
collage, watercolour and ink on paper, 50 x 64 cm, signed and dated lower in the middle: Toyen 49 further inscribed lower left: Ceci est inévitable Provenance: – collection of the first lady of the world surrealist movement, painter, sculptor, designer and poet Meret Oppenheim (a gift directly from Toyen) – painting included in the auction by the family of Meret Oppenheim Exhibited: – Toyen, The Stone Bell House, Prague 2000 (12 May – 6 August 2000, No. cat. 212) Publicated: – Karel Srp, Toyen, Argo, Prague 2000, p. 202, picture 270 Expertise of the recognized expert of the work, Dr Karel Srp, dated 1.9. 2023, enclosed. Further consulted with Dr Irena Zantovska Murray HonFRIBA, Professor Jaromir Zemina, Dr Jiri Machalicky and Vladimir Lekes.
Marie TOYEN (1902-1980) Oiseau et chauve souris Suite de deux pointes sèches pour "La Forêt sacrilège". 1970. Épreuves sur soie, signées et numérotées 27/99 et 87/99 Two drypoints for "La Forêt sacrilège", 1970, prints on silk, signed and numbered 27/99 and 87/99 18 x 13 cm - 7 1/8 x 5 1/8 in
Marie Cerminova (Toyen) (Czech/French, 1902-1980) "Kolorovana Kresba" ink and watercolor on paper signed lower right. Matted, glazed and framed. sight 11" x 8", framed 19" x 16"
Marie Toyen (1902-1980), Composition, 1965, encre sur papier, signée et datée, 23,5x13,5 cm André Masson (1896-1987), Jubilation , tempera sur papier, signée au crayon, 50,5x65 cmAu verso: étiquette et tampons de la Galeria d'Arte Maggiore, Bologne, 1956, no. 871209
The title of the cycle was taken by Toyen from Poems by Isidore Lucien Ducasse, known as Comte de Lautréamont (1846 - 1870), who was considered the historical precursor of the Dadaists and Surrealists. The cycle is completed by a poem by Henry Heisler from 1944. In the same year, as the war was coming to an end, Toyen created a set of drawings responding to the situation. Their theme is destruction and death as a consequence of the war. The artist interpreted them as a series of dreamlike episodes in which the main role is played by animal skeletons moving in an empty, devastated landscape. In individual compositions they are supplemented by live birds, insects, or human traces indicating the continuation of life. The original drawings were executed in a mimetically meticulous texture in fine pen and ink, with the addition of coloured chalks and white wash. The offered albun appears repeatedly on the art market due to the number of 1000 copies issued. The album of nine zinc prints (cover 440 x 320 mm) was published by Fr. Borový, Prague 1946. Reproductions were printed by the Gravure Printing Plant V. Neubert and sons, Prague 1946. The size shown is the size of the paper.
The book by Romain Rolland - Pierre et Luce published in Edition Symposion, vol. 18. Typographic design, binding and three two-color lithographs by Toyen. Lithography performed by Karel Procházka, Český Těšín. The book was printed by the Müller a spol. in Turnov. The only edition made this way. All-cloth original binding with gilded blind-print application on the front plate. This one is slightly dirty at the bottom left. BRETON, A., HEISLER, J., PERET, B. TOYEN | TOYEN 1953 Paris Paris Paper and cardboard Paper, cardboard 21 x 15.5 x 0.8 cm Toyen's first union catalog during her stay in Paris has the character of a carefully executed bibliophily. In the avant-garde carved porous cardboard envelope by Guy Doumayrou, printed by the prestigious Meyer-Ruelle press. Numbered specimen. On the first sheet, a personal handwritten dedication to Mr. and Mrs. Schaefer, dated 25. III. 1959, with the note "very cordial" and hand-signed Toyen. Intact collector's condition. Location: Prague, Technique: Cloth binding, lithography, paper
Jan B. Čapek put the Song of Songs to verse based on the Kralice Bible translation and using Bertrand's French version. Published as the first volume of the "Lis Knihomilův" edition by František Jan Müller, who designed, laid out and printed the book on a manual press. Contains four hand-colored drawings by Toyen. 80 retail copies numbered during manual printing, 25 marked as gifts. Printed on Japanese Takasago paper. This copy is numbered 68.
Stanley William Hayter CBA, Biasi Bona, Marie Cerminova (Toyen) and Max Walter Svanberg, British 1901-1988, Italian 20th Century, Czech 1902-1980 and Swedish 1912-1994- L'Avant-Garde Internationale, 1961; four etchings on wove, each signed and numbered variously from editions of 60, published by Arturo Schwarz, Milan, each plate approx. 11 x 15cm (framed) (4) (ARR) Please refer to department for condition report
oil on canvas 90 x 90 cm signed lower right: Toyen Provenance: – private collection of Toyen – private collection, Prague – private collection of a recognised Czech framer since 1946 – auction Prague, 23rd June 2011 (sold for then record-breaking 2.46m CZK) – significant private collection, Prague Exhibited: - L’art d’aujourd ́hui, La chambre syndicale et des Beaux arts, Paris, December 1925 (No. 223) - Styrsky et Toyen, Galerii d’Art contemporain,135 Boulevard Raspail, 27. 11.–10. 12. 1926 (No. 48) Publicated: – Karel Srp, Magicky vek (The Magic Age) Adolf Loos Apartment and Gallery, Praha 2021, reproduced on the front cover and p. 5, 6,1 4, 17 The present work is one of the most important and beautiful works the painter ever created, attributed significant value by Toyen herself. In many ways, it reflects both its age and Toyen’s painterly approach during her first trip to Paris. The importance of this work is also evidenced by its recent inclusion and front cover feature in Karel Srp’s The Magic Age, a publication focused on Toyen and Styrsky’s early career in France. The world-renowned painter Toyen (born Marie Cerminova) was one of the most important and daring painters of the early 20th century avantgarde. As a founding member of the Surrealist Group in Czechoslovakia, she gave up her maiden name in 1922. Her now famous pseudonym was created by her friend and poet Josef Seifert during one of their visits to the National Cafe. Her acceptance of this new artistic name can be understood as both part of her lifelong struggle against authority and conventions, but also a denial of the traditional female role attributed to her. Her work is known for its brilliant originality and precision, as well as its ability to incite a strong sense of anxiety and anticipation. The objects she tackles open up the way into our subconscious, our dreams and fantasies. Her paintings question the audience, who feel compelled to search for answers even though there aren‘t any clear ones. Dr Karel Srp writes for the painting Circus, among others: In 1923, Toyen joined the artistic group Devetsil, which founded poetism, the Czech version of surrealism, which fused modern painting with poetry. Her most important years were spent beside the painter Jindrich Styrsky, who was her artistic partner for nearly twenty years. The two artists left for Paris together, where they founded a new artistic movement called artificialism in 1925. Artificialism was unique in many ways, particularly for being founded by two artists who had no desire for anyone else to join them. The works featured a reversed perspective that aimed to maximise one’s imagination. Artificialism strived for the identification of a painter with a poet and refused to approach painting as a simple game with forms and shapes. The focus was on poetry, which completed the space inbetween the paintings’ forms. The resulting paintings were abstract colourful compositions, with metamorphosing shapes, structures and thick layers of paint. In 1931, looking back at this time, Vitezslav Nezval concluded that Styrský a Toyen ‘felt compelled to reject convention and announce their own movement, all the while knowing they wouldn’t want to enslave themselves in the future.’ L’art d ́aujourd ́hui (Art Now, December 1925) In the second half of 1924 and the first half of 1925, Toyen connected back with her temporarily broken strain of work by painting Circus. It covered the temporary presence of neoprimitivism in her work, which she later tried to conceal by amending the order and timeline of her exhibited works at Galerii d’Art contemporain in December 1926. This painting was first exhibited at the renowned exhibition L’art d’aujourd ́hui in Paris, alongside her painting The Harbour (currently part of the permanent collection of the National Museum of Modern Art, Centre Georges Pompidou in Paris). Both the paintings personify the transition from her work in the early 20s into the subsequent artificialism. In December 1925, Czech press summarised this as follows: ‘On Monday morning, an international exhibition of contemporary art was opened in Paris, inclusive of approximately 300 works of modern art, largely derived from Cubism. Czechoslovakia is represented by Sima, Styrsky a Toyen.’ The exhibition L’art d’aujourd ́hui was opened on 1st December 1926 at La chambre syndicale et des Beaux arts. It was an extraordinary event that brought together a number of international artists, largely living in Paris, but coming from 24 different countries. It was one of the largest exhibitions of its kind that took place in Paris in the interwar years, following the autumn exhibition La Peinture Surréaliste at Galerii Pierre. It clearly showed a disdain for the well-known annual international exhibition of decorative arts in Paris. It took years to clearly identify this work. It transpired that the painting Circus, listed in the joint monograph of Toyen’s and Styrsky from 1938, was in fact originally titled Clowns by the artist, who also inscribed this on the canvas’s reverse. The first owner of this work was Toyen’s sister Zdena Svobodová. For a long time, this work from the L’art d’aujourd ́hui exhibition was confused with the painting Circus Conrado, but this was clearly not aligned with its alleged monumental counterpiece The Harbour, which was exhibited at the exhibition. We can only deduce that the work exhibited at L’art d’aujourd ́hui was in fact a different work, more expressive of Toyen’s oeuvre around 1925. Given the clear visual resemblance to Harbour, it is likely a square painting with a circular composition, the title or year of which have not been preserved, which is the Circus. It is likely that Toyen wanted to showcase her best work and paintings that complimented each other at an exhibition of such an importance as L’art d’aujourd ́hui, attended even by Pablo Picasso. Circus The technique used in painting Circus is unique in its own right. Toyen placed all the action inside the red circular stage, full of references to jongleurs, trapezists, tightrope walkers, open fans and umbrellas, but completely devoid of any figures as such - these would be out of place at an exhibition devoted to abstraction. In Circus Conrado, the flurry of activity was captured on the surface of the circus’ stage, whereas in this work it is all captured within. Toyen was interested in circular compositions indebted to Renaissance throughout her entire career. The circular painting, later titled Circus is an extraordinarily well handled, with various visual planes interjecting, and fragmented objects approach abstraction. Toyen composed the painting like a children’s lego composed of intersecting diagonals, circles, orthogonal planes, horizontal and vertical lines. Circus is a smart composition of various parts, skilfluly put together to create an impressive whole. In the first half of the 1920s, Devetsil placed much emphasis on folk festivities, often deriving characters for their works from circus and comedia dell’arte. Acrobats and clowns were particularly popular as painterly subjects. During her trip to Paris, Toyen was mostly interested in the circus, variety shows and street performances of various comedians. The circus atmosphere offered young artists many opportunities for dramatic spatial compositions. Circus performers appeared in numerous works of art and literature. Jaroslav Seifert’s poem Miss Gada – Nigi, published in Disc (1923) and devoted to a trapeze artist is such an example: ‘...Miss Gada – Nigi sits on a trapeze/ and below in the sand, the clown falls asleep like a bird’. Karel Teige was also intrigued by trapeze artists: ‘The performance of trapeze artists is like a harmonious poem, one that denies gravity’. Other characters from comedia dell’arte enjoyed similar popularity during the first half of the 1920s. However, in the second half of the 1920s they were replaced by symbolic figures, personifying the painter, mankind’s destiny, as well as the future of Europe – this is well captured in Vítězslav Nezval’s poetic work Acrobat, 1927 dedicated to Vladislav Vančura, presumably as an answer to his introduction to Summer of Caprice. The paintings devoted to circus reflected Teige’s words: ‘clowns, dancers, acrobats, and tourists are poets of modern times’. Styrsky and Toyen’s interest in this subject was concluded by the paintings The Acrobat, 1925 and The Trapeze, 1926, both of which were included at their first joint public presentation at the Galerie d’art contemporain. The faith of the masterpiece Circus has been unknown for nearly fifty years. The painting was hidden away in a private collection of a framer, based in Prague, who acquired the work in 1946 when he was searching for old frames for his own painting in an antique store. This painting was offered to him by an art dealer, along with a number of other works, none of which he held in a high regard. The expertises by Dr Karel Srp and Professor Jaromir Zemina attached. Consulted with and authenticated by Dr Karel Srp,Professor Jaromir Zemina, Dr Jiri Machalicky, Aneta Kopecka and Vladimir Lekes. Restorer’s report written by Zora Grohmanova and Tomas Berger attached. A special thanks is due to the renowned art expert, author of Toyen’s catalogue raisonné, and a curator of Toyen’s exhibitions worldwide, Dr Karel Srp, who correctly recognised Circus and identi- fied it for posterity. The painting has been requested to the upcoming exhibition Grenzen in der Kunst. Tschechische Kunst in drei Generation at the prestigious Museum Kunstforum Ostdeutsche Galerie Regensburg between May 21, 2021 till August 15, 2021. This exhibition is orga- nised under the leadership of the art historian Dr Agnes Tieze, who previously curated the exhibition Oskar Kokoschka und die Prager Kulturszene that opened in Regensburg and subsequently toured to Prague‘s National Gallery between 2014–2015.
TOYEN (MARIE CERMINOVA, 1902-1980) Untitled Portrait with Nude. Watercolor with pencil and pen and ink on gray wove paper. 205x160 mm; 8 1/4x6 3/8 inches. Signed and dated in ink, lower right recto. 1935. Provenance: private collection.
TOYEN (MARIE CERMINOVA, 1902-1980) Untitled Surrealist Beach Scene . Watercolor with pencil and pen and ink on cream wove paper. 439x303 mm; 17 1/4x12 inches. Initialed and dated in pencil with watercolor, lower right recto. 1935. Provenance: private collection.
Marie Cermínová, known as Toyen, was a painter, draftsperson and illustrator, and a co-founder of the Czech Surrealist movement, and her sketches and paintings were often erotic. The gouache here looks like a sci-fi landscape. It is signed in the lower right, and there is scattered paper loss on the piece. The overall size is 23 x 29 in. wide and the sight size is 18 x 23 in. wide.
MARIE CERMINOVA TOYEN (1902-1980) COMPOSITION SURREALISTE, 1933 Encre de Chine au lavis d’encre et encres de couleurs sur papier Signée et datée en bas à gauche 19 x 23 cm – 7.4 x 9 in. Signed and dated lower left India ink with ink wash and coloured inks on paper
Marie Cerminova Toyen, Czech 1902-1980- Untitled from The Alert Box, 1959-60; lithograph in colours on Japan paper, signed and numbered VIII/XX in pencil, sheet 24 x 16cm (framed) (ARR) Note: this print commemorates the International Surrealist Exhibition (EROS) 1938 Provenance: Private Italian collection (acquired directly from Arturo Schwarz Gallery, Milan)
Marie Cermínová, known as Toyen, was a Czech painter, draftsperson and illustrator, and a member of the Surrealist movement. The overall size is 29 x 23 in. and the sight size is 23 x 18 in. Please contact Eamon at Premier Shipping and Creating for a quote to pack and ship at 941-358-9999 or email at info@premiershipment.com
Marie TOYEN. 2 ouvrages 1) A. LE BRUN. Annulaire de lune, avec 3 pointes-sèches originales et une suite de ces 3 gravures. 2) Toyen Marie Cerminova, dite Toyen (1902-1980) et Annie Le Brun. Annulaire de lune. Paris, Maintenant, 1977. Petit in-4° en ff., sous coffret en toile bleue illustrée. Édition originale ornée de 3 pointes sèches originales signées n°19/75. Exemplaire n°19 du tirage de tête sur papier vélin d'Arches crème comprenant une suite des 3 gravures sur papier nacré du Japon aquarellées par l'artiste. On joint l'ouvrage de Radovan Ivsic sur Toyen aux éditions Filipacchi, comprenant 1 pointe-sèche originale en noir n°9/99. Très bon état général
MARIE CERMINOVA dite TOYEN (CZE/ 1902-1980) Composition surréaliste signé et daté 'Toyen 33' (en bas à droite) aquarelle et encre sur papier contrecollé sur papier 20.8 x 14.5 cm. Exécuté en 1933 Signed and dated lower right; watercolour and ink on paper laid on paper; 8.3/16 x 5.11/16 in.; executed in 1933. 800 - 1.200 € PROVENANCE Galerie Drouart, Paris. Acquis auprès de celle-ci par le propriétaire actuel.
This fabric design, which apparently was meant to be used as a curtain, was created by Toyen for the Josef Sochor textile factory in Dvůr Králové. On an ecru background she created a coral-like design in orange, green, blue, yellow and dark brown. The pattern was an inspiration for Zika Ascher, who after seeing this piece started to work with well-known artists (Picasso, Miró and others).
Marie TOYEN (1902-1980) Il était la proie des images, 1956 Gouache sur papier. Signée en bas à droite. 20,5 x 20,5 cm Nous remercions Monsieur Karel Srp qui nous a aimablement confirmé l’authenticité de cette œuvre d’après photographie. PROVENANCE : - Vente Calmels-Cohen, Paris, 22/06/2006, n°165 - Collection particulière, Paris BIBLIOGRAPHIE : - A. Breton, J. Schuster, Le Surréalisme, même, 1, 1956, reproduit (fig.1) « Le Surréalisme n’est pas mort, il bouge encore. Des figures restées dans l’ombre n’en finissent pas de resurgir ; nombre de femmes, notamment. Le cas Toyen (ou Marie Cerminova, pour l’état civil) est à ce titre, exemplaire. Tchèque, née en 1902, mêlée à l’avant-garde politique et artistique de Prague, cette artiste fut la première femme peintre que les surréalistes reconnurent, en 1927. Elle créa le mouvement surréaliste tchèque en 1934, vécut cachée durant la guerre, avant d’émigrer à Paris, en 1947 et de réintégrer le Surréalisme, dans sa cuvée d’après-guerre. Les hasards de l’histoire font qu’elle occupa, en 1967-68, après la mort de Breton en 1966, une partie de l’atelier-appartement de ce dernier, rue Fontaine à Paris. Toyen avait d’ailleurs difficilement supporté la dissolution du Surréalisme, en 1969 ». (Elisabeth Lebovici, « Toyen : une femme surréaliste », in Critique d’art, 21, Printemps 2003). Notre aquarelle a parue dans le Surréalisme même, 1. Cette revue publiée par la librairie Jean-Jacques Pauvert fut l’une des revues majeures du surréalisme d’après-guerre. André Breton cherchait à donner une nouvelle impulsion au mouvement en rassemblant diverses générations d’artistes et de proches du mouvement ; elle ne comptera que cinq numéros (octobre 1956 - printemps 1959).
Marie Cerminova Toyen (Czechoslovakian/French, 1902-1980), "Paysage Surréaliste-Brunidor 2", 1947, color lithograph on paper, pencil-signed and numbered "49/100" lower margin, 12 3/4 in. x 16 5/8 in., framed; accompanied by copy of the original receipt. Provenance: William Weston Gallery, London, 2004; Collection of Nan Wier, New Orleans, LA
MARIE CERMINOVA TOYEN (1902-1980) COMPOSITION SURREALISTE II Encre de Chine sur papier Signée en bas à droite 18 x 25,5 cm 7 x 9.8 in Signed lower right, India ink on paper
MARIE CERMINOVA TOYEN (1902-1980) COMPOSITION SURREALISTE II Encre de Chine sur papier Signée en bas à droite 18 x 24,8 cm 7.08 x 9.4 in Signed lower right, india ink on paper
MARIE CERMINOVA TOYEN (1902-1980) FORMES MARINES, 1933 Ensemble de deux dessins Encre de Chine et aquarelle sur papier Chaque dessin est signé et daté en bas à droite Dimension du plus grand: 21,3 x 13,5 cm (à vue) 8.2 x 5.1 in Dimension du plus petit: 13,5 x 12,5 cm (à vue) 5.1 x 4.7 in Two drawings, each signed and dated lower right, india ink and watercolor on paper
MARIE CERMINOVA TOYEN 1902-1980) COMPOSITION, 1933 Encres de couleur, lavis d'encre et aquarelle sur papier Signée et datée en bas à droite 27 x 22 cm ( à vue) 10.62 x 8.66 in. (approx.) Signed and dated lower right, colored inks, ink wash and watercolour on paper
MARIE CERMINOVA TOYEN (1902-1980) SEIN Tirage photographique Cachet de la succession Toyen en bas au centre 28,5 x 20,4 cm - 11 x 7.87 in. Stamp of Toyen’s the Estate lower center, photography
MARIE CERMINOVA TOYEN (1902-1980) UNIVERS MARIN Aquarelle et fusain sur papier Signé en bas à droite 24 x 32 cm (à vue) - 9.4 x 12.5 in. Signed lower right, watercolor and charcoal on paper
MARIE TOYEN (1902-1980) PROJET DE TISSUS Mine de plomb sur papier calque Annoté dans l’oeuvre Cachet de la succession en bas au centre 44,2 x 28,5 cm - 17.3 x 11 in. Stamp of the Estate lower center, annotated, pencil on tracing paper
MARIE CERMINOVA TOYEN (1902-1980) POISSON ET REVE Aquarelle et fusain sur papier Signée en bas à gauche 24 x 31 cm (à vue) - 9.4 x 12.2 in. Signed lower left, watercolour and charcoal on paper
TOYEN MARIE CERMINOVA 1902-1980 Prague 1902 - Paris 1980 (Czech) Title: For "The Alert Box" from the International Surrealist Exhibition (EROS), 1959-1960 Technique: Original Hand Signed and Numbered Lithograph in colours on Japanese paper. Paper size: 24 x 16 cm / 9.4 x 6.2 in Additional Information: This work is hand signed by the artist "Toyen" in pencil at the lower right corner. The work is also hand numbered in roman numerals in pencil at the lower left corner "VIII/XX" (8/20). This work was printed in Paris in 1959 in a limited edition of 250 impressions in commemoration of the the International Surrealist Exhibition which happened in 1938. However, our impression is from the deluxe edition of 20. Note: The Exposition Internationale du Surréalisme was an exhibition by surrealist artists that took place from January 17 to February 24, 1938, in the generously equipped Galérie Beaux-Arts, run by Georges Wildenstein, at 140, Rue du Faubourg Saint-Honoré in Paris. It was organised by the French writer André Breton, the surrealists' brain and theorist, and Paul Éluard, the best known poet of the movement. The catalogue listed, along with the above, Marcel Duchamp as curator, Salvador Dalí and Max Ernst as technical advisers, Man Ray as head lighting technician and Wolfgang Paalen as "expert for water and foliage".The exhibition was staged in three sections, showing paintings and objects as well as unusually decorated rooms and mannequins which had been redesigned in various ways. With this holistic presentation of surrealist art work the movement wrote exhibition history. Provenance: Arturo Schwarz Gallery, Milan, Italy. Private Italian collection (acquired directly from Arturo Schwarz) Condition: Very Good Condition. Not examined outside the frame.
MARIE TOYEN (1902-1980) SUR LE CHAMP, Annie Le Brun. Avis au lecteur de Radovan Ivsic. Trois pointes-sèches et six collages originaux. Éditions Surréalistes, Paris 1967. Très bel exemplaire sur papier buvard rose du Marais, l’un des 54 exemplaires comportant les trois gravures (de 16 à 69), le nôtre porte le N°40, signé par Annie Le Brun. Chaque pointe-sèche est signée et numérotée40/69. En feuilles, couverture papier, dans emboîtage noir illustré par Toyen (quelques frottements). 293 x 225.
MARIE CERMINOVA - TOYEN (1902-1980) MEDALLION WITH A PORTRAIT OF A GIRL Early 1940s, Bohemia "From the artistic perspective, this drawing must be esteemed higher than similar works by Toyen from the 30s-40s. This drawing was most likely produced for a particular recipient. Toyen took extra care to craft the conceptual form than we can observe in other works of this kind. The author united her inner world, springing from her own imagination, with a world that was much more comprehensible for the audience of the time." (PhDr. Karel Srp, Ph.D.). Pencil on paper, frottage, signed on the right under the medallion: Toyen.
Marie Cerminova dite TOYEN (Prague, 1902 - Paris, 1980) COMPOSITION SURREALISTE, 1937 Encre et aquarelle sur papier teinté signé et daté en bas à droite "Toyen 37." h: 32,50 w: 23,50 cm Provenance : Ancienne collection Luc Fournol, Paris Commentaire : "COMPOSITION SURREALISTE"; INK AND WATERCOLOUR ON PAPER; SIGNED AND DATED LOWER RIGHT
