Max Ernst

Paul Eluard, Paris (1938)
Roland Penrose, London
E. L. T. Mesens, London (sold: Parke-Bernet Galleries, New York, 2nd May 1974, lot 235)
Galerie Agora (Daniel Malingue), Paris (acquired by 1975)
Private Collection (sold: Sotheby's, London, 4th December 1984, lot 45)
Acquired directly from the above

Paris, Galerie Van Leer, Exposition Max Ernst, 1926, no. 22
Cologne, Richmod-Galerie Casimir Hagen, Jankel Adler, Gerd Arntz, Max Ernst, 1926, no. 1, illustrated in the catalogue
Zurich, Kunsthaus, Was ist Surrealismus?, 1934, no. 20
London, The London Gallery, Max Ernst, 1938-39, no. 26
Cambridge, University Arts Society, Max Ernst, 1939, no. 13
Paris, Galerie Denise René, Max Ernst, 1945, no. 12
London, The London Gallery, Max Ernst, Sonja Sekula, Sean Crampton, 1950, no. 7
Knokke-Le Zoute, Grande salle des expositions de 'La Réserve', 75 Oeuvres du demi-siècle. Histoire de l'art contemporain, 1951, no. 68, illustrated in the catalogue
London, Institute of Contemporary Arts, Max Ernst: Drawings, Paintings, Collages, 1918-1952, 1952-53, no. 11
Knokke-Le Zoute, Casino Municipal, Max Ernst, 1953, no. 23, illustrated in the catalogue
Bern, Kunsthalle, Max Ernst, 1956, no. 20
London, The Matthiesen Gallery, Paintings by Max Ernst, 1956, no. 7
Humlebæk, Louisiana Museum & Brussels, Palais des Beaux-Arts, Six peintres surréalistes, 1967, no. 19, illustrated in the catalogue
Brussels, Galerie Isy Brachot, L' Eternel Surréalisme, Hommage discret à E. L. T. Mesens, 1970, no. 13
Düsseldorf, Städtische Kunsthalle & Baden-Baden, Staatliche Kunsthalle, Surrealität-Bildrealität, 1974-75, no. 6, illustrated in the catalogue
Paris, Galeries Nationales du Grand Palais, Max Ernst, 1975, no. 118, illustrated in the catalogue
London, The Tate Gallery, Max Ernst: A Retrospective, 1991, no. 107, illustrated in colour in the catalogue

La Révolution Surréaliste, 1926, no. 6, illustrated p. 24
André Breton, Le Surréalisme et la peinture, Paris, 1928, illustrated p. 38
Cahiers d'Art (ed.), Max Ernst, Oeuvres de 1919 à 1936, Paris, 1937, illustrated p. 51
Patrick Waldberg, Max Ernst, Paris, 1958, p. 222
John Russell, Max Ernst, Life and Work, London, 1967, p. 350, no. 28, illustrated p. 319
Uwe M. Schneede, Max Ernst, Stuttgart, 1972, no. 146, illustrated p. 82 
Werner Spies, Max Ernst, Oeuvre-Katalog, Werke 1925-1929, Cologne, 1976, no. 952, illustrated p. 83

The canvas is unlined. Apart from two lines of retouching in the grey area in the top right quadrant, covering repaired tears, and four spots of retouching in the grey area in the lower right quadrant, visible under ultra-violet light, this work is in good condition. Colours: Overall fairly accurate in the printed catalogue illustration, although the blue is very slightly softer in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

La Fleur du désert belongs to the most innovative period of Ernst's career, executed in the year when he discovered the techniques of frottage and grattage. His experimentations with ways of applying pigment onto the surface from 1925 onwards resulted in a number of groundbreaking compositions. Fascinated by the rich texture of floorboards and other surfaces, he would cover them with a piece of canvas or sheets of paper and rub over them with oil or graphite. This produced various relief-like forms that suggested particular images to the artist, and by adding a few strokes by hand he would arrive at a fantastic, unexpected imagery.