We found 24987 price guide item(s) matching your search

An Art Deco period ceiling light, with four moulded and frosted glass shells within a gilt metal mount, 46cm diameter CONDITION REPORT: One glass shell a replacement. No obvious chips or faults.

An Unusual Boer War 'Friendly Fire' Incident D.C.M. Pair to Private H. Morton, Seaforth Highlandersa) Distinguished Conduct Medal, E.VII.R. (5601 Pte. H. Morton. Seaforth Hdrs:), minor edge bruiseb) Queen's South Africa 1899-1902, five clasps, Cape Colony, Orange Free State, Transvaal, South Africa 1901, South Africa 1902 (5601 Pte. H. Morton. Sea: Highrs: M.I.), unofficial rivets between state and date clasps on last, good very fine, mounted for wear (2) D.C.M. London Gazette 26.7.1901 5601 Private H. Morton, Seaforth Highlanders. Morton was decorated for his gallantry during a 'Friendly Fire' incident and Mentioned in Despatches by Lord Kitchener thus, 'Private H. Morton (promoted Corporal); on June 14, a company of mounted infantry with which he was, being shelled by our own guns at 2,000 yards, took cover; Morton stayed in the open trying to signal to the guns, though the shells were all around him.'The original Recommendation for Morton's D.C.M. made by Major T. Macan, Officer Commanding 18th Mounted Infantry gives the following:I have the honour to bring to your notice the conduct of No. 5601 Pte. H. Morton 1st Bn. Seaforth Highlanders now serving with the 18th Mounted Infantry as a signaller. On the 14th June 1901 the company to which this man belongs was working in the Houtbosch Loop when shell fire was opened upon it by one of the guns belonging to a cooperating column, the company having been mistaken for the enemy; the company managed to get under cover but Private Morton remained in the open at very great personal risk endeavouring to signal to the party who were firing on the company. The distance the gun was firing from was only about 2,000 yds. and the range had been correctly estimated as the shells were bursting all round the position. I consider the conduct of Pte. Morton well worthy of recognition.'Additional remarks supplied by Colonel G.E. Benson: 'I recommend Pte. Morton's conduct for consideration. I think that it is probable he may have saved the lives of some of his comrades by this action. The column which opened fire was Col. Parkes'.'Brigadier General Spens added: 'Forwarded and reccomended that No. 5601 Pte. H. Morton 1/Seaforth Highlanders be awarded a Distinguished Service [as the D.C.M. was sometimes called at the time] Medal for gallant conduct on the 14th June 1901.'Provenance:Spink Boer War Sale, 20-21.10.1999Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

Edward Medal (Industry), G.V.R., 1st type obverse, 2nd type reverse, silver (Thomas Coppard), very fine, in case of issue E.M. London Gazette 10.5.1918 Thomas Coppard, Police Sergeant, National Filling Factory No. 13, in joint citation with 3 others for the Edward Medal, and listed alongside 8 men who received the K.P.M. for the same action, 'On account of their gallant conduct on the occasion of a fire which occured at a Munitions Factory on the 1st October, 1917.'Heroic Endeavour by D.V. Henderson, G.M., offers further insight on Coppard's actions, '1 October 1917. He saved a number of lives when fire and explosions occurred at the White Lund factory, near Morecombe, Lancashire.'The Lancaster Guardian states, 'on the evening of October 1, 1917, an explosion at the National Filling Factory on White Lund was so strong its force was felt as far away as Burnley. Ten people were killed during the night the majority of whom were firemen.Most of the factory workers were in the canteen on their supper break when the alarm was raised around 10.30pm which probably saved many other lives though in the rush to escape the site, some were injured. The biggest explosion occurred around 3am.The works fire brigade was unable to contain the fire which spread quickly and there were some staff who put their own lives on the line to save further casualties. Among them was Thomas Kew who shunted 49 ammunition trucks holding 250,000 live shells out of the danger zone to prevent further explosions.Shells which had been filled at the factory began to explode with the intense heat. In Morecambe, shells were seen flying overhead into the bay while in Lancaster shop windows were blown in and shrapnel travelled as far as Scotforth and Quernmore....The factory was so wrecked by the explosion that it was out of commission for the rest of the war.The cause of the disaster was never found though some suspected spy action or a Zeppelin air raid.The National Filling Factory was one of two new factories which had been opened in the area by the Ministry of Munition by the middle of 1916. The National Projectile Factory in Caton Road was mainly turning and filling shell cases delivered from Barrow.Such was the pride in these factories and the work they were doing for the war effort that both were visited by King George and Queen Mary in May, 1917 when they were presented with a silver plated shell as a memento.The real shells were transported from Caton Road to White Lund where they were filled with explosives. This factory had taken seven months to develop, covered 400 acres and included 150 buildings.More than 8,000 people worked in these factories at their peak and three quarters of them were women.'Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

Three mother-of-pearl shells and a collection of treen etc. Condition report: see terms and conditions

A pair of late 19thC electroplated candlesticks, each cast with swags, shells, etc, on a domed foot, 30cm high.

VARIOUS GLASSWARES AND SHELLS

A Danish silver dish of way edge form, the rim cast with scallop shells. The base stamped 925, 26 cm diameter.

A collection of various sea shells, contained in a wicker box. (lot) Provenance: Formally the property of The Earl of Dalhousie, Christie's Panmure House sale 19th/20th July 1993.

A brass model of a single winged propeller plane, possibly fashioned from spent shells

An early 19th century botanical watercolour flowers and shells - framed and glazed 32 x 23cm

City Imperial Volunteers (C.I.V.) AUTOGRAPH LETTERS OF PRIVATE GEORGE LIPSHAM 8vo (220 x 180 mm) Bound volume containing 30 autograph letters by Private George Lipsham, Victoria & St. George’s Rifles, C,I,V., addressed to his mother in Sydenham, covering his entire service in South Africa from his departure from Southampton in January 1900 to his return to England the following October. Bound in sequence with 14 original stamped and postmarked envelopes, and much related ephemera, a letter from Lipsham`s colleague in civil employment in Conduit Street, and a campaign letter from a cousin in South Africa (November 1901). Approximately 150 pages, the letters and ephemera are neatly mounted on hinges and attractively bound by Wood of London in full crimson morocco, inner gilt dentelles and marbled endpapers. The upper covers bears the coat of arms of the C.I.V.in gilt with white inlay. Titled gilt on the spine `Letters from South Africa 1900. Contained in a red cloth slip case.` A complete series of Private Lipshams letters covering the advance of the C.I.V. to Bloemfontein and onward to Johannesburg and Pretoria. From Kroonstad, 14th May 1900 he writes, `...at daybreak the fire began, the Boers had the exact range and we should have been smasked if we had had to cross in the fire....shells were bursting 20 yards from us & whizzing by our heads in two and threes. It is funny how one has the feeling of wanting to duck. The nearest touch I had was a piece of shell whizzed by me & struck the man next to me on the shoulder gouging a piece out of his straps & nearly breaking his collar bone. Quite near enough for me.` In June 1900 he speculates that he would be coming home soon but as the war continued his company was posted to Heilbron and Frederickstad where they took part in actions in pursuit of De Wet. The added ephemera include: two ticket for the departure service at St. Pauls Cathedral, eve of departure supper menu at Inner Temple Hall (12th January 1900). `Aurania` troop transport menu (15 October 1900), a dried snake skin, Raphael Tuck C.I.V. postcard and `Welcome Home Menu (Holborn Restaurant, 10 November 1900). Click here to view further details and to bid

Ian Uys Delville Wood 17 X 24cm Delville Wood-July 1916. Delville Wood was the bloodiest battle ever fought by South Africans. Through this action other nations learnt to respect the fighting qualities of the man from the fledgling Union of South Africa. Erstwhile foes, Boer and Briton, fought shoulder to shoulder against the pride of the German army. They withstood waves of attcking infantrymen, were subjected to savage artillery fire which reached a crescendo of seven shells a second, pulverising the wood and obliterating the defences, then fought hand-to-hand until overrun, threw back the enemy and fought on with unbelievable tenacity. Hardback with Dustcover, illustrated endpapers- Map/Foreward xi plus 299 pages text with photographs,and supporting information and data.Fine condition. Fine Rensburg Uys Publishers 1983 Click here to view further details and to bid

Six pieces of Mauchline ware, comprising; an unusual cylinder tape measure (Hunstanton Pier), black painted top and base, complete printed tape, 4cm, a black ground cylinder pincushion with gilt wavy border, floral print, 3cm, a circular tape measure applied floral scraps ""To My Little Valentine"", tape a little frayed, 3.5cm, a needlebook in fern ware, a shield shaped pincushion, shells and seaweed, 5cm, and a cylinder needlecase (Tonbridge Grammar School), 9.5cm. (6)

Four needlecases, comprising; two beadwork covered examples, one of cylinder form with wooden core, the other rectangular with bone core, both in coloured geometric beadwork, 8.2cm and 8.8cm, s.d., a straw work rectangular needlecase, s.d., 8.2cm, and a silver gilt needlecase decorated with scrolling flowers, leaves and shells, 9cm. (4)

An early 19th century tortoiseshell hair comb, probably Canton for the European market, 7 points below an elaborate pierced and carved panel of stylised clouds below feathers and shells, 21cm x 12.5cm.

Small selection of lighters to include Zippo, Dunhill, two in the form of shells, Colibri, Ronson etc.

A Caughley blue and white Fisherman pattern circular porcelain salad bowl, circa 1780, with shaped rim and moulded with radiating scallop shells, printed in underglaze blue to inside and out with the Fisherman pattern, underglaze blue `S` mark to base, diameter approx 26cm.

A late 19th Century Continental hardwood Savonarola style armchair, carved with leaf scrolls, scallop shells and masks, the downswept arms with beast head terminals, flanked by a leather seat and back, raised on an `X` shaped support, width approx 62cm.

A George II silver shaped circular salver by Robert Abercromby, London 1744 A George II silver shaped circular salver by Robert Abercromby, London 1744, engraved with a band of flower filled reserves, a raised border, a moulded rim with shells and on four pad feet, later presentation engraved, 28cm (11in) diameter, 672g (21.6 oz) View on Bloomsbury.com

A George II silver shaped circular salver by Robert Abercromby, London 1743 A George II silver shaped circular salver by Robert Abercromby, London 1743, engraved with a band of flowers, C-scrolls and foliage, a raised border, a moulded rim with shells and on three pad feet, 27cm (10 1/2in) diameter, 600g (19.3 oz) View on Bloomsbury.com

A 9 carat gold bangle, London 1977, 6.1cm inner diameter, 4 A 9 carat gold bangle, London 1977, 6.1cm inner diameter, 4.8g; a half pearl and turquoise bar brooch, 2.5cm long; a simulated pearl ribbon bow brooch, 5cm diameter; a carved jade pendant, on a belcher link chain, stamped 14K, pendant 2.5cm long, chain 52cm long; and a silver coloured necklace, the links cast as shells, stamped 925, 45cm long View on Bloomsbury.com

A silver picture frame, makers mark SS, London, 1983, the shaped square body decorated with scrolling leaves and shells, easel back, 8 point 3 cm high440-450 No lots

Kuba, Democratic Republic of the Congo, mask with fabric coiffure, early/mid 20th century, executed in wood with polychrome pigments and having repeating geometric designs, fabric with applied cowrie shells, museum accession number 1981.69, 13""h Provenance: Property deaccessioned from The Art Institute of Chicago

Papua New Guimea carved wood mask, the head having cassowary feathers above pronounced facial features detailed with cowrie shells and trimmed raffia, 28""l

Papua New Guinea polychrome carved wood mask, the pronounced face mounted with cassowary feathers and cowrie shells, and framed by woven basketry, 20""h

A quantity of miscellanea including coral, shells, soapstone Trinket Boxes, etc.

A pair of Worcester Salts in the form of mermaids holding shells with green stamp 349, one a/f.

A group of four late 18th/early 19th Century Amorial porcelain plates, all English, with crest of three scallop shells with white and red stripes, to include three plates and a soup plate, mostly A/F, all unmarked, largest approx. 24cm dia.

Two large Asante fertility dolls "Akua'ba" one example embellished with cowrie shells

Quantity Swarovski style cut glass miniatures including:- animals, clam shells, spheres, pyramids etc

World War 1 group of four medals awarded to 492017 CPL. J. AMSON R.E. to include George V Military Medal (492017 CPL. J. AMSON R.E.); 1914-15 Star (2081 SPR. J. AMSON R.E.); British War Medal 1914-20 and Victory Medal together with Memorial Plaque to James Amson and various photographs of the soldier and copies of the recommendation for the award of the Military Medal (quantity). No. 492017 Corporal James Henry Amson, Signals attached 230th (1st North Midland) Brigade, R.F.A. T.F. On September 21st 1918, during our attack on the German trenches, near Ronssoy, the enemy put down an intense bombardment on the forward areas which completely broke up our telephone lines. This N.C.O. went along and repaired all forward cables and in one case where 1500 yds had been completely blown out, carried up and relaid new cable under an incessant bombardment of shells and gas and eventually established communication. The cables were continually breaking and he worked on these faults for over thirteen hours with splendid courage and determination. Date of recommendation - 28th September 1918. * Cpl. James Henry, 492017, M.M. 46th Div. Signal Coy. Royal Engineers. Died of wounds (gas) 12th Oct, 1918. Age 22.

A box of large shells

An early 20th century Congolese carved hardwood guardian figure of a tribal female with hide and horn hair adornment, mounted with various shells and horns etc. H.63cm

A George III mahogany tea caddy, with rosewood banding and inlaid marquetry conch shells, with a mother of pearl escutcheon, to a single lidded interior, 11.3cm high, 12cm wide, 10.1cm deep. Provenance: The Old Rectory, Little Langford, Wiltshire. Sold by order of Trustees of the Estate of the late Miss S.F. Rooke.

A mahogany lazy susan, the revolving top carved with shells, 17cm high, 57cm diameter.

A collection of sea shells, including conch, cowrie and nautilus. (A lot)

A collection of sea shells, in a stained beechwood chest of four drawers, each with thirty-five divisions and with a detachable glass top, including: cowrie, coral, star fish and Pyramidellidae, 30cm high, 44.6cm wide, 31cm deep.

SIX 24 K. GOLD PLATED SPOONS & A TIFFANY PORCELAIN BOX NO RESERVE - NO MINIMUMSIX SWEDISH 24 K. GOLD PLATED ICED TEA SPOONS AND A TIFFANY & COMPANY PORCELAIN GIFT BOX, the spoons, Janis Collection, impressed Sweden, chased with stylized shells and scrolls, the box painted light blue modeled with a white painted bow. (7 pieces) Spoons: Length 7 _ in.; Box: Height 4 _ in., Width 4 in., Height 4 in. THIS SALE IS BEING CONDUCTED AS AN ""ABSOLUTE NO RESERVE - NO MINIMUM SALE"". AS A COURTESY, WE ARE PROVIDING YOU WITH A GENERAL CONDITION REPORT FOR THE ITEM(s) YOU INQUIRED ABOUT. PLEASE NOTE ALL SALES ARE FINAL REGARDLESS OF CONDITION. Thank you for the consideration and your expressed interest. A.B. Levy_s NOTWITHSTANDING THIS REPORT AND/OR ANY DISCUSSION CONCERNING LOTS: ALL LOTS ARE OFFERED AND SOLD AS IS"" IN ACCORDANCE WITH THE CONDITIONS OF SALE AS POSTED HERE AND AS PRINTED IN THE SALE CATALOGUE. WE (A.B. LEVY) ARE NOT RESPONSIBLE FOR ERRORS OR ANY MISREPRESENTATIONS CONCERNING THE CONDITION OF ANY OR ALL ITEMS MENTIONED IN THIS REPORT OR ELSEWHERE. Prospective buyers should inspect each lot to satisfy concerns as to condition. Understand that any statement made by us, (A.B Levy) is merely a qualified subjective opinion. We are not professional conservators or professional restorers. Prospective buyers should refer to Important Notices regarding this sale and/or any lot that might be printed in the Sale Catalogue and/or posted On-line.

A Victorian green faience pottery jardiniere moulded with scallop shells.

A 40mm brass shell case, two similar 30mm cases, a single shell case, two bullet moulds and a belt of shells and cases (8)

An African carved fertility figure of a standing male with a double probiscus, probably Senufo, h. 45 cm, together with two Dan masks, each set with shells CONDITION REPORT: first figure with damage to terminal, first mask with frayed (?)choir, 2nd mask with losses and missing eye

A pair of Edwardian candlesticks, with canted square gadrooned drip pans on tapering sconces embossed with harebells and leaves on tapering stems moulded with drapes and mask heads, raised on square canted bases embossed with shells and leaves, 16cm high, Sheffield 1902

A gilt frame, of swept oblong form, the pierced and scrolling border applied with stylized shells, flowers and leaves, externally 75.5cm x 65.5cm, image size 49.5cm x 39.5cm

A gilt frame, of concave oblong from with reeded edges, externally 67cm x 57cm, image size 42cm x 32cm and a smaller gilt frame of swept oblong form with scrolling border applied with stylized shells, flowers and leaves, externally 44cm x 54cm, image size 30.5cm x 41cm (2)

LARGE FRAMED PATCHWORK, REPUTEDLY FROM MAHARAJAH`S CLOTHING INCORPORATING SHELLS, BEADS AND SEMI PRECIOUS STONES IN GLAZED FRAME APPROX. 53 X 40 ins.

A Conch shell and similar shells

A large Conch shell, a collection of Abalone shells and others similar

An American Sterling Silver Flatware Service, Reed & Barton, "Spanish Baroque" pattern, pat. 1965; including 10 dinner forks, 10 knives, 10 salad forks, 8 dessert spoons, 10 teaspoons, 2 tablespoons, 2 sugar shells, 2 gravy ladles, 2 pickle forks and 2 master butter knives (hh), 58 pcs., total weight (weighable) 72.55 troy ozs., in a fitted case.

An early 19th century English tin glazed earthenware dish, decorated in underglaze blue with stylized shells and floral forms, 37cm diameter.

Two spider conch shells.

Two white murex shells.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976), `Petite forme de Moules` 1969, Mussel shells, and dyed resin. IMPORTANT NOTICE: This work is entitled `Petite forme de Moules` 1969 in Maria Broodthaers` inventory of the artist`s work as can be seen in the inventory photograph. We are indebted to her for pointing out the mistake in the original sale description. The pan on which the work sat when it belonged to Michael Compton (formerly illustrated in this sale catalogue) is a separate item. It was added by him to make the work easier to display but was never part of Marcel Broodthaers` original and has been removed from the lot. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar examples were exhibited at the Tate Gallery Retrospective in 1980 which was curated by Michael Compton. These included `Poêle De Moules`, 1965; and `Moules sauce blanche` 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, pp.130/131). Underside of Mussels with label stamped `Broodthaers Estate` and numbered `40006` in red ink.This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson.MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints.Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows:"I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design.In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013.6.3" x 11" x 6"Some shellls damaged and pieces missing, see images§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). `Tractatus logico-catalogicus` (L`Art ou l`art de vendre/ Art or the Art of Selling). Signed offset print, 1972. Edition 61/100. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Broodthaers made `Tractatus Logico-Catalogicus` in 1972 for a solo exhibition of the same name held at the Galerie MTL in Brussels. The work is based on the catalogue of a previous exhibition `L`Exposition à la galerie` held at the same gallery in 1970. At this earlier exhibition Broodthaers displayed files filled with papers relating to his earlier time as a poet including poems and other writings spanning over ten years of artistic output. The catalogue for the exhibition listed each page and arranged them into sections, it also described how the work was to be arranged in the gallery. For the 1972 exhibition Broodthaers focused even more on the role of the exhibition catalogue. He reprinted his 1970 catalogue, changing the cover dates but otherwise leaving as it was. He also produced the editioned print called `Tractatus Logico-Catalogicus - Art or the Art of Selling` which is created from negative images of the pages of this catalogue. Broodthaers used the original printing blocks in sheets ready to be folded and cut into book format, illustrated by the visible vertical bands to the margins bearing measurement markings that would ordinarily be cut off. In Broodthaers`s print the pages are not in order, with those on the upper register upside down. Broodthaers placed the first block in the middle so the central panel shows pages 1 and 2 upside down, and also pages 11 and 12 of the catalogue. The work`s title is influenced by the book `Tractatus Logico-Philosophicus` by German philosopher Ludwig Wittgenstein (1889-1951). In this book Wittgenstein proposed that the world is made up of facts and thoughts expressed through a logical structured language. These concepts appealed to Broodthaers, who developed interest in the relationship between words and images. A print from this edition was sold at Sothebys Paris in May 2007. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 26.40 x 60in. (67 x 152cm) Various small tears to the border underneath the frame mount. Staining and discolouration to border. No other damage found.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Light box with Avion and Avis inscribed photographs/slides PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 7½ x 6 x 2.80in. (18 x 15 x 7cm) Appears to contain original battery, this has leaked inside. Have not had working. Slight wear to the outer case.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Pair of green glass wine bottles with printed labels `Pluie` and ` Mer du Nord`. English translation: `Rain` and `North Sea`. With a negative image of the bottles labelled `Heini Schneebeli Photographer`. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. Mark and slight lifting to the Mer Du Nord label. Some slight discolouration to labels.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Three magic slate boards mounted on grey card. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 13½ x 27in. (33 x 69cm) Each Panel 7.75" x 5.75", frame 13.5" x 27".Each Panel 7.75" x 5.75", frame 13.5" x 27". According to vendor the original images have been lost from the slates. § ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). `Palette`, 1973-4, coloured pencils on prepared canvas board. Signed M.B. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar examples `Palette P` 1974, and `Le Motif` 1973 were exhibited at the Tate Gallery Retrospective in 1980 curated by Compton who was Head of Exhibitions there. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 14 x 10in. (36 x 25cm) Various marks to canvas. No other damage found § ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Handwritten note about Egg Sculptures written by Broodthaers in French, c.1966. English Translation: `I am returning to the matter, To the matter`s value I rediscover the tradition of the primitives I was born during the XV century Egg painting Egg painting sculpture Tiler Mr Nos? ?32424 Quote 5 and 6 hours Phone him` PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. The ideas written on this note were reflected in the work `I Return to Matter, I Rediscover the Tradition of the Primitives, Painting with Egg, Painting with Egg`, 1966 in the Tate, London (ref: T03089). This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 7.90 x 4.30in. (20 x 11cm) Slight creases, rough edges and slight discolouration to the paper§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Children`s stencilled play bricks a b c stencilled in black on a set on twelve childs play bricks in Dr. Pusscat on the Mouse B M Series box. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 2 x 7 x 5½in. (5 x 18 x 13cm) each brick 3.5cm x 3.5cmExtensive wear to the boxes and bricks. Each brick 3.5cm x 3.5cm § ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). `Un Chateaubriand bien saignant pour deux` 1973. A rare chateaubriand for two. Stenciled (?) on un-primed/back of canvas. Unsigned, framed and glazed. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar works are included in `Peintures` (Pictures), a 1973 work comprising nine canvases currently in the Tate collection. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 43½ x 36in. (109 x 91cm) Test paintings to reverse of canvas.Test paintings to reverse of canvas. Has been out of frame, no damage found condition good.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.