René Magritte

Blanche & Harry G. Sundheim, Jr., Chicago (acquired from the artist)

Jeffrey Loria, New York (acquired from the above in 1975)

Redfern Gallery, New York

Margaret Manson (acquired from the above in 1975)

Howard Weingrow (Davlyn Gallery), New York

Acquired from the above circa 1990

Litte Rock, Arkansas Art Center, Magritte, 1964

Chicago, Renaissance Society at the University of Chicago, René Magritte, 1964, no. 17

Harry Torczyner, René Magritte: signes et images, Paris, 1977, pp. 98-99

David Sylvester, Sarah Whitfield & Michael Raeburn, René Magritte, Catalogue raisonné, vol. IV, London, 1994, no. 1483, illustrated p. 229

RECTO In general, this work is in excellent condition. The colors are fresh and vibrant and the sheet bears no signs of damage or wrinkles. There is a 1.5 cm hairline abrasion in the upper right hand side of the sheet. VERSO: An old tape stain runs along the top edge of the sheet. Sheet is attached to the mat by two (2) one-inch acid-free hinges along the top margin. A vertical pencil line runs along the sheet from the top to the bottom margin. The inscription is in good condition and has not faded.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Magritte's most successful images challenge our perceptions of reality.  The unexpected placement of a house within a room  -- a reversal of the normal spatial relationship between the two settings -- is a vivid example of his technique.  The composition is one of the few in Magritte's oeuvre which is entirely unique, although the house bears similarities to others depicted in compositions from 1960 and the windows and ceiling mouldings are similar to those depicted in works from 1959. 

Titles were another means by which Magritte challenged his audiences and subverted expectations.  He often assigned descriptions to paintings that were completely unrelated to the depicted image, or chose mysterious, poetic phrases suggested by friends.  For the present work, the rationale behind the title is less of a mystery, as it refers to the picture's first owners.  The American couple Blanche and Harry Sundheim acquired this work while visiting Magritte at his studio, and Magritte titled the work in Mrs. Sundheim's honor on that occassion.  Even more fitting, Harry Sundheim owned a toy company in Chicago, and Magritte must have seen the obvious parellels between this image and a child's doll house.  Despite the date inscribed on the reverse of the sheet, the Sundheims claimed that Magritte painted this work around 1960.  In his catalogue raisonné, David Sylvester supports this earlier date and refers to the aformentioned similarities with other works painted around this time.