LEONORA CARRINGTON | LE RÊVE
LEONORA CARRINGTON (1917 - 2011)
Signed Carrington. (lower right)
Pen and ink on paper
7¾ by 11⅜ in. (19.7 by 29.5 cm)
Framed: 15⅜ by 21 in. (39.1 by 53.3 cm)
Executed circa 1942.
We are grateful to Dr. Harold Gabriel Weisz Carrington for confirming the authenticity of this work.
Executed on cream wove paper. The sheet has been hinged at the upper left and upper right corners of its verso. There are minor handling creases to the upper left, lower left and lower right corners. There are a few minor scattered spots of staining. There are three repaired tears along the right edge, all measuring approximately 1/4 inches in length. There is an additional 1/4 inch tear to the center of the top edge. The work is in good condition.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Leonora Carrington had a privileged upbringing in England, which was lush with inspirational elements. The three Irish women of Carrington’s childhood—her grandmother, mother and nanny—would often recite ancient tales based on Celtic mythology to her, a theme she returned to continuously throughout her lifetime. She attended London’s Chelsea School of Art in London, but after a year, she transferred to the Ozenfant Academy of Fine Arts in Paris. In 1937, she met Max Ernst, a fellow Surrealist with whom she had a brief albeit intense romantic relationship, and together they retreated to the south of France. At the outbreak of World War II, Ernst was arrested twice by the French police on account of his German nationality, leading Carrington to consequently experience a nervous breakdown. She was transferred to a psychiatric hospital, and her experiences with psychiatric treatments at the institution would influence her art and writings thereafter. Eventually, Carrington fled to Mexico in 1942, while Ernst escaped the war with the help of his lover, the heiress and collector Peggy Guggenheim. Mexico, with its folklore and Mayan mythology, sparked Carrington's imagination, and her work began to flourish as she worked alongside fellow female artists and emigrés Kati Horna and Remedios Varo.