Private Collection, Belgium
Thence by descent to the present owner

Executed on cream wove paper, not laid down, taped to the overmount at all four edges of the reverse. There is a preliminary sketch for this drawing on the reverse. Apart from a tiny scuff mark to the left of the tree, this work is in very good condition. Colours: Overall brighter with more contrast in original. The background is turquoise not grey-blue as illustrated in the catalogue.
"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."

Dans l'Espace et dans le Temps is a captivating example of one of the central themes of Magritte's art, that of unexpectedly juxtaposed objects. With an extraordinary economy of means and clarity of execution that characterised his later work, Magritte cre♑ated an image of mystery and ambiguity, enveloping o💜bjects in an enigmatic atmosphere. By juxtaposing a large rock with a proportionately small tree, Magritte challenges the viewer's expectations of a work of art, and at the same time invites new interpretations of everyday objects in nature, their relations and their occurrences.

The absolute realism in Magritte's œuvre, a challenge to the dominant shift towards abstraction in the arts of the period, serves to reinforce his curious vision. As Siegfried Gohr wrote: 'The crisis of vision prompted again and again by Magritte cannot be reduced to the sense that the world has gone off the rails; rather, it evokes a world that has become questionable, in the truest sense of the word, to its core. Magritte demonstrates this not by means of abstract experiments but by investigating concrete properties of objects, sensed in quite individual terms' (S. Gohr, 'The Charming Provocateur', in René Magritte: The Key to Dreams (exhibition catalogue), Vienna, 2005, pp. 23-24).