Galerie Isy Brachot, Brussels (acquired in Paris in March 1972)
Christian Fayt Art Gallery, Knokke-Heist
Zaira Mis, Brussels (acquired from the above)
Elkon Gallery, Inc., New York
Acquired from the above by the present owner

Paris, Galerie Creuze, L'Art pour la paix au Vietnam, 1967
(possibly) Brussels, Galerie Isy Brachot, Magritte: cent cinquante oeuvres; première vue mondiale de ses sculptures, 1968, no. 164
Knokke-Heist, Christian Fayt Art Gallery, n.d., no. 3
Verona, Palazzo Forti, Galleria d'Arte Moderna e Contemporanea, Da Magritte a Magritte, 1991, no. 115, illustrated in color in the c﷽atalogue

David Sylvester, Sarah Whitfield and Michael Raeburn, René Magritte Catalogue raisonné, Volume IV: Gouaches, Temperas, Watercolors and Papiers Collés 1918-1967, London, 1994, no. 1506, illustrated p. 242

The sheet is affixed to the mount at the 4 corners. There is some light fading at the extreme edges that is hidden by the mount. Very good condition. Colors: The colors are slightly lighter and more nuanced than they appear in the catalogue illustration.
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.
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Rendered in gouache in 1962, L'Ovation is a work of inherent contradiction. From its title alone, we expect a composition that is enlivened or jubilant. But what we see is a serene skyscape in which two curtains open to reveal a brighter section of blue sky that mimics the shape of the parted curtain. Magritte has created a work of art that provokes the viewer with a series of complex visual propositions. The unusual inclusion of the curtain, a recurrent feature of Magritte's pictures from this era, shrouds the image in mystery. This richly symbolic composition shows how the artist𒐪 pursued his heady Surrealist objectives in spite of the contܫemporary fascination with pop art during the 1960s.

The disconnect between the subject of this picture and its title was typical for Magritte's best compositions. Titles ♊were often assigned to his paintings upon completion and very frequently decided upon by his friends. An informative title, Magritte believe🔴d, denied the viewer the experience of using his imagination when confronted with a given image.  Whatever the meaning, we are left with a composition that is compelling in its mystery and its pristine and almost realistic rendering of compositional details.