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Surreal Collection (page 9)

Step into a world where reality blurs and dreams come alive

Background imageSurreal Collection: The Seven Boys of the Pleiades

The Seven Boys of the Pleiades
A surreal artistic rendering of seven boys from a painting by Francis Floris (1519-1570), a Flemish painter and artist. The painting is an allegory (a common trait in Floris's paintings)

Background imageSurreal Collection: Climbing a Serac in the Alps

Climbing a Serac in the Alps
A surreal image of climbers ascending an ice pinnacle or serac in the Alps. Picture postcards were used as one of the early expressions of the Surrealist movement Date: 1904

Background imageSurreal Collection: CHAPEL OF DEATH

CHAPEL OF DEATH
The macabre Chapel of the Church of Death, decorated with skeletons and skulls. Is this an actual place, or a surreal fantasy ? Date: circa 1820

Background imageSurreal Collection: Easter card (colour litho)

Easter card (colour litho)
731906 Easter card (colour litho) by German School, (20th century); Private Collection; (add.info.: German Easter card with rabbits taking Easter eggs from a tree)

Background imageSurreal Collection: Montagna Mia, c. 1923 (oil on canvas)

Montagna Mia, c. 1923 (oil on canvas)
3620062 Montagna Mia, c.1923 (oil on canvas) by Swynnerton, Annie Louisa (1844-1933); 112x183 cm; Manchester Art Gallery, UK; (add.info)

Background imageSurreal Collection: Disparate de tontos (Fool's folly), 1877 (etching, aquatint & drypoint)

Disparate de tontos (Fool's folly), 1877 (etching, aquatint & drypoint)
3745584 Disparate de tontos (Fool's folly), 1877 (etching, aquatint & drypoint) by Goya y Lucientes, Francisco Jose de (1746-1828); 29x43 cm; Manchester Art Gallery

Background imageSurreal Collection: Woman and Suspended Man, 1939 (oil on canvas)

Woman and Suspended Man, 1939 (oil on canvas)
5897184 Woman and Suspended Man, 1939 (oil on canvas) by Haile, Samuel (1909-48); 79x53 cm; Manchester Art Gallery, UK; (add.info.: Surreal figure composition of a large)

Background imageSurreal Collection: Nocturnal Landscape, 1938 (oil on canvas)

Nocturnal Landscape, 1938 (oil on canvas)
MAN258655 Nocturnal Landscape, 1938 (oil on canvas) by Nash, Paul (1889-1946); 76.5x101.5 cm; Manchester Art Gallery, UK; © Manchester Art Gallery

Background imageSurreal Collection: No Hay Quien Los Socorra (There is no one to help them), 1863 (etching, aquatint)

No Hay Quien Los Socorra (There is no one to help them), 1863 (etching, aquatint, burnishing & burin)
3745581 No Hay Quien Los Socorra (There is no one to help them), 1863 (etching, aquatint, burnishing & burin) by Goya y Lucientes, Francisco Jose de (1746-1828); 25x34 cm; Manchester Art Gallery

Background imageSurreal Collection: El Sueno De La Razon Produce Monstruos (The Dream of Reason Produces Monsters)

El Sueno De La Razon Produce Monstruos (The Dream of Reason Produces Monsters), 1799 (etching & aquatint)
3745577 El Sueno De La Razon Produce Monstruos (The Dream of Reason Produces Monsters), 1799 (etching & aquatint) by Goya y Lucientes, Francisco Jose de (1746-1828); 32x22 cm; Manchester Art Gallery

Background imageSurreal Collection: Modo de volar (A way of flying), 1864 (etching, aquatint, drypoint & burnishing)

Modo de volar (A way of flying), 1864 (etching, aquatint, drypoint & burnishing)
3745575 Modo de volar (A way of flying), 1864 (etching, aquatint, drypoint & burnishing) by Goya y Lucientes, Francisco Jose de (1746-1828); 30x42 cm; Manchester Art Gallery

Background imageSurreal Collection: Bobalicon (Silly Idiot), 1864 (etching, aquatint & drypoint)

Bobalicon (Silly Idiot), 1864 (etching, aquatint & drypoint)
3959779 Bobalicon (Silly Idiot), 1864 (etching, aquatint & drypoint) by Goya y Lucientes, Francisco Jose de (1746-1828); 24.3x34.5 cm; Manchester Art Gallery

Background imageSurreal Collection: No hay que dar voces (It's no use crying out), 1863 (etching, aquatint, burnishing & burin)

No hay que dar voces (It's no use crying out), 1863 (etching, aquatint, burnishing & burin)
3745585 No hay que dar voces (It's no use crying out), 1863 (etching, aquatint, burnishing & burin) by Goya y Lucientes, Francisco Jose de (1746-1828); 25x34 cm; Manchester Art Gallery

Background imageSurreal Collection: William Blake's Room, 1882 (oil on canvas)

William Blake's Room, 1882 (oil on canvas)
5043056 William Blake's Room, 1882 (oil on canvas) by Shields, Frederic James (1833-1911); 30.5x39.5 cm; Manchester Art Gallery, UK; (add.info.: A bedroom interior)

Background imageSurreal Collection: Untitled Drawing, 1914 (pencil and ink on paper)

Untitled Drawing, 1914 (pencil and ink on paper)
CCL248185 Untitled Drawing, 1914 (pencil and ink on paper) by Eluard, Paul (1895-1952); 14, 5x13 cm; Musee d'Art et d'Histoire, Saint-Denis, France; (add.info.: Dessin sans titre;)

Background imageSurreal Collection: Souvenirs d'enfance a Athenes, 1930-31 (oil on canvas)

Souvenirs d'enfance a Athenes, 1930-31 (oil on canvas)
862894 Souvenirs d'enfance a Athenes, 1930-31 (oil on canvas) by Savinio, Alberto (Chirico, Andrea de) (1891-1952); Galleria Nazionale d'Arte Moderna e Contemporanea, Rome, Lazio

Background imageSurreal Collection: Masks, 1918 (pencil & ink on paper)

Masks, 1918 (pencil & ink on paper)
CCL248191 Masks, 1918 (pencil & ink on paper) by Eluard, Paul (1895-1952); 13, 5x21 cm; Musee d'Art et d'Histoire, Saint-Denis, France; (add.info.: Masques; masque;)

Background imageSurreal Collection: Untitled Drawing, 1918 (pencil and gouache on paper)

Untitled Drawing, 1918 (pencil and gouache on paper)
CCL248189 Untitled Drawing, 1918 (pencil and gouache on paper) by Eluard, Paul (1895-1952); 13x10, 5 cm; Musee d'Art et d'Histoire, Saint-Denis, France; (add.info.: Dessin sans titre;)

Background imageSurreal Collection: Archers (oil on canvas)

Archers (oil on canvas)
476019 Archers (oil on canvas) by Del Marle, Felix (1889-1952); Musee des Beaux-Arts, Valenciennes, France

Background imageSurreal Collection: Letter to Man Ray, regarding the achievement of Facile, 1935 (pen & ink on paper)

Letter to Man Ray, regarding the achievement of Facile, 1935 (pen & ink on paper)
474790 Letter to Man Ray, regarding the achievement of Facile, 1935 (pen & ink on paper) by Eluard, Paul (1895-1952); Private Collection; (add.info)

Background imageSurreal Collection: Orpheus (oil on canvas)

Orpheus (oil on canvas)
XIR234109 Orpheus (oil on canvas) by Savinio, Alberto (Chirico, Andrea de) (1891-1952); Musee d'Art Moderne de la Ville de Paris, Paris, France

Background imageSurreal Collection: Untitled Drawing, 1918 (pencil and ink on paper)

Untitled Drawing, 1918 (pencil and ink on paper)
CCL248186 Untitled Drawing, 1918 (pencil and ink on paper) by Eluard, Paul (1895-1952); 11, 5x12 cm; Musee d'Art et d'Histoire, Saint-Denis, France; (add.info.: Dessin sans titre;)

Background imageSurreal Collection: The Students, 1929 (oil on canvas)

The Students, 1929 (oil on canvas)
988944 The Students, 1929 (oil on canvas) by Savinio, Alberto (Chirico, Andrea de) (1891-1952); 64.8x54 cm; Private Collection; (add.info.: The Students; Les Collegiens. Alberto Savinio (1891-1952)

Background imageSurreal Collection: The Tree Man, 1943 (oil on canvas)

The Tree Man, 1943 (oil on canvas)
476020 The Tree Man, 1943 (oil on canvas) by Del Marle, Felix (1889-1952); Musee des Beaux-Arts, Valenciennes, France; (add.info.: The Man Tree)

Background imageSurreal Collection: Autograph to Rene Magritte, inset page of Le Meilleur choix de poemes est celui que l'on fait pour

Autograph to Rene Magritte, inset page of Le Meilleur choix de poemes est celui que l'on fait pour soi, 1818-1918
474497 Autograph to Rene Magritte, inset page of Le Meilleur choix de poemes est celui que l'on fait pour soi, 1818-1918, 21 November 1947 (pen & ink on paper) by Eluard

Background imageSurreal Collection: Autograph to Rene Magritte, inset page of To the German Rendezvous, 1942

Autograph to Rene Magritte, inset page of To the German Rendezvous, 1942, 7th April 1945 (pen & ink on paper)
474496 Autograph to Rene Magritte, inset page of To the German Rendezvous, 1942, 7th April 1945 (pen & ink on paper) by Eluard

Background imageSurreal Collection: Iris and Parrot Tulips, c. 1948 (oil on board)

Iris and Parrot Tulips, c. 1948 (oil on board)
2829560 Iris and Parrot Tulips, c.1948 (oil on board) by Larcher, Dorothy M. (1884-1952); Bristol Museum and Art Gallery, UK; © Bristol Museums, Galleries & Archives ; Purchased, 1949

Background imageSurreal Collection: Signed inset page of the first edition of Facile by Paul Eluard, 1935 (print and pen & ink on paper)

Signed inset page of the first edition of Facile by Paul Eluard, 1935 (print and pen & ink on paper)
474787 Signed inset page of the first edition of Facile by Paul Eluard, 1935 (print and pen & ink on paper) by Eluard, Paul (1895-1952); Private Collection; Photo © Christie's Images

Background imageSurreal Collection: Fleurs (oil on canvas)

Fleurs (oil on canvas)
6336705 Fleurs (oil on canvas) by Savinio, Alberto (Chirico, Andrea de) (1891-1952); 72.8x60.2 cm; Private Collection; Photo © Christie's Images

Background imageSurreal Collection: Dancers, 1918 (pencil and ink on paper)

Dancers, 1918 (pencil and ink on paper)
CCL248190 Dancers, 1918 (pencil and ink on paper) by Eluard, Paul (1895-1952); 13, 5x21 cm; Musee d'Art et d'Histoire, Saint-Denis, France; (add.info.: danseurs; danseur; danseuse;)

Background imageSurreal Collection: Female Flower, 1918 (pencil and gouache on paper)

Female Flower, 1918 (pencil and gouache on paper)
CCL248188 Female Flower, 1918 (pencil and gouache on paper) by Eluard, Paul (1895-1952); 19, 5x11 cm; Musee d'Art et d'Histoire, Saint-Denis, France; (add.info.: Femme fleur;)

Background imageSurreal Collection: The Faithful Wife, 1929 (oil on canvas)

The Faithful Wife, 1929 (oil on canvas)
MES290396 The Faithful Wife, 1929 (oil on canvas) by Savinio, Alberto (Chirico, Andrea de) (1891-1952); Galleria dello Scudo, Verona, Italy; (add.info.: La Fidele Epouse;); © Mark Edward Smith



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Step into a world where reality blurs and dreams come alive. Surreal, a word that encapsulates the enchanting essence of Alice in Wonderland as she navigates through the whimsical wonders of her imagination. Picture Alice at the croquet game, where flamingos become mallets and hedgehogs transform into balls, defying all logic. Travel further east to Hungary's Budapest, where the Green donkey roams freely, challenging our understanding of metaphysics in 1924. In Italy's Venice, an Antipope emerges from the shadows, questioning established norms and pushing boundaries. Claude Rains captivates audiences as James Whales' Invisible Man in 1933. His unseen presence adds an eerie touch to this surreal masterpiece. In Don Levy's Herostratus (1967), Ines Levy takes us on a journey through time and space with her captivating performance that challenges our perception of reality. Shirley Markham's surreal study from 1952 invites us to explore hidden dimensions beyond what meets the eye. Meanwhile, Germany's Berlin mesmerizes with its set design for The Magic Flute; here we encounter the Queen of Night herself – an embodiment of fantastical elements intertwined with music. Italy presents "The Disturbing Muses, " provoking introspection and unsettling emotions within their artistic expression. The LCC-LFB Warehouse fire at Butlers Wharf in Bermondsey ignites both fear and fascination as flames dance against London’s skyline. In this realm of surreality, even nature bends its rules: behold a Frog Couple accompanied by their loyal Pet Snail – creatures embodying unexpected companionship amidst chaos. Georges Hugnet and Kissa Kouprine grace Henri d Ursels' La Perle (1929) with their enigmatic presence while Jessie Matthews enchants audiences in Victor Saville’s Evergreen (1934). Surreal is not just a word.