Installation view in the exhibition «Impasse Ronsin» Reconstruction studio Del Debbio  © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»
Reconstruction studio Del Debbio

© 2020/2021, Museum Tinguely; photo: Daniel Spehr



Installation view in the exhibition «Impasse Ronsin» Constantin Brâncusi, Mademoiselle Pogany II, 1925 (casting from 1994) (left) und Poisson, 1926 (right) Anthax Collection Marx, permanent loan Fondation Beyeler; Tate: Accepted by HM Government in lieu of tax and allocated to the Tate Gallery 1996 ​​​​​​​© 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»
Constantin Brâncusi, Mademoiselle Pogany II, 1925 (casting from 1994) (left) und Poisson, 1926 (right)
Anthax Collection Marx, permanent loan Fondation Beyeler;
Tate: Accepted by HM Government in lieu of tax and allocated to the Tate Gallery 1996
© 2020/2021, Museum Tinguely; photo: Daniel Spehr


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Installation view in the exhibition «Impasse Ronsin» Jean Tinguely, Le soulier de Madame Lacasse, 1960 (left); Niki de Saint Phalle, Tir, 1961 (background) Centre Pompidou, Paris Musée national d’art moderne / Centre de création Industrielle © Niki Charitable Art Foundation / 2020/2021 ProLitteris, Zurich © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»
Jean Tinguely, Le soulier de Madame Lacasse, 1960 (left); Niki de Saint Phalle, Tir, 1961 (background)

Centre Pompidou, Paris

Musée national d’art moderne / Centre de création Industrielle

© Niki Charitable Art Foundation / 2020/2021 ProLitteris, Zurich

© 2020/2021, Museum Tinguely; photo: Daniel Spehr

© 2020, Museum Tinguely; photo: Daniel Spehr



Installation view in the exhibition «Impasse Ronsin» Jean Tinguely, Le soulier de Madame Lacasse, 1960; Jasper Johns, Figure 3 (CR #S37), 1961 (background) Collection of the artist  © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»

Jean Tinguely, Le soulier de Madame Lacasse, 1960; Jasper Johns, Figure 3 (CR #S37), 1961 (background)

Collection of the artist

© 2020/2021, Museum Tinguely; photo: Daniel Spehr

© 2020, Museum Tinguely; photo: Daniel Spehr



Installationsansicht in der Ausstellung «Impasse Ronsin» Marc-Aurèle de Foy Suzor-Côté, La vallée de Senlisse, 1906 (links) Collection du Musée national des beaux–arts du Québec. Achat. Restauration effectuée par le Centre de conservation du Québec (1954.126)  © 2020/2021, Museum Tinguely; Foto: Daniel Spehr  Installation view in the exhibition «Impasse Ronsin» Marc-Aurèle de Foy Suzor-Côté, La vallée de Senlisse, 1906 (left) Collection du Musée national des beaux–arts du Québec. Achat. Restauration effectuée par le Centre de conservation du Québec (1954.126)  © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installationsansicht in der Ausstellung «Impasse Ronsin»

Marc-Aurèle de Foy Suzor-Côté, La vallée de Senlisse, 1906 (links)

Collection du Musée national des beaux–arts du Québec.

Achat. Restauration effectuée par le Centre de conservation du

Québec (1954.126)

© 2020/2021, Museum Tinguely; Foto: Daniel Spehr

 

Installation view in the exhibition «Impasse Ronsin»

Marc-Aurèle de Foy Suzor-Côté, La vallée de Senlisse, 1906 (left)

Collection du Musée national des beaux–arts du Québec.

Achat. Restauration effectuée par le Centre de conservation du

Québec (1954.126)

© 2020/2021, Museum Tinguely; photo: Daniel Spehr



IInstallation view in the exhibition «Impasse Ronsin» © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»

© 2020/2021, Museum Tinguely; photo: Daniel Spehr



Installation view in the exhibition «Impasse Ronsin» Max Ernst, La lune en bouteille, 1955; James Metcalf, Don Quichotte, 1960s and The Poet, 1962/1963; William N. Copley, Birth of Venus, 1953 (left to right) Tate: Presented by Sir Robert Adeane through the Friends of the Tate Gallery 1963; Collection Darius Metcalf; Courtesy of Kasmin Gallery, New York and Sadie Coles HQ, London © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»

Max Ernst, La lune en bouteille, 1955; James Metcalf, Don Quichotte, 1960s and The Poet, 1962/1963; William N. Copley, Birth of Venus, 1953 (left to right)

Tate: Presented by Sir Robert Adeane through the Friends of the Tate Gallery 1963; Collection Darius Metcalf; Courtesy of Kasmin Gallery, New York and Sadie Coles HQ, London

© 2020/2021, Museum Tinguely; photo: Daniel Spehr

© 2020, Museum Tinguely; photo: Daniel Spehr



Installation view in the exhibition «Impasse Ronsin» Irina Codreanu, Eileen Lane, 1925 (middle); Isamu Noguchi, Foot Tree, 1928, Globular, 1928; Positional Shape, 1928; Leda, 1928 Musée des Années Trente, Boulogne–Billancourt; The Isamu Noguchi Foundation and Garden Museum, New York © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»

Irina Codreanu, Eileen Lane, 1925 (middle); Isamu Noguchi, Foot Tree, 1928, Globular, 1928; Positional Shape, 1928; Leda, 1928

Musée des Années Trente, Boulogne–Billancourt; The Isamu Noguchi Foundation and Garden Museum, New York

© 2020/2021, Museum Tinguely; photo: Daniel Spehr


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Installation view in the exhibition «Impasse Ronsin» © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»

© 2020/2021, Museum Tinguely; photo: Daniel Spehr



Installation view in the exhibition «Impasse Ronsin» André Almo Del Debbio, Portrait Anael, 1969; Mireille, 1967; Espagnole, 1962; Alicia Moï, Portrait André Del Debbio, 1942 (left to right) © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»

André Almo Del Debbio, Portrait Anael, 1969; Mireille, 1967; Espagnole, 1962; Alicia Moï, Portrait André Del Debbio, 1942 (left to right)

© 2020/2021, Museum Tinguely; photo: Daniel Spehr



Installation view in the exhibition «Impasse Ronsin» © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»

© 2020/2021, Museum Tinguely; photo: Daniel Spehr



Installation view in the exhibition «Impasse Ronsin» © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»

© 2020/2021, Museum Tinguely; photo: Daniel Spehr


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Installation view in the exhibition «Impasse Ronsin» © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»

© 2020/2021, Museum Tinguely; photo: Daniel Spehr


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Installation view in the exhibition «Impasse Ronsin»  © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»

© 2020/2021, Museum Tinguely; photo: Daniel Spehr


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Installation view in the exhibition «Impasse Ronsin»  © 2020/2021, Museum Tinguely; photo: Daniel Spehr

Installation view in the exhibition «Impasse Ronsin»

© 2020/2021, Museum Tinguely; photo: Daniel Spehr


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Jean Tinguely and Claude Lalanne, Impasse Ronsin, approx. 1960 Photo: Joggi Stoecklin, © 2020/2021 Museum Tinguely, Basel

Jean Tinguely and Claude Lalanne, Impasse Ronsin, approx. 1960

Photo: Joggi Stoecklin, © 2020/2021 Museum Tinguely, Basel



Constantin Brâncuși, Self-Portrait with Polaire, approx. 1925 Gelatine silver print, 23.5 × 17.5 cm Courtesy of Grob Gallery © Succession Brancusi – all rights reserved / 2020/2021 ProLitteris, Zurich

Constantin Brâncuși, Self-Portrait with Polaire, approx. 1925

Gelatine silver print, 23.5 × 17.5 cm

Courtesy of Grob Gallery

© Succession Brancusi – all rights reserved / 2020/2021 ProLitteris, Zurich



 Eva Aeppli in the Impasse Ronsin, 1959 Photo: Joggi Stoecklin, © 2020/2021 Museum Tinguely, Basel

Eva Aeppli in the Impasse Ronsin, 1959

Photo: Joggi Stoecklin, © 2020/2021 Museum Tinguely, Basel



Alfred Boucher, Le terrassier – À la Terre, 1890 Marble, 71 × 61 × 40 cm Collection privée

Alfred Boucher, Le terrassier – À la Terre, 1890

Marble, 71 × 61 × 40 cm

Collection privée



Adolphe Charles Edouard Steinheil, Vase de fleurs, undated Oil on canvas, 24.5 × 19 cm Collection privée © the successors of the artist

Adolphe Charles Edouard Steinheil, Vase de fleurs, undated

Oil on canvas, 24.5 × 19 cm

Collection privée

© the successors of the artist



Marc-Aurèle de Foy Suzor-Côté, Les coteaux de Senlisse, 1892 Oil on canvas, 76.3 × 94.5 cm  Collection du Musée national des beaux-arts du Québec. Achat (1949.12) © the artist or his successors

Marc-Aurèle de Foy Suzor-Côté, Les coteaux de Senlisse, 1892

Oil on canvas, 76.3 × 94.5 cm

Collection du Musée national des beaux-arts

du Québec. Achat (1949.12)

© the artist or his successors



Constantin Brâncuși, Entrance to Brâncuși’s studio, 1956 © Succession Brancusi – all rights reserved / 2020/2021 ProLitteris, Zurich

Constantin Brâncuși, Entrance to Brâncuși’s studio, 1956

© Succession Brancusi – all rights reserved / 2020/2021 ProLitteris, Zurich



Max Ernst, La lune en bouteille, 1955 Oil on canvas, 60 × 81.3 cm Tate: Presented by Sir Robert Adeane through the Friends of the Tate Gallery 1963  © Tate, London 2017 © 2020/2021 ProLitteris, Zurich

Max Ernst, La lune en bouteille, 1955

Oil on canvas, 60 × 81.3 cm

Tate: Presented by Sir Robert Adeane through the

Friends of the Tate Gallery 1963

© Tate, London 2017 © 2020/2021 ProLitteris, Zurich



Joseph Lacasse, Cosmos – Tachiste, 1935  Oil on paper on canvas, 27 × 22 cm  Courtesy of Whitford Fine Art  © the artist or his successors

Joseph Lacasse, Cosmos – Tachiste, 1935

Oil on paper on canvas, 27 × 22 cm

Courtesy of Whitford Fine Art

© the artist or his successors



Jean Lubet, Nu, 1921 Oil on cardboard, 37 × 28.5 cm Collection privée © the artist or his successors

Jean Lubet, Nu, 1921

Oil on cardboard, 37 × 28.5 cm

Collection privée
© the artist or his successors



Reginald Pollack (1924–2001), Untitled, 1948 Oil on canvas, 56 × 41 cm Collection of Pollock Fine Art © the artist or his successors

Reginald Pollack (1924–2001), Untitled, 1948

Oil on canvas, 56 × 41 cm

Collection of Pollock Fine Art

© the artist or his successors



Henryk Berlewi, Triomphe de l’absolu, 1963 Oil on canvas, 76 × 76 cm Museum Ritter, Waldenbuch © the artist or his successors

Henryk Berlewi, Triomphe de l’absolu, 1963

Oil on canvas, 76 × 76 cm

Museum Ritter, Waldenbuch

© the artist or his successors



Gaston-Louis Roux, La sellette, 1950 Oil on canvas, 120 × 98 cm Collection Philippe Roux, Paris © 2020/2021 ProLitteris, Zurich

Gaston-Louis Roux, La sellette, 1950

Oil on canvas, 120 × 98 cm

Collection Philippe Roux, Paris

© 2020/2021 ProLitteris, Zurich



Gaston-Louis Roux, Sans titre, 1951  Oil on canvas, 64 × 81 cm  Collection Philippe Roux, Paris  © 2020/2021 ProLitteris, Zurich

Gaston-Louis Roux, Sans titre, 1951

Oil on canvas, 64 × 81 cm

Collection Philippe Roux, Paris

© 2020/2021 ProLitteris, Zurich



Natalia Dumitresco, Alexandre Istrati, Composition, approx. 1952 Oil on canvas, 65 × 81 cm Collection privée © 2020/2021 ProLitteris, Zurich

Natalia Dumitresco, Alexandre Istrati, Composition, approx. 1952

Oil on canvas, 65 × 81 cm

Collection privée

© 2020/2021 ProLitteris, Zurich



Claude Lalanne, La main de Jean, ca. 1957 Galvanised copper, 6 × 22 × 15 cm Museum Tinguely, Basel, Schenkung Christoph Aeppli © 2020/2021 ProLitteris, Zurich

Claude Lalanne, La main de Jean, ca. 1957

Galvanised copper, 6 × 22 × 15 cm

Museum Tinguely, Basel, Schenkung Christoph Aeppli

© 2020/2021 ProLitteris, Zurich



Larry Rivers, Parts of the Face; French Vocabulary Lesson, 1961  Collage, gouache, graphite pencil, tape on paper, 74.9 × 74.9 cm  Tate: Purchased 1962  © Tate London

Larry Rivers, Parts of the Face; French Vocabulary Lesson, 1961

Collage, gouache, graphite pencil, tape on paper, 74.9 × 74.9 cm

Tate: Purchased 1962

© Tate London



Larry Rivers, Jean Tinguely, Turning Friendship Model, 1961  Silkscreen on canvas with motorised stand, 76.8 × 36.8 × 21.3 cm  Private collection  © 202/20210 ProLitteris, Zurich

Larry Rivers, Jean Tinguely, Turning Friendship Model, 1961

Silkscreen on canvas with motorised stand, 76.8 × 36.8 × 21.3 cm

Private collection

© 202/20210 ProLitteris, Zurich



Daniel Spoerri, Ci-gît Jean Onnertz, 1960  Various objects on wooden plate, both sides; stand welded by Jean Tinguely, 105.5 × 41 × 14.5 cm  Collection MAMCO, don AMAM  © 2020/2021 ProLitteris, Zurich

Daniel Spoerri, Ci-gît Jean Onnertz, 1960

Various objects on wooden plate, both sides; stand welded by Jean Tinguely, 105.5 × 41 × 14.5 cm

Collection MAMCO, don AMAM

© 2020/2021 ProLitteris, Zurich



Eva Aeppli, Narcisses III, 1957  Charcoal on paper, 128 × 75.5 cm  Kunstmuseum Solothurn  Acquistion by Freunde des Kunstmuseums Solothurn  © Successors of the artist

Eva Aeppli, Narcisses III, 1957

Charcoal on paper, 128 × 75.5 cm

Kunstmuseum Solothurn

Acquistion by Freunde des Kunstmuseums Solothurn

© Successors of the artist



Eva Aeppli, Après, 1958  Charcoal on paper, 32 × 40 cm  Kunstmuseum Solothurn  Donation by Christoph Aeppli, Basel  Kunstmuseums Solothurn  © Successors of the artist

Eva Aeppli, Après, 1958

Charcoal on paper, 32 × 40 cm

Kunstmuseum Solothurn

Donation by Christoph Aeppli, Basel

Kunstmuseums Solothurn

© Successors of the artist



Niki de Saint Phalle, Tir, 1961 Plaster, paint, metal, miscellaneous objects on Chipboard, 175 × 80 cm Centre Pompidou, Paris Musée national d’art moderne / Centre de création Industrielle © Niki Charitable Art Foundation / 2020/2021 ProLitteris, Zurich

Niki de Saint Phalle, Tir, 1961

Plaster, paint, metal, miscellaneous objects on Chipboard, 175 × 80 cm

Centre Pompidou, Paris

Musée national d’art moderne / Centre de création Industrielle

© Niki Charitable Art Foundation / 2020/2021 ProLitteris, Zurich



James Metcalf, Frustrated Machine, 1960–61 Copper, driven and welded, 84 × 40 × 30 cm Collection particulière, Paris Photo © 2020 Galerie les Yeux Fertiles, Paris © the artist

James Metcalf, Frustrated Machine, 1960–61

Copper, driven and welded, 84 × 40 × 30 cm
Collection particulière, Paris

Photo © 2020 Galerie les Yeux Fertiles, Paris

© the artist



Marta Minujín exhibition and Happening La destrucción, Impasse Ronsin, 6 June 1963  Photo: Shunk-Kender, Courtesy of the artist

Marta Minujín exhibition and Happening La destrucción, Impasse Ronsin, 6 June 1963

Photo: Shunk-Kender, Courtesy of the artist



Marta Minujín, Colchoncito, 1963  Striped cotton mattress cover, hand-painted, fluorescent tubes, 75 × 42 × 27 cm  Paris, Centre Pompidou  Musée national d’art moderne / Centre de création Industrielle  Photo : © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais –Georges Meguerditchian  © Marta Minujín

Marta Minujín, Colchoncito, 1963

Striped cotton mattress cover, hand-painted, fluorescent tubes,
75 × 42 × 27 cm

Paris, Centre Pompidou

Musée national d’art moderne / Centre de création Industrielle

Photo : © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais –Georges Meguerditchian

© Marta Minujín



André Almo Del Debbio, Mireille, 1967  Bronze, 47 × 19 × 24 cm  Collection privée  © the successors of the artist

André Almo Del Debbio, Mireille, 1967

Bronze, 47 × 19 × 24 cm

Collection privée

© the successors of the artist



Student in the Impasse Ronsin in front of a wall of Brâncuși’s former studio, 1965  Photographer unknown

Student in the Impasse Ronsin in front of a wall of Brâncuși’s former studio, 1965

Photographer unknown



Jean Tinguely’s former studio, late 1960s  Photo: André Gambourg  © the artist

Jean Tinguely’s former studio, late 1960s

Photo: André Gambourg

© the artist