Abstract
Painted in 1925 or 1926, over an older composition, La salle d'armes, is among the first Magritte's surrealist paintings. It is also one of the only four Magritte's using enamels reported in the René Magritte Catalog Raisonné. This paper presents the material and technical study conducted on this double painting. The complementary imaging and analytical methods applied for this purpose provided substantial information on both, the visible image and the hidden one. Concerning the latter, for instance, the obtained results permitted to identify a cubo‐futurist oil painting from the very early 1920s.
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