Ursus Rare Books Catalogue 329

Marcel Duchamp

Catalogue 329 URSUS RARE BOOKS, LTD. 699 Madison Avenue, Third Floor New York, New York 10065

Marcel Duchamp

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2. Combat de Boxe By Marcel Duchamp Photomontage, 225 x 265 mm, photograph mounted on brown cardboard surrounded by a black painted rectangle, with eight strips of photographs mounted to the right and one to left of the central image. New York, ca. 1916. $ 550,000.00 A photomontage created by Duchamp based on his 1913 drawing, which had been intended to be a part of the Large Glass, but which was not included in the final version. The original drawing is in the Philadelphia Museum of Art. Inscribed “Combat de Boxe1913- jamais utilise pour le Grand Verre. Marcel Duchamp,” and on the verso “L’original appartient W.C. Arensberg.” PROVENANCE: Marcel Duchamp, Cordier & Ekstrom, Galeria Schwarz. Schwarz, No. 337.

1. Les Anaglyphes Geometriques By H. Vuibert 16 pp. text and 16 plates, and stereo viewing glasses. 8vo., bound in original illustrated wrappers, in a new navy cloth folding box. Paris: Librairie Vuibert, [1912]. $ 875.00 First Edition (fictitious imprint "4e edition" on the cover) of a book Duchamp was in the process of incorporating into a project he was working on at the time of his death, and which confirms his lifelong interest in optics. Slight wear and a small ding to the spine, but a better copy than usually encountered. Schwarz, No. 661.

3. L’Opposition et les Cases Conjugées By Vitaly Halberstadt [4], 91 pp. (i.e., 180), eight plates with guards paginated 93-107, pp. 108-112 (i.e., 11 pp.), [1] f. advertisement, errata leaf inserted at front and another mounted on rear inner wrapper. Illustrated by Duchamp with 254 diagrams in text and eight full-page diagrams printed in red and black on tissue at end. 4to., 282 x 240 mm, bound in publisher’s tan wrappers lettered in red. ParisBruxelles: Editions de L’Echiquier, 1932. WITH: Le Monde des Echecs. Serie No. 1 (Fevrier 1933). Publisher’s portfolio containing [1] f. text and 16 plates, each 160 x 240 mm. Both housed in a new blue cloth folding box, title gilt on red leather spine label. $ 3850.00 Ad I: First Edition. Although best known as an artist, Duchamp was also an avid chess player, who competed professionally. The present chess manual, designed by Duchamp, resulted from his collaboration with French endgame theorist and former opponent Vitaly Halberstadt (1903-67). The text is in German, English, and French, and the book is illustrated with hundreds of diagrams in red, white, and black, and eight full-page diagrams on tracing paper at the end. An elucidating snapshot of the strategist’s, and artist’s, mind. In excellent condition, with the two errata leaves. Ad II: The supplement comprises 16 photogravures of famous chess players by various photography studios, including a shot of Duchamp and Halberstadt by Man Ray, with one leaf listing each competitor by name and nationality. Schwarz, No. 430.

5. Rotoreliefs or Optical Disks By Marcel Duchamp Set of six cardboard optical disks, 200 mm in diameter, printed on both sides in colour offset lithography; black plastic circular holder 250 mm diameter; black plastic viewer 135 mm diameter; and circular cellophane window with off-white lettering 190 mm diameter; plus long white cardboard strip lettered “Tirer L’épingle.” All together housed in a new custom black cloth box. Paris, 1935. $ 75,000.00 Very Rare First Edition, with one of the disks inscribed by Duchamp to Arnold Fawcus, who published the first catalogue raisonné of Duchamp's work. These discs are a manifestation of Marcel Duchamp's interest in optical illusion and mechanical art; when spun at 40-60 rpm the design on the discs creates the illusion of depth.

4. Le Monde des Echecs. Series 1 With a double-portrait by Man Ray 8vo., 165 x 245 mm, bound in publisher’s paper portfolio, in a new yellow cloth folding box. Paris-Bruxelles: L’Echiquier, 1932. $ 975.00 The supplement portfolio from the previous item containing 16 photographic plates depicting chess masters including the celebrated double-portrait montage by Man Ray of Halberstadt and Marcel Duchamp with a chess board between them. The other masters are A. Alekhine, P. Biscay, E. Bogoljuboff, E. Colle, J. M. da Costa, T. R. Dawson, M. Euwe, E. Lancel, G. Legrain, V. Menchik, R. Rey Ardid, W. Robinow, F. Somma, R. Spielmann and S. Tartakower. In immaculate condition.

Originally Rotoreliefs was conceived in 1935 as a set of six cardboard discs in an edition of 500, of which about 300 sets were lost in World War II. The Rotoreliefs were issued in a further 4 editions: New York, 1953, produced by Donati in an edition of 1000, of which approximately 600 were destroyed; Paris, 1959, produced by Daniel Spoerri, Edition MAT, in an edition of 100; New York, 1963, produced by Duchamp himself in an edition of 5; and Milan, 1965, in an edition of 150. The first two editions were intended to be "played" on a traditional vinyl record turntable, whilst the latter 3 were issued with an especially constructed wallmountable turntable covered in black velvet. "The twelve Rotoreliefs were first shown at the Concours Lépine, an inventor's fair, September-October 1935. Henri-Pierre Roché recalled: '[Duchamp] rented a tiny stand among the inventions at the Concours Lépine, near the Porte de Versailles, and waited for the crowds to arrive. None of the visitors, hot on the trail of the useful, could be diverted long enough to stop there. When I went up to him, Duchamp smiled and said: 'Error, one hundred percent. At least it's clear''' (Schwarz, No. 441). All editions of the Duchamp Rotoreliefs are now very rare. Of this edition, only ca. 200 copies were distributed. Condition: Small French customs stamp on one disk, nevertheless a fine set of the incredibly rare first edition, whose importance is easily confirmed by the presence of the four later editions. Schwarz, No. 441. See cover illustrations

(Continued)

6. La Septieme Face du Dé By George Hugnet With a cover by Marcel Duchamp and 20 decoupage poems by Hugnet. 4to., bound in original illustrated wrappers in a cloth folding box. Paris: Editions Jeanne Bucher, 1936. $ 17,500.00 This celebrated work is a brilliant collaboration between Duchamp and Georges Hugnet, whose poems are set out in a manner reminiscent of Mallarmé’s Un Coup de Des N’Abolira Jamais le Hasard, and which he has illustrated with a series of brilliant collages. Duchamp’s cover combines a photograph by Man Ray of his readymade “Why Not Sneeze, Rrose Selavy” with an elaborately lettered title, whose letters contain the names of the heroes of Surrealism from Heraclitus and Uccello to Jarry and Charlie Chaplin. An unusually fine copy of this extremely important example of Surrealist book-making, which is rarely found in good condition. This is one of 250 copies of the regular edition of a total of 314 copies. Schwarz, No. 444. Roth, The Book of 101 Books, p. 92.

8. Transition - A Quarterly Review, Number 26 With texts by James Joyce, Franz Kafka, and others 208 pp., plus ads. 8vo., bound in original wrappers, with front cover designed by Marcel Duchamp, preserved in a grey cloth box. New York: Transition, 1937. $ 875.00 Duchamp designed this cover using a reproduction of his readymade Comb and an image of the journal’s masthead. The same reproduction (but without the "Transition" masthead) is included in all copies of The Box in a Valise, 1941. According to Sylvia Beach, James Joyce told her jokingly that “the comb with thick teeth shown on this cover was the one used to comb out “Work in Progress,” (Schwarz). An unusually fine copy of this fragile item. Schwarz, No. 457. Slocum & Cahoon 70.

7. Coeurs Volants Cahiers d’Art Volume 11, Nos. 1-2 Folio, bound in the original illustrated wrappers by Marcel Duchamp. Paris: Cahiers d’Art, 1936. $ 12,500.00 An inscribed copy of the rarest and most sought-after issue of Cahiers d’Art. The text is Gabrielle Buffet-Picabia’s essay Coeurs Volants (fluttering hearts), a study of Duchamp’s optical works. The cover, by Duchamp, is based on a collage composed of three hearts. Most copies of the magazine were either bound up, often without the wrappers, or simply discarded. Today very few copies of the issue survive as issued and inscribed copies are extremely scarce. This one inscribed on the cover by Duchamp to the collector Edmond Bomsel. Slight wear, but generally a far better copy than usually encountered. Schwarz, No. 446.

9. Obligations pour la roulette de Monte-Carlo By Marcel Duchamp XXe Siecle, No. 4. Christmas 1938. Offset lithograph. Folio, bound in original wrappers in a new yellow cloth folding box, gilt black leather spine label. Paris: Chroniques du Jour, 1938. $ 3500.00 This image, Obligations pour la roulette de Monte-Carlo, was first created by Duchamp in 1924. Duchamp used a photograph of himself covered in soapsuds by Man Ray together with other elements as a part of a photocollage mounted on cardboard, and issued in an edition of eight. This was then reproduced in offset lithography for the 4th issue of the magazine XXe Siecle which was published in 1938. Most copies of the issue have been dismembered for the plates, and even this issue has had 5 of the plates removed. In addition to the Duchamp print, there are original prints by Laurens, Magnelli, Zadkine and Max Bill. The prints by Matisse, de Chirico, Miro, Arp and Helion are lacking. One of an edition of 2000 copies, very few of which have survived. Schwarz, No. 406.

11. Marcel Duchamp By Georges Hugnet Illustrated with a tipped-in pochoir by Marcel Duchamp. Oblong 16mo., 96 x 146 mm, folded as issued in original printed selfwrappers. Preserved in a cloth folding box. Paris: [The Author], 1941. $ 3500.00 The rarest of the “butterfly books.” The ode to Marcel Duchamp is illustrated with a single tipped-in print of the Moustache and Beard of L.H.O.O.Q. -- arguably the cornerstone of Dadaism -- in which Duchamp’s original metal stencil was applied in graphite on paper by pochoir. “Like the smile of the Cheshire Cat, Duchamp’s graffiti additions to the Mona Lisa now hover in space” (d’Harnoncourt & McShine, p. 304). “The stencil was originally made for the addition of those details to the reproduction of L.H.O.O.Q. in The Box in a Valise” (Bonk, p. 241).

10. Rrose Selavy By Marcel Duchamp [16] pp. 8vo., 160 x 115 mm, bound in original printed publisher’s wrappers, preserved in a new red cloth folding box. Paris: [G.L.M.], 1939. $ 2500.00 First Edition. Number 264 of 500 copies on vélin blanc from the limited edition of 515, published as the fourth part of the Biens Nouveaux collection edited by Henri Parisot. “Rrose Sélavy” was the name Duchamp used for his invented female persona, who flourished between 1920 and 1941. It is a pun sounding like “eros c’est la vie”, which translates as “eros, that’s life.” It has also been read as “arroser la vie” (“to make a toast to life”). Some people think that the name Rrose Sélavy was inspired by Belle da Costa Greene, J. Pierpont Morgan’s private librarian, later first director of the Morgan Library. Here, Rrose Selavy is the title for Duchamp’s collection of puns, anagrams, sly double-entendres, and cryptic formulations, i.e., Modified Printed Readymades. A fine copy.

The four “butterfly books” were all clandestinely printed at the beginning of the German occupation, and were only distributed among close friends of the poet. The other three were Pablo Picasso; Non Vouloir; and Au Dépens des mots. Few copies have survived. Schwarz, No. 483.

12. First Papers of Surrealism Foreword by Sidney Janis 52 pp. Illustrated profusely with monochrome photographs, drawings and reproductions of paintings. Small 4to., 270 x 185 mm, bound in original publisher’s illustrated and stapled wrappers designed by Marcel Duchamp. Preserved in bright yellow cloth folding box. New York: Coordinating Council of French Relief Societies, Inc., 1942. $ 1750.00 First Edition. Both covers with original designs by Duchamp. The exhibition was held in October/November of 1942 at the Coordinating Council of French Relief Societies and was organized by André Breton. Duchamp created a front cover with perforated bullet-holes comprised of a close-up of the wall of Kurt Seligmann’s barn at Sugar Loaf, New York. The bullet holes in the barn and the front cover are by the hand of Duchamp, who originally had fired five shots with a rifle into the side of Seligmann’s barn. The rear cover is a zoomed-in photograph of Gruyere cheese with the title of the exhibition superimposed. One of the more amusing aspects of the catalogue are the series of imaginary portraits selected by Duchamp and Breton. There are numerous portrait photographs of the principal exhibitors throughout the exhibition catalogue, but the selected photographs bear no relationship to the named artists whose portraits they are supposed to represent. These imaginary portraits were chosen at random by Duchamp and Breton. Also included is Duchamp’s “compensation portrait” of himself. Photomechanical signatures of Breton and Duchamp on titlepage. Slight edgewear and/or a couple of corners creased, still far better than copies normally encountered. Schwarz, No. 487.

14. View. Series V, No. 1 With texts by André Breton, Robert Desnos, and others Profusely illustrated, including a foldout plate. Small folio, bound in stapled wraps designed by Marcel Duchamp, in a new navy cloth folding box. New York: March, 1945. $ 1250.00

13. VVV Edited by David Hare Numbers 1-4 (all published). Four volumes in three. 4to., bound in original wrappers designed by Max Ernst, Marcel Duchamp, and Matta, preserved in a new cloth folding box. New York: 1942 [-1944]. $ 8500.00 A fine copy of the complete run of VVV, David Hare’s periodical that was the voice of the European art community in New York in the early 1940’s. Contributions by Apollinaire, Tanguy, Lam, Dominguez, Miró, Masson, Peret, Motherwell and Ernst among others. André Breton, Marcel Duchamp, and Max Ernst served as editorial advisors. The covers were designed by Max Ernst, Marcel Duchamp (with chicken wire) and Matta. Duchamp's cover for issue 2-3 was in the form of a readymade made up of the two covers. The front reproduces an anonymous etching and the rear has a die-cut design with a piece of chicken wire inserted. Needless to say copies of this in acceptable condition have become very hard to find. Schwarz, No. 495.

A fine copy of the regular edition of the sought-after Duchamp number of Charles Henri Ford’s celebrated magazine, with the original cover designed by Duchamp. The centerfold, Les Larves D’Imagie D’Henri Robert Marcel Duchamp, is by Frederick J. Kiesler. The issue contains numerous important texts on Duchamp by, among others, André Breton, Gabrielle Buffet, Robert Desnos, Harriet and Sydney Janis. Schwarz, No. 508.

15. View. Series V., No. 1 With texts by André Breton, James Thrall Soby, & Gabrielle Buffet, among others Profusely illustrated, including a foldout plate. Small folio, bound in original cloth-backed boards, with red stamp 79% on front cover designed by Marcel Duchamp. New York: March, 1945. $ 35,000.00 A fine copy of the extremely rare limited edition of the Duchamp number of Charles Henri Ford’s celebrated magazine View, with the original cover designed by Duchamp. The deluxe version also contains a reproduction of the Pharmacy print, hand-coloured by Duchamp, signed, numbered, and dated in pencil, “M. Duchamp 45”, as well as the centerfold, Les Larves D’Imagie D’Henri Robert Marcel Duchamp by Frederick J. Kiesler, which, when unfolded represents the three walls of Duchamp’s studio. This is number 79 of 100 copies, and includes the page signed by eighteen people, including Yves Tanguy, Max Ernst, Sidney and Harriet Janis, Nicolas Calas, James Thrall Soby, Joseph Cornell, Man Ray, Mina Loy, Julien Levy, André Breton, and others. Schwarz, No 508.

17. Yves Tanguy By André Breton Text in French & English. 94 pp. Illustrated with 1 tipped-in colour plate and numerous black and white illustrations. Folio, bound in publisher’s boards in a new cloth folding box. New York: Pierre Matisse Editions, 1946. $ 1250.00 Duchamp designed this handsome monograph on Tanguy which was the first study of the artist published in America. Despite the large edition it has become a scarce book. An immaculate copy. Limited to 1150 copies. Schwarz, No. 516.

16. Young Cherry Trees Secured Against Hares By André Breton [55] pp. Illustrated with two line drawings by Gorky. 8vo., 233 x 155 mm, bound in original publisher’s boards with coloured pictorial dust-jacket designed by Duchamp and glassine cover. New York: View Editions, 1946. $ 1750.00 First Edition. This collection of Breton’s poetry in French with English translations by Edouard Roditi on facing pages is also the only book illustrated by Arshile Gorky, whom Breton met while living in New York. A fine copy, complete with the satirical colour dust-jacket designed by Marcel Duchamp, which shows André Breton subsituted for Miss Liberty, whose face has been cut out, with Breton’s face filling the hole in the jacket. This is one of an edition of 1,000 copies. Schwarz, No. 520. The American Livre de Peintre 15.

18. The Temptation of Saint Anthony. An Exhibition of Eleven Paintings by Noted American and European Artists Submitted in Competition for the Selection of the One to be Featured in the Loew-Lewin Motion Picture The Private Affairs of Bel Ami 32 pp. Illustrated throughout with photographs. 4to., bound in illustrated wrappers in a cloth folding box. Washington DC: American Federation of Arts, 1947. $ 475.00 A scarce catalogue designed by Duchamp for the competition to select a painting to be featured in the movie The Private Affairs of Bel Ami based on the novel by de Maupassant. Duchamp also served as a judge for the competition. The eleven artists in the competition were Albright, Berman, Carrington, Dali, Delvaux, Ernst (the winner), Guglielmi, Pippin, Rattner, Spencer and Tanning. A fine copy. Schwarz, No.519.

19. Le Surréalisme en 1947 142 pp. 4to., 240 x 205 mm., bound in a folding binding mounted with the female foam rubber breast created by Duchamp, in publisher’s cardboard chemise and slipcase, with the “Prière de Toucher” label. Paris: Maeght, 1947. $ 75,000.00 A pristine copy of this celebrated Surrealist object from the collection of Enrico Donati, the artist who oversaw the fabrication of the foam rubber female breasts for Marcel Duchamp in the late 1940s, and who hand-painted them and then assembled the finished work. Donati was also one of the organizers of the exhibition. The exhibition catalogue contains 24 original hors texte prints: 5 colour lithographs (Bauer, Ernst, Hérold, Lam, Miro), 4 etchings (Jean, Maria, Tanguy, Tanning), 1 colour etching (Bellmer), 2 wood engravings (Arp) and 12 lithographs (Brignoni, Calder, Capacci, Damme, Diego, Donati, Hare, Lamba, Matta, Sage, Tanguy, Toyen). The 1947 Surrealist exhibition celebrated the return of the exiles after the war. Organized by Duchamp and Breton, it came to represent a retrospective of the Surrealist movement. Although the exhibition took place in Paris, it was international in scope with participants from several countries. Exceptional survival of an important Surrealist book almost never found in such superb condition. The foam rubber used for the construction of the breasts was delicate and perishable; consequently, of those few that have survived, most are now in an unappealing, deteriorated state. In addition, this is one of the rare copies with the original chemise and slipcase. A large majority of the copies that appear on the market today have the replacement chemise and slipcases made by Maeght in 1989. (Continued)

This is number 207 of 999 copies; of which only a few were accompanied by the original Duchamp cover. Uncut, unopened copy of the catalogue. PROVENANCE: Enrico Donati (1909-2008), American Surrealist painter and close friend and collaborator of Marcel Duchamp.

Donati was hired by Duchamp to construct and paint the foam rubber breasts for this edition. Accompanied by a letter of authenticity from Adele Donati, the artist’s wife, stating that this copy, #207 was retained by her husband as his personal copy. Schwarz, No. 328. From Manet to Hockney 115.

20. International DADA Exhibition 1916-1923 By Marcel Duchamp Large poster printed in black and orange, designed by Duchamp. Single sheet, 965 x 635 mm, (38” x 25”). Professionally framed. New York: Sidney Janis Gallery, 1953. $ 9500.00 A fine copy of this extremely rare Duchamp poster, which was also the catalogue for the famous Dada exhibition at the Sidney Janis Gallery. In true Duchampian fashion, the catalogue was crumpled up as a wad of paper and “on exhibit” in a wastepaper basket in the gallery. “A most difficult show since collectors were hesitant to risk invaluable loans, but Marcel`s frequent intercession smoothly resolved these problems; still it took a year of intensive work to assemble it, Marcel designed the setting, including a transparent ceiling -an inverted show case - covered with Dada manifestoes and posters. The gallery itself was subdivided by plexiglass walls creating an ambiguous atmosphere which, when the show was hung, resembled a huge Merz construction” (Sidney Janis, “A Recollection of the Dada Show, 1972,” in: Marcel Duchamp, The Museum of Modern Art, New York and Philadelphia Museum of Art, 1973, p. 202). The poster, mailed as a wad of paper, resulting in most copies being thrown away, contains printed texts by Hans Arp, Richard Huelsenbeck, Jaques-Henry Levesque and Tristan Tzara. Plus a printed list of the Dada artworks in the exhibition. The exhibition itself was assembled, catalogued and installed under Duchamp’s direction. Schwarz, No. 543.

21. Portrait of Marcel Duchamp By Victor Obsatz Gelatin Silver Print 343 x 267 mm. Framed. New York: [1953] but printed later. $ 5500.00 This is probably the best-known portrait of Marcel Duchamp. It was taken in 1953 by the then 28-year-old photographer, Victor Obsatz, in Duchamp’s apartment on West 14th Street. The resulting double-exposure print pleased Duchamp very much, and he included a full-page reproduction of it in Robert Lebel’s 1959 catalogue raisonné. The photograph has since become one of the most popular and sought-after images of the artist, and has been reproduced in a number of well-known texts including The National Portrait Gallery’s 2009 exhibition “Inventing Marcel Duchamp, The Dynamics of Portraiture.” Signed on the verso by Victor Obsatz.

23. L’Aventure Dada (1916-1922) By Georges Hugnet with an introduction by Tristan Tzara 101 pp. Illustrated with 33 photographic plates. 8vo., bound in original illustrated wrappers after a design by Marcel Duchamp, in a new red cloth box with black leather spine label gilt. Paris: Galerie de l’Institut, 1957. $ 675.00 Duchamp created his Project for the Rotary Demisphere in 1924 using a photograph by Man Ray. This was then used as a cover for the Spring 1925 issue of the Little Review, and again, as here, for the cover of L’Aventure Dada in 1957. An immaculate copy. Schwarz, No. 407d.

22. Le Surréalisme, Mème. Number 1 Edited by André Breton 156 pp. Illustrated throughout with photographs. Oblong 8vo., bound in original illustrated wrappers with cover by Marcel Duchamp, in a new black cloth folding box with red leather spine label. Paris: Librairie Jean-Jacques Pauvert, 1956. $ 575.00 This is the first issue of five that were published, and the only one for which Duchamp provided a cover. The cover reproduces a photograph of Duchamp’s sculpture Female Fig Leaf made by a New York photographer in 1956 following Duchamp’s instructions. The issue contains illustrations by Man Ray, Leonora Carrington and Pierre Molinier and texts by André Breton, André-Pieyre de Mandiargues and others. Published in an edition of 5,030 copies. An immaculate copy. Schwarz, No. 548.

25. Pochoir for Sur Marcel Duchamp By Marcel Duchamp Loose sheet pochoir. 276 x 200 mm. Paris: 1958. $ 15,000.00 An original Duchamp art work which consists of a pochoir which Duchamp had made to accompany the deluxe edition of Robert Lebel’s catalogue raisonné of his work, Sur Marcel Duchamp. This particular example of the print was given by Duchamp to Julie Hollande and is inscribed by Duchamp, which according to the Comité Duchamp, who provided a certificate for the work, makes it an original work of art. Not in Schwarz, but accompanied by a certificate from the Comité Duchamp.

24. Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp Texts by André Breton, Marcel Duchamp, René Jean, Walter Pach, Jacques Villon and Raymond Duchamp-Villon 86 pp. Illustrated with roughly 40 black & white plates and 6 colour reproductions. 4to., bound in original illustrated wrappers, in a new red cloth folding box. New York: The Solomon Guggenheim Museum, 1957. $ 375.00 The catalogue was designed by Duchamp, who also provided the illustration for the cover. A pristine copy, extremely rare thus, given that the wrappers are white. Schwarz, No. 553.

26. Maquette for the superdeluxe edition of Eau & Gaz à Tous les Étages Compiled by Robert Lebel Accompanied by self-portrait of Duchamp signed “Marcel Dechiravit,” with a hand-coloured engraving of Large Glass, an original pochoir frontispiece, and a readymade Eau & Gaz à Tous les Étages signed by Duchamp. Folio, 330 x 245 mm, bound loose as issued, in the publisher’s cloth folding box. Paris: Trianon Press, 1959. $ 300,000.00 Between February 1955 and May 1959, Arnold Fawcus, the owner and founder of Trianon Press in Paris, worked on producing the grand deluxe, deluxe, and regular editions of Sur Marcel Duchamp by Robert Lebel. The first monographic study and catalogue raisonné devoted to Marcel Duchamp, this book was of major importance in disseminating the artist’s work and ideas to a younger generation of artists as well as art aficionados across Europe and America. Duchamp collaborated closely on the design and layout of the book and produced three new artworks for the grand deluxe edition: Self-Portrait in Profile, made from vividly colored sheets of lightweight origami paper torn along a metal template depicting his silhouette; the black-and-white photograph by John (Hans) D. Schiff of the "Large Glass" (1915-23) which he hand-coloured; and the readymade-like enameled metal plaque EAU & GAZ À TOUS LES ÉTAGES for the cover of the box housing the unbound book. (These three works also appeared in the deluxe edition, the latter two in slightly modified versions.) The maquette being offered here contains all three of these artworks, each of which the artist signed: the metal plaque EAU & GAZ À TOUS LES ÉTAGES is initially “M.D.” in the lower right corner; the hand-colored photograph of the Large Glass is signed “MARCEL COLORIAVIT” in the lower right corner; and Self-Portrait in Profile is signed “Marcel dechiravit” in the lower right corner. (Continued)

This maquette differs in several ways from the final grand deluxe edition, which consisted of ten commercial copies (I-X) and seventeen additional copies reserved for collaborators and friends (A-Q). First created in late 1957, the maquette was transported from Paris to New York by Robert Lebel, who showed it to Duchamp for his approval. On 1 December 1957, Lebel informed Arnold Fawcus: “Marcel is very happy with the box dummy and he agrees to everything, including the lining of the inside with manuscript notes.” Duchamp confirmed his satisfaction with the maquette in a separate letter to Fawcus dated 23 January 1958: “Lebel just arrived in New York and brought me the dummy of the ‘Luxe,’ which I find to be perfect. I like the lining inside the box a lot (with the ‘bits of paper’ from the Green Box) and the general presentation is shaping up very nicely.” Fawcus had the box lined with a reproduction of a black-and-white photograph, with the colors reversed as in a photographic negative, of a collage Duchamp had fashioned of notes from the Green Box. However, the notes reproduced in the maquette are entirely different from those ultimately chosen for the lining of the final version of the deluxe and grand deluxe editions. The inside flap on the outer edge of the lower lid also has not been covered with a reproduction of a note from the Green Box, as in the final version of the grand deluxe and deluxe editions. Additionally, the rustcolored ribbon attached to the inside of the lower lid to facilitate removal of the unbound book from its box, which is present in the final versions of the grand deluxe and deluxe editions, had yet to be introduced to the maquette. Another major difference between the maquette and the final version of the grand deluxe edition of Sur Marcel Duchamp can be found in the manner in which the hand-colored photographic reproduction of the Large Glass is mounted. On the white-paper backing of the photograph, Duchamp added the following inscription in ink, just below a large black circle: “papier noir couvant completemnt [sic]” (“black paper completely covering”). This notation suggests that the artist originally intended the backing to be in black paper, which would have established chromatic continuity with the other black-and-white elements of the box. Ultimately, however, Fawcus decided to use a bluish gray speckled paper for the backing in both the grand deluxe and deluxe editions. (Continued)

The box containing the deluxe and grand deluxe editions of Sur Marcel Duchamp contains a divider that separates the reproduction of the Large Glass from Self-Portrait in Profile. On the recto and verso of this divider are black-and-white photographs of reproductions of artworks in the Box in a Valise, which Duchamp took (according to Robert Lebel) in autumn 1950 in Paris. In the maquette, these photographs are printed on glossy paper and mounted to board. Duchamp, however, disliked this medium, as he emphatically informed Fawcus in a letter of 25 February 1957: “I detest glossy paper.” Duchamp’s preference undoubtedly influenced Fawcus’s decision to have the two images printed on matte paper in the final versions of the deluxe and grand deluxe editions. The rust-colored paper used for Self-Portrait in Profile in the maquette strongly echoes the fabric that was chosen to cover the exterior of the box in the final versions of the deluxe and grand deluxe editions of Sur Marcel Duchamp. Normally, in the grand deluxe edition, the edition number was handwritten in the lower left of the portrait, while in the deluxe edition it was stamped in green ink. This particular example is stamped in black ink no. 128. The overall condition of the maquette is excellent. All four original screws are still glued in place on the metal plaque mounted on the front cover of the box. The exterior fabric of the box is quite vivid. The buckling of the hand-colored photographic reproduction of the Large Glass is absolutely typical of the entire edition. Schwarz, No. 563. Johnson, Artists’ Books in the Modern Era, 18702000, No. 136. Duchamp. Exposicio organitzada per la Fundacio Joan Miro, No. 60.

27. Eau & Gaz à Tous les Étages Compiled by Robert Lebel Accompanied by a hand-torn collage of Self-Portrait in Profile signed "Marcel dechiravit" numbered "121-M"; a proof of the engraving Large Glass mounted under acetate and hand-coloured by Duchamp for Mary Laing, to whom this volume was presented; an original pochoir of the Coffee Mill frontispiece; one of the zinc stencils for the Coffee Mill frontispiece tipped-in at verso of Duchamp self-portrait; and a blue and white readymade Eau & Gaz à Tous les Étages initialed by Duchamp in white ink attached to the front cover of the box. Plus numerous reproductions of photos, some in colour, some tipped-in, throughout the book. Folio, 330 x 245 mm, bound loose as issued, in the publisher's brick-coloured cloth box. Preserved in a new red cloth folding box. Paris: Editions Trianon, 1959. $185,000.00

Grand Deluxe Edition of the first catalogue raisonné for Marcel Duchamp, containing 208 detailed entries and an extensive bibliography. It comes in a box designed by the artist with a signed readymade mounted on the front cover reading: EAU & GAZ À TOUS LES ÉTAGES. This expression was a common part of real estate signage in early twentieth-century France, and it was a continuing theme in Duchamp's manuscript notes dating back to 1911. In its day the sign indicated a building with modern conveniences, thus setting it apart from nineteenth-century structures. The catalogue raisonné itself, entitled Sur Marcel Duchamp, contains 122 plates and was compiled by Robert Lebel in cooperation with Duchamp, a collaboration which is well documented in a reprint of the catalogue made by the Centre Georges Pompidou in 1996. The red cloth-covered box bears the well-known Duchamp readymade of the blue and white metal plaque Eau & Gaz à Tous les Étages signed by Duchamp in white initials. This readymade was replaced by a paper label in the regular edition copies. It also has one of the original Self-Portraits in Profile of Duchamp, signed "Marcel dechiravit." Duchamp made these self-portraits himself by tearing coloured origami paper around a metal plate of his profile. One of the special 27 copies printed on Crèvecoeur d'Arches-Marais paper from a total edition of 137. Our copy is from the special 17 lettered exemplaires reserved for the publishers and the book's collaborators. The justification page is signed by both Duchamp and Lebel. Slightest rubbing to the box, missing the four screws to the Eau & Gaz readymade on the front cover, acetate on Large Glass rippled as per all copies, overall, a fine copy of the very rare Grand Deluxe Edition. PROVENANCE: Mary Laing, with the special presentation inscription from Duchamp on front endpaper of book: "pour Mary/the only Mary ange gardien de ce livre/affectueusement/Marcel Duchamp." Mary Laing was the assistant to Arnold Fawcus, proprietor of Editions Trianon, the publishers of Eau & Gaz. Duchamp also signed the Large Glass proof "Marcel coloriavit pour Laing." Schwarz, No. 563. Johnson, Artists’ Books in the Modern Era, 18702000, No. 136. Duchamp. Exposicio organitzada per la Fundacio Joan Miro, No. 60.

28. Eau et Gaz à Tous les Étages Compiled by Robert Lebel Accompanied by a self-portrait of Duchamp signed “Marcel Dechiravit,” with a hand-coloured engraving of Grand Verre an original pochoir frontispiece, and a pochoir of the readymade Eau et Gaz à Tous les Étages signed by Duchamp. Folio, 330 x 245 mm, bound loose as issued, in the publisher’s cloth bound box, in a new cloth folding box. Paris: Trianon Press, 1959. $ 75,000.00 A fine copy of the deluxe edition of the first catalogue raisonné of the work of Marcel Duchamp, containing 208 detailed entries and an extensive bibliography. The red cloth-covered box bears a mounted autoportrait de profil of Duchamp, signed “Marcel Dechiravit.” The box has two hinged panels of an acetate reproduction and a collotype reproduction, with the former depicting a scale-version of Duchamp’s famous The Bride Stripped Bare by her Bachelors, Even (the Large Glass), which was the inspiration for three of Duchamp’s most important artist’s books: The Box of 1914, The Green Box (1934), and A l’Infinitif (The White Box, 1967). One of an edition of 137 copies, with the pochoir of the cover Eau et Gaz readymade initialed by Duchamp, the autoportrait, which is on pinkish paper, signed by Duchamp, and with the colophon signed by both Duchamp and Lebel. Overall a fine copy. Schwarz, No. 563. Johnson, Artists’ Books in the Modern Era, 18702000, No. 136. Duchamp. Exposicio organitzada per la Fundacio Joan Miro, No. 60.

A) Poster screen-printed in blue and framed by text regarding the exhibition Sur Marcel Duchamp and Robert Lebel’s monograph and catalogue raisonné of the same title. B) Poster screen-printed in blue along with the artist’s name, the letters of which are screen-printed in alternating red and blue, but excluding all text regarding the exhibition Sur Marcel Duchamp and Robert Lebel’s catalogue raisonné of the same title. This rare unnumbered screen-print is signed “Marcel Duchamp” in red ballpoint pen in the lower left corner of the self-portrait, and is either a proof or a variant. C) Edition of 40, numbered 1/40-40/40 in the lower left in white ink below the blue screen-printed self-portrait. This exceptionally rare hors-commerce screen-print is signed “Marcel Duchamp La Hune 1959” in charcoal or graphite along the lower left edge of the self-portrait and identified as “H.C.” (horscommerce) in white ink, in the lower left, below the self-portrait. This is the final state of B above.

29. Five Original Duchamp Screen-print Posters: Self Portrait in Profile By Marcel Duchamp

D) Poster screen-printed in red along with the artist’s name, the letters screen-printed in alternating red and blue, but excluding all other text regarding the exhibition Sur Marcel Duchamp and Robert Lebel’s catalogue raisonné of the same title.

The complete set of the five individual versions. Coloured serigraphs (screen prints) on black Montgolfier paper. Size: 650 x 500 mm (25 9/16 x 19 11/6 inches). Professionally framed. Paris: La Hune, 1959. $ 185,000.00

This rare unnumbered screen-print is signed “Marcel dechiravit” in black ink in the lower left corner of the self-portrait.

A complete collection of the five known versions of the Duchamp portrait poster produced on the occasion of the exhibition Sur Marcel Duchamp (5-30 May 1959) at La Hune bookstore in Paris. The posters were issued to celebrate the publication of the deluxe edition of Robert Lebel’s monograph on Duchamp and catalogue raisonné of his oeuvre, bearing the same title Sur Marcel Duchamp.

This exceptionally rare hors-commerce screen-print is signed “Marcel Duchamp” in red ballpoint pen along the lower edge of the self-portrait and identified as “H.C.” (hors-commerce), also in red ballpoint pen, in the lower left corner of the self-portrait. This is the final state of D above.

E) Edition of 30, numbered 1/30-30/30 in the lower left in white ink below the red screen-printed self-portrait.

To celebrate the publication of the deluxe editions of his Sur Marcel Duchamp, Lebel organized the small exhibition of Duchamp’s work at the Parisian bookstore La Hune in cooperation with its owner, Bernard Gheerbrant. This modest exhibition was equally titled Sur Marcel Duchamp and was on view 5-30 May 1959. It marked the artist’s first solo show in his native France. To help publicize and finance the exhibition, Duchamp agreed to have his Self-Portrait in Profile (1958), also known as Marcel dechiravit, which had been specifically created for inclusion in the deluxe editions of Lebel’s book (see Schwarz, 557a & 565), to be re-issued as original screen-prints in an enlarged version for the exhibition poster, including the two related versions (the selfportrait alone and accompanied by the artist’s name). The two versions (C & E) of Self-Portrait in Profile that are screenprinted in red or blue, were signed by Duchamp and sold. The title Marcel dechiravit incorporates the invented word dechiravit, a contraction of the French verb déchirer (to tear) and the adverb vite (quick). It alludes to the process Duchamp employed to create Self-Portrait in Profile; for each version the artist tore from a sheet of coloured paper his profile portrait using a metal template outlining his profile. It is also a word play on the method of classical artists who signed their graphic work “delineavit et sculpsit.” The five examples described above constitute all the known variations. PROVENANCE: Édouard Jaguer, Paris; Private Collection, Paris. Schwarz, No. 565. Francis M. Naumann, Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction, p. 198.

31. Invitation Opening Preview Marcel Duchamp Monday April 6, 1959, From 5 to 6:30 223 x 1040 mm when unfolded, bound in original wrappers with accordion-style interior in a new cloth folding box. New York: Sydney Janis, 1959. $1250.00 Although not designed by Duchamp, this catalogue from the Janis Gallery is a delightful homage to his playful spirit, spelling out his name in different colours. Slight wear, but a good copy of a rare piece of ephemera.

30. Sur Marcel Duchamp By Robert Lebel. With chapters by Marcel Duchamp, André Breton and H.P. Roche. 192 pp. Contents include catalogue raisonné and 129 black and white plates, plus 6 tipped-in colour plates. Folio, bound in publisher’s cloth and dust jacket, in a new cloth folding box. Paris: Trianon Press, 1959. $ 2500.00 A fine copy of the trade edition of the classic monograph on Duchamp, which is also the first attempt at a catalogue raisonne of his work, and which Duchamp himself designed. A deluxe edition of 139 copies was published as part of Eau & Gaz à Tous les Étages. This copy contains a copy of the prospectus for both the English and French editions, with that for the English edition signed by Duchamp. Schwarz, No. 563.

32. Surrealist Intrusion in the Enchanters’ Domain Curated by André Breton & Marcel Duchamp 124 pp. Profusely illustrated. Square 8vo., bound in original illustrated wrappers, in a new cloth folding box. New York: D’Arcy Galleries, 1960. $ 575.00 The catalogue for an exhibition curated by André Breton and Marcel Duchamp for which Duchamp provided the cover using a typical French tobacco shop sign. An immaculate copy of a fragile item. Schwarz, No. 576.

33. Marcel Duchamp: A Retrospective Exhibition Pasadena Museum of Art Unpaginated. Illustrated throughout with photographic reproductions, some in colour. Small folio, bound in original green wrappers with clear dust jacket, which bears the printed inscription in red “by or of Marcel Duchamp or Rrose Sélavy.” Preserved in a new green cloth folding box. Pasadena: Pasadena Art Museum, 1963. $ 975.00 A fine copy of this catalogue entirely designed by Duchamp. The exhibition was the largest showing of the artist’s work up to that time, featuring 114 items. With the rare fragile printed dust jacket. Schwarz, No. 589.

34. A Poster within a Poster Designed by Marcel Duchamp 876 x 690 mm. Framed. Pasadena: Pasadena Art Museum, 1963. $ 12,500.00 An unusually fine copy of the celebrated poster for the major retrospective of Duchamp’s work at the Pasadena Art Museum. The poster reproduces a readymade Duchamp created in 1923, in which he inserted his own photo onto an actual wanted poster. The poster was designed by Duchamp and issued in an edition of 300 copies, and as is usually the case with posters, is almost impossible to find in fine condition. Schwarz, No. 588.

35. Comb By Marcel Duchamp Replica of readymade, identical in size and other characteristics to the original Duchamp readymade Comb of 1916. In its original wooden carrying box with copper plate plaque. Milan: Galleria Schwarz, 1964. $ 750,000.00 The sole 1916 readymade Comb survives in the Louise and Walter Arensberg Collection, now in the Philadelphia Museum of Art. In 1964, Arturo Schwarz, under Duchamp's supervision, produced an edition of eight replica copies of the original readymade Comb. The Comb offered herewith is one of two hors commerce replicas made at the same time as the edition of eight. The two hors commerce replicas were never offered for sale; one was made for Duchamp and is inscribed by the artist "ex Rrose" and our Comb was inscribed by Duchamp "ex Arturo" for Arturo Schwarz. (Continued)

The Comb contains Duchamp's nonsensical phrase "trois ou quatre gouttes de hauteur n'ont rien a voir avec la sauvagerie (three or four drops of height (haughtiness?) have nothing to do with savagery)" inscribed on the side of the Comb. Our Comb is signed, "Marcel Duchamp 1964." It has the small copper plate affixed to the protective box containing the inscription,"Marcel Duchamp 1964 ex Arturo" and is engraved underneath,"Peigne 1916 Edition Galerie Schwarz, Milan." On the significance of Duchamp's readymades, Kuspit writes "One can regard them as experiments in art, or mock works of art, or critiques of handmade works of art, or demonstrations of Dadaist disgust with the very idea of art -- a nihilistic debunking or demystification of art -- but the important thing is that they led to a whole new idea of art: Objects took second place to ideas, to the extent that they became illustrations of them. Duchamp is, in effect, the first conceptual artist, and the readymades are the first conceptual works of art" (Daniel Kuspit, A Critical History of 20th-Century Art, Chapter 2, Part 3 on Artnet). It is recorded that Duchamp made no more than 20 "original" readymades during his lifetime. Many of the "originals" have not survived; for example, the Bottlerack, the Snow Shovel, the Urinal, the Trébuchet, etc.

Of the eight replica readymades of the Comb produced by Schwarz and Duchamp in 1964, four are in museums, two in private collections and two are lost/unlocated. Duchamp himself struggled to define the essence of his own readymades, "The curious thing about the ready-made is that I've never been able to arrive at a definition or explanation that fully satisfies me" (Tomkins, Duchamp, a Biography, p. 159). However later in his life Duchamp further commented, "I'm not at all sure that the concept of the readymade isn't the most important single idea to come out of my work" (Ibid p. 158). PROVENANCE: Arturo Umberto Samuele Schwarz (born 1924), Italian poet, scholar, art curator, and collector of Dada and Surrealist art, friend of Man Ray, Marcel Duchamp and André Breton, and author of the Marcel Duchamp catalogue raisonné; Phillips, de Pury & Luxembourg, their sale: Contemporary Art, Part I & 14 Duchamp Readymades, New York, 13 May 2002, lot 5; acquired by Galerie Andrea Caratsch, Zurich; thence to Francis Naumann Fine Art, New York, as agent; Private Collection. Schwarz, 339b.

37. Not Seen and/or Less Seen of/by Marcel Duchamp/Rrose Selavy 1904-64. The Mary Sisler Collection With a foreword and catalogue texts by Richard Hamilton Unpaginated, thoroughly illustrated in black and white, and with 3 tipped-in colour plates. 4to., bound in original wrappers designed by Duchamp, in a new red cloth folding box. New York: Cordier & Ekstrom, 1964. $ 850.00 “The Mary Sisler Collection was the most important private collection of works by Duchamp; and the exhibition, a historical event. It was the first and the most inclusive Duchamp retrospective to be held by a private gallery in the United States” (Schwarz).

36. Marcel Duchamp: Ready-Mades, etc. (1913-1964) By Walter Hopps, Ulf Linde and Arturo Schwarz 93 pp. Profusely illustrated. Folio, bound in publisher’s decorated cloth and original dust jacket designed by Marcel Duchamp and slipcase. In a new cloth folding box. Paris: Le Terrain Vague, 1964. $ 675.00 Duchamp designed the dust wrapper for this monograph in collaboration with the author-publisher, Arturo Schwarz. The book was published to coincide with an exhibition of Duchamp’s work at Schwarz’s Milan art gallery. A small repair to the corner of the dust jacket, but in general an unusually fine bright copy. Schwarz, No. 594.

Schwarz, No. 376.

38. Not Seen and/or Less Seen of/by Marcel Duchamp/Rrose Selavy 1904-64, Mary Sisler Collection With a foreword and catalogue texts by Richard Hamilton Unpaginated, thoroughly illustrated in black and white, and with 3 tipped-in colour plates. 4to., bound in original wrappers designed by Duchamp, with original glassine, in a cloth folding box. New York: Cordier & Ekstrom, 1964. $ 30,000.00 The publisher’s copy of the incredibly rare suppressed version of the catalogue of the Sisler Collection. When Mary Sisler saw this version of the catalogue she was incensed that her name was not only much smaller than Duchamp’s, but at the bottom of the title-page, and demanded that the catalogue be withdrawn, and be reissued. As a result surviving copies of the first version are extremely rare. The deluxe edition contains an original print by Niki Ekstrom of a photograph of Duchamp. One of the original edition of 100, signed and numbered by Duchamp, who also boldly signed his name in brown marker on the front cover. A pristine copy of this great rarity from the collection of Arne Ekstrom, reproduced in Etant Donne, No.10, p. 86. Schwarz, No. 616.

39. S.M.S. [Shit Must Stop], No. 2 With numerous original readymade objects. 4to., 278 x 178 mm, laid into original portfolio of heavy paper with a record on the front cover, in a new cloth folding box. New York: The Letter Edged in Black Press, April 1968. $ 1500.00 A fine copy of the second issue of William Copley’s unique magazine. In response to Copley’s request for a contribution, Duchamp gave him a recording he made around 1950, although not using his own voice. Dimitri Petrov, who was the joint publisher, made a facsimile of one of the disks Duchamp created in 1926 (Schwarz No. 524) to contain the recording, which was affixed to the cover of each copy of the magazine. The portfolio contains facsimiles of work by Nicolas Calas (Cynocephalus & Co.); Bruce Conner (Legal Tender); Marcia Herscovitz (Ten Collages); Alain Jacquet (Three Color Separations); Ray Johnson (A Two-Year-Old Girl Choked to Death Today on an Easter Egg); Lee Lozano (Thesis); Meret Oppenheim (The Mirror of Genoveva); Bernard Pfriem (A Proposed Comic Section for The New York Times); George Reavey (Farewell to Faust); and Clovis Trouille (“Oh Calcutta!” Album). One of 2500 copies, in fine condition. Schwarz, No. 654.

40. Notes and Projects for “The Large Glass” Selected, ordered and with an introduction by Arturo Schwarz 12 pp. introductory text. Illustrated with 217 facsimile pages with English transcriptions. Large folio, bound in publisher’s white cloth with red lettering, illustrated clear mylar dust-jacket depicting a detail of The Large Glass, in a new cloth slipcase. London: Thames and Hudson, 1969. $ 875.00 An immaculate copy of this scarce monograph on Duchamp’s iconic work. Exhibited only once (in 1926 at the Brooklyn Museum) before it was accidentally broken and laboriously repaired by the artist, The Large Glass has gradually become the subject of a vast scholarly literature and the object of pilgrimages to Philadelphia for countless visitors. Rare in this condition.

41. Manual of Instructions for Marcel Duchamp, Etant Donnés: 1 La Chute d’Eau. 2 Le Gaz d’Éclairage By Marcel Duchamp [58] pp. Illustrated throughout, including over 100 photographs taken by Duchamp. With [4] pp. separately printed introduction by Anne d’Harnoncourt laid in. Small folio, bound in original faux leather. With original wraparound band bearing the title in black & red ink. In a new cloth folding box. Philadelphia: Philadelphia Museum of Art, 1987. $ 475.00 Superb full colour facsimile of Duchamp’s looseleaf notebook of instructions for his work Etant Donnés, completed in 1966 and acquired by the Philadelphia Museum of Art in 1968. Illustrated with over 100 photographs taken by Duchamp documenting the work, exactly as mounted in the notebook. His drawings for the piece and his manuscript notes in French were mostly taped to the outer edges of the notebook pages, and appear as foldouts in the facsimile. A mint copy. Schwarz, No. 633.

REFERENCE BOOKS 42. BERSWORDT-WALLRABE, Kornelia von et al. Marcel Duchamp: Respirateur. 237 pp., illustrated in colour and b&w. 4tol, boards. Ostfildern: Hatje Cantz, 2000. $ 75.00 This reprint of the 1995 edition examines the intellectual structure and methodology of Duchamp’s work. Text in English and German. 43. BONK, Ecke. Marcel Duchamp: Box in a Valise. 324 pp. with 516 illustrations, including 164 in color. Large 4to., cloth. New York: Rizzoli, 1989. $ 275.00 Illustrates the boxes, which contain miniatures reproductions of the artist’s work. 44. BONK, Ecke et al. Joseph Cornell/Marcel Duchamp...in resonance. 344 pp., 128 color and 370 b&w illustrations. 4to., cloth. Editions Cantz, 1998. $ 125.00 This book chronicles the friendship and working relationship between these two innovative and important artists, who first met in New York in 1933. Following Cornell’s death, a box he created called the Duchamp Dossier was discovered in his estate. Examining this, and their personal correspondance and other items, a hitherto undocumented collaboration is brought to light. The Duchamp Dossier will be on exhibit at the Philadelphia Museum of Art and the Menil Collection. 45. D’HARNONCOURT, Anne & Kynaston McShine (eds.). Marcel Duchamp. 348 pages. extensive text, catalogue, and hundreds of illustrations, some in colour. 4to., wraps. New York: Prestel/ Museum of Modern Art, 1973. $ 35.00 Freitag 2449. Exhibition in New York and Philadelphia.

46. DEBRAY, Céclie. Marcel Duchamp: La Peinture Même 19101923. Album de l’Exposition. 60 pages. 4to., wraps. Paris: Centre Pompidou, 2014. $ 25.00 A brief, visual overview of some of the major paintings and sculptures from the Pompidou show. The text is minimal, but what there is of it is in French and English. 47. DEBRAY, Céclie. Marcel Duchamp: La Peinture Même 19101923. 360 pages. 4to., wraps. Paris: Centre Pompidou, 2014. $90.00 This catalogue for the major Fall Show at the Centre Pompidou in Paris retraces the artist’s early career in six well-illustrated essays, offering a fresh look at the work of one of the most iconic figures of 20th-century art. Of particular interest are the works that display his relatively conventional painterly beginnings followed closely by paintings and objects that are banners of iconoclastic art history. Text in French. 48. HENDERSON, Linda Dalrymple. Duchamp in Context: Science and Technology in The “Large Glass” and Related Works. 374 pp., 5 colour plates, 173 halftones, and 23 line illustrations. 4to, cloth. Princeton: Princeton University Press, 2005. $150.00 Henderson focuses on the culture of science in time of Duchamp’s creation of The Large Glass and on the technological themes pervading Duchamp’s extensive notes for the project. 49. HULTEN, Pontus et al. Marcel Duchamp: Work and Life. 650 pp. with 1,350 illustrations, 1,200 in colour. Small folio, cloth. Cambridge: MIT, 1993. $ 225.00 A remarkable book covering 70 years of Duchamp’s artistic production, one of the most important publications on this artist to appear in the last 25 years. Serving as the catalogue to the Palazzo Grassi (Venice) exhibition in June 1993, the book documents his personal life as well as his achievements in painting and sculpture, his life-long involvement with chess, film, and theater.

50. MADRID. Sala de Exposiciones. Duchamp. 285 pages, illustrated throughout in colour and b&w. 4to., wraps. 1984. $ 85.00 Text in Spanish and English. 51. MUNDY, Jennifer (editor) et al. Duchamp, Man Ray, Picabia. 247 pp., 217 colour and b&w illustrations. 4to., wraps. London: Tate Publishing, 2008. $ 55.00 Exhibition in London and Barcelona. 52. NAUMANN, Francis M. and Hector Obalk (editors). Affectionately, Marcel. The selected correspondence of Marcel Duchamp. 424 pp., b&w illustrations. 4to., cloth. Ghent and Amsterdam: Ludion Editions, 2000. $ 39.50 Francis Naumann’s scrupulously researched study of Duchamp’s personal correspondence makes his work more accessible as he discusses his most important projects and makes unguarded comments about his aesthetic aims. Duchamp’s creative use of the postal service can be seen as a precursor to mail art. 53. ACHIM MOELLER Fine Art. Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction. With an essay by Francis Naumann. 48 pages completely illustrated in colour and b&w. 4to., wraps. 1999. $35.00 This catalog contains an excellent selection of Duchamp’s work and an insightful essay. 54. PARIS. Musée National d’Art Moderne. Marcel Duchamp: Catalogue Raisonné. Edited by Jean Clair. 208 pp., illustrated in colour and b&w. 4to., wraps, 1977. $ 150.00 Text in French.

55. PARIS. Opus International. Duchamp et Apres. 135 pp. art magazine with articles by numerous contributors and illustration. in b&w. Small 4to., wraps. 1974. $ 75.00 March 1974 issue #49 devoted entirely to Duchamp. 56. PAZ, Octavio. Marcel Duchamp: Appearance Stripped Bare. x, 211 pp. commentary on the artist’s work, illustrated in b&w. 8vo., cloth. New York: Richard Seaver/The Viking Press, 1978. $ 50.00 57. SCHWARZ, Arturo. The Complete Works of Marcel Duchamp, Third Revised and Expanded Edition. 2 volumes. Volume One: pp. 1 to 268 include text with b&w illustrations. Volume Two: pp. 269 to 974 include 222 colour plates followed by the critical catalogue of 663 items, all illustrated in b&w. Folios in slipcase, cloth. New York, Delano Greenidge Editions, 1997. $ 975.00 The exhaustive catalogue raisonné of Duchamp’s work which includes an updated bibliography, 1969-1995, and exhibition history by Timothy Shipe. 58. STAUFFER, Serge. Marcel Duchamp. Interviews und Statements. Foreword by Ulrike Gauss. 256 pp. with text in German. 4to., cloth in slipcase. Stuttgart: Editions Cantz, 1992. $ 75.00 59. TAYLOR, Michael R. et al. Marcel Duchamp: Etant Donnes. 448 pp., 343 color and 117 b&w illustrations. 4to., cloth. Philadelphia: Philadelphia Museum of Art, 2009. $ 225.00 Published to accompany an exhibition at the Philadelphia Museum of Art.

No. 29, Self Potrait in Profile