Marcel Duchamp, First Edition (245 results)

4to. (11 13/16 x 9 3/8 inches). [8], 11 etchings, with title, introduction, and colophon. 100 total copies: 60 numbered (1-60), 25 hors commerce for collaborators (I-XXV), and 15 artist proofs marked "E. A." This is number 39 of 60 copies. Black cloth with red and white dye-stamped lettering on front and spine, in black cardboard slipcase. Book holds 11 black and white engravings on handmade wove papier pur chiffon des Papeteries de Rives, each housed in a separate gray mount with a protective mylar window, information for each etching printed on verso of the mounts, signed in ink or pencil by artists and numbered 39/60 A complete spectacular set of 11 signed and numbered first edition prints from Surrealist luminaries such as Duchamp, Magritte, and Bellmer, in a beautiful book with slipcase. The story of a work of art's production is too often reduced to the individual, the artist of genius who arose sui generis to change culture. But it's only from within the interchange of ideas, the history of artistic conventions, and an artist's social context that artwork can be made, so it is edifying for the viewer to compare works from similarly disposed artists in the direct light of one another. Much more is learned here, via editor Arturo Schwarz's (1924-2021) Surrealism between Two Wars, about Surrealism and its unifying themes than could be ascertained from the study of any one of its individual artists. This book, the second of fourteen in the International Anthology of Contemporary Engraving series, is a museum unto itself. It contains original etchings by eleven major Surrealist artists, including household names like Man Ray and Hans Arp; it is a valuable addition to any collection of twentieth-century modern art. Jacob 3; Schwarz 360; Cramer 74; Anselmino 72. Not in Arntz.

Deluxe artist's binding. Condition: Fine. Limited edition. MARCEL DUCHAMP'S COPY, WARMLY INSCRIBED TO HIM BY ALICE PAALEN. ALSO WITH ORIGINAL FRONTISPIECE ETCHING SIGNED BY JOAN MIRÓ. BOUND BY LEGENDARY FRENCH BOOKBINDER MONIQUE MATHIEU. Signed limited edition, number 23 of only 75 copies, signed by Paalen on the limitation page (in addition to the signed inscription). On Alice Paalen: In a poem dedicated to her lover Pablo Picasso, the poet and visual artist Alice Paalen wrote, "I've been living in a map on the wall. I think I am at the crossroads of the wind. I converse with it." Bicultural, bisexual, and wildly independent, she was referred to as a shapeshifter who defied categorization. Born Alice Marie Yvonne Philppot in 1904 in eastern France, she moved to Paris with her family in 1920 and delighted in the bohemian scene. By 1934 she had married Austrian artist Wolfgang Paalen and been introduced to Paul Éluard, André Breton, Joan Miró and Pablo Picasso. In 1935 Alice had a brief love affair with Picasso, which ended when her husband threatened to kill himself. In 1936 André Breton officially invited Alice and Wolfgang to join the surrealist group, the same year that Alice became the first woman to have work published by Breton's renowned Editions Surréalistes. Alice had a far-ranging imagination and fully embraced the surrealist movement, modeling for Man Ray (in some of the hats that she created with Elsa Schiaparelli) and working closely with André Breton, Paul Éluard, Yves Tanguy, Max Ernst, Joan Miró, and Roland and Valentine Penrose (who later became her lover). When Breton opened the doors to his Galerie Gradiva in 1937 he included Alice in the dedication of his gallery and continued to be her champion throughout her career. Alice Paalen's second collection of poetry, Sablier Couché (The Reclining Hourglass), is considered one of her most important literary works. The "reclining" hourglass was meant to represent the female body shape as both a vessel and a timepiece. This signed limited edition is a collection of six poems and includes an original red etching frontispiece by Joan Miró on cut and mounted yellow paper, signed and numbered by the artist. Miró, a close friend of Alice and Wolfgang Paalen, created this illustration specifically for Sablier Couché. Sablier Couché was published in 1938 by Editions Sagesse and the poems in this collection are known for their dreamlike quality and Alice's use of nature, animals, and mythology. It's likely an autobiographical piece with Paalen as the narrator who suffers from abandonment, distress and mistreatment by her male and female lovers. In fact, it is believed that she revealed her bisexual tendencies in print for the first time in this collection. Paalen's inscription to Duchamp: Inscribed by Paalen on the front free endpaper: à Marcel Duchamp avec l'admiration et la profonde sympathie d' Alice Paalen" ["To Marcel Duchamp with admiration and deep companionship from Alice Paalen"]. She also inscribed an excerpt from one of her poems by hand at the bottom of the same page: Coupe les pieds du cheval pour qu'il se ressemble. Coupe les ponts pour mieux sauter." [Cut off the horse's feet so that it stays in one place. Cut out the bridges, to better leap ahead."]. In the year of publication (1938), Duchamp and Wolfgang Paalen worked with Breton and Éluard to arrange the central room of the Exposition Internationale du Surréalisme in Paris, thus strengthening the friendship between Duchamp and the Paalens. The binder, Monique Mathieu: Bound by arguably the foremost binder of her generation, Monique Mathieu, with her initials and the date (1966) stamped in gilt. Mathieu (born in 1927), specialized in binding books by contemporary poets and illustrated by prominent artists. This copy of Sablier Couché is spectacularly bound in smooth slate calf with brown patterned leather in relief on front and rear boards, with suede pastedowns and decorative endpapers. Housed in suede-lined chemise and slipcase. With original wrappers bound-in. S.

First edition, first printing, number 58 of 150, numbered, signed and dated by the artist on the acrylic screenprint, and signed on the title page of text. This work is the third and final volume in a series of portfolios containing notes relating to the interpretation of Duchamp's work The Large Glass which he worked on from 1915-23. Folio. Bound text, seven folders containing 81 collotype reproductions (some stapled, pinned or taped together as issued), and a screenprint on acrylic. All housed in a black cloth based box, lettering in yellow with an acrylic lid. Screenprint titled Glider Containing a Water Mill in Neighboring Metals. Sheet size: 32.5 x 27.8 cm. All in excellent condition.

Original wrappers. Condition: Very Good. First edition. FIRST EDITION, THE PRINTER JACQUES GROU-RADENEZ'S COPY, WITH TWO LONG PERSONAL INSCRIPTIONS BY HUGNET. WITH COVER MY MARCEL DUCHAMP. ONE OF ONLY 294 COPIES IN THE EDITION; AN OUT-OF-SERIES COPY LABELED "EXEMPLAIRE NO. G.H.". "This is Georges Hugnet's first volume of 'poemes-decoupages.' The title echoes Andre Mallarme's Un Coup de Des N'Abolira Jamais le hazard (1895), and Hugnet's poems, printed on the left-hand pages of the book, mirror the unusual spacing and various typefaces and sizes of Un Coup de Des. Hugnet had joined the Surrealists by 1932, and the collages on the right-hand pages, centered around nude images cut out of Paris Magazine, rehearse typical Surrealist themes. The cover by Marcel Duchamp spells out the title in letters containing the names of a whole Surrealist pantheon, including Sade, Freud, Rimbaud, Paracelsus, Swift, Heraclitus, Roussel, Chaplin, Jarry, Uccello, and Saint-Juste, and also a Man Ray photograph of DuChamp's assisted readymade 'Why Not Sneeze, Rrose Sélavy?' consisting of 152 marble cubes the size of sugar cubes, a thermometer, and a cuttlebone inside a small cage" (Roth 101, p.92). An extraordinary association copy, signed and inscribed twice by Hugnet: On the half-title, Hugnet has written a warm inscription dated 1936 (the year of publication) thanking Grou-Radenez for his work on the book. Beneath that, in 1963, he added an additional inscription to the new owner of the book (the surrealist photographer Leo Dohmen) praising Grou-Radenez, who had been arrested and murdered by the Nazi's for hiding Jewish children and aiding the French Resistance. Paris: Editions Jeanne Bucher, 1936. Original photographically embossed wrappers hand-sewn (as issued); housed in beautiful custom box. Illustrated throughout with black-and-white photo collages, several hand-colored. Only mild wear to wrappers; remnants of paper at spine ends (we have not been able to confirm that there was originally a paper spine under the external sewing; all other copies we've seen have not had a paper spine). A beautiful copy.

Condition: Very Good. First edition. FIRST EDITION: A REMARKABLE ASSOCIATION COPY. INSCRIBED BY DUCHAMP TO HIS GOOD FRIEND AND ONE OF THE FOUNDERS OF SURREALISM, PAUL ÉLUARD. Inscribed in ink on the half-title: "Cher Eluard / Marcel Duchamp" Marcel Duchamp (1887-1968) used his female alter ego Rrose Sélavy as the "author" for many of his most audacious works, including this collection of aphorisms. As an artist, Duchamp is associated with Dadaism, Cubism, and Surrealism though he resisted group affiliations. Instead, he focused on art that served the mind rather than art that pleased the eye. Dividing his time between New York and Europe, he was also an accomplished chess player, a prankster, and a writer. He especially enjoyed experimenting with verbal punning, which he viewed as a source of inspiration and humor. In addition to working with his contemporaries in the Dada and Surrealism circles, Duchamp had a seminal influence on younger Pop artists like Andy Warhol and Jasper Johns. Duchamp's Rrose Sélavy was an artist, muse, and creative experiment that brought to life his symbolic use of language. Images of Sélavy - Duchamp dressed as a woman - first emerged in 1921 in a series of photographs taken by fashion photographer and artist Man Ray. Her name, as pronounced in French, sounds like "Eros, c'est la vie", meaning "The passion of love [sex], such is life". This describes Duchamp's vision of life: the joy to live and roam free in thought. Rrose Sélavy inspired everything from collections of surrealist poetry to a 1921 sculpture called Why Not Sneeze, Rrose Sélavy? Sélavy gave Duchamp an opportunity to show off his fondness for wordplay and his interest in androgyny and gender fluidity; Duchamp was, after all, the artist who drew a mustache and beard on a postcard of the Mona Lisa. In 1939, his collection of aphorisms entitled, Rrose Sélavy: Oculisme de precision, poils et coups de pieds en tous genres [Rose Sélavy: Precision oculism, complete line of whiskers and kicks] was published by Guy Lévis-Mano, renowned for printing works by prestigious artists such as Paul Éluard and Man Ray. This copy we have on offer is inscribed "Cher Éluard. Marcel Duchamp." Duchamp personally dedicated it to his close friend Paul Éluard, a French poet and one of the founders of the Surrealist movement. Though Duchamp wrote "word plays" as early as 1922, this collection was the first time his puns were published in one place. In this anthology of anagrams, double-entendres, and spoonerisms, he played with words that often had nothing to do with each other such as "My niece is cold because my knees are cold" and "abominable abdominal fur." Duchamp believed that "if you introduce a familiar word into an alien atmosphere, you have something comparable to distortion in painting, something surprising and new." ("Marcel Duchamp interview with Katharine Kuh") On the relationship between Paul Éluard and Duchamp: Duchamp and Éluard were part of an intimate group of artists that included Pablo Picasso, Man Ray, Salvador Dalí and Max Ernst. The mutual admiration and close ties between Éluard and Duchamp were evident throughout the 1930s. In 1936 Éluard presented Duchamp with a collection of his poems which was inscribed "a Marcel Duchamp, votre ami Paul Éluard" ["to Marcel Duchamp, your friend Paul Éluard"]. He also wrote "Rosse-est-la-vie" under his inscription, likely an allusion to Rrose Sélavy. In 1938, the year before Duchamp presented Éluard with this signed collection of aphorisms, they collaborated on the Exposition Internationale du Surréalisme [International Surrealist Exhibition] in Paris. Curators André Breton and Paul Éluard recruited Marcel Duchamp to serve as generator (art director) and mediator-Breton and Éluard were often at odds with each other. Salvador Dalí, Max Ernst and Man Ray also contributed to this major cultural event which pioneered the innovative concept of an immersive art show and proved to be the key Surrealism exposition during the interwar period. The Ex.

Decorated leather. Condition: Fine. First edition. ONE OF ONLY SIX COPIES ON HANDMADE JAPON NACRÉ. SIGNED BY BOTH HUGNET AND DUCHAMP. Georges Hugnet, poet, graphic artist, publisher and historian of the surrealist movement, was inspired by Marcel Duchamp, Joan Miró, Pablo Picasso, Man Ray and other members of the Parisian avant-garde. Hugnet's first collection of poems and collages, published in 1936 and entitled La septième face du dé (The seventh face of the die), included a cover designed by Duchamp. Hugnet so admired Duchamp and his work that he penned a poem called, Marcel Duchamp, which pays tribute to Duchamp's contributions to modern art. In this poem Hugnet celebrates Duchamp's innovative spirit, his unconventional ideas about the nature and purpose of art, and his use of found objects and readymades and references several of Duchamp's most famous works, which were seen as radical and controversial in their time. We have on offer Hugnet's poem, Marcel Duchamp, published in 1941 and signed by both Hugnet and Duchamp. This copy is bound (as issued) with a pochoir frontispiece by Duchamp entitled Mustache and Beard of L.H.O.O.Q. or La Moustache sans la Joconde (The Mustache without the Mona Lisa). This pochoir evolved from Duchamp's L.H.O.O.Q. (also known as La Joconde) in which he added a mustache and goatee to the Mona Lisa, transforming the enigmatic subject into a more humorous and lighthearted character. First conceived in 1919, L.H.O.O.Q. was one of Duchamp's most famous readymades and a symbol for the international Dada movement. The stencil used for this pochoir was originally made to create a reproduction of L.H.O.O.Q. for Duchamp's Boîte en Valise (The Box in Suitcase). Duchamp reused the stencil for this project, creating a unique mustache and beard signature. (Schwarz 483-484) Clandestinely published by Hugnet in Paris during the German occupation of France, this very rare and historical work is beautifully bound by one of the most accomplished and esteemed French binders of the twentieth century, Georges Leroux. Hugnet, who joined the French resistance in 1940, distributed copies to his close friends in 1941 though many of the original 200 were destroyed or lost during the war. This copy is one of only six that were made on handmade Japon nacré. Provenance: From the collection of Paul Destribats (1926-2017), legendary collector of books on the avant-garde. Paris: np, 1941. ORIGINAL EDITION. 96 x 140 mm. One of six copies on handmade sur Japon nacré. (No. 6/6 in pencil on limitation page.) Out of a total edition of 200. ILLUSTRATION: an original stencil in black by Marcel Duchamp, "La Mustache sans la Joconde" LINED BINDING SIGNED BY GEORGES LEROUX, dated 1995. Veined black morocco, first hollow cover open on a silver medallion stretched with black lace glued to the endpaper, long spine, lining of the same morocco and metallic suede endpapers, cover preserved. A little offsetting from pochoir on facing page, a few stray spots, but generally fine condition. Full text of Hugnet's Marcel Duchamp poem: La mémoire du miroir se venge Qui fut inventée par l'homme. Qui est cet homme? Celui qui supprime avec des barres de glace. Qui est cet homme? Celui qui broie la suie avec le moulin à cristal de la neige. Qui est cet homme? Il couronne l'or avec le vent de la vie. Il détient la commune mesure et le défi entre ce qui est vu et ce qui est touché entre ce qui voit et ce qui touche. Il organise le goût du visible et l'odeur du tact. Et l'étoile du rire défait à jamais les reflets. Silence sur le silence le soleil est ailleurs. La machine à images n'est qu'un jeu de société. Rien ne commence. Le givre assis au coin du feu fixe la parole totale comme l'éclair arrêté au fronton de la nuit foudroie toute ressemblance. References: "Biographical Sketch." Georges Hugnet: An Inventory of His Papers in the Carlton Lake Collection at the Harry Ransom Center. University of Texas at Austin. Anne D'harnoncourt and Kynaston McShine. Marcel Duchamp. Museum of Modern Art/ Philadelphia.

First edition. Complete run of Eugene and Maria Jolas's landmark literary journal, which - along with Margaret Anderson's THE LITTLE REVIEW - was one of the primary vehicles of Modernist and experimental writing. Over the course of 11 years, often times under great financial difficulty, they published a who's-who of modernist and experimental authors, alongside the work of Surrealist, Expressionist, and Dada artists: "TRANSITION would explore the literary currents washing over Europe and America, present them all if they showed 'imaginative emancipation' as against descriptive naturalism" (Hoffman). Beginning with the very first issue, they published several portions of James Joyce's Work in Progress (Finnegans Wake), and notably, Jolas's English translation of Kafka's METAMORPHOSIS, which appeared in issues 24-26. Contributors across other issues include Kay Boyle, Samuel Beckett, Ernest Hemingway, Hilda Doolittle, Paul Bowles, Hart Crane, Gertrude Stein, Bob Brown, Malcolm Cowley, Robert Graves, Dylan Thomas, André Breton, André Gide, Marcel Duchamp, and others. A notoriously fragile publication, with complete sets in original condition seldom encountered in commerce, TRANSITION is a difficult run to assemble - especially in original wrappers and in collectible condition. A rare monument to Modernism and the early avant garde. Twenty-seven issues bound in twenty-five volumes, early issues 7.5'' x 5.5'', later 8.6'' x 6''. Original typographic and pictorial wrappers all. Various paginations (circa 150-325 pages most). Most issues have light wear to extremities, gentle sunning to spines and wrappers, some of the usual tanning to text edges, with occasional small edge tears, and some dust-soil to wrappers; small loss to front wrapper on No.3, with some small nicks, tears, and attendant creases to the taller issues; a few issues with previous owners names, another half-dozen with occasional foxing or minor soil to spines or wrappers; No.18 with shallow loss to lower margin of one plate; in many volumes, pages are still unopened. Very good to near fine overall.

Broché, étui de l'éditeur. Condition: Très bon. Marcel Duchamp (illustrator). Ed. originale. Edition originale illustrée de reproductions d'oeuvres et de notes de la Mariée, et de 16 SERIGRAPHIES ORIGINALES hors texte en blanc sur blanc de Marcel Duchamp, ombres de la "Roue de bicyclette" et du "Porte-bouteille". Tirage à 606 exemplaires sur vélin. UN DES 100 PREMIERS NUMEROTES ET SIGNES par Octavio Paz et Marcel Duchamp, contenant une SUITE des 16 sérigraphies imprimées en blanc sur rhodoïd transparent. La suite des ombres transparentes, sur feuilles libres, est contenue dans une chemise imprimée séparée.

Couverture rigide. Condition: Très bon. Edition originale. In-4 (262 x 205 mm) de xxiv-223-[3] pp. Cartonnage éditeur toilé, titre frappé au palladium sur le premier plat. Édition originale illustrée de très nombreuses reproductions en noir de l'ultime catalogue de la Société Anonyme, inc., publié avant sa dissolution-liquidation. Les notices de Kandinsky, Francis Picabia, Alexander Archipenko, Pablo Picasso, Juan Gris, Sophie Tauber-Arp, Jean Arp, Katherine Dreier, Matta, Jean Metzinger, Joan Miró, Georges Braque, Max Ernst, Jacques Lipschitz, André Derain, Jacques Villon, Paul Klee, Albert Gleizes, Fernand Léger, Gino Severini, Man Ray et Georges Ribemont-Dessaignes ont été rédigées par Marcel Duchamp. Envoi autographe signé à Francis Picabia. Dans ses entretiens avec Georges Charbonnier, Marcel Duchamp évoque ainsi son rapport à l' uvre de Picabia : «Nous, c'était assez comme les deux pôles, si vous voulez, chacun ajoutant quelque chose et faisant éclater l'idée par le fait qu'il y avait deux pôles. Etant seuls il aurait été seul, j'aurais été seul , peut-être moins de choses se seraient-elles produites en nous deux. ». Dédicacé par l'auteur.

Original wrappers. Condition: Fine. FIRST EDITION, Deluxe issue. EXCEEDINGLY RARE DELUXE SET OF AVANTE-GARDE WORKS BY FOUR LITERARY MASTERS. Each copy one of only 15 deluxe issues. Includes the deluxe issue of Duchamp's important collection of aphorisms, "Rrose Sélavy". This extraordinary and complete collection (collectively "Biens Nouveaux") of works by Marcel Duchamp, Lewis Carroll, Franz Kafka and Gisèle Prassinos demonstrates the significance of absurdism, magical realism and surrealism across Europe in the 1930s and 40s. Published in April 1939 by Guy Lévis-Mano, one of the most creative French printers of the twentieth century, this complete series includes Marcel Duchamp's Rrose Sélavy, Lewis Carroll's La Canne du Destin, Franz Kafka's Le Chasseur Gracchus, and Gisele Prassinos's Sondue. Each copy is one of only 15 of the deluxe issue printed on high-quality Vieux Japon. This original edition of Marcel Duchamp's book of aphorisms, Rrose Sélavy, is numbered two out of only fifteen copies on Vieux Japon. Duchamp's female alter ego Rrose Sélavy was an artist, muse, and creative experiment that brought to life his symbolic use of language. Her name, as pronounced in French, sounds like "Eros, c'est la vie", meaning "The passion of love [sex], such is life." The playful puns and witty satire in this text provide clever commentary on society and the art world, offering the reader a glimpse into the mind of a revolutionary artist who believed in the joy to live and roam free in thought. Lewis Carroll's La Canne du Destin (The Cane of Destiny) is numbered thirteen out of only fifteen copies on Vieux Japon. Published posthumously in 1939, translator André Bay believed it was written in 1848 when Carroll was only 16. La Canne du Destin features two barons, a magician and a man named Blowski who dies and is transformed into mashed potatoes (!). It is notable for its fantastical storytelling and whimsical wordplay, a style which predated and foreshadowed Carroll's most famous work Alice's Adventure in Wonderland. His writing inspired the work of surrealists, like Duchamp and Prassinos. Le Chasseur Gracchus (English: The Gracchus Hunter; German: Der Jäger Gracchus), numbered seven out of fifteen copies on Vieux Japon, was translated by Henri Parisot in 1939 and is one of the earliest Franz Kafka's stories published in French. A six-page story written in 1917, it was found posthumously among Kafka's papers. The tale is about the long-dead Hunter Gracchus who is destined to wander aimlessly and eternally at sea, unable to find peace. The surrealist dreamlike imagery of the story explores themes of loneliness, alienation, and the human condition. This work represents a model for Kafka's later writing and a Kafkaesque dilemma, "two worlds that cannot make themselves understood by one another." (Emrich) Sondue (Sounded) by Gisèle Prassinos is numbered two out of fifteen copies on Vieux Japon. A French artist and writer she was discovered by André Breton in 1934, who declared "the tone of Gisèle Prassinos is unique: all the poets are jealous of it." When she was just fourteen, her first book, La Sauterelle Arthritique (The Arthritic Grasshopper) was published. For many, her personification of animals in this story was reminiscent of Carroll's Alice's Adventures in Wonderland. Hailed as a prodigy by the surrealists, Sondue, a novella-length narrative, was published when she was just 19 and considered macabre humor. Prassinos used automatic writing, sometimes referred to as free writing, a common surrealist technique. This was the last story she published before the start of World War II. She would not publish any writing again until 1958. This "Biens Nouveaux" collection was beautifully printed on Vieux Japon, known for its velvety texture and substantial weight and only used by Guy Lévis Mano for premium projects. René Char, French poet and member of the French resistance explained, "When the passion to give life to a collection.unites with.the art of printing, it brings us admirable successes and restores the object to its lasting plenitude. Guy Lévis Mano is the only one today who satisfies this haughty concern. He devoted his faith, his competence, his generosity and his enthusiasm to it." (Char 745) 1. Marcel Duchamp. Rrose Sélavy. Paris, G.L.M., 1939. First Edition. Small quarto (165 x 115 mm), original wrappers; glassine. Small closed tear to glassine at front base, otherwise fine. One of 15 original copies on Vieux Japon, this one number 2. 2. Lewis Carroll. La Canne du Destin (The Cane of Destiny). Paris, G.L.M., 1939. Small quarto (165 x 115 mm), original wrappers; glassine. Fine condition. One of 15 original copies on Vieux Japon, this one number 13. 3. Franz Kafka. Le Chasseur Gracchus (The Gracchus Hunter). Paris, G.L.M., 1939. Small quarto (165 x 115 mm), original wrappers; glassine. Fine condition. One of 15 original copies on Vieux Japon, this one number 7. 4. Gisèle Prassinos. Sondue (Sounded ). Paris, G.L.M., 1939. First edition. Small quarto (165 x 115 mm), original wrappers; glassine. Fine condition. One of 15 original copies on Vieux Japon, this one number 2. References: André Breton. Translated by Richard Seaver and Helen R. Lane. Manifestos of Surrealism. University of Michigan Press, 1969. René Char. In the Poet's Studio. Gallimard "Quarto" collection, 1956. The Editors of Encyclopaedia Britannica. "Franz Kafka." Encyclopedia Britannica, December 2, 2022. Wilhelm Emrich. Translated by Sheema Z. Buehne. Franz Kafka. Frederick Ungar Publisher, 1961. Alexander Hawkins. "Meet Rrose Sélavy: Marcel Duchamp's Female Alter Ego." AnOther Magazine. December 1, 2015. Gisèle Prassinos. Translated by Ellen Nations. Surrealist Texts. Black Scat Books, 2014. Rachel Rivenc and Kendra Roth, eds. Living Matter: The Preservation of Biological Materials in Contemporary Art. Getty Conservation Institute, 2022.

Soft cover. Condition: Very Good. 1st Edition. 112+[1 ad] pages with diagrams and errata laid in. Square folio (12 1/4" x 10 1/4") bound in original publisher's wrappers in original onionskin jacket with a handwritten letter signed by Marcel Duchamp housed in a handcrafted archival enclosure by Octavaye. (Bibliotheca Van der Linde-Niemeijeriana: 2273) First edition. Letter by Marcel Duchamp to Richard Hulbeck 25 October 1947. Reads as follows: Dear Hulbeck, The pictures are not back and I am afraid won't be back for some months. Schweizer, the representative there is in France and is coming back in a few weeks or days. He will have exact information about the return of the shipment. Don't worry and I will call you up some day soon. Affectueusement Marcel. Richard Hulsenbeck (1892-1972) was a German writer, poet and psychoanalyst. In 1920 he was editor of the Dada Almanach and wrote Dada siegt-Eine Bilanz des Dadaismus. After emigration to USA in 1923 he changed his name to Hulbeck. Curiosity has impelled the authors to elucidate a question which has periodically give rise to bitter articles in chess literature. Opposition or "sister squares"; let us simplify Opposition and "sister squares", for after have read many a discussion of terminology on this question, it seems that the confusion is born, in greater part of a faulty typographical arrangement. The authors have have thought it necessary to multiply the number of diagrams, even to excess, to facilitate the understanding of the text. These external considerations will also help to take from the problem its pseud-esoteric aspect, the first cause of the feud. Among the bibliographical sources upon which they have drawn, they mention first of all La Nouvelle Regence Paris (1860-61). etc and La Strategic Raisonnee des Fins de Partie du Jeu d'Echecs by Abbe Duran and Jean Preti, Paris (1971). The purpose of this work is the study of the role of the king in pawn end games. This role consists in attacking or defending certain pawns, certain squares or certain groups of squares. In the early 1920s a rumor circulated through the art worlds of Paris and New York that Marcel Duchamp "the artist best known for Nude Descending a Staircase, the sensation of the Armory Show of 1913" had decided to stop making art in order to devote his life to playing chess. Although Duchamp made no effort to refute this claim, and had indeed entered into regular tournament play, he would never abandon his career as an artist. For the remaining years of his life, he sought opportunities to combine the two endeavors. Not only was the theme of chess an ever-present motif in his work "from his earliest paintings to works of his final decade" but on more than one occasion he buried coded messages in his art that could be fully comprehended only by proficient players of the game. He went so far as to suggest that the activity of playing chess be considered a component of his artistic expression. Condition: Housed in handcrafted enclosure else very good to fine.

Soft cover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. 8° - 139pp - 24 Original prints (5 Color Lithographs, 5 Original Etchings (one in color), 2 woodcuts and 12 Original B/w Lithographs.First edition, published in 999 numbered copies. Text in French language. Original Binding (photo of the female breast) and original slipcase. In Fine condition.

First UK edition, first printing, signed in red pen on the front free endpaper by Duchamp and inscribed and signed in black pen by R.B. Kitaj "Duchamp signed this at Richard's house on 19 June 66" with a black line through the first 7 words, signed in black felt tip by Hamilton opposite the title page. Duchamp stopped working on the artwork The Bride Stripped Bare by Her Bachelors, Even, widely referred to as The Large Glass, in 1923, after eight years, not because it was complete, but because he decided it should remain "definitively unfinished." Later, in 1927, when the glass was en route to collector Katherine Dreier's house from an exhibition in Brooklyn, he was thrilled to discover it had been damaged, saying the accidental cracking finished the work in a way that he never could have. Octavo. Original green boards, titles to front cover in black and white, titles to spine in white. With original acetate dust jacket. Housed in a burgundy clamshell box with black calf spine. With photographic plates, full-page drawings, diagrams, various typographic formats, annotations, vignettes, and musical notation. Minor rubbing to corners in fine dust jacket.

Custom box. Condition: Very Good. First edition. DUCHAMP'S FAMOUS "CATALOG" FOR THE CELEBRATED 1953 DADA RETROSPECTIVE. "Duchamp planned, organized, and installed a major historical show of international Dada at the Janis Gallery in 1953. More than two hundred works of art and documents were on view, each one identified in a Duchamp-designed 'catalog' that was itself pure Dada -a tissue-thin broadsheet with written texts (by Jean Arp, Richard Huelsenbeck, Jacques-Henri Lévesque, and Tristan Tzara) in contrasting typefaces, set in narrow columns that ran diagonally down the page. When the sheets were delivered to the gallery, Duchamp took one, crumpled it up into a ball, and told Janis to mail it as it was, and Janis did so, to the confusion of numerous art lovers who wondered why they were being mailed trash. (A wicker basket of crumpled catalogs stood beside the gallery door at the opening.) "Duchamp was represented in Janis's Dada show by four works: Tu m', his last painting on canvas; To Be Looked at (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour, the glass study he had done in Argentina; the ready-made Fresh Widow; and Janis's replica of Fountain, installed over the door at the entrance, with a sprig of mistletoe dangling from its inverted bowl." (Calvin Tomkins, Duchamp: A Biography, 378-9).â With text by Hans Arp, Richard Huelsenbeck, Jacques-Henry Lévesque, Tristan Tzara; Arp's and Tzara's texts were translated by Duchamp. Ref. Schwarz 543. New York: Sidney Janis Gallery, 1953. Single sheet of thin tissue-like paper, 25x38 inches (96.5x63.5 cm). It's possible this example was crumpled, but it clearly has been stored flat and folded now for some time. With closed tear at center (with no loss); a few tiny tears at folds and edges. Housed in custom cloth box. Rare in such good condition. AN ESSENTIAL PIECE OF DADA HISTORY.

Framed. Condition: Very Good. First edition. WONDERFUL SURREALIST PHOTOGRAPH OF DUCHAMP, MAN RAY, AND LAURIE SAVAGE. Inscribed by the photographer Naomi Savage: "Greetings of the Season from Naomi and David Savage, with Man Ray, Duchamp, and Laurie looking on.". Having met in 1915, Man Ray (American 1890 - 1976) and Marcel Duchamp (French, 1887 - 1968) were lifelong friends and frequent collaborators whose powerful intellectual chemistry allowed them to respond freely to each other's ideas in an artistic dialogue filled with in-jokes and innuendos. For example, among their earliest collaborations is Man Ray's portraits of Duchamp's alter-ego, Rrose Selvay, whose name is a pun on the French phrase, Eros, c'est la vie. Man Ray and Duchamp's mutual rejection of traditional art-world ideologies and art-making practices remained a mainstay of their long friendship. Today each artist is associated with a range of avante-garde movements such as Cubism, Dada, Surrealism, and Conceptual Art. Photographed in 1963 by American photographer Naomi Savage (1927 - 2005) the two artists sit side-by-side with their shoulders touching as they face the camera. The expression on their faces is an enigma. The landscape behind them is blurred, which distorts any normal sense of depth and presents Man Ray and Duchamp as one dimensional as a paper cutout. Hovering over the shoulder of Duchamp is Laurie Savage, the daughter of photographer Naomi Savage. Laurie's unexpected presence adds a level of Surrealism, but also creates a sort of family snapshot: the photographer, Naomi Savage, was Man Ray's niece, making Laurie his great-niece. Naomi Savage studied photography with American photographer Berenice Abbott (American, 1898 - 1991) (who briefly worked as Man Ray's studio assistant in Paris) at the New School for Social Research before studying art at Bennington College. But it was during an apprenticeship in Hollywood with her uncle and mentor Man Ray that she began to develop her trademark exploration of innovative photographic techniques. "The darkroom," he told her, "was a place to make fearless tries at whatever images came to mind." She took his advice to heart, experimenting with alternative photographic, mechanical, and electronic techniques throughout her career. Her photographs belong to collections of leading museums such as the Art Institute of Chicago, the Fogg Museum at Harvard University, and the Museum of Modern Art. The Smithsonian Archives of American Art retains her papers. Provenance: From the collection of American photographer Arnold Newman (1918-2006). Gelatin silver print. 7 3/8 x 6 in. (18.7 x 15.2 cm). Archivally framed under museum glass to an overall size of 16 x 13.5 in. Photograph flush mounted to board (as presented by Savage), with Savage's inscription on board verso. In excellent condition with a few very minor hairline scratches only visible under raking light.

Soft cover. Condition: Good. 1st Edition. 8vo. Stapled wrappers. Unpaginated (20pp.). A brilliantly Dadaist homage to Duchamp, variously in English and French, including twelve otherwise blank sheets simply headed with the months of the year, a list of puns by Duchamp (as Rrose Selavy) on the back cover, a page-and-a-half 'Introduction by "A Woman of No Importance"' (possibly Massot), and an appropriate epigraph by Gertrude Stein: 'I was looking to see if I could make Marcel out of it but I can't.' Good only, rather creased and handled, the wrappers unevenly faded and somewhat soiled, slightly spotted internally, and the staple rusty, but serviceable nonetheless and extremely rare, this example signed by the author in Paris in Spring 1924 with an inscription to 'Cedric Moriss', no doubt the British artist Cedric Morris, who was a friend of Duchamp's. Signed by Author(s).

Softcover. Condition: Gut bis sehr gut. 1. Auflage. Z : offset-printed slipcase color 98 x 140 cm. each 2 vol. [2] pp. each edition size unknown unsigned and unnumbered - Two large, folded, posters by Hamilton interpreting the upper and lower sections of Duchamp's "Large Glass." Think of them as road maps to one of the most important works of contemporary art.

Hardcover. Condition: Very Good. First Edition In English. Signed. Hardback. Dust Jacket. Large 4to. First edition in English - ranslation by George Heard Hamilton. pp.(6)192; 48 photographs & 122 plates (6 colour tip-ins); Original publisher's prange cloth a little bumped at lower spine els clean very good copy, the dust-wrapper lacks small pieces from head & tail of spine, bottom of backstrip bumped, otherwise well preserved in original card slip-case. Inscribed by Duchamp, 'Cher Gabo, de 1923 nos jours et quelles journ es! Affectueusement Marcel 1960'. In their Realistic Manifesto, Moscow, 1920, Naum Gabo and his brother Antoine Pevsner first coined the term 'kinetic art' of which the earliest instance was perhaps Marcel Duchamp's 1913 sculpture, Bicycle Wheel. Antoine moved to Paris soon after and was joined by Gabo after he secured Diaghilev's commission to design sets & costumes for La Chatte, which opened in Monte Carlo in 1927 with music by Sauget and Balanchine's choreography. PRESENTATION INSCRIPTION TO NAUM GABO. An excellent modernist art association. Signedes.

Couverture souple. Condition: Très bon. Edition originale. In-16 (165 x 118 mm) de [20] pp. Broché. Infime tache à la couture des premiers feuillets. Édition originale imprimée à 515 exemplaires. Un des 15 numérotés sur japon, seul grand papier.

Condition: Very Good+. First Edition, Trade Issue. Inscribed in French by Marcel Duchamp on page following front transparency, then signed and dated. Translated the inscription reads, "Dear [Alma?] I appreciate the catalogues you sent me, etc. and here's another book, with no pretense. Salutations, Marcel Duchamp New York City, 1960." 231 pp. with b&w folding transparency of La Marieé Mise a Nu par ses Célibataires, Même. Printed wrappers. In French. First edition, trade issue. Very Good+ with rubbing along edges of wrappers, vertical crease to spine, internally clean and bright. Some pages unopened. A rare signed copy of the writings of the pioneering artist associated with the Cubist, Dadaist, and conceptual art movements; the title translates to Salt Merchant in English.

Soft cover. Condition: Very Good. 1st Edition. Exposition internationale du Surréalisme. Paris, Maeght 1947. First edition of the rare catalog on Surrealism. Illustrated with 24 original prints, and with the photographic representation of a female breast on the cover as a substitute for the multiple created by Marcel Duchamp. Total edition of 999 copies of which this one is one of 950, with 5 original color lithographs by Brauner, Ernst, Harold, Lam and Miro; 5 original etchings (1 color) by Bellmer, Jean, Maria, Tanguy and Tanning; 2 original woodcuts by Arp; and 12 lithographs in black by Brignoni, Calder, Capacci, van Damme, de Diego, Donati, Hare, Lamba, Matta, Sage, Tanguy and Toyen. In original soft photographic cover, and original glassine with red title in very good conditions, no slipcase. Ref Monod 110513. - Da Manet a Hockney 115. - Reynolds Coll. 199. - Lang p 125ff. - Sheringham Aa383. - Cramer (Miro) 11. - Spies / Leppien 24. - Mourlot I, 56.

First edition, first printing, one of only 400 copies, scarce in the jacket. This title publishes for the first time in book form, and the first time in English, a selection of the author's notes on the composition of his ground-breaking work, La mariée mise à nu par ses célibataires, même ("The Bride Stripped Bare by her Bachelors, Even"). In 1934, Duchamp published The Green Box, an edition of 20 green boxes collecting 94 loose facsimile documents pertaining to the conception and execution of La mariée mise à nu par ses célibataires, même, more commonly known as "The Bride", or "The Large Glass". Here 25 of the more conceptual, philosophical notes are reproduced. Ostensibly an insight into Duchamp's method, the "'commentaries' on the figures and forms depicted in the 'Large Glass' were anything but explanatory. No less ambiguous or freely interpretable than the visual forms in the glass painting itself, these commentaries, couched in the metaphorical language of psychologized physics and chemistry, portrayed love as an erotic funfair" (Molderings). Herbert Molderings, Duchamp and the Aesthetics of Chance: Art as Experiment, 2010. Octavo. Original black boards lettered in black on cream ground, spine lettered in cream. With dust jacket. Spine and covers toned, a little wear to foot of spine, extremities lightly rubbed, a touch of foxing to spine and edges of contents, faint offsetting to endpapers. A very good copy indeed, square and clean, jacket with extremities lightly rubbed, a few short closed tears, slight loss to spine ends, a couple of tiny chips to edges; a nice example of the scarce jacket.

First UK edition, first printing, signed in pencil by Duchamp on the title page. Duchamp stopped working on the artwork The Bride Stripped Bare by Her Bachelors, Even, widely referred to as The Large Glass, in 1923, after eight years, not because it was complete, but because he decided it should remain "definitively unfinished." Later, in 1927, when the glass was en route to collector Katherine Dreier's house from an exhibition in Brooklyn, he was thrilled to discover it had been damaged, saying the accidental cracking finished the work in a way that he never could have. Octavo. Original green boards, titles to front cover in black and white, titles to spine in white. With original acetate dust jacket. With photographic plates, full-page drawings, diagrams, various typographic formats, annotations, vignettes, and musical notation. Boards lightly unevenly faded, corners lightly rubbed, dust jacket lightly nicked to corners.

as issued. Condition: Fine. first edition. RARE EXHIBITION CATALOG WITH PHOTOMECHANICAL RELIEF PRINT IN BLUE BY MARCEL DUCHAMP ILLUSTRATING HIS CONCEPT OF "INFRA-THIN'. The four-page brochure/catalog was designed to promote the April 1945 exhibition by Man Ray at the Julien Levy Gallery titled "Objects of My Affection." The back of the catalog features definitions by Man Ray of his "objects of affection", while the inside contains a checklist of exhibited works and an introductory essay by Man Ray ("The streets are full of admirable craftsmen, but so few practical dreamers."). The cover, designed by Duchamp "reproduces an enlargement from a Hackenschmied cinema frame. The lovers kissing are the realization of the marriage through the 'infra-thin' of the Bride's fragrance and the Bachelor's tobacco-laden breath." (Schwarz 510). New York: Julien Levy, 1945. Large (11 1/2 x 9 1/8 in; 293 x 230 mm), folded gallery brochure (four pages created with center fold); housed in beautiful custom box by noted book designer Sjoerd Hoftra. A little bleed-through from the cover, as always. Fine condition - as nice as we've seen.

Soft cover. Condition: Very Good. 1st Edition. 8vo. Original paper wrappers with a design by Francis Picabia. Special Duchamp issue Texts by Duchamp, Baron, Picabia, Péret, Desnos, Vitrac, Morise and Breton, (Schwarz bibliog #27), . Lacks the 'Hors-texte' plates. Paper yellowed and fragile, covers rubbed and a little frayed at spine, a few pages carelessly opened.

Condition: Fine. First Edition. No.4, February 1944. 86, [12] pp. with plates. Illustrated red wraps with yapped edges. Basically a Fine copy, unsophisticated, very bright and clean, slight bump to head, tiny scratch to spine, offsetting to plate between pages 56 and 57. The final issue of the surrealist journal, featuring work by Aime Cesaire, Andre Breton, Philip Lamantia, Benjamin Peret, Leonora Carrington, Marcel Duchamp, Wilfredo Lam, Max Ernst, Yves Tanguy, and more. Cover illustration by Chilean artist Roberto Matta.

Pas de couverture. Condition: Comme neuf. Edition originale. Affiche, édition Galerie Claude Givaudan (Paris), 8 juin-30 septembre 1967 : offset et typographie sur papier glacé (695x480 mm).

First edition, first printing, signed limited edition, no 138 of 170 copies. These luxurious catalogues were published in conjunction with the Kunsthaus Bregenz two-part series of exhibitions of the same name. Re-Object is signed in pencil on the jacket by Koons, Hirst, and Merz; Mythos is signed in pencil on the jacket by Barney and Gordon. the text is in German and English. Two volumes, quarto. Re-Object: original silver cloth, lettering to front cover and spine in white, silver endpapers; Mythos: original gold cloth, lettering to front cover and spine in white, gold endpapers. With dust jackets. Housed in the original cloth slipcase. Extensively illustrated throughout. All in fine condition, jackets unclipped.

First edition, first printing, uncommon complete and in such fresh condition. This portfolio comprises seven items, including the first appearance of Paz's essay O el castillo de la pureza, published separately in English in 1970, and a colour transparency reproduction of Duchamp's The Large Glass. In his essay, Paz examines Duchamp's The Large Glass while dwelling on the problems he sees in modern art. "Duchamp is surely Paz's artist because he is such a verbal artist - a poet's artist. What Duchamp sees, as Paz states it, is 'invisible reality'. Paz's ability to understand contemporary art stems from his cultural-historical studies in Mexican society. His credentials for interpreting Duchamp are perhaps more appropriate than those of an art historian, since Paz is adept at interpreting the role of the artist within a society, rather than the role of the artist as simply art-maker" (Robinson). Produced in the same spirit as Duchamp's Boite en Valise, this portfolio offers reproductions of his famous readymades, further blurring the distinction between original artworks and copies. John Robinson, "Marcel Duchamp, Appearance Stripped Bare", Artforum, vol. 17, no. 6, Feb. 1979. Tall quarto. Original green cloth chemise, spine and front cover lettered in black, containing seven items, complete as issued: 1) Marcel Duchamp o el Castello de la Pureza (62 pp., oblong octavo, original green cloth lettered in black, checkered endpapers, illustrated with 4 black and white plates and 8 colour plates, all tipped-in); 2) Marcel Duchamp - Textos (69 pp., oblong octavo, original black and white photographic wrappers lettered in white, illustrated in black and white); 3) "El Gran Vidrio", a colour transparency of The Bride Stripped Bare by her Bachelors, Even, in a printed cardboard enclosure (303 x 200 mm); 4) Colour reproductions of each of the three versions of Nude Descending a Staircase (282 x 167; 283 x 174; 162 x 183 mm); 5) 9 colour postcard reproductions of various readymades, printed on heavy stock, in a checkered paper envelope (125 x 185 mm); 6) "Album Fotografico", (10 pp. 303 x 200 mm), original printed wrappers; 7) a white cardboard stand-up of Duchamp printed in blue ink (240 x 170 mm). Housed in original green cloth slipcase, black and white checkered paper sides lettered in black and white. Text in Spanish. Contents fresh, occasionally a little toned, edges of Nude Descending slightly rubbed; paper on slipcase lightly toned with a little rubbing: in near-fine condition.

Encuadernación de tapa blanda. Condition: Bien. 1ª Edición. 111 pp. Rústica. 28 x 24,5 cm.