Ursus Rare Books

Catalogue 329

Marcel Duchamp
 Catalogue 329

URSUS RARE BOOKS, LTD. Marcel Duchamp

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Cover Images: No. 5 Rotoreliefs
New York City
Please inquire for further images
 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 Boxe-
1913- 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. Paris-
Bruxelles: 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 wall-
mountable 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 self-
wrappers. 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).

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
10. Rrose Selavy Picasso; Non Vouloir; and Au Dépens des mots. Few copies have
By Marcel Duchamp survived.

[16] pp. 8vo., 160 x 115 mm, bound in original printed publisher’s Schwarz, No. 483.
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.
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 title-
page. 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 A fine copy of the regular edition of the sought-after Duchamp
Edited by David Hare number of Charles Henri Ford’s celebrated magazine, with the
original cover designed by Duchamp. The centerfold, Les Larves
Numbers 1-4 (all D’Imagie D’Henri Robert Marcel Duchamp, is by Frederick J. Kiesler.
The issue contains numerous important texts on Duchamp by,
published). Four
among others, André Breton, Gabrielle Buffet, Robert Desnos,
volumes in three.
Harriet and Sydney Janis.
4to., bound in original
wrappers designed Schwarz, No. 508.
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.

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 rust-
colored 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 27. Eau & Gaz à Tous les Étages
the Large Glass is absolutely typical of the entire edition. Compiled by Robert Lebel

Schwarz, No. 563. Johnson, Artists’ Books in the Modern Era, 1870-
2000, No. 136. Duchamp. Exposicio organitzada per la Fundacio
Joan Miro, No. 60.
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, 1870-
2000, 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, 1870-
2000, No. 136. Duchamp. Exposicio organitzada per la Fundacio
Joan Miro, No. 60.

29. Five Original Duchamp Screen-print Posters: Self Portrait
in Profile
By Marcel Duchamp
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
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.
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.” (hors-
commerce) in white ink, in the lower left, below the self-portrait.
This is the final state of B above.
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.
This rare unnumbered screen-print is signed “Marcel dechiravit” in
black ink in the lower left corner of the self-portrait.
E) Edition of 30, numbered 1/30-30/30 in the lower left in white ink
below the red screen-printed self-portrait.
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.
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 self-
portrait alone and accompanied by the artist’s name).

The two versions (C & E) of Self-Portrait in Profile that are screen-

printed 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).

Schwarz, No. 376.

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.

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
41. Manual of Instructions for Marcel Duchamp, Etant
repaired by the
artist, The Large Donnés: 1 La Chute d’Eau. 2 Le Gaz d’Éclairage
Glass has gradually By Marcel Duchamp
become the subject
of a vast scholarly [58] pp. Illustrated throughout, including over 100 photographs
literature and the taken by Duchamp. With [4] pp. separately printed introduction
object of pilgrimages by Anne d’Harnoncourt laid in. Small folio, bound in original faux
to Philadelphia for leather. With original wraparound band bearing the title in black
countless visitors. Rare & red ink. In a new cloth folding box. Philadelphia: Philadelphia
in this condition. 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 1910-
1923. 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 1910-
1923. 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. magazine with articles by numerous contributors and illustration.
$ 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. Volume Two: pp. 269 to 974 include 222 colour plates followed by
$ 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. Published to accompany an exhibition at the Philadelphia
$ 150.00
Text in French.
55. PARIS. Opus International. Duchamp et Apres. 135 pp. art
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.
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
Museum of Art.
No. 29, Self Potrait in Profile