RONNY VAN DE VELDE 2015

RONNY VAN DE VELDE 2015

Opgebouwd rond een cruciaal ontwerp voor het legendarische Large Glass biedt deze collectie een breed overzicht van Marcel Duchamps multipels en grafiek. Wanneer hij in de jaren twintig afscheid neemt van het kunstenaarschap om zich volledig te wijden aan schaken, heeft hij al gezorgd voor de museale toekomst van zijn belangrijkste werken door ze onder te brengen bij een paar trouwe verzamelaars die aan mecenaat doen. Zijn schaarse tussenkomsten achteraf op het artistieke terrein hebben een bijna clandestien karakter; ze beantwoorden ook aan zijn reputatie van onverbeterlijke dwarsligger en behoeder van de ware geest van dada. De installatie Etant donnés waar hij jaren in het grootste geheim aan had gewerkt, zal bij onthulling na zijn dood nog het nodige schandaal verwekken. Parallel aan zijn strategie om via museale erkenning zijn plaats in de kunstgeschiedenis veilig te stellen, werkt Duchamp ook aan verspreiding van zijn werk naar een ruimer publiek, zonder toegevingen aan de modes die hij ziet komen en gaan. Hij weet altijd de juiste provocerende toon te treffen, als vanzelf, zonder kabaal. Of het nu gaat om de Rotoreliefs waarmee hij onartistieke objecten in doodernstige tentoonstellingen binnensmokkelt, of om zijn alternatief voor een retrospectieve, de Boîte-en-valise, die herinnert aan oude speelgoedkoffers, altijd ondergraaft hij met zijn ludieke en kritische ingrepen onze zekerheden over rol en betekenis van de kunst. Hij speelt een ernstig spel, volgens eigen regels en met veel dubbelzinnigheid. In de Boîte-en-valise drijft hij de ironie zover dat hij de replica’s van patina voorziet als die van werken in een ouderwets museum waar onderhoud en restauratie niet de grootste zorg zijn. In een periode waar de moderne typografie in opkomst is zaait hij twijfel met zijn anti-lay-out voor omslagen van tijdschriften en catalogi. Het hele oeuvre van Duchamp is gekenmerkt door eigenzinnig hergebruik van populaire beeldcultuur. Het is dan ook niet meer dan logisch dat, wanneer hij uit de schaduw treedt en beroemd wordt, hij zijn eigen oeuvre behandelt als een appropriation artist avant la lettre. Om zich te onderscheiden van de massaproductie en -distributie van beelden grijpt hij naar de oudste methode om kunst te laten circuleren, bij voorbeeld met de suites van etsen naar het Large Glass en citaten uit de grote kunst die heeft geïnspireerd. Voor wie hem ervan zou verdenken dat hij de klok wil terugdraaien, etst hij – really not done – een paar woordspelingen als illustraties bij gedichten van vrienden. Tot op het einde blijft hij consequent onorthodox en ongrijpbaar. Hij is als een negentiende-eeuwse dandy – afstandelijk, sereen, discreet, laconiek, met een neiging tot solipsisme en met de paradox als belangrijkste wapen. Overtuigd van de onbegrensde vrijheid van het individu, wars van alle vooroordelen en afkerig van elke routine treedt hij uit de opeenvolgende kunststromingen naar voren als een echte eenpersoonsavant-garde. De aantrekkingskracht van Duchamps werk en zijn invloed op alle kunstenaars na hem berusten op zijn talent om met een minimum aan middelen een maximum aan resultaat te behalen. Het kan een te eenvoudige verklaring lijken, maar de kunstenaar die de humor in de grote kunst heeft gebracht, is ooit begonnen als tekenaar van karikaturen. En het is bekend dat een geslaagde karikatuur het moet hebben van de pointe. Van die vroege tekeningen loopt een spaarzame en doeltreffende lijn naar de readymade erotische pannenlappen en zoveel andere storende tussenkomsten, hier samengebracht voor uw visuele en intellectuele genoegen.

Based around a crucial design for the legendary Large Glass, this collection offers a broad overview of Marcel Duchamp's multiples and graphic works. When in the 1920s he bids farewell to art in order to fully devote himself to the game of chess, he had already assured for the museal future of his most important works by seeing that they were acquired by a few loyal collectors with a philanthropic bent. His rare subsequent interventions in the domain of art have an almost clandestine character; they also are in line with his reputation as an inveterate troublemaker and true keeper of the dada faith. The installation Etant donnés, which he had for years worked on in secret, would upon its unveiling after the artist's death equally serve to evoke the necessary degree of scandal. Parallel to his strategy of securing his place in art history by way of museum recognition, Duchamp also worked to spread his work to a broader public, but then without ever bowing to latest trends that he saw come and go. He always knew how to strike just the right provocative tone, quite naturally and without fuss. Whether with his Rotoreliefs, whereby he smuggled unartistic objects into deadly serious exhibitions, or with his alternative kind of retrospective - the Boîte-en-valise - that harks back to old-fashioned toy coffers, with his playful and critical interventions Duchamp consistently undermines our received notions about art's role and meaning. He plays a serious game, according to his own rules and with much ambiguity. In the Boîte-en-valise, he drives the irony so far that he even provides the replicas with a patina, just as with works in an old-fashioned museum where conservation and restoration are not prime concerns. In a period where modern typography is on the rise, he sows doubt with his anti-lay-out for covers of reviews and catalogues. Duchamp's entire body of work is marked by ingenious re-use of elements drawn from popular visual culture. It is then nothing less than logical when once emerging from the shadows into celebrity, he subjects his own oeuvre to the 'appropriation artist' treatment, avant la lettre to be sure. In order to set himself apart from the mass production and distribution of images, he calls upon a most venerable method of circulating art, like here with suites of etchings after the Large Glass and quotations from the great art that had inspired him. For those suspecting him of wanting to turn the clock back, he etches – really 'not done' – a few plays-on-words as illustrations for poems of friends. To the end he remains consistently unorthodox and elusive. He's like a 19th-century dandy – detached, serene, discrete, laconic, with an inclination for solipsism and with paradox as his side-arm. Convinced of the limitless freedom of the individual, averse to all prejudice and loathful of all routine, he emerges as a oneman avant-garde among the successive art movements. The power of attraction of Duchamp's work and his influence on all artists after him rest on his particular talent to attain maximum results with a minimum of means. It may seem something of a simplification, but the artist who brought humour into great art once indeed began as a creator of caricatures. And it's a verity that the good caricature has to drive the nail home. From these early drawings there runs a sparse and effective line to the readymade erotic pot-holders and so-many other disturbing interventions, here brought together for your visual and intellectual delight.

Les Joueurs d’échecs, 1911/1965 Etching, pulled in black on handmade paper, 500 x 650 mm (sheet size) Engraved after the drawing Etude pour les Joueurs d’échecs (1911) Signed and dated Marcel Duchamp/1965 lower right

Edition 50 signed and numbered copies, plus 10 artist’s proofs Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 621, ill. p. 853

Marcel Duchamp (1887-1968) Etude pour les Joueurs d’échecs, 1911 Drawing Private collection 6

Study for LA MARIÉE MISE À NU PAR SES CÉLIBATAIRES, MÊME – le Grand verre, 1913 Pencil on tracing paper, 116 x 310 mm Signed Marcel Duchamp and dated 1913 lower right; inscribed and numbered Pour Beatrice Cunningham en souvenir d’un enfer à Philadelphie, Marcel Duchamp, N.Y. 1956 on the left edge The authenticity of this work has been confirmed by Jacqueline Matisse Monnier and the Association Duchamp. Provenance Beatrice Cunningham, New York (a gift from the artist in 1956) Private collection, London Literature Jennifer Mundy, ‘An Unpublished Drawing by Duchamp: Hell in Philadelphia’, in Tate Papers, no. 10, October 2008, illustrated fig. 4 For The Bride Stripped Bare by her Bachelors, Even  (The Large Glass) (1915-1923), probably his most famous work, Marcel Duchamp took many notes and made many drawings. What he himself published of these preparations – The Box of 1914, The Green Box (1934) and The White Box (1967) – together with what appeared posthumously, has served to reinforce the riddle of this work rather than to solve it. The innumerable exegeses of laymen and specialists have provided for a never-ending stream of hypotheses with only the occasional trickle of insight. The day is no longer far off when we’ll build a machine that will read everything that’s

ever been written about and will still come to be written about the Large Glass, and interpret it anew and anew, but of course without ever drawing any definitive conclusions. A machine with pipes and cogs and valves, and transmission belts, etc., etc. in the spirit of Duchamp, and not with some software or other that would deliver results just as boring as those games where chess computers play against Grand Masters. In her detailed article about this unpublished preliminary study, Jennifer Mundy writes: ‘The drawing depicts an element in the lower panel of  The Large Glass.  It is not claimed that the revelation of this drawing substantially changes understanding of the Large Glass, but it appears to be a ‘missing link’ between some already published notes and deepens our understanding of this central element in the lower panel of the Large Glass.’ The note concerns the idea of a ‘desire dynamo’, an element not ultimately retained by Duchamp for The Large Glass. Jennifer Mundy suggests the reasonable link between Duchamp’s strategic distribution of his preliminary studies and his relationships with – beautiful and intelligent – women: ‘Duchamp both cared fanatically about his notes for the Large Glass, as shown in his painstaking reproduction of them in facsimile form, and was happy for some to remain unknown in folders among his papers or even, as with the

Cunningham drawing, to be potentially lost from sight for many years, possibly forever. In this latter case, it was the act of giving a token of friendship or of admiration to a particularly beautiful and intelligent woman that mattered.’ Perhaps it would serve to rediscover more of Duchamp’s sources of inspiration. Perhaps the not-always scientifically responsible construction of The Large Glass can be explained by the whimsical, ironic and pragmatic approach by which Duchamp recycled much technological visual material – and sometimes deliberately omitted certain components and connections in order to achieve a less ‘realistic’ effect. Perhaps The Large Glass is foremost the result of an unfinished game, with the element of play serving for more continuity in Duchamp’s career than has heretofore been recognized. And perhaps the Large Glass is just the most personal work of a grand dandy, who was of the opinion that a ‘desire dynamo’ would unveil (too much of ) his carefully cultivated mystery. Mrs. Jennifer Mundy’s highly recommendable article, ‘An Unpublished Drawing byDuchamp: Hell in Philadelphia’, in Tate Papers, no.10, October 1, 2008, is available online http://www.tate.org.uk/research/publications/tate-papers/ unpublished-drawing-duchamp-hell-philadelphia

Marcel Duchamp in conversation with Beatrice Cunningham at the Philadelphia Museum of Art, 1955 8

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­ iston de courant d’air P (Draft Piston), 1914/1965 Positive print on celluloid, 299 x 237 mm. The print was made of a photograph from 1914 used by Duchamp to determine the shape of the 3 draft pistons in the Large Glass. Made for the deluxe copies of Marcel Duchamp. Ready-Mades etc. (1913-1964), Milan/Paris, 1964. Signed Marcel Duchamp lower right

Edition 100 signed and numbered copies Publisher Le Terrain Vague, Paris and Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 619, ill. p. 851 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 30, ill. p. 34

The Large Glass (1915-1923) Detail Collection Philadelphia Museum of Art 12

Pharmacie, 1914/1945 Handcoloured print, 220 x156 mm. A full-scale replica of the rectified readymade Pharmacie, 1914, as included in the deluxe edition of View. V, No.1, Marcel Duchamp Number, New York, 1945. Signed and dated M. Duchamp 45 lower left and numbered 57% on the front cover of the periodical

Edition 100 signed copies, numbered on the front cover of the periodical Publisher View, New York Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 283b, ill. p. 597 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 28-29, ill. p. 33

Cover View, Special Marcel Duchamp number, V, N°1 New York, 1945 14

We join the deluxe edition of View. V, No.1, Marcel Duchamp Number, New York, 1945. 330 x 257 mm, pp. 54, untrimmed, original boards, complete with grey dustjacket. The binding of the deluxe copies bears some Duchamp accents: a very unartistic board with varnish finish (some pigment seems to be added to the varnish resulting in a brush stroke effect which makes every binding unique) has the number of the copy stamped in red in the middle, 57%, with a percentage sign instead of the usual /100; the spine is natural colour cloth. Kiesler’s triptych is printed on yellow stock (white in the regular edition) and inlaid instead of bound-in as in the regular edition. The issue features articles by André Breton, Gabrielle Buffet, Max Ernst, Harriet and Sidney Janis, Man Ray .., with their signatures on the final page.

L’Œil cacodylate, 1921 Black and white photograph by Man Ray, vintage gelatine silver print, 218 x 165 mm Photographer’s stamp on verso: MAN RAY/ 8 RUE DU VAL -DE –GRACE/ PARIS 5e – France / DANTON 92-95 Provenance Estate Man Ray, Sale Sotheby’s, London, 1995

Photograph of a major icon of the Paris dada movement, a collective work of anti-art – ink, oil and collage on canvas, 1150 x 1140 mm – launched by Francis Picabia. The Cacodylatic Eye ‘was done in collaboration with about fifty friends (and a few enemies) as they dropped by the apartment [of Picabia]. These friends – among them Duchamp, Darius Milhaud, Cocteau, Isidora Duncan, Paul Poiret, Tzara and the Fratellini – were invited to do to the canvas what they wished,

Francis Picabia (1879-1953) LŒil cacodylate, 1921 Oil with photomontage and collage on canvas Musée National d’Art Moderne, Centre George Pompidou, Paris 16

and they covered it with a scattering of collage elements, signatures, doodles, puns, aphorisms and homages. (…) critics enjoyed a field day with what one called the “interior of a pissotière (…)’ (William A. Camfield, 1970) – Duchamp’s contribution consisted of the pun en 6 qu’habilla rrose Sélavy, his name in capital letters and two small cut-out photographs of his head, one with the head completely shaved and one with the ‘Comet’ tonsure.

Coffee Mill, 1921/1947 Etching printed in black on pur fil Lana paper, 180 x 80 mm (plate size), 255 x 203 mm (sheet size). The etching was made by Jacques Villon and Marcel Duchamp in 1921 after Duchamp’s oil painting from 1911 of the same title. The plate of this etching was used again in 1947 to pull one of the illustrations for Du Cubisme by Albert Gleizes and Jean Metzinger, Paris, Compagnie Française

des Arts Graphiques, 1947. 74 pp., in sheets, original wrappers, chemise and slipcase. The book also contains engravings by Gleizes, Laurencin, Metzinger, Picabia, Picasso, Jacques Villon, and four after Braque, Derain, Gris, Léger. Signed in the plate Marcel Duchamp lower left

Marcel Duchamp (1887-1968) Coffee Mill, 1911 Ink on paper Private collection 18

Edition 400 numbered copies Publisher Compagnie française des Arts Graphiques, Paris Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 398, ill. p. 696 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 22, ill. p. 28

A Poster Within a Poster, 1923/1963 Colour offset print, 875 x 690 mm. Poster for ­Marcel Duchamp: A Retrospective Exhibition, P ­ asadena Art Museum, October 8-November 3, 1963. Two copies: one signed Marcel Duchamp lower right (one of 5 signed and unnumbered copies) and an unsigned copy

Edition 300 copies of which 20 signed and numbered. 5 unnumbered copies signed by Marcel Duchamp on the occasion of the exhibition Omaggio a Marcel Duchamp, Galleria Schwarz, Milan, 1965 Publisher Pasadena Art Museum and Galleria Schwarz, Milan Provenance Arturo Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 588, ill. p. 830 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, nos. 37 and 38, ill. p.40

Marcel Duchamp (1887-1968) Wanted - $2,000 Reward, 1923 20

Designing the poster for his first retrospective exhibition in the United States, Duchamp reused his rectified readymade from 1923, WANTED: $ 2,000 REWARD, a ‘criminal wanted’ poster he had enriched with photographs of himself.

Obligation de Monte Carlo (Monte Carlo Bond), 1924/1938 Colour lithograph, with the society’s regulations on verso (320 x 235 mm). Reproduction of the imitated rectified readymade from 1924.

Publisher Chroniques du Jour, Paris (included in XXe Siècle, no. 4, Christmas 1938) Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 406b, ill. p. 703 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 39, ill. p. 41

Man Ray (1890-1976) Marcel Duchamp, study for Monte Carlo Bond, 1924 Private collection 22

In 1924 Duchamp issued 30 bonds of a company founded by him to exploit the roulette tables at Monte Carlo’s casino. Ecke Bonk describes in detail (Marcel Duchamp The Portable Museum, London, 1989) how Duchamp reworked the original version for the lithograph in XXe Siècle, which was in turn trimmed, die-stamped and the photograph tinted by pochoir, to include it in the boîte-en-valise.

Catalogue des Tableaux, Aquarelles et Dessins de Francis Picabia Appartenant à Marcel Duchamp, 1926 Booklet, 241 x 160 mm pp.28, stapled in original wrappers, b/w ill.; inlaid sheet, 210 x 134 mm, printed recto-verso, with the text ‘80 Picabias’ by Rrose Sélavy.

Publisher Maître Alphonse Bellier, Commissaire-Priseur, Paris. Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, bibliography no. 31, p. 901

Marcel Duchamp (1887-1968) Cover Catalogue des Tableaux et Dessins de Francis Picabia Appartenant à Marcel Duchamp, Paris, 1926 24

Catalogue of the auction of works by Picabia, presented as being Duchamp’s collection, which took place at the Hôtel Drouot in Paris, March 8, 1926. Although until now not recorded in Duchamp catalogues, it seems almost certain that Duchamp also designed the catalogue using the same method as for André Breton, Yves Tanguy (New York, 1946), with different types for each chapter.

L’Opposition et les cases conjuguées sont réconciliées par M. Duchamp et V. Halberstadt, 1932 Paperback, 280 x 245 mm, pp.112, original wrappers, printed in black and red, the two errata-sheets present.

Publisher L’Echiquier/Edmond Lancel-Gaston Legrain, Bruxelles/St-Germain-en-Laye. Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, cat. no. 430, ill. p.720

Cover and lay-out by Marcel Duchamp, whose life-long involvement with chess played an important role in his artistic and unartistic practice. The book is a treatise on a very special endgame problem in chess.

Victor Halberstadt and Marcel Duchamp, 1932 26

Mariée (Bride), 1912/1934 Aquatint, 495 x 310 mm (plate size), 650 x 500 mm (sheet size). Made after the painting Mariée (1912), in colla­­boration with his brother Jacques Villon. Signed lower right Marcel Duchamp and lower left Jacques Villon; titled Bride bottom right by Duchamp.

Edition 200 signed and numbered copies Publisher Bernheim-Jeune, Paris Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 433, ill p. 722

Marcel Duchamp (1887-1968) The Bride, 1912 Collection Philadelphia Museum of Art 28

Cover for Minotaure no.6, 1935 Heliogravure, 317 x 245 mm Together with the complete set of the review, June 1933-May 1939, 13 issues

Publisher Albert Skira and E. Tériade, Paris Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 442, p. 731, ill. Nos.1-13 (11 physical vols.; all published). Paris, Albert Skira, June 1933-May 1939. Directed by Albert Skira and E. Tériade (from no.10 on Skira only). 320 x 245 mm, all in original wrappers, b/w and colour ill.

Francis Picabia (1889-1953) Optophone, 1922 30

Covers by Picasso, Roux, Derain, Borès, Duchamp, Miró, Dali, Matisse, Magritte, Ernst and Masson; contributions by noted art-critics, the surrealists and the group around Bataille; surrealist and sympathizing photographers and artists were responsible for most of the illustrations. The last three issues of Minotaure are overtly surrealist, edited by a committee including Breton, Duchamp, Mabille, Eluard ... Minotaure represents, in a luxurious way, the ‘ever greater power of attraction’ of the artistic and literary pole of surrealist activity in the 1930’s.

Duchamp Rotoreliefs Zoals veel tijdgenoten wil Duchamp moderne beweging in het schilderij brengen. In Nu descendant un escalier (1912) resulteert dit in een kubo-futuristisch beeld van een vrouw als hybride wezen, een androïde die op aarde neerdaalt begiftigd met grotere vermogens dan een echte vrouw. In le Grand verre wordt de mechanomorfe beeldtaal raadselachtiger, maar ook zonder grondige lectuur van de nota’s in de Boîte verte kan de beweging in het schilderij op glas worden begrepen als de tocht van de libido op zoek naar bevrediging. De postume installatie Etant donnés: 1. la chute d’eau/2. le gaz d’éclairage, een provocatie waarmee hij terugkeert na jaren ver van de kunstwereld, brengt als afsluiter nog eens seks en beweging samen in een schijnbaar idyllische peep show. Zoals de rest van het decor zet de trompe-l’oeil waterval voor de laatste keer de toeschouwer op het verkeerde been. Die waterval kan staan voor de eeuwig stromende, onverzadigbare lust, maar net zo goed verwijzen naar de dubbele bodem van elk beeld, een hoofdthema in Duchamps oeuvre. Het was allerminst een gril geweest dat hij in de jaren twintig zoveel tijd en energie had gestopt in het verkennen van optische illusies In twee mappen van de Boîte-en- valise brengt Duchamp documenten samen die verband houden met zijn werken rond gezichtsbedrog. De reeks begint met twee studies voor le Grand verre: A regarder d’un oeil, de près pendant une heure (1918) en Témoins oculistes (1920). De tweede studie is een readymade, een set van licht aangepaste optometrische testkaarten. Na het mechanomorfe verhaal van le Grand verre verschuift zijn aandacht naar de machines zelf. Hij maakt Rotative plaques verre (1920) een machine die de illusie van concentrische cirkels oproept door achter elkaar gemonteerde glazen platen met cirkelfragmenten aan hoge snelheid te laten draaien; Rotative demi-sphère (1925) een halve glazen bol met excentrische cirkels die bij rotatie het effect van een golvende ruimte geeft. Kleinschaliger zijn de Rotoreliefs (1923-1935) en Coeurs volants (1936). De werken die hij optiques de précision noemt, hebben gemeen dat ze bij de toeschouwer de hypnotische illusie van ruimte en diepte opwekken. In 1923 maakt Duchamp de eerste optische schijven die hij later Rotoreliefs noemt. Hij gebruikt ze voor het eerst in 1926 in de film Anémic Cinéma waar beelden van draaiende schijven elkaar afwisselen, tien optische schijven met spiralen en negen schijven met woordspelingen in witte letters op zwarte achtergrond. Anémic Cinéma – dat om technische redenen beeld per beeld was opgenomen – valt samen met Duchamps afscheid van de kunst. Hij beschouwt le Grand verre in 1923 als voltooid en wordt professioneel schaker. In 1934 publiceert hij de Boîte verte met nota’s en tekeningen die het raadsel van zijn magnum opus alleen nog vergroten. Het jaar daarop begint hij te werken aan zijn draagbare museum. De Rotoreliefs passen in die retrospectieve

houding. De pragmaticus Duchamp beseft dat van zijn optische werken de schijven zich het best lenen voor een editie met ruimere verspreiding. Hij herneemt ‘abstracte’ schijven van Anémic Cinéma en voegt er enkele ‘figuratieve’ aan toe. De schijven – zes, recto-verso – krijgen ook allemaal een titel. Alle Rotoreliefs produceren een optische illusie die het ‘stereokinetisch effect’ wordt genoemd. Door geschikte tweedimensionale beelden tegen een bepaalde snelheid te laten draaien wordt de illusie van drie dimensies gecreëerd. De seksueel geladen woordspelingen die in Anémic Cinéma afwisselden met de Rotoreliefs hebben sommige exegeten ertoe verleid om in de beelden dezelfde dubbele betekenissen terug te vinden. De verwantschap tussen gezichtsbedrog en woordspelingen is niet uit de lucht gegrepen, maar het is al te simpel om alle vormen die naar voren komen en weer terugwijken met genitaliën in actie te associëren. Voor de verschillende edities van de Rotoreliefs die Duchamp vanaf 1935 uitgeeft, gaat die interpretatie ook niet op want de meeste gebruikers zijn niet op de hoogte van de oorspronkelijke combinatie van beeld en taal in Anémic Cinéma. En Duchamp ondergraaft zelf die vergezochte verklaring met zijn eenduidige titels voor de illusoire reliëfbeelden: Corolles, Lampe, Oeuf à la coque, Lanterne chinoise, Poisson japonais, Verre de Bohème, Montgolfière … Duchamps optische werken lijken helemaal in tegenspraak met wat hij in zijn gesprekken met Pierre Cabanne zegt: ‘Sinds Courbet meent men dat de schilderkunst voor het netvlies is bestemd. Dat is de algemene vergissing geweest. De beroering van het netvlies! Tevoren vervulde de schilderkunst andere functies; ze kon religieus, filosofisch, moreel zijn. Al wist ik me gelukkig tijdig tegen die op het netvlies gerichte houding te kanten, het heeft helaas weinig veranderd. De hele eeuw is zich op het netvlies blijven richten, behalve de surrealisten, die enigszins probeerden daaraan te ontsnappen. En toch zijn ze er niet aan ontsnapt!’ (vertaling Chris van de Poel) Duchamp heeft wel vaker – wellicht met opzet – tegenstrijdige uitspraken gedaan, maar als men de optische werken, met inbegrip van de Rotoreliefs als kritische interventies beschouwt en in die zin verwant aan de Readymades, worden ze plots veel minder retinaal. Een rode draad in Duchamps loopbaan is zijn fundamentele twijfel aan de rol die de moderne kunstenaar aanvaardt om te spelen. Hij wordt door de surrealisten wel als ‘voorloper’ ingelijfd in hun beweging, maar hij neemt nooit echt afstand genomen van de iconoclastische houding die hem tot protagonist van dada had gemaakt. Als provocaties zullen de Rotoreliefs zeker hun effect niet hebben gemist in de orthodoxe surrealistische tentoonstellingen van de jaren dertig die vooral figuratieve werken presenteerden. Duchamp was overigens van strategie veranderd sinds 1925. In een brief aan de mecenas en verzamelaar Jacques Doucet, die de Rotative demi-sphère had gefinancierd, schreef hij toen: ‘Desnos heeft me namens Breton gevraagd om de bol

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[de Rotative demi-sphère] uit uw collectie tentoon te stellen, en hij zegt me dat u ermee akkoord gaat om het werk uit te lenen. Om u de waarheid te zeggen, ik zie dat niet zitten. Alleen als u echt aandringt. Al die tentoonstellingen van schilderijen of sculpturen maken me ziek; ik doe er dan ook liever niet aan mee. En ik zou het jammer vinden als iemand in die bol iets anders ziet dan “optica”.Geen goed nieuws voor wie op zoek is naar de ‘diepere’ betekenis van Duchamps optische werken. Net als met de Readymades wil hij met zijn optische werken objecten maken die geen kunst meer zijn maar zoals de oude kunst een vorm van kennis genereren. Die werken houden dan ook geen verband met de geometrische abstracte kunst, ze lopen niet vooruit op opart of kinetische kunst. Voor Duchamp wordt kunst in grote mate gemaakt door de toeschouwer, dat geldt voor de plaats in de canon die het kunstwerk verwerft tot hoe de toeschouwer meegaat in de optische illusies van de Rotoreliefs. In een uitweiding over Roue de Bicyclette (1916), de eerste readymade, beschrijft hij zichzelf als toeschouwer: ‘Dat wiel zien draaien was heel geruststellend, heel kalmerend, het opende perspectieven naar andere dingen dan het materiële leven van alledag. Een fietswiel in mijn atelier, dat beviel me echt. Ik keek er graag naar, net zoals ik graag de vlammen zie dansen in een open haard. Het was alsof ik een open haard in mijn atelier had, de beweging van dat wiel herinnerde me aan de beweging van de vlammen.’ Met die beweging ter plaatse had hij de ooit zo gewaardeerde combinatie van lering en vermaak een nieuwe vorm gegeven. Uiteraard zag Duchamp zich niet als een weten­ schapper die de optica een nieuwe richting uit zou sturen, wel als uitvinder van objecten die even stimulerend kunnen zijn als het Roue de bicyclette. Met de benaming optiques de précision voor zijn eerste optische objecten verwijst hij niet zonder ironie naar hoogtechnologische optische apparatuur die in wetenschappelijk onderzoek en in de industrie wordt gebruikt. Die ironie ligt in het verlengde van de Readymades, maar is ook aanwezig in le Grand verre, in de mechanomorfe beelden van de geslachtsdaad of wat daar aan voorafgaat, en in de pseudowetenschappelijke nota’s van de Boîte verte. Als Duchamp in 1935 deelneemt aan het Concours Lépine, de jaarlijkse uitvinderssalon in Parijs, blijken de toeschouwers geen toekomst te zien in de Rotoreliefs die hij in zijn stand laat draaien op een platendraaier aan 33 1/3 rpm. De toch verrassende reliëfbeelden halen het niet van de concurrentie die oplossingen presenteert voor grote en kleine, echte en denkbeeldige problemen. Vandaag is de slinger doorgeslagen en kan men op de talloze kunstbeurzen vaststellen dat Duchamps oeuvre een onuitputtelijk reservoir is geworden van de voortwoekerende neokunst.

Duchamp Rotoreliefs Like many of his contemporaries, Duchamp wanted to convey modern movement in painting. In Nude Descending a Staircase (1912), this results in a CuboFuturist image of a woman as a hybrid being, an android coming down to Earth and with greater powers than an earthly female. In The Large Glass the mechanomorphic visual language is more enigmatic but, even without a detailed reading of the notes in The Green Box, the movement in the painting on glass can be understood as the libido’s quest for gratification. The posthumous installation Given: 1. The Waterfall/2. The Illuminating Gas, a provocation with which he makes his return after years far away from the world of art, again brings together sex and movement in a seemingly idyllic peepshow as his clincher. Just like the rest of the décor, the trompe-l’oeil waterfall wrongfoots the viewer for a final time. This waterfall may stand for eternally flowing, unquenchable desire, but just as well refers to the double-bottom of each image, a major theme in Duchamp’s oeuvre. It was by no means as a mere whim that during the 1920s he came to devote so much time and energy to the domain of optical illusions. In two ‘folders’ from the Boîte-en- valise (Box in a Valise), Duchamp brings together documents related to his works concerning optical illusions. The series begins with two studies for The Large Glass: To Be Looked at (from the Other Side of the Glass) with One Eye to, Close to, for Almost an Hour (1918) and Oculist Witnesses (1920). The second study is a readymade, a set of slightly adapted optometric test-cards. After the mechanomorphic tale of The Large Glass, his attention shifts to the machines themselves. He makes Rotary Glass Plates (1920), a machine that evokes the illusion of concentric circles via a high-speed rotation of ‘stacked’ glass plates with circle segments; Rotary Demisphere (1925), a glass half-sphere with excentric circles which on rotation produces the effect of an undulating space. Of smaller-scale are the Rotoreliefs (1923-1935) and Fluttering Hearts (1936). A common point with the works that he calls Precision Optics, is the induced hypnotic illusion of space and depth that the viewer experiences. In 1923 Duchamp makes his first optical discs that he would later christen Rotoreliefs. Their inaugural use comes in his 1926 film Anémic Cinéma, where images of rotating discs alternate with each other, ten optical discs with spirals and nine discs with plays-on-words in white letters on a black background. Anémic Cinéma – for technical reasons, recorded frame-by-frame – coincides with Duchamp’s adieu to art. He considers The Large Glass as complete, and becomes a professional chess player. In 1934 he publishes the Green Box with notes and drawings that only serve to further heighten the riddle of his magnum opus. The following year he

starts work on his portable museum. The Rotoreliefs are fully in line with this retrospective attitude. Duchamp the pragmatist realizes that his optical work and the discs are best suited for an edition with a broader distribution. He again takes up the ‘abstract’ discs from Anémic Cinéma and adds a few ‘figurative’ ones. The discs – six, recto-verso – all carry a title. The Rotoreliefs produce an optical illusion termed the ‘stereokinetic’ effect. The illusion of three-dimensions is produced by having the adequate two-dimensional images rotate at a particular speed. The sexually charged plays-on-words from Anémic Cinéma alternating with the Rotoreliefs, have caused some exegetes to be seduced into thinking that these images also contain double-meanings. The kinship between optical illusion and plays-on-words is not without foundation, but it is too simplistic to associate the appearing and disappearing forms with genitalia in action. For the various editions of the Rotoreliefs that Duchamp publishes from 1935 onwards, this interpretation appears misguided; most of its ‘users’ are not aware of the original combination of image and language in Anémic Cinéma. And Duchamp himself undermines this farfetched explanation with the unambiguous titles he gives to the illusory reliefimages: a Chinese lantern, a soft-boiled egg, a table lamp, a Bohemian glass, a Japanese fish circling in a bowl, a hot air balloon, hoops, carollas. Duchamp’s optical works seem to wholly contradict what he says in interview with Pierre Cabanne: ‘Since Courbet, it’s been believed that painting is addressed to the retina. That was everyone’s error. The retinal shudder! Before, painting had other functions: it could be religious, philosophical, moral. If I had a chance to take an antiretinal attitude, it unfortunately hasn’t changed much; our whole century [the twentieth] is completely retinal, except for the Surrealists, and still they didn’t go so far!’ Duchamp had indeed oftentimes (probably intentionally) come out with contradictory statements, but if one considers the optical works, including the Rotoreliefs as critical interventions, and in this sense related to the Readymades, they suddenly become much less retinal. A common thread running through Duchamp’s career, is his fundamental doubt and skepticism regarding the role that the modern artist is presumed to play. He was annexed by the Surrealists as ‘forerunner’ of their movement, but he never really departed from his iconoclastic stance that had made him a protagonist of Dada. As provocations, the Rotoreliefs certainly didn’t miss their effect in orthodox surrealist exhibitions of the 1930s, which mainly presented figurative works. For that matter, since 1925 Duchamp had changed strategy. In a letter to the Maecenas and collector Jacques Doucet, who had financed the Rotary Demisphere, in 1925 he writes: ‘Desnos, on Breton’s behalf, has asked me to exhibit the globe [i.e. the Rotary Demisphere] which you have, telling me that you’ve agreed to lend it to him. To tell

you the truth, I’d rather not. And I’ll only do it if you insist. All exhibitions of painting or sculpture make me ill. And I’d rather not involve myself in them. I would also regret if anyone saw in this globe anything other than ‘optics’.’ So no good news for those on the lookout for the ‘deeper’ meaning in Duchamp’s optical works. Just as with the Readymades, with the optical works his aim is not to make objects that are art, but rather (as with art from the past) objects that generate knowledge. These works also have nothing to do with geometric abstract art; they are not forerunners to opart or kinetic art. For Duchamp art is in large measure made by the viewer, and that goes too for the place in the canon that the art work acquires, as well as for how the viewer participates in the optical illusions of the Rotoreliefs. Elaborating on the Bicycle Wheel (1916), the first readymade, he describes himself as viewer: ‘To see that wheel turning was very soothing, very comforting, a sort of opening of avenues on other things than material life of every day. I liked the idea of having a bicycle wheel in my studio. I enjoyed looking at it, just as I enjoy looking at the flames dancing in a fireplace. It was like having a fireplace in my studio, the movement of the wheel reminded me of the movement of the flames.’ With this ‘movement-in-place’, he had succeeded in giving a new form to the so-esteemed combination of instruction and amusement. Of course Duchamp did not see himself as a scientist who would launch optics down a new path, but rather as an inventor of objects that can be just as stimulating as the Bicycle Wheel. With the appellation Precision Optics for his first optical objects, he refers not without some irony to the high-tech optical instruments used in scientific research and industry. This irony follows naturally from the Readymades, but is also present in The Large Glass, in the mechanomorphic images of the sex act or what precedes it, and in the pseudo-scientific notes of the Green Box. When Duchamp takes part in the 1935 edition of the Concours Lépine, the annual inventors’ convention in Paris, it appears that visitors saw no future in the Rotoreliefs that he let spin at his stand at 33 1/3 rpm. In the end, these undoubtedly captivating relief-images didn’t cut the mustard against the competition there, who showcased solutions to large and small, real and imagined problems. Today the pendulum has swung back the other way, and at innumerable art fairs we can easily observe that Duchamp’s oeuvre has become an inexhaustible source of rampant neo-art.

Rotoreliefs (Optical Disks), 1935 Set of 6 cardboard disks, printed on both sides in colour offset (diameter: 200 mm) in circular black holder (diameter: 250 mm) Each set supplied with collapsible cardboard stand, with instructions and a cardboard strip with text “Tirez l’épingle”

Edition 500 sets unnumbered and unsigned in circular holding; 300 copies were lost in a fire, during World War II Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York: Thames and Hudson, 1997, no. 441, p. 728-731, ill.

André Raffray (1925-2010) Marcel Duchamp presenting his Rotoreliefs on his stand at the Concours Lépine, Paris 1935 34

Rotoreliefs (Optical Disks), New York 1938/1953 Set of 6 cardboard disks, printed on both sides in colour (diameter: 200 mm) in circular black holder White collapsible cardboard stand (115 x 248 mm), with instructions

Edition 1000 sets unnumbered and unsigned (ca. 600 sets accidentally destroyed) Part of this edition was used in later editions. Publisher Enrico Donati, New York Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 441a, p. 729-730, ill.

Marcel Duchamp in his studio, 1956 36

Rotoreliefs (Optical Disks), New York 1935/1953 Set of 6 cardboard disks, printed on both sides in colour offset (diameter: 200 mm) in circular black holder Each disk signed in pen by Marcel Duchamp Each set supplied with white cardboard collapsible stand, with instructions

Provenance Private collection, New York Publisher Enrico Donati, New York Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York: Thames and Hudson, 1997, no. 441, p. 728-731, ill.

Marcel Duchamp with Rotoreliefs, 1947 38

Rotoreliefs (Optical Disks), 1935/1959 Set of 6 cardboard disks, printed on both sides in colour (diameter: 200 mm), wall-mounted turntable on black velvet-covered wooden box (400 x 400 mm), electric motor Inscribed in ink on white cloth label pasted lower-left on wall-hanging unit. Of the planned edition of 100 sets only a few were produced (10 to 15) Assembled by Jean Tinguely

Publisher Edition MAT, Paris Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 441b, p. 730, ill.

Marcel Duchamp (1887-1968) Edition MAT, Rotoreliefs Nr 6/00 Marcel Duchamp (1887-1968) Motorized Rotorelief First Version. Edition MAT 40

Rotoreliefs, 1935/1963 Set of 6 cardboard disks, printed on both sides in colour (diameter: 200 mm) in circular black holder. Each set supplied with a suspension unit, 375 x 375 x 85 mm, a wooden box covered with black velvet, turntable and electric motor Each disk signed M.D., and suspension unit signed inside Marcel Duchamp and numbered XV/XV

Edition 15 copies. (This very copy contradicts Schwarz’s affirmation as to ‘a projected edition of 12’ copies. On the other hand the edition of 15 copies is confirmed by a photo certificate signed by Arturo Schwarz) Publisher Marcel Duchamp, New York Provenance Arturo Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 441c, ill. p. 730.

Marcel Duchamp and Hans Richter with Rotoreliefs, 1947 42

Rotoreliefs, 1935/1965 Set of 6 cardboard disks, printed on both sides in colour (diameter: 200 mm) in circular black holder. Each set supplied with a suspension unit, 375 x 375 x 85 mm, a wooden box covered with black velvet, turntable and electric motor. One disk signed, and suspension unit signed and numbered by Duchamp on a copper plate.

Edition 150 copies Publisher Arturo Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 441d, p. 730-731, ill.

Marcel Duchamp (1887-1968) Rotorelief (detail). Edition Schwarz, Milan, 1965 44

Mustache and Beard of L.H.O.O.Q., 1941 Pochoir of graphite on paper, 40 x 65 mm, tipped to verso of the front-cover of: Georges Hugnet, Marcel Duchamp. 95 x 145 mm, (8)pp.

Edition 200 unnumbered copies Publisher Georges Hugnet, Paris, May 1941 Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 483, ill. p. 761 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 59, ill. p. 55

Marcel Duchamp (1887-1968) L.H.O.O.Q., 1919-1941 Boîte-en-valise, 1941 46

The stencil for the pochoir was originally made to add mustache and beard to the reproductions of L.H.O.O.Q in the boîte-en-valise, and as often Duchamp recycled it into an even more mysterious intervention.

de ou par Marcel Duchamp ou Rrose Sélavy, 1949/1966 Boîte – Series F, Paris 1966 Cardboard box covered with red leather, lining red linen, 415 x 385 x 99 mm, containing 80 miniature replicas and colour reproductions of works by Duchamp. Produced under the supervision of Arturo Schwarz, with 12 additional reproductions of works. Signed Marcel Duchamp in blue ballpoint on bottom of the box

Edition 75 signed copies Literature Ecke Bonk, Marcel Duchamp. The Portable Museum, London, 1989, p. 301, ill. The definitive reference volume which provides all details on confection and contents of Duchamp’s portable museum. Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 484, ill. p. 763

Duchamp had begun producing contents for the boîtes in 1935, and the first series were assembled and offered for sale in 1941. Following the demand, more series of the planned edition of 300 copies were assembled. - So much has been written and said about Duchamp’s portable museum - Ecke Bonk’s book is still unsurpassed - that it seems impossible to choose a quote. The artist’s own remark about how it all started - “I thought of a book, but I didn’t like the idea” - reveals, irony aside, that he too wished his rightful place in the history of modern art. Almost off-hand, he succeeded in creating a miniature retrospective that echoes the playful background of his best work, while also offering critical commentary on art and its museum destiny.

Inscription form for de ou par Marcel Duchamp ou Rrose Sélavy, 1941 Marcel Duchamp (1887-1968) Study for the Boîte-en-valise Private collection 48

Cover for First Papers of Surrealism, 1942 Cover design for the catalogue of the exhibition First Papers of Surrealism, ‘hanging by André Breton, his twine Marcel Duchamp’, at the Coordinating Council of French Relief Societies, New York, October 14-November 7, 1942. (267 x 184 mm, (52)pp., stapled in original wrappers). Duchamp not only designed the front and backcover but was also responsible for the lay-out and the decision to use at random portraits for the participating artist’s ‘gallery’. For his own portrait he chose a Ben Shahn portrait of a poor woman living

in rural America in the mid-thirties. – The front cover shows the wall of Kurt Seligmann’s barn where traces can be seen of five rifle shots actually fired by Duchamp (the paper is perforated following the pattern of the shots). The back cover shows a slice of Gruyère cheese greatly enlarged. The catalogue evokes the unconventional atmosphere of the exhibition, with an obstruction by Duchamp using miles of twine, children playing in the exhibition rooms...

Marcel Duchamp (1887-1968) Cover First Papers of Surrealism, 1942 52

Publisher Coordinating Council of French Relief Societies, New York Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 487, ill. p. 766

Cover for Young Cherry Trees Secured Against Hares by André Breton, 1946 Illustrated boards and illustrated dustjacket, colour offset print, 230 x 160 mm for André Breton’s book Young Cherry Trees Secured Against Hares. Jeunes cerisiers garantis contre les lièvres. Translations by Edouard Roditi. Cover by Marcel Duchamp. Drawings by Arshile Gorky. – Duchamp’s cover portrays Breton as the Statue

of Liberty, using a heavily enlarged photograph as he did for a Man Ray catalogue in 1945 - an anti-layout gesture Roy Lichtenstein was to develop into a technique years later.

Marcel Duchamp (1887-1968) Cover for The Objects of My Affection Man Ray Exhibition at the Julien Levy Gallery, New York, 1945 54

Publisher View Editions, New York; A. Zwemmer, London; La Jeune Parque, Paris Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 520, ill. p. 786 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 61, ill. p. 58

Cover for Le Dessin dans l’art magique, 1958 Cover design for the exhibition catalogue ­ Le Dessin dans l’art magique. Paris, Galerie Rive Droite, October 21-November 20, 1958. 320 x 253 mm, (4)pp. stapled in original wrappers. Catalogue of an exhibition of works by thirty, mainly surrealist artists: Duchamp, Arp, Tanguy, Miró, Magritte, Ernst, Man Ray etc. With a preface by Henri Michaux, a poem by André Verdet, b/w repr. of a work by Chagall.

Deluxe copy of the catalogue, with the cover on hand-made paper, inscribed by André Verdet to Marc and Tava Chagall, in red and blue pencil. The deluxe copies have a tipped-in photograph (a photomontage), 305 x 240 mm, reproducing a drawing by Braque, a frottage by Ernst and Duchamp’s boîte-en-valise.

Marcel Duchamp (1887-1968) Photomontage in the deluxe copies Le Dessin dans l’art magique, 1958 56

Publisher Galerie Rive Droite, Paris Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 561, ill. p. 814

L’Equilibre, 1958 Drypoint on celluloid printed in black on handmade Auvergne paper, 175 x 115 mm (plate size) As included in: Francis Picabia, L’Equilibre. Alès: PAB, 1958. (16)pp. + inserted etching, original printed wrappers. Signed Marcel Duchamp lower centre

Edition 40 numbered and signed copies Publisher PAB, Alès Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 559, ill. p. 813 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 69, ill. p. 63

Francis Picabia (1879-1953) 58

The words et quilibre? (and who is free?), a phonetic rendering of Equilibre in mirror image.

Lettre de Marcel Duchamp A Tristan Tzara, 1958 Duchamp, Marcel. & Tzara, Tristan. Lettre de Marcel Duchamp à Tristan Tzara. Alès, PAB, 1958. 123 x 127 mm, pp.(20), in sheets, original wrappers. A letter from 1921, illustrated by a celluloid engraving by Tristan Tzara from 1958 (broken while printing).

First edition. One of 25 numbered copies on Auvergne, the colophon signed by Duchamp and initialled by the publisher; the etching signed by Tzara.

Tristan Tzara (1896-1963) 60

Literature Marcel Duchamp, Duchamp du signe, Paris, 1975, A 93, pp. 261-262.

Unique maquette for the grand deluxe edition of Eau & Gaz à Tous les Étages, 1957/59 The maquette contains three artworks, each of which signed by Duchamp: the metal plaque EAU & GAZ À TOUS LES ÉTAGES is initialled “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. 330 x 245 mm, bound loose as issued, in the publisher’s cloth folding box. Box: 350 x 265 x 65 mm Publisher Trianon Press, Paris and London Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 560, 563., ill. pp. 814-816 Robert F. Johnson & Donna Stein, Artists’ Books in the Modern Era, 1870-2000, London, 2001, no. 136. Duchamp. Exposicio organitzada per la Fundacio Joan Miro, Barcelona, 1984, no. 60. 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 blackand-white photograph by John (Hans) D. Schiff of the Large Glass (1915-23) which he hand-colored; 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.) 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

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

Grand deluxe edition of Eau & Gaz à Tous les Étages, 1959 This grand deluxe edition of the first catalogue raisonné of Marcel Duchamp’s oeuvre by Robert Lebel contains three artworks, each of which signed by Duchamp: the metal plaque EAU & GAZ À TOUS LES ÉTAGES is initialled “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. – 330 x 245 mm, bound loose as issued, in the publisher’s cloth folding box. One of the special 27 copies printed on Crèvecoeur d’Arches-Marais paper from a total edition of 137. This copy is from the special 17 lettered exemplaires reserved for the publishers and the book’s collaborators. Signed by Duchamp and Lebel on the colophon page of the book. Box: 350 x 265 x 65 mm With the original French text by Robert Lebel. Accompanied by a hand-torn collage of “SelfPortrait 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 tippedin at verso of Duchamp self-portrait; and a blue and white metal plaque 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. Edition 27 grand deluxe copies printed on Crèvecoeur d’Arches-Marais paper with the three artworks signed by Marcel Duchamp Publisher Editions Trianon, Paris Grand Deluxe Edition of the first catalogue raisonné of Marcel Duchamp, compiled by Robert Lebel in cooperation with the artist, 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 twentiethcentury France, and it was a continuing theme in Duchamp’s manuscript notes dating back to

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1911. In its day the sign indicated a building with modern conveniences, thus setting it apart from nineteenth-century structures. 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. She was in charge of the production details and is often referred to in context of the lengthy and turbulent correspondence between Lebel, Robert Wernich and George Heard Hamilton regarding the English translation. Duchamp also signed the Large Glass proof “Marcel coloriavit pour Laing.” Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 560, 563., ill. pp. 814-816 Robert F. Johnson & Donna Stein, Artists’ Books in the Modern Era, 1870-2000, London, 2001, no. 136. Duchamp. Exposicio organitzada per la Fundacio Joan Miro, Barcelona, 1984, no. 60.

Eau et gaz à tous les étages, 1959 Reproduction (pochoir) of the Readymade Eau et Gaz à tous les étages, 150 x 200 mm, on upper cover of red-brown cloth-covered case of the deluxe edition of Robert Lebel’s monograph Marcel Duchamp. Signed with the artist’s monogram in white ink on the upper cover. Box: 350 x 265 x 65 mm

When opened the case includes: * On the left, a partition with magnetic closing for a proof of the Large Glass under a plexiglas sheet and a proof of the pochoir reproducing a photo of the Large Glass; on the right a compartment for the book * On the black velvet paper lining the front cover of this compartment is pasted Duchamp’s Self-Portrait in Profile, pink-coloured paper torn by hand, numbered lower left, signed lower right in ink: Marcel dechiravit * The book Marcel Duchamp by Robert Lebel, 132 pp., 320 x 243 mm, in sheets, with texts by Duchamp, Breton and Roché, in a lay-out by Duchamp, signed in the colophon by Lebel and Duchamp and numbered 54.

Edition 110 signed and numbered copies Publisher Editions Trianon, Paris and London Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 560, 563., ill. pp. 814-816 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 70, ill. p. 63 Eau et Gaz à tous les étages is not just a luxury monograph on an artist whose fame had not yet reached its pinnacle. As there was no need for ‘objective’ studies in those days, authors and publisher just went ahead telling the story of the hero’s grandiose life and work, and they were only too happy that the artist collaborated with all his wit and unconventional lay-out talents to construct a book that turned out to be a work of art, as well as a counterweight to so many ‘art-books.’

Marcel Duchamp signing Eau et Gaz, 1958 68

The Chess Players 1911/1958 Pochoir for Sur Marcel Duchamp by Marcel Duchamp Pochoir, dedicated and signed by Marcel Duchamp 200 x 276 mm

An original Duchamp art work that 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

Marcel Duchamp (1887-1968) Study for Chess Players, 1911 Private Collection 72

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

Self-Portrait in Profile, 1959 Two original coloured screen prints, each 650 x 500 mm. Printed in blue and red on black paper, one with the profile in blue, the other in red; and different sequence of the blue and red lettering of ‘Marcel Duchamp’. Both signed by Duchamp, with facsimile of his autograph ‘Marcel dechiravit’, from an unnumbered edition.

Based on the torn profile of 1959, these screen prints were made in 1959 on the occasion of the exhibition ‘Sur Marcel Duchamp’ at Librairie La Hune, Paris, 5-30 May 1959, marking the publication of the monograph on Duchamp by Robert Lebel. To present, recorded have been a series of 40 numbered copies of this screen print, printed in blue only, edited by La Hune in 1959; and 10 more numbered copies for Galleria Schwarz, Milan, in 1964. Until further notice, the present twin set in its two-colour version is unique, and certainly to be fought for by real aficionados.

Marcel Duchamp (1887-1968) Self-Portrait in Profile, 1959 74

Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 565, ill. p. 817 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 73, ill. p.65 (another copy, 1959/1964) and no. 72, ill. p. 65 (for the poster)

Self-Portrait in Profile, 1959 Original colour screenprint. Printed in red, 650 x 500 mm Signed by Duchamp, with facsimile of his autograph ‘Marcel dechiravit’ from a signed unnumbered edition

Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 565, ill. p. 817 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 73, (another copy and no. 72, ill. p. 65, for the poster)

Marcel Duchamp (1887-1968) Poster from the exhibition Sur Marcel Duchamp Librairie La Hune, Paris, 1959 76

Tiré à quatre épingles, 1959 Etching printed in black, 113 x 113 mm (plate size), 125 x 127 mm (sheet size). As included in: Pierre de Massot. Tiré à 4 épingles. Alès: PAB, 1959. (22)pp. + inserted etching, original printed wrappers. Signed Marcel Duchamp lower right

Edition 30 numbered copies; etchings signed by Duchamp, book initialled by the publisher on the colophon page Publisher PAB, Alès Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 575, ill. p. 823 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 75, ill. p. 66

Pierre de Massot (1900-1969) 78

Couple of Laundress’s Aprons, 1959/1960 Imitated rectified readymade: two potholders (male and female), cloth and fur, male (203 x 177 mm), female (205 x 198 mm). Each apron signed Marcel Duchamp on cloth label on verso. Edition 20 numbered copies, this copy no. II/XX Provenance Jean Benoît,Paris. Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 574, ill. pp. 822-823 Made for the deluxe version of “Boîte alerte”, catalogue of the Exposition Internationale du Surréalisme, Paris, Galerie Cordier, December 15, 1959 - February 15, 1960. Both aprons enclosed in paper envelope, with green French Customs label, and red stamp: Echantillons sans valeur.

We join the deluxe catalogue itself. Cardboard mailbox with printed catalogue of the exhibition and eight ‘missives lascives’ by Robert Benayoun, Micheline Bounoure, Alain Joubert, Joyce Mansour, Mimi Parent, Octavio Paz, André Pieyre de Mandiargues and XXX; a cable by Marcel Duchamp, ‘Je purule Tu purules Lachaise Purules ...’ transcribed on a facsimile of a standard pink form for French cables; a 45 rpm record with texts by Benjamin Péret and Joyce Mansour; four original colour lithographs by Adrien Dax, Joan Miro, Max Walter Svanberg and Toyen; an etching by Maréchal; six colour postcards by Hans Bellmer, Salvador Dali, Arshile Gorky, Joan Miro, Max Walter Svanberg and Clovis Trouille. The lithographs and the etching signed by the artists. - We join: a letter from André Breton to Jean Benoît together with a sketch by Breton of the installation of Benoît’s objects; several ephemera: two entrance tickets : exhibition’s poster designed by Mimi Parent; three invitations different sheets of 4 blue stamps with the text Restez, enchanteresse; an extra set of postcards and an extra record with texts by Benjamin Péret and Joyce Mansour.

Duchamp’s contributions to surrealist group exhibitions always contained an unorthodox element. His support for the group’s activities certainly was genuine, but he never was interested in producing works according to methods other than his own. He fixed the rules of his own game; The Ego and Its Own. The theme of the large surrealist exhibition of 1959 being eroticism and its subversive power, Duchamp adds a note of ‘low culture’, suggesting the household character of so much sex, and of course the Heat of it all. Most of Duchamp’s work is about erotics, from le grand verrre to Etant donnés, but the enigma’s evocations are always mixed with black humour. His melancholy is guarded from a well-protected centre.

Boîte alerte, 1959, catalogue Exposition Internationale du Surréalisme, Paris, 1959/1960 80

Exposition Internationale du Surréalisme 1959-1960 - Invitation card - Entrance tickets - Cable sent by Marcel Duchamp - Sketch by André Breton - Envelope for the Couple of Laundress’s Aprons - Exhibition poster designed by Mimi Parent 82

Quatre inédits de Marcel Duchamp, 1960 Book, 105 x 135 mm, pp. (20), in sheets, original wrappers. Inscribed on the half title by Duchamp to Yves Poupard-Lieussou, famous dada scholar: ‘Pour Poupard Lieussou/éternel Poupard Lieussou/et affectueusement/ Marcel Duchamp.’

Edition 24 numbered copies, initialled by the publisher Publisher PAB, Alès Literature Marcel Duchamp, Duchamp du signe, Paris, 1975, A110.

Marcel Duchamp (1887-1968) Photograph by Irving Penn, NY, 1960 84

Rébus, 1961 Etching printed in black on Rives handmade paper, 115 x 150 mm (plate size), 265 x 195 mm (sheet size) Signed Marcel Duchamp lower right Inscribed at bottom, inverted: TOUTALEGOUT SONT DANSLANATURE (All tastes are in Nature)

Edition 100 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 581, ill. p. 826 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 78, ill. p. 67

German rebus, ca. 1890 86

Poster for the Exhibition ‘50th Anniversary of the Famous International Armory Show 1913’, 1963 Offset print on cardboard, 1118 x 678 mm Signed Marcel Duchamp lower right

Edition 200 signed and numbered copies Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 584, ill. p. 828

Marcel Duchamp (1887-1968) Nude Descending a Staircase, 1912 Collection Philadelphia Museum of Art 88

An Original Revolutionary Faucet: Mirrorical Return, 1964 Etching printed in black and red on white Rives handmade paper, 265 x 195 mm (sheet size) Signed Marcel Duchamp lower right

Edition 100 signed and numbered copies Publisher Galleria Schwarz, Milan The letters printed in red spell ‘urinoir’ at top, and ‘urine’ at bottom. Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 606, ill. p. 840

Marcel Duchamp (1887-1968) Fountain, 1917 Photographed by Alfred Stieglitz at the 291 Art Gallery, New York 90

The Clock in Profile, 1964 Cardboard pliage, or ‘pop-up’, on flat cardboard sheet, 220 x 280 mm Made for the deluxe copies of Robert Lebel, La Double vue, suivi de l’Inventeur du temps gratuit, Paris, 1964. Signed and dated Marcel Duchamp/1964 at centre

Edition 111 signed and numbered copies Publisher Le Soleil Noir, Paris Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 612, ill. p. 847 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 108, ill. p. 81

Marcel Duchamp (1887-1968) The Clock in Profile, 1964 92

Bouche-Evier (Drain Stopper), 1964 Cast in silver, from the original lead sink stopper made for the bath in Duchamp’s apartment in Cadaquès, diameter: 67 mm, 5 mm thick. Signed and dated Marcel Duchamp 64 on verso

Cast in bronze, from the original lead sink stopper made for the bath in Duchamp’s apartment in Cadaquès, diameter: 67 mm, 5 mm thick. Signed and dated Marcel Duchamp 64 on verso

Cast in stainless steel, from the original lead sink stopper made for the bath in Duchamp’s apartment in Cadaquès, diameter: 67 mm, 5 mm thick. Signed and dated Marcel Duchamp 64 on verso

Edition 100 signed and numbered copies Publisher International Collectors Society, New York

Edition 100 signed and numbered copies Publisher International Collectors Society, New York

Edition 100 signed and numbered copies Publisher International Collectors Society, New York Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 608, ill. p. 843

Bert Stern (b. 1929) Duchamp with Bouche-Evier, 1967 94

Certificat de lecture, 1964 Three original lithographs, printed in bistre, pink and black on Chine paper, 325 x 500 mm. Made for the deluxe copies of il reale assoluto by Arturo Schwarz Each lithograph signed Marcel Duchamp lower right

Edition form a signed unnumberd edition Publisher Galleria Schwarz, Milan Provenance Arturo Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 592, ill. p. 832 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 95, ill. p.76

Marcel Duchamp - Man Ray Il reale assoluto, 1964 96

Pulled at Four Pins, 1964 Etching printed in black on handmade Pescia paper, 320 x 228 mm (plate size), 640 x 465 mm (sheet size). Signed Marcel Duchamp lower right

Edition 100 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 609, ill. p. 844 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 105, ill. p. 80

Wind chimney cap 98

International Anthology of Contemporary Engraving. The Forerunners of the Avant-Garde. Vol II. Surrealism between the Two Wars, 1965 Original etchings by Jean/Hans Arp, Hans Bellmer, Victor Brauner, Paul Delvaux, Marcel Duchamp, Wilhelm Freddie, Wifredo Lam, Wifredo, René Magritte, André Masson. Each etching signed and numbered.

Portfolio, 305 x 245 mm, original boards, (8)pp. with title, introduction and colophon; 11 mounts in grey cardboard containing the original etchings (plate size: ca. 145 x 110 mm; sheet size: ca. 270 x 210 mm), each protected by a sheet of transparent plastic, information for each etching is printed on verso of the mounts.

Cover International Anthology of Contemporary Engraving. Vol II. Surrealism between the Two Wars, 1965 100

Edition 60 copies with the etchings printed in Paris by G. Leblanc on papier pur chiffon des Papeteries de Rives Publisher Galleria Schwarz, Milan Among others, the collection presents ‘Rébus’ (1961) by Marcel Duchamp and ‘Les travaux d’Alexandre’ (1962) by René Magritte.

Cover for Not Seen and/or Less Seen of/by Marcel Duchamp/Rrose Sélavy 1904/1964 The Mary Sisler Collection, 1965 Cover design for the catalogue of the exhibition of a major private collection of works by Duchamp at Cordier & Ekstrom, New York, January 14-February 13, 1965. (290 x 212 mm, original wrappers) Foreword and catalogue by Richard Hamilton. – One of 100 deluxe copies with an original print of a photographic portrait of Duchamp by Niki Ekstrom. Signed Marcel Duchamp on the colophon page

Edition 100 signed and numbered copies Publisher Cordier & Ekstrom, New York Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 616, ill. p. 850

Photograph by Niki Ekstrom, New York, 1965 Portrait of Duchamp 102

The Large Glass Etchings, 1965 Complete set consisting of 8 etchings, first state, printed in black on Japan vellum, ca. 200 x 150 mm (plate sizes), 330 x 250 mm and 330 x 500 mm (sheet sizes). Each etching signed Marcel Duchamp lower left and numbered 18/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 623-630, ill pp. 854-862

Marcel Duchamp (1887-1968) The Bride Stripped Bare by her Bachelors, Even (The Large Glass) 1915-1923 Collection Philadelphia Museum of Art 104

Taking up again a ‘traditional ‘ technique, Duchamp etched in the summer of 1965 fragments of his enigmatic masterwork La mariée mise à nu par ses célibataires, même, known as the Large Glass. The sequence includes: The Bride, The Top Inscription, The Nine Malic Moulds, The Sieves, The Oculist Witnesses, The Water Mill, The Chocolate Grinder, and The Large Glass itself.

The Top Inscription, 1965 Etching, first state, printed in black on Japan vellum, 159 x 350 mm (plate size), 330 x 500 mm (sheet size) Signed Marcel Duchamp lower left and numbered 18/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 624a, ill p.856

Marcel Duchamp (1887-1968) Piston de courant d’air (Draft Piston), 1914 Photograph Collection Duchamp Estate, Villiers-sous-Grez 106

The Bride, 1965 Etching, first state, printed in black on Japan vellum, 270 x 120 mm (plate size), 330 x 250 mm (sheet size) Signed Marcel Duchamp lower left and numbered 18/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 623a, ill p.854

Marcel Duchamp (1887-1968) The Bride, 1912 Collection Philadelphia Museum of Art 108

The Sieves, 1965 Etching, first state, printed in black on Japan vellum, 180 x 135 mm (plate size), 330 x 250 mm (sheet size) Signed Marcel Duchamp lower left and numbered 18/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 626a, ill p.858

Richard Hamilton - Marcel Duchamp Silver, 1968 Screen print and varnish on glass Private collection 110

The Water Mill, 1965 Etching, first state, printed in black on Japan vellum, 250 x 143 mm (plate size), 330 x 250 mm (sheet size) Signed Marcel Duchamp lower left and numbered 18/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 628a ill p. 860

Marcel Duchamp (1887-1968) Glider containing a Water Mill in Neighboring Metals, 1913-1915 Oil and lead wire on glass Collection Philadelphia Museum of Art 112

The Nine Malic Moulds, 1965 Etching, first state, printed in black on Japan vellum, 134 x 180 mm (plate size), 330 x 250 mm (sheet size) Signed Marcel Duchamp lower left and numbered 18/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 625a, ill p. 857

Marcel Duchamp (1887-1968) The Nine Malic Moulds, 1914-1915 Oil and lead wire on glass Collection Musée National d’Art Moderne, Centre Georges Pompidou, Paris 114

The Chocolate Grinder, 1965 Etching, first state, printed in black on Japan vellum, 261 x 333 mm (plate size), 330 x 500 mm (sheet size) Signed Marcel Duchamp lower left and numbered 18/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 629a ill p. 861

Marcel Duchamp (1887-1968) Chocolate Grinder (N°2), 1914 Oil, graphite, and thread on canvas Collection Philadelphia Museum of Art 116

The Oculist Witnesses, 1965 Etching, first state, printed in black on Japan vellum, 144 x 95 mm (plate size), 330 x 250 mm (sheet size) Signed Marcel Duchamp lower left and numbered 18/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 627a, ill p. 859

Richard Hamilton - Marcel Duchamp The Oculist Witnesses, 1968 Screen print and silver mirror on laminated glass Private collecton 118

The Large Glass, 1965 Etching, first state, printed in black on Japan vellum, 350 x 225 mm (plate size), 500 x 330 mm (sheet size) Signed Marcel Duchamp lower left and numbered 18/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 630a ill p. 862

Marcel Duchamp (1887-1968) The Bride Stripped Bare by her Bachelors, Even (The Large Glass) 1915-1923 Collection Philadelphia Museum of Art 120

Schwarz, Arturo The Large Glass and Related Works. Vols. I and II, 1967/1968 422 x 250 mm, vol. I (pp.XV+300); vol. II (pp. VI+150); in leaves, original wrappers, in publisher’s slipcases (first volume in ill. plexiglas box).

First volume features the nine original etchings of The Large Glass suite and 144 facsimiles of notes and studies. (See in this catalogue N°5 p. 104-121) The second volume features the nine original etchings of The Lovers suite (see this catalogue nos. p. 144-163 Each volume signed by Marcel Duchamp on the colophon page

Edition 150 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, nos. 643 and 658, ill. pp. 870 and 889. Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 142, ill. p. 142, and no. 178, ill. p. 106

Marcel Duchamp (1887-1968) Vol II The Lovers suite (éros c’est la vie, Rrose Selavy) 122

The Large Glass Etchings, printed from the barred copperplates, 1965 Unique set consisting of 9 etchings, printed in black from the barred copperplates, on handmade paper, each sheet watermarked ‘The Large Glass’, ca. 200 x 150 mm (plate sizes), 330 x 250 mm and 330 x 500 mm (sheet sizes). The sequence includes: The Bride, The Top Inscription, The Nine Malic Moulds, The Sieves, The Oculist Witnesses, The Water Mill, The Chocolate Grinder, The Large Glass, and The Large Glass Completed.

Publisher Galleria Schwarz, Milan Provenance Arturo Schwarz, Milan.. His own set of the series of etchings from the barred copperplates, with a certificate of authenticity signed by Arturo Schwarz Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 643 (contents of the edition no. 1)

Marcel Duchamp (1887-1968) Detail of the Large Glass Completed, 1965 Printed from the barred copperplate 124

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A l’infinitif - Boîte blanche, 1966 Plexiglas box (333 x 290 mm) with replica of Glissière on the cover; on base of the box, in green, ‘à l’infinitif Marcel Duchamp.’ The box contains folders with a total of 79 notes concerning the Large Glass, reproduced in collotype and pochoir colouring, and a printed booklet, signed by Duchamp. Signature Marcel Duchamp incised lower left in the plexiglass cover

Edition 150 signed and numbered copies Publisher Cordier & Ekstrom, New York, 1967 Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 637, ill. p. 867 The boîte blanche can be considered a sequel to the boîte verte of 1934, as it contains notes documenting the elaboration of the Large Glass that were not collected in the first boîte.

Marcel Duchamp (1887-1968) A l’infinitif - Boîte blanche, 1966 Cordier & Ekstrom, New York 128

Homage to Caïssa (Hommage à Caïssa), 1966 Readymade, wood chessboard, 480 x 480 mm On lower edge: titled Hommage à Caïssa on the left, signed and dated Marcel Duchamp 1966 and numbered 4/30 on the right. One of an edition of 30 signed and numbered chessboards issued and sold for the benefit of the Marcel Duchamp Fund of the American Chess Foundation at the group exhibition Hommage à Caïssa, Cordier & Ekstrom, New York, February 8-26, 1966 ‘Although projected as an edition of thirty, less than ten examples were issued.’ (Schwarz, The Complete Works of Marcel Duchamp). As this copy features the highest number that has surfaced until now, we may assume that not more than five copies were actually made. Census of known copies 1 collection unknown 2 a copy inscribed to Maria Alvarez, private collection Knokke, Belgium 3 The Israel Museum, Jerusalem (gift of Arturo Schwarz) 4 the copy we offer for sale

Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 632, ill. p. 864 Exhibited Cordier & Ekstrom The fact that Marcel Duchamp, in 1923, ostentatiously announces his retirement from art to pursue a professional interest in chess, is often taken for an (anti)artistic gesture. Perhaps this decision is less puzzling if we remember that Duchamp considered all his activities – art included – as a strategic game. The game of chess – whose iconography is present, overtly or veiled, throughout his oeuvre – is its most well-known manifestation. ‘A strategy game or strategic game is a game in which the players’ uncoerced, and often autonomous decision-making skills have a high significance in determining the outcome.’ In strategic games the element of chance plays only a minor role at best. And if Duchamp, in his life and work, allows chance to enter the ‘game’, then it is in a well-defined and controlled manner. He does not set out with a plan to acquire a particular position within the history of art, but he does know how to establish

and maintain a position of advantage over adversaries through the successive exploitation of known or emergent possibilities. Seeing that he does not possess the same artistic means as Matisse or Picasso, for example, he opts for making the very nature of the artwork itself a piece in his game. Playing against Duchamp means inevitable defeat for any artist, because this game is one where Duchamp sets the rules. – Caïssa is a mythical Thracian dryad portrayed as the goddess of chess. She originated in the poem Scacchia ludus: or, the game of chess (1527) by Marcus Hieronymus Vida, which describes a chess game between Apollo and Mercury, opening thus: ‘Of armies on the chequer’d field array’d,/And guiltless war in pleasing form display’d;’ – Hommage à Caissa is Duchamp’s contribution to the group exhibition of the same name held at New York’s Cordier & Ekstrom Gallery, from 8 to 26 February 1966. Proceeds went to the Marcel Duchamp Fund of the American Chess Foundation.

Duchamp playing chess Back of the Readymade chessboard Hommage à Caïssa, 1966 With exhibition labels 130

Rrose Sélavy in the Wilson-Lincoln System, 1967 Reproduction of a solarized portrait of Duchamp in profile by Man Ray, with fourfold Rrose Sélavy’s signature, 290 x 240 mm. As included in the large-paper copies of: Shuzo Takiguchi, To and From Rrose Sélavy, Tokyo, Rrose Sélavy, 1968. Signed Marcel Duchamp lower right

Edition 50 (1-50) and X (I-X) signed and numbered copies Publisher Rrose Sélavy, Tokyo Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 557c, ill. p. 812 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 67, ill. p.61

Besides the portrait using the Wilson-Lincoln effect, the large-paper copies of the first anthology of Duchamp’s texts in Japanese translation, contain the following works: Marcel Duchamp, Self-Portrait in Profile, screenprint of the profile in yellow on black, with printed inscription: ‘Marcel dechiravit pour Shuzo Takiguchi 1967’; Jasper Johns, Summer Critic, original embossed print, signed and numbered; colour reproductions of Still Life by Shusaku Arakawa, signed; an untitled collage-drawing by Jean Tinguely, signed.

Shuzo Takiguchi, To and From Rrose Sélavy, Tokyo, 1968 132

Poster for the exhibition Ready-mades et Editions de et sur Marcel Duchamp, 1967 Screen print, 695 x 480 mm Poster for the exhibition at Galerie Givaudan, Paris, June 8-September 30, 1967 Signed Marcel Duchamp lower right

Edition 100 signed and numbered copies without the text 400 copies with the text Publisher Galerie Givaudan, Paris Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 642, ill. p. 869

Marcel Duchamp (1887-1968) Invitation card for the exhibition at Galerie Givaudan, Paris, 1967 134

Suite d’ombres transparentes, 1967 Suite of 16 screen prints in white on transparent plastic (each 240 x 180 mm), included in a portfolio, for the deluxe edition of the book Marcel Duchamp ou le château de la pureté by Octavio Paz. When assembled the screen prints show details of the shadows cast by the readymades Roue de Bicyclette (1913) and Porte-Bouteilles (1914). Signed by Marcel Duchamp and Octavio Paz on the colophon page of the book

Edition 100 copies Publisher Editions Claude Givaudan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 641, ill. p. 869 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 144, ill. p. 96

Octavio Paz - Marcel Duchamp ou le chateau de la pureté, 1967 Editions Claude Givaudan 136

Poster for “Les Duchamps” and “Marcel Duchamp/ Raymond Duchamp-Villon”, 1967 Colour lithograph after Marcel Duchamp’s painting The Chess Players (1911), 725 x 555 mm (sheet size). Poster for the exhibitions Les Duchamps, Rouen and Marcel Duchamp/Raymond Duchamp-Villon, Paris, both in 1967. A copy of the signed and numbered edition on handmade paper, without the text. Signed Marcel Duchamp lower right

Edition 50 signed and numbered copies Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 640, ill. p. 868 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 21, ill. p. 27

Poster for Les Duchamps, Paris, 1967 138

Door for Gradiva, 1937/1968 Acetate, 281 x 197 mm Miniature replica of the door Duchamp designed in 1937 for André Breton’s gallery at 31, rue de Seine, Paris. Issued on the occasion of the exhibition ‘Doors’. Cordier & Ekstrom Gallery, New York, 19 March-20 April 1968. The announcement sheet (600 x 390 mm), reveals, when unfolded, the cutout of the door for Gradiva. Signed Marcel Duchamp lower right

Edition 50 signed and numbered copies Publisher Cordier & Ekstrom Gallery, New York Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 656, ill. p. 888 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 58, ill. p. 54

Marcel Duchamp in front of the Gradiva door, Gradiva Gallery, Paris, 1937 140

Cover for S.M.S., 1968 Cover for S.M.S. no. 2: facsimile of Disk Inscribed with Pun, No.6 (Esquivons les ecchymoses des esquimaux aux mots exquis) (1926), diameter 175 mm; on back-cover facsimile of Duchamp’s autograph pun ‘a Guest + a host = a ghost). The disk is in fact a 33 1/3 rpm record of an anthology of texts by Duchamp, recited by an unidentified voice (not the artist’s).

Edition 2500 copies (announced, but probably much less) Publisher The Letter Edged in Black Press, New York Literature Arturo Schwarz, The Complete Works of Marcel Duchamp. London & New York, 1997, no. 654, ill. p. 886

SMS portfolio N°2, 1968 142

Titled S.M.S. (for: Shit Must Stop) six portfolios with facsimiles of various artists were published in 1968 under the direction of William Copley as ‘President and Provocateur’ and Dimitri Petrov, ‘Vice-President and Henchman’.

The Lovers Etchings, 1967/1968 Complete set consisting of 9 etchings, second state, printed in bistre on Japan vellum, ca. 350 x 240 mm (plate size), 505 x 325 mm (sheet size): Morceaux choisis d’après Cranach et “Relâche”, Après l’amour, Morceaux choisis d’après Rodin, Le Bec Auer, Morceaux choisis d’après Ingres I, La Mariée Mise à nu, Morceaux choisis d’après Ingres II, Roi et Reine, Morceaux choisis d’après Courbet. All etchings numbered 30/30 and signed Marcel Duchamp lower right

Edition 30 copies of second state, all etchings signed and numbered Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 645-653, ill. pp. 871-885

Marcel Duchamp (1887-1968) Étant donnés (1946-1966) Collection Philadelphia Museum of Art 144

Taking up again a ‘traditional ‘ technique, Duchamp etched in the Summer of 1967 a series of etchings on the theme of The Lovers, taking fragments from art history (Ingres, Courbet, Rodin), advertisements, from his own interventions in modern art : an appearance as Cranach’s Adam in the film Relâche (1924) and a view of his then still unknown work Étant donnés. The whole series – obviously linked to the series of etchings on his masterwork La mariée mise à nu par ses célibataires, même – culminates in the emblematic combination of falling dice and the chess King and Queen, reminding the spectator of Duchamp’s pessimistic ideas on the role of fate and coincidence in history and life, on the conflict between instincts and rational behaviour.

Morceaux choisis d’après Ingres I, 1968 Etching, second state, printed in bistre on Japan vellum, 350 x 238 mm (plate size), 505 x 325 mm (sheet size) Signed Marcel Duchamp lower right and numbered 30/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 649d, ill p. 878 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 162, ill. p. 101

Jean-Auguste-Domenique Ingres (1780-1867) The Turkish Bath Collection Louvre, Paris Jean-Auguste-Domenique Ingres (1780-1867) Augustus, Octivia, and Livia Listening to Virgil Reading from the “Aeneid” (“Tu Marcellus Eris ...”), circa, 1812 Collection Royal Museum of Fine Arts of Belgium, Brussels 146

Morceaux choisis d’après Courbet, 1968 Etching, second state, printed in bistre on Japan vellum, 349 x 237 mm (plate size), 505 x 325 mm (sheet size) Signed Marcel Duchamp lower right and numbered 30/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 653c, ill p. 885 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 175, ill. p.105

Gustave Courbet (1819-1877) Le nu fendu, 1861 Collection Barnes Foundation, Philadelphia 148

Morceaux choisis d’après Ingres II, 1968 Etching, second state, printed in bistre on Japan vellum, 350 x 238 mm (plate size), 505 x 325 mm (sheet size) Signed Marcel Duchamp lower right and numbered 30/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 651c, ill p. 882 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 168, ill. p. 103

Jean-Auguste-Dominique Ingres (1780-1867) Oedipus and the Sphinx, circa 1880 Collection Louvre, Paris 150

Roi et Reine, 1968 Etching, second state, printed in bistre on Japan vellum, 351 x 239 mm (plate size), 505 x 325 mm (sheet size) Signed Marcel Duchamp lower right and numbered 30/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 652c, ill p. 884 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 170, ill. p. 104

Marcel Duchamp (1887-1968) Poster Championnat de France, Nice, 1925 152

Le Bec Auer, 1968 Etching, second state, printed in bistre on Japan vellum, 350 x 238 mm (plate size), 505 x 325 mm (sheet size) Signed Marcel Duchamp lower right and numbered 30/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 648c, ill p. 877 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 155, ill. p. 100

Marcel Duchamp (1887-1968) Étant donnés (1946-1966) Collection Philadelphia Museum of Art Hans Baldung Grien New Year’s Wish with Three Witches, 1514 Vienna, Graphische Sammlung Albertina 154

Après l’amour, 1967 Etching, second state, printed in bistre on Japan vellum, 350 x 238 mm (plate size), 505 x 325 mm (sheet size) Signed Marcel Duchamp lower right and numbered 30/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 646c, ill p. 874 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 150, ill. p. 98

Gustave Courbet (1819-1877) Le Sommeil (detail) 1866 Collection Petit Palais, Paris 156

Morceaux choisis d’après Rodin, 1968 Etching, second state, printed in bistre on Japan vellum, 350 x 240 mm (plate size), 505 x 325 mm (sheet size) Signed Marcel Duchamp lower right and numbered 30/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 647b, ill p. 875 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 153, ill. p. 99

Auguste Rodin (1840-1917) The Kiss, circa 1882 Collection Musée Rodin, Paris 158

La Mariée mise à nu, 1968 Etching, second state, printed in bistre on Japan vellum, 350 x 238 mm (plate size), 505 x 325 mm (sheet size) Signed Marcel Duchamp lower right and numbered 30/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 650c, ill p. 880 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 164, ill. p. 102

Marcel Duchamp (1887-1968) Study for Étant donnés, 1e la chute d’eau, 2e le gaz d’éclairage... 160

Morceaux choisis d’après Cranach et “Relâche”, 1967 Etching, second state, printed in bistre on Japan vellum, 350 x 240 mm (plate size), 505 x 325 mm (sheet size) Signed Marcel Duchamp lower right and numbered 30/30

Edition 30 signed and numbered copies Publisher Galleria Schwarz, Milan Literature Arturo Schwarz, The Complete Works of Marcel Duchamp, London & New York, 1997, no. 645d, ill p. 873 Marcel Duchamp Graphics. Tokyo: Bigi Art Space, 1991, no. 147, ill. p. 97

Marcel Duchamp and Bronia Perlmutter Photograph Man Ray (1890-1976) Relâche, 1924 Lucas Cranach, Adam und Eva, 1533, Leipzig Museum der Bildenden Künste 162

Chronologie

Chronology

1887 Henri Robert Marcel Duchamp wordt op 28 juli in Blainville Crevon (Seine-Inférieure) geboren; hij is de zoon van Justin Isidore Duchamp (die Eugène wordt genoemd) en Marie Caroline Lucie Nicolle. Gaston Duchamp, zijn in 1875 geboren oudste broer, is de latere schilder Jacques Villon; de jongere, in 1876 geboren Raymond is de beeldhouwer Duchamp-Villon. Drie zussen, de in 1889 geboren Suzanne, de in 1895 geboren Yvonne en de in 1898 geboren Madeleine, vullen het gezin nog aan.

1887 Henri-Robert-Marcel Duchamp is born near Blainville (Seine-Maritime) on 28 July; he is the son of Justin-Isidore Duchamp (who had changed his first-name to Eugène) and Marie-Lucie-Caroline Nicolle. His elder brother, Gaston Duchamp, born in 1875, would become the painter Jacques Villon; the younger brother, Raymond, born in 1876, the sculptor Duchamp-Villon. Three sisters, Suzanne born in 1889, Yvonne in 1895 and Madeleine in 1889, complete this large family. Madeleine Duchamp was to be the last of the surviving siblings.

1895-1904 Marcel Duchamp is leerling van de Ecole Bossuet in Rouen. Jacques en Raymond wonen al in Parijs; de eerste beoefent de graveerkunst, de tweede studeert medicijnen maar zal zijn studie wegens ziekte moeten opgeven (en zal zich vervolgens aan de beeldhouwkunst wijden). In oktober 1904 voegt Marcel Duchamp zich bij hen; hij gaat met Villon in Montmartre wonen en wordt tot de Académie Julian toegelaten. Sinds 1902 laat hij zich door de omgeving van Blainville inspireren tot het schilderen van landschappen.

1895-1904 Marcel Duchamp studies at the École Bossuet, the lycée in Rouen. Jacques and Raymond are already in Paris; the former doing gravures, the latter studying medicine (studies interrupted due to bad health, then to devote himself to sculpture). In October 1904, Marcel Duchamp goes to join them; he moves in with Villon (rue Caulaincourt) and enrolls at the Académie Julian. Starts painting landscapes of Blainville in 1902.

1905 Als vrijwilliger voor de militaire dienst komt hij na een schitterend examen tot beoefenaar van een kunstambacht (drukkerij) in de officiersopleiding terecht, waar hij een jaar lang dienst vervult. De familie Duchamp vestigt zich in Rouen.

1905 Thanks to Villon, Marcel Duchamp has humorous drawings published in Le Courrier français and Le Rire. Volunteers for one year of military service, attached - after a brilliant exam - to a printing brigade. The Duchamp family moves to Rouen, at number 71, rue Jeanne-d’Arc.

1906

1906

Hij verblijft in Parijs en maakt illustraties.

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Continues painting in Paris; also executes cartoons.

1908 Dankzij Villon kan Marcel Duchamp illustraties maken voor Le Courrier français. Hij verlaat Montmartre en gaat in Neuilly wonen.

1908 Marcel Duchamp leaves Montmartre for Neuilly, 9, avenue de l’Amiral-de-Joinville.

1909 Marcel Duchamp stelt werk tentoon op de Salon des Indépendants en de Salon d’ Automne; aan de eerste salon zal hij tot in 1911 meewerken, aan de tweede tot in 1912. Hij stelt tentoon op de eerste Salon de la Société Normande de Peinture Moderne te Rouen.

1909 Marcel Duchamp exhibits at the Salon des Indépendants and the Salon d’Automne; he participates at the former until 1911, the latter until 1912. He exhibits in Rouen at the first Salon de la Société normande de peinture moderne.

1910 Hij woont ‘s zondags in Puteaux de samenkomsten bij die Villon in zijn op dat ogenblik landelijk gelegen atelier organiseert; hij ontmoet er Gleizes, De La Fresnaye, Metzinger, Léger, Apollinaire, Henri-Martin Barzun, Ribemont-Dessaignes, enz. Hij maakt illustraties voor Le Rire.

1910 At Puteaux, he attends Sunday get-togethers organized by Villon at his country-studio; there he meets Gleizes, La Fresnaye, Metzinger, Léger, Apollinaire, HenriMartin Barzun, Ribemont-Dessaignes, and others.

1911 Hij leert Picabia op de Salon d’ Automne kennen, waar hij als lid tentoonstelt. Volgens Gabrielle Buffet, op dat moment de echtgenote van Picabia, zou die ontmoeting in 1910 hebben plaatsgevonden.

1911 He meets Picabia at the Salon d’Automne where he is named as Member. According to Gabrielle Buffet, Picabia’s then wife, their initial encounter would have been in 1910.

1912

1912

Nadat Nu descendant un escalier voor de Salon des Indépendants is geweigerd, trekt Marcel Duchamp zich terug als lid; hij neemt deel aan een kubistische tentoonstelling in Galerie Dalmau in Barcelona, waar Nu descendant un escalier voor het eerst wordt tentoongesteld, en aan de Salon de la Section d’Or, waarvan Villon de animator is. Hij bezoekt in februari de futuristische tentoonstelling in de Galerie Bernheim-Jeune in Parijs. Vriendschap met Apollinaire en Picabia; de voorstelling van lmpressions d’Afrique van Raymond Roussel in het Théâtre Antoine maakt een

Marcel Duchamp, circa 1900

Marcel Duchamp / Raymond Duchamp - Villon / Jacques Villon, Puteaux, 1912

His Nude Descending a Staircase is rejected at the Salon des Indépendants. A furious Marcel Duchamp resigns as Member; the painting is then first presented at a Cubist exhibition in Barcelona at the Dalmau Gallery, and at the Salon de la Section d’Or at Villon’s behest. In February, Marcel Duchamp visits the Futurist exhibition at the Bernheim Jeune Gallery in Paris. Growing friendship with Apollinaire and Picabia; a representation of Raymond Roussel’s Impressions of Africa (at Théâtre Antoine) provides him with a deep shock. In July-August, Marcel Duchamp

Marcel Duchamp, 1915

Duchamp’s studio 33 West 67th Street, NY, 1917

Marcel Duchamp, Walter Arensberg and others, 1916

Marcel Duchamp, 1919

diepe indruk op hem. In juli en augustus verblijft Marcel Duchamp in München; na een lange omweg via Praag, Wenen, Dresden en Berlijn keert hij naar Parijs terug. In oktober bezoekt hij met Picabia en Gabrielle Buffet de moeder van Gabrielle, die in de Jura woont. Hij verhuist naar de rue Saint-Hippolyte in Parijs. De Amerikaanse kunstcriticus Walter Pach, vriend van zijn broers, komt hem opzoeken.

sojourns to Munich; he regains Paris after a long detour via Prague, Vienna, Dresden and Berlin. In October, he travels to the Jura by car along with Picabia and Gabrielle Buffet, to visit the latter’s mother. He receives the visit of American art critic Walter Pach, a friend of his brothers

1913 Walter Pach vraagt Marcel Duchamp in februari en maart deel te nemen aan de Armory Show in New York; hij stuurt vier werken, waaronder Nu descendant un escalier, dat een groot schandaal verwekt. Om in zijn onderhoud te kunnen voorzien gaat hij als bibliotheekbediende in de Bibliothèque Sainte-Geneviève werken. In hetzelfde jaar verschijnt Les Peintres cubistes van Apollinaire. Marcel Duchamp maakt zijn eerste ready-made en zijn eerste studies voor Le Grand Verre.

1913 Marcel Duchamp is invited by Pach to take part in the Armory Show in New York (February-March). He sends four paintings, including Nude, provoking much controversy. To make ends meet, Marcel Duchamp works at the Bibliothèque Sainte-Geneviève. In October he moves to 23, rue Saint-Hippolyte in Paris. That same year appears Apollinaire’s Les Peintres cubistes. Marcel Duchamp makes his first readymade, as well as his first studies for the Large Glass..

1914 Marcel Duchamp werkt in de rue Saint-Hippolyte voort aan zijn studies voor Le Grand Verre en maakt zijn eerste studies voor de Boîte de 1914. Bij de oorlogsverklaring op 2 augustus wordt Villon opgeroepen; Marcel Duchamp en Duchamp-Villon worden afgekeurd, waarna die laatste dienst neemt als medisch assistent en terechtkomt in het hospitaal van Saint-Germain-en-Laye. Marcel Duchamp gaat door met het maken van ready-mades. Walter Pach, die in de herfst in Parijs komt, probeert hem ertoe over te halen naar New York te gaan, aangezien hij ontslagen is van elke militaire verplichting.

1914 Marcel Duchamp continues his studies for the Large Glass, and initial studies for the Box of 1914. When war is declared on August 2nd, Villon is mobilized; Marcel Duchamp and Duchamp-Villon are exempted from service, with the latter taking up auxiliary-doctor duties at the Hôpital Saint-Germain-en-Laye. Marcel Duchamp continues making his readymades. Walter Pach, arriving in France that autumn, invites him to come to New York if and when his war-related status permits.

1915 Marcel Duchamp gaat aan boord van de Rochambeau en komt op 15 juni in New York aan; hij maakt er kennis met Louise en Walter Arensberg, wier flat een trefpunt is voor kunstenaars, dichters, musici en mooie vrouwen. Na een verblijf van drie maanden bij hen huurt hij een flat op Beekman place, gaat daarna in een atelier in de Lincoln Arcade Building, Broadway, wonen. Hij werkt voort aan zijn studies voor Le Grand Verre, terwijl hij tegelijk - overigens niet lang - in de bibliotheek van het Institut Français werkt. In september verschijnt in Arts and Decoration een opzienbarend artikel: A Complete Reversal of Art Opinions by Marcel Duchamp, Iconoclast. Marcel Duchamp sluit vriendschap met verscheidene Amerikaanse kunstenaars en schrijvers, onder wie Man Ray.

1915 Marcel Duchamp sets sail on the Rochambeau, arriving in New York on June 15th; there he meets Louise and Walter Arensberg, whose apartment is a frequent haunt of artists, poets, musicians and beautiful women. After three months with the Arensbergs, he rents an apartment at 34 Beekman Place, then setting-up a studio at 1947 Broadway (the Lincoln Arcade Building). There he continues his studies for the Large Glass while working at the library of the Institut français, though not remaining in this post for long. In September, an article appears in the review Arts and Decoration: “A Complete Reversal of Art Opinions by Marcel Duchamp, Iconoclast”. Marcel Duchamp allies himself with several American artists and writers, notably including Man Ray.

1916 Hij neemt deel aan twee tentoonstellingen in New York, in de Bourgeois Gallery en in de Montross Gallery, die laatste samen met Gleizes, Metzinger en Jean Grotti. H.P. Roché komt in New York aan en woont de samenkomsten ten huize van het echtpaar Arensberg bij. In oktober gaat Marcel Duchamp boven zijn vrienden wonen; hij is samen met Arensberg, Walter Pach en verscheidene kunstenaars een van de stichters van de Society of Independent Artists, naar het model van de Salon des Indépendants in Parijs. ‘Geen jury en geen beloningen’. Marcel Duchamp leert Katherine S. Dreier kennen.

1916 He participates in two exhibitions in New York, at the Bourgeois Gallery and at the Montross Gallery, in the latter together with Gleizes, Metzinger and Jean Crotti. H.P. Roché arrives in New York and takes part in get-togethers at the Arensbergs. In October, Marcel Duchamp sets up a studio above his friends at 33 West 67th Street. He co-founds the Society of Independent Artists, Inc., modelled after the Salon des Indépendants in Paris. “Neither selection jury, nor recompense.” Marcel Duchamp meets Katherine S. Dreier.

1917

1917 Marcel Duchamp’s Fountain, signed “R. Mutt”, is rejected by the Salon of the Society of Independent Artists, and he resigns his membership. In April, he and Picabia organize - within the framework of this event - a lecture by Arthur Cravan, which causes a terrible scandal. With Roché, Arensberg and the poet Beatrice Wood, he works on the

Fountain van Marcel Duchamp, gesigneerd door ‘R. Mutt’, wordt voor de Salon van de Society of Independent Artists afgewezen. In april organiseert hij met Picabia in het kader van dat gebeuren een door Arthur Cravan gehouden lezing, die een vreselijk schandaal verwekt. Met Roché, Arensberg en de dichteres Beatrice Wood zorgt hij voor de

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publicatie van twee tijdschriften van dadaïstische inslag, The Blind Man en Rongwrong. In oktober treedt Marcel Duchamp als secretaris in dienst van de Mission Française Militaire.

publication of two Dadaist-inspired reviews, The Blind Man and Rongwrong. In October, Marcel Duchamp becomes Secretary to the French War Mission.

1918 Hij verlaat New York in augustus en vertrekt naar Argentinië, een neutraal land. In Buenos Aires probeert hij een kubistische tentoonstelling te organiseren, maar ten slotte moet hij van zijn plan afzien. Daar bereikt hem het nieuws van de dood van Duchamp-Villon, die op 9 oktober gestorven is, en die van Apollinaire, een maand later. Marcel Duchamp beslist terug te keren naar Frankrijk, waar op 11 november het wapenstilstandverdrag met het overwonnen Duitsland ondertekend is.

1918 He leaves New York in August for Argentina, a neutral country. In Buenos Aires, he attempts to mount a Cubist exhibition but, in the end, must abandon the project. There, he learns of the death on 9 October of Duchamp-Villon, and that of Apollinaire one month later. Marcel Duchamp decides to return to France where, on 11 November, the armistice is signed with a defeated Germany.

1919 In juni scheept hij zich in en vertrekt naar Europa; twee maanden eerder is zijn (gescheiden) zus Suzanne in Parijs met Jean Crotti getrouwd. In Parijs ziet hij Picabia terug en maakt hij kennis met de dadaïstische groep; hij brengt zijn ouders in Rouen dikwijls een bezoekje. Vriendschap met Tzara, Breton, Ribemont-Dessaignes, en vooral Pierre de Massot.

1919 In June, he embarks for Europe; two months prior, in Paris, his (divorced) sister Suzanne marries Jean Crotti. In Paris he also renews his friendship with Picabia and meets the Dada group; he often sojourns to Rouen to visit his parents. Friendships with Tzara, Breton, RibemontDessaignes and, above all, Pierre de Massot.

1920 Marcel Duchamp keert in januari naar New York terug; hij wijdt zich met Man Ray aan optische en cinematografische experimenten. In samenwerking met Man Ray en Katherine Dreier sticht hij in april de Société Anonyme, Inc. 1920. Rrose Sélavy ontstaat, de vrouwelijke uitgave van Marcel Duchamp, door Man Ray in die nieuwe gedaante gefotografeerd.

1920 Marcel Duchamp returns to New York in January; there he works with Man Ray on precision optical instruments and also experiments with film. In April he, together with Man Ray and Katherine Dreier, conceives and founds the Société Anonyme, an international permanent collection from which they hope to establish a museum. This year also sees the birth of Rrose Selavy, Marcel Duchamp’s feminine substitute, who is photographed by Man Ray in this new persona.

1921 Marcel Duchamp en Man Ray publiceren in april New York Dada. Als antwoord op de vraag van de dadaïsten om deel te nemen aan hun Salon in de Galerie Montaigne in Parijs, stuurt Marcel Duchamp het volgende telegram: ‘Pode Bal’. In juni keert hij naar Frankrijk terug, een paar weken voor de komst van Man Ray; in de tuin vanVillon in Puteaux zetten ze hun kinetische en cinematografische experimenten voort. Marcel Duchamp, die bij Suzanne en Jean Crotti inwoont, in de rue de La Condamine, ondertekent met zijn pseudoniem Rrose Sélavy L ‘Oeil cacodylate van Picabia.

Marcel Duchamp as Rrose Selavy, 1921

1921 In April, Marcel Duchamp and Man Ray publish New York Dada. In response to a request to participate in a Dada Salon at Galerie Montaigne in Paris, Marcel Duchamp wires Crotti: “Pode Bal.” He returns in June, a few weeks after Man Ray’s arrival; they resume their cinematographic work at Puteaux (in Villon’s garden). Marcel Duchamp, who resides with the Crottis at rue de La Condamine, signs his pseudonym Rrose Selavy to Picabia’s L’Oeil cacodylate.

1922

Marcel Duchamp keert in januari naar New York terug. Hij werkt in zijn atelier in de Lincoln Arcade Building voort aan Le Grand Verre en geeft, om in zijn onderhoud te kunnen voorzien, Franse les. Het belangrijke essay van André Breton over Marcel Duchamp verschijnt in december in Littérature.

1922 Marcel Duchamp returns to New York in January; he continues his work on the Large Glass at his Lincoln Arcade studio, giving French lessons to make ends meet. In December, publication of Breton’s important essay on Marcel Duchamp in Littérature.

1923 Marcel Duchamp werkt niet meer aan Le Grand Verre, dat onvoltooid zal blijven. Hij keert terug naar Europa; hij woont eerst een paar maanden in Brussel, waar hij actief is in het schaakmilieu ; daarna keert hij terug naar Parijs, waar hij tot 1942 geregeld zal verblijven, drie korte verblijven in New York niet te na gesproken (in 1926-1927, in 1933-1934, in 1936). Tot in 1926 verblijft hij in Hotel Istria, in de rue CampagnePremière; Man Ray, die een atelier vlakbij heeft, logeert er ook. Er ontstaat een relatie met Mary Reynolds, een jonge en rijke Amerikaanse weduwe die in Parijs woont. Marcel Duchamp begint deel te nemen aan schaaktoernooien. Gedurende een jaar is hij lid van de jury van de Salon d’ Automne; het gerucht doet de ronde dat hij elke artistieke bezigheid gestaakt heeft.

1923 Marcel Duchamp stops working on the Large Glass, which remains unfinished; he returns to Paris, where he regularly resides up until 1942, with three brief sojourns to New York in 1926-1927, 1933-1934 and 1936. Up to 1926 he lives at the hotel Istria, rue Compagne-Première; Man Ray (who has a nearby studio) lives there as well. Relationship with Mary Reynolds, a young rich American widow living in Paris. Marcel Duchamp starts taking part in chess tournaments. For one year he is member of the jury at the Salon d’Automne; word goes around that he’s completely ceased his artistic activity.

1924 Marcel Duchamp geeft Franse les aan Amerikanen in Parijs; hij wordt schaakkampioen van Haute-Normandie.

1924 Marcel Duchamp gives French lessons to Americans in Paris; he becomes chess champion of Haute Normandie.

Marcel Duchamp and Raoul de Roussy de Sales playing chess, 1924

Marcel Duchamp behind the Rotary Glass Plates, 1920

Marcel Duchamp and Man Ray in Entr’acte, Paris, 1924

Marcel Duchamp, Brancusi and Tristan Tzara

Hij treedt met Man Ray, Erik Satie, Picabia, enz., in Entr’acte op, een film van René Clair, die dient als entr’acte tijdens Reláche, een ballet van Picabia en Satie. In Cinésketch, waarvan er maar één voorstelling is geweest, vertolkt Marcel Duchamp, naakt maar met baard, Adam; Eva wordt door Brogna Perlmutter, ook naakt, vertolkt. Zij wordt later mevrouw René Clair.

Along with Man Ray, Erik Satie, Picabia (and others), he takes part in René Clair’s film Entr’acte, and in the ballet Relâche by Picabia and Satie. In Ciné-Sketch, which had but one sole performance, Marcel Duchamp (nude, but with a beard) plays Adam to Brogna Perlmutter (also nude) as Eve. She was later to become Mme René Clair.

1925 De moeder van Marcel Duchamp sterft op 29 januari, zijn vader op 5 februari. Schaaktoernooien. Hij houdt zich bezig met de perfectionering van een techniek om bij het roulettespel te winnen, waaraan hij een jaar eerder begonnen was.

1925 Marcel Duchamp’s mother dies on 29 January, and his father but a few days later on 5 February. Continues playing in chess tournaments. Perfects a ‘fail-proof’ system for roulette begun the year before.

1926

1926

Anémic Cinéma komt uit, een film die gemaakt is door Marcel Duchamp, Man Ray en Marc Allégret, op basis van optische experimenten van Marcel Duchamp. Hij schrijft in maart het voorwoord voor de catalogus bij de verkoping van de tachtig werken van Picabia in Hotel Drouot; het wordt voorgesteld alsof die aan Marcel Duchamp toebehoren. Hij neemt zijn intrek in een atelier, in de rue Larrey nr. 11. In mei vertrekt hij op reis naar Italië ‘om er een vriendin op te zoeken’. Hij helpt Katherine Dreier bij de voorbereiding van de tentoonstelling van de Société Anonyme in het Brooklyn Museum in november en december 1927. In New York, waar hij verscheidene maanden verblijft, organiseert hij een tentoonstelling van het werk van Brancusi in de Brummer Gallery. Le Grand Verre loopt barsten op na de tentoonstelling ervan tijdens de International Exhibition of Modern Art in het Brooklyn Museum.

Appearance of Anemic Cinema, a film made by Man Ray and Marc Allégret based on Marcel Duchamp’s optical experiments. In March he signs “Rrose Selavy” to the catalogue preface for the sale of eighty works by Picabia at Hôtel Druot; these are presented as belonging to Marcel Duchamp. He sets up a studio at 11, rue Larrey, then (in May) leaves for a trip to Italy to “find back a friend”. He helps Katherine Dreier prepare the exhibition of the Société Anonyme at the Brooklyn Museum planned for NovemberDecember 1927. In New York, where he sojourns several months, he organizes a Brancusi exhibition at the Brummer Gallery. The Large Glass becomes shattered after its showing at the International Exhibition in Brooklyn (a fact not recognized until several years later).

1927 Op verzoek van Brancusi kopen H. P. Roché, de met de beeldhouwer bevriende mevrouw Charles Rumsey en Marcel Duchamp van de Brummer Gallery tweeëntwintig werken voor 8000 dollar; Marcel Duchamp zal ze verkopen naarmate hij geld nodig heeft. Hij organiseert een tentoonstelling van werk van Brancusi in de Arts Club van Chicago, keert in februari naar Parijs terug en vestigt zich opnieuw in de rue Larrey. Schaaktoernooien. Op 7 juni trouwt Marcel Duchamp met Lydie Sarazin-Levassor, van wie hij zich in januari 1928 zal laten scheiden; Man Ray filmt de plechtigheid.

1927 At Brancusi’s request, H.P. Roché, Mrs. Rumsey (friend of the sculptor) and Marcel Duchamp buy twenty-two of his works at Brummer’s for 8,000 dollars; Marcel Duchamp would sell some of those belonging to him as the need arises. He organizes a Brancusi exhibit at Chicago’s Arts Club, then returns to Paris in February, again in the rue Larrey. More chess tournaments. On June 7th, Marcel Duchamp marries Lydie SarazinLevassor (Man Ray films the ceremony); they were to divorce in January 1928.

1928

Marcel Duchamp playing chess

Schaaktoernooien in Zuid-Frankrijk.

1928

geschreven werk over een schaakprobleem, en neemt deel aan verscheidene toernooien. Voor de sculpturen van Calder bedenkt hij de term ‘mobielen’.

volume on chess, and continues playing at tournament level. For Calder’s sculptures, he invents the term “mobiles”.

1933 Marcel Duchamp neemt deel aan een belangrijk schaaktoernooi in Folkestone. Hij vertaalt een werk van Eugène Znosko-Borovsky in het Frans, Comment il faut commencer une partie d’échecs, en vertrekt in oktober naar New York om er een tweede tentoonstelling van werk van Brancusi in de Brummer Gallery te organiseren.

1933 Marcel Duchamp participates in an important chess tournament at Folkestone. He pens the French translation of the tome by Eugène Znosko-Borovsky on chess openings, and in October leaves for New York to organize a second Brancusi exhibition at Brummer Gallery.

1934

1934

Hij keert in februari naar Parijs terug.

Returns to Paris in February.

1935 Marcel Duchamp stelt op de Concours Lépine, een uitvinderssalon, zes ‘rotoreliefs’ voor. Hij is aanvoerder van de Franse equipe voor de lste Internationale Olympiade Correspondentieschaak. André Breton publiceert in het tijdschrift Minotaure ‘Phare de la mariée’, een eerste kritische analyse van Le Grand Verre. Marcel Duchamp begint de elementen voor de Boîte-en-Valise te verzamelen.

1935 Marcel Duchamp presents six Rotoreliefs at Concours Lépine. He is Captain of the French team at the First International Correspondence Chess Olympiad. In Minotaure, André Breton publishes Phare de la mariée (Lighthouse of the Bride), the first major critical analysis of the Large Glass. Marcel Duchamp starts assembling the elements for his Box in a Valise.

1936 Marcel Duchamp neemt deel aan een belangrijke internationale suurealistische tentoonstelling in Londen; hij gaat op 20 mei aan boord van de Normandie met bestemming New York. In augustus reist hij naar San Francisco, brengt daarna het echtpaar Arensberg een bezoek in Hollywood. Op 2 september keert hij naar Frankrijk terug. Marcel Duchamp neemt deel aan Fantastic Art, Dada, Surrealism in het Museum of Modern Art in New York.

1936 Marcel Duchamp takes part in an important international Surrealism exhibition in London; he embarks on the Normandie bound for New York on May 20th. In August he travels to San Francisco, then visits the Arensbergs in Hollywood. He returns to France on September 2nd. Marcel Duchamp participates in the exhibition Fantastic Art, Dada, Surrealism at the Museum of Modern Art in New York.

1937 De eerste eenmanstentoonstelling van Marcel Duchamp in de Arts Club in Chicago. Hij ontwerpt de deur voor Gradiva, de surrealistische galerie die Breton in Parijs opent, en werkt aan de verschillende onderdelen van de Boîte-en-Valise. Hij geeft Peggy Guggenheim advies, die in Londen de Guggenheim Jeune Gallery opent.

1937 His first one-man-show given at Chicago›s Arts Club. He designs the door for surrealist gallery Gradiva, run by Breton in the rue de Seine in Paris; works on various constituents of the Box in a Valise. He advises Peggy Guggenheim, who opens the “Guggenheim Jeune” gallery in London.

1938 Marcel Duchamp treedt op als ‘générateur- arbitre’ voor de Exposition Internationale du Surrealisme, die in januari en februari in de Galerie des Beaux-Arts in Parijs plaatsvindt.

1938 Marcel Duchamp co-organizes the International Surrealism Exhibition at the Beaux-Arts gallery in Paris (January-February).

1939 Hij publiceert een verzameling woordspelingen, Rrose Sélavy.

1939 He publishes a collection of plays-on-words: Rrose Selavy, oculisme de précision, poils et coups de pied en tous genres.

Marcel Duchamp and Katherine S. Dreier, 1936

Chess tournaments in the Midi

1929

Marcel Duchamp bezoekt met Katherine Dreier Spanje. Schaaktoernooien in Parijs.

Marcel Duchamp visits Spain with Katherine Dreier. More chess tournaments in Paris.

1940 Marcel Duchamp voltooit de Boite-en-Valise. Frankrijk lijdt de nederlaag, het land wordt bezet, de regering vestigt zich in Vichy. Marcel Duchamp brengt de zomer met Suzanne en Jean Crotti in Arcachon door.

1940 Marcel Duchamp completes Box in a Valise. Defeat and occupation of France; the government installs at Vichy. Marcel Duchamp spends the summer with the Crottis at Arcachon.

1930 Schaaktoernooien in Nice en Parijs. Marcel Duchamp wordt tot lid gekozen van de Franse equipe voor de 3e Olympiade in Hamburg. Katherine Dreier vraagt hem in Parijs werken te selecteren voor de tentoonstelling van de Société Anonyme in New York. In het Second Manifeste du surréalisme verwijt Breton Marcel Duchamp dat hij de kunst heeft opgegeven voor het schaken.

1930 Chess events in Nice and Paris. Marcel Duchamp is named member of the French team for the 3rd Chess Olympiad, held in Hamburg. In Paris, Katherine Dreier asks him to select works destined for an exhibition of the Société Anonyme in New York. In Breton’s Second Manifeste du surréalisme, he reproaches Duchamp for having abandoned art for chess.

1941 De Boîte-en-Valise wordt in omloop gebracht. Marcel Duchamp bekomt een pasje om vrij van het bezette gebied naar het ‘vrije gebied’ te reizen, als kaashandelaar, waardoor hij de verschillende onderdelen van de Boîte-en-Valise naar Sanary (Var) kan overbrengen.

1941 Distribution of the Box in a Valise. Marcel Duchamp obtains a permanent pass for the “zone libre” as the representative of a cheese merchant, so enabling him to transport various elements of his Box in a Valise to Marseille.

1931

Een belangrijk schaaktoernooi in Praag; Marcel Duchamp is lid van het comité van de Franse Schaakbond en van de Internationale Schaakfederatie.

1931

Important chess tournament in Prague; Marcel Duchamp is member of the Committee of the French Chess Federation, delegate to the International Federation.

1932 Hij zorgt voor de lay-out van L’opposition et les cases conjuguées sont réconciliées, een samen met Vitaly Halberstadt

1932 With Vitaly Halberstadt, Marcel Duchamp publishes L’opposition et les cases conjuguées sont réconciliées, now a classic

1942 Marcel Duchamp reist via Lissabon naar de Verenigde Staten; hij komt in juni in New York aan en neemt zijn intrek in de flat van Max Ernst, daarna bij de architect Frederick Kiesler. Hij behoort tot de groep van naar New York uitgeweken surrealistische kunstenaars, samen met Breton, Max Ernst, Masson, Wifredo Lam, Matta, Tanguy, enz., en werkt met Breton en Ernst aan het

1942 Marcel Duchamp departs for the USA from Lisbon; he arrives in New York in June, first moving into Max Ernst’s apartment at 440 East 51st Street, then with architect Frederick Kiesler at 56 Seventh Avenue. He makes up part of a group of refugee surrealist artists (including Breton, Max Ernst, Masson, Wilfredo Lam, Matta, Tanguy, etc.), and collaborates with Breton and Ernst on the review V V V. He counsels

168

Marcel Duchamp playing chess

1929

Marcel Duchamp with the Boîte-en-Valise, 1941

tijdschrift VVV. Hij geeft Peggy Guggenheim advies bij het inrichten van haar galerie Art of this Century en de opening ervan. Met Breton, de handelaar en verzamelaar Sidney Janis en R.A.Parker werkt hij aan de catalogus voor de tentoonstelling First Papers of Surrealism, in oktober en november. Marcel Duchamp maakt bij Peggy Guggenheim kennis met John Cage. 1943

Zijn ontwerp voor de cover van Vogue, dat het met de Amerikaanse vlag gevormde hoofd van George Washington voorstelt, wordt afgewezen; hij krijgt 40 dollar bij wijze van vergoeding.

Marcel Duchamp with the Rotoreliefs, 1947

Mary Reynolds and Marcel Duchamp

1943 Marcel Duchamp takes up residence at 210 West 14th Street. His project for a Vogue cover illustrating the head of George Washington formed from the American flag is rejected; he receives the sum of 40 dollars as recompense.

Hij begint in het geheim aan het werk waaraan hij de laatste vierentwintig jaar van zijn leven zal wijden: Etant donnés: 10 La chute d’eau; 20 Le gaz d’éclairage, dat pas na zijn dood onthuld zal worden. De Société Anonyme publiceert Duchamp ‘s Glass. An Analytical Reflection, geschreven door Katherine Dreier en Matta.

1944 He starts to work, amidst the utmost secrecy, on what will be his magnum opus and will occupy him for the last twenty-four years of his life, Etant donnés (Given): 1° The Waterfall; 2° The Illuminating Gas, which will be revealed to the public only after his death. The Société Anonyme publishes Duchamp’s Glass. An Analytical Reflection by Katherine Dreier and Matta.

1945 Een aan Marcel Duchamp gewijd nummer van het tijdschrift View. Een belangrijke tentoonstelling Duchamp, Duchamp- Villon, Villon wordt in februari en maart in de Yale University Art Gallery gehouden. Een andere tentoonstelling van werk van Marcel Duchamp en van Villon, georganiseerd door de Société Anonyme, vindt plaats in verscheidene universiteitsgalerijen. Marcel Duchamp richt de etalage in voor Arcane 17 en daarna voor Le surréalisme et la peinture van André Breton - in dat laatste geval in samenwerking met Enrico Donati - in de boekhandels van Brentano. In december koopt het Museum of Modern Art van New York Le passage de la Vierge à la mariée van Walter Pach: voor het eerst komt een museum in het bezit van een werk van Marcel Duchamp.

1945 Special number of the review View devoted to Marcel Duchamp. Major exhibition (February-March) at Yale University Art Gallery: “Duchamp, Duchamp-Villon, Villon”. Another exhibition of works by Marcel Duchamp and Villon, organized by the Société Anonyme, is presented at several university galleries. Marcel Duchamp creates the display windows for “Arcane 17”, then for André Breton’s “Surrealism and Painting” (this, together with Enrico Donati) at the Brentano’s bookshop. In December, New York’s Museum of Modern Art buys a Duchamp painting owned by Walter Pach, The Passage from Virgin to Bride: this is the first time a museum acquires a work of Marcel Duchamp.

1946 Marcel Duchamp is lid van de jury voor de ‘Bel Ami International Competition and Exhibition of New Paintings by Eleven American and European Artists’, met als thema ‘De beproeving van de H. Antonius’. Max Ernst behaalt de eerste prijs. Marcel Duchamp verblijft in Parijs om met Breton de tentoonstelling Le surréalisme en 1947 in Galerie Maeght voor te bereiden.

1946 Marcel Duchamp is member of the judging panel for the «Bel Ami International Competition and Exhibition of New Paintings by Eleven American and European Artists»; the theme is The Temptation of Saint Anthony. Max Ernst is awarded first prize. Marcel Duchamp travels to Paris to prepare, with Breton, the exhibition “Le Surréalisme en 1947” at Galerie Maeght.

1947

1947

1944

Marcel Duchamp

Peggy Guggenheim on the installation and presentation of her gallery “Art of this Century”, and collaborates with Breton, the dealer and collector Sidney Janis and R.A. Parker on the catalogue for the exhibition “First Papers of Surrealism”, at 451 Madison Avenue in October-November. Marcel Duchamp meets John Cage through Peggy Guggenheim.

Marcel Duchamp ontwerpt in New York, in samen­ werking met Donati, de catalogus voor Le Surrealisme en 1947: een schuimrubber borst, voorzien van het opschrift ‘Gelieve aan te raken’; hij vraagt de Amerikaanse nationaliteit aan.

In New York, Marcel Duchamp (together with Donati) designs the catalogue for «Le Surréalisme en 1947»: a female breast in foam-rubber with the inscription «Prière de toucher». Marcel Duchamp formally requests American nationality.

1948

1948

Marcel Duchamp werkt voort aan Etant donnés: ...

Marcel Duchamp continues working on Etant donnés...

1949 Gedurende drie dagen neemt hij deel aan de Western Round Table in het museum voor moderne kunst in San Francisco, met Gregory Bateson, Kenneth Burke, Darius Milhaud, Arnold Schönberg, Mark Tobey, F.L. Wright, enz. Een belangrijk deel van zijn werken wordt tentoongesteld tijdens de in Chicago in het Art Institute georganiseerde tentoonstelling Twentieth Century Art from the Louise and Walter Arensberg’s Collection. Marcel Duchamp ziet bij die gelegenheid in Chicago het echtpaar Arensberg terug.

1949 He participates at the three-day «Western Round Table» at San Francisco’s Museum of Modern Art, along with Gregory Bateson, Kenneth Burke, Darius Milhaud, Arnold Schönberg, Mark Tobey, F.L. Wright, and others. An important ensemble of his works is presented at an exhibition organized by the Art Institute of Chicago: «Twentieth Century Art from the Louise and Walter Arensberg Collection». Marcel Duchamp again meets the Arensbergs in Chicago for this event.

1950 In september vertrekt Marcel Duchamp naar Parijs, waar Mary Reynolds ernstig ziek is; ze sterft op 30 september. Een weinig later keert hij terug naar New York, waar hij, als

1950 Marcel Duchamp departs for Paris in September, Mary Reynolds being gravely ill there; she dies on the 30th of that month. He returns to New York shortly

170

trustee van de door Walter Arensberg gestichte Francis Bacon Foundation, instemt met de schenking van de collectie moderne kunst en precolumbiaanse beeldhouwkunst van het echtpaar Arensberg aan het Philadelphia Museum of Art.

thereafter where, as Trustee of the Arenbergs’ Francis Bacon Foundation, he agrees to the donation of the Arensberg collection of contemporary art and Pre-Columbian sculpture to the Philadelphia Museum of Art.

1951

1951

Marcel Duchamp werkt voort aan Etant donnés: ...

Marcel Duchamp pursues his work on Etant donnés...

1952 Hij organiseert de tentoonstelling Duchamp Frères et Soeur, Oeuvres d’art, die in februari en maart in de Rose Fried Gallery te New York wordt gehouden. Katherine Dreier sterft op 29 maart. Hij wordt toegelaten tot het Collège de Pataphysique, wordt bedacht met de rang van ‘transcendentaal satraap’ en geniet de bijkomende eer ‘Maître de l’Ordre de la Grande Gidouille’ te zijn. Marcel Duchamp werkt met verscheidene andere kunstenaars mee aan een film van Hans Richter over het schaken, 8X8; hij houdt een redevoering bij gelegenheid van het banket van de New York State Chess Association. Marcel Duchamp werkt mee aan de tentoonstelling van de collectie van Katherine Dreier in de Yale University Art Gallery; hij schrijft het voorwoord van de catalogus. Hij zal toezien op de verschillende schenkingen van zijn vriendin aan verscheidene museums.

1952 He organizes the exhibition «Duchamp Brothers and Sister. Works of Art» at the Rose Fried Gallery in New York (February-March). Death of Katherine Dreier on 29 March. Marcel Duchamp collaborates, with several other artists, on Hans Richter’s chess film 8 X 8; he delivers a speech at a banquet of the New York State Chess Association. Marcel Duchamp collaborates on an exhibition at Yale University Art Gallery in homage to Katherine Dreier, and writes the preface to the catalogue. He supervises the donation of works owned by Dreier to several museums..

1953 Op 30 november sterft Picabia. Vijf dagen eerder is Louise Arensberg gestorven. Haar echtgenoot zal haar spoedig in het graf volgen, op 29 januari 1954. In de Rose Fried Gallery de tentoonstelling Marcel Duchamp - Francis Picabia.

1953 Picabia dies on 30 November; five days earlier Walter Arensberg also dies, his wife as well on 29 January 1954. At Rose Fried Gallery, the exhibition «Marcel Duchamp, Francis Picabia».

1954 Op 16 januari trouwt Marcel Duchamp in New York met Alexina Sattler, door iedereen Teeny genoemd; uit een eerder huwelijk met Pierre Matisse heeft ze drie kinderen. Het paar gaat in 327 East 58th Street wonen. Het Musée National d’Art Moderne van Parijs koopt het van 1911 daterende Joueurs d’Echecs. Les Machines célibataires van Michel Carrouges verschijnt; het boek geeft aanleiding tot een aantal controversen. Voor het eerst wordt in het Philadelphia Museum of Art de collectie van Louise en Walter Arensberg getoond, die het grootste deel van de werken van Marcel Duchamp bevat. Daaraan is het door Katherine Dreier aan het museum vermaakte Le Grand Verre toegevoegd.

1954 On January 16th, Marcel Duchamp marries Alexina (Teeny) Sattler. Previously married to Pierre Matisse, she has three children. At age 67, Marcel Duchamp is delighted to have hearth and home at hand. The couple moves to 327 East 58th Street. The Musée national d’Art moderne in Paris buys his Les Joueurs d’échecs (from 1911). Michel Carrouges publishes Les Machines célibataires; the book provokes not a little controversy. Opening at the Philadelphia Museum of Art of the Louise and Walter Arensberg Collection, including the major part of Marcel Duchamp’s oeuvre. Donated to the museum by Katherine Dreier, the Large Glass also takes up residence there.

1955 Marcel Duchamp wordt Amerikaans staatsburger. In januari wordt Marcel Duchamp voor de televisie (NBC) door James Johnson Sweeney geïnterviewd in het Philadelphia Museum of Art.

1955 Marcel Duchamp receives American citizenship. In January, a television interview of Marcel Duchamp with James Johnson Sweeney, at the Philadelphia Museum of Art, for the NBC network.

1956 Publicatie door het Art Institute van Chicago van Surrealism and its Ajfinities, een door Hugh Edwards verzorgde catalogus van de collectie van Mary Reynolds, een verzameling zeldzame boeken, tijdschriften, catalogi en door haar ingebonden werken; Marcel Duchamp, ontwerper van het ex-libris, schrijft het woord vooraf.

1956 Publication of Surrealism and its Affinities, a catalogue by Hugh Edwards of Mary Reynolds’ collection rare books, periodicals, catalogues and her own bookbindings at the Art Institute of Chicago; Marcel Duchamp who had designed the ex-libris, writes the preface.

1957 Een belangrijke tentoonstelling, Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, vindt plaatsin het Solomon R. Guggenheim Museum in New York. Marcel Duchamp neemt deel aan de Convention of the American Federation of Arts in Houston. De organisators van Dada Rétrospective, een tentoonstelling die in de Galerie de l’Institut in Parijs zal plaatsvinden, sturen hem een telegram dat het telegram vervolledigt waarmee hij in 1920 antwoordde op de uitnodiging om deel te nemen aan de dadaïstische salon: ‘Et balai de crin’

1957 Major exhibition «Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp» at the Solomon Guggenheim Museum in New York. Marcel Duchamp participates at the convention of the American Federation of Arts in Houston. The organizers of the dada retrospective at the galerie de l’Institut in Paris send him a cable completing the one he sent when invited to the Salon Dada in 1920: «Et balai de crin.»

Man Ray and Marcel Duchamp playing chess

Teeny and Marcel Duchamp

Marcel Duchamp by John D. Schiff, 1957

1958 In Parijs verschijnt Marchand du sel, door Michel Sanouillet verzamelde geschriften van Marcel Duchamp. Marcel Duchamp en zijn vrouw zullen elk jaar in Parijs verblijven voor en na hun vakantie in Cadaqués aan de Spaanse Costa Brava. Marcel Duchamp heeft weinig vrienden in Parijs, zodat hij er nauwelijks opgemerkt wordt.

1958 Publication in Paris of Marchand du sel, écrits de Marcel Duchamp, compiled by Michel Sanouillet. Marcel Duchamp and his wife sojourn each year in Paris before and after their vacation to Cadaquès on the Costa Brava in Spain. Marcel Duchamp, who has but few friends in Paris, passes practically unnoticed.

Het echtpaar Duchamp vestigt zich in 28 West l0th Street in New York. In Parijs verschijnt Sur Marcel Duchamp van Robert Lebel, het eerste belangrijke werk dat aan Marcel Duchamp is gewijd. Hij organiseert met Breton de Exposition Internationale du surréalisme in de Galerie Cordier in Parijs.

1959 The Duchamps move into 28 West 10th Street in New York. Publication in Paris of Sur Marcel Duchamp by Robert Lobel, the first major work devoted to Marcel Duchamp. Chosen for admission to the ‘Collège de pataphysique’ with the rank of ‘Transcendental satrape’, with the additional honour of ‘Maître de l’Ordre de la Grande Gidouille’. With Breton, organizes the”Exposition internationale du surréalisme” at Galerie Cordier in Paris. Interview of Marcel Duchamp at the BBC in London by George Heard Hamilton and Richard Hamilton (Marcel Duchamp Speaks), for the programme Art, Anti-Art.

1959

Marcel Duchamp

Studio with Étant donnés in progress, NY, 1965

1960 Marcel Duchamp neemt in mei deel aan het symposion ‘Should the Artist go to College?’ in het Hofstra College, Hempstead, Long Island, New York; hij wordt tot lid gekozen van het National Institute of Arts and Letters van New York. Hij werkt met Breton aan de organisatie van de tentoonstelling Surrealist Intrusion in the Enchanter’s Domain in d’Arcy Galleries in New Vork. Hij maakt de cover voor de catalogus. Marcel Duchamp is de door de Amerikaanse avant-garde, die hij overigens heel vriendelijk thuis ontvangt, meest geachte en meest bewonderde kunstenaar. Nadat hij jarenlang een ongemoeid bestaan heeft geleid, overrompelt en amuseert die roem hem. 1961 Marcel Duchamp neemt deel aan de tentoonstelling Bewogen Beweging, georganiseerd door het Stedelijk Museum van Amsterdam en het Moderna Museet van Stockholm. Hij neemt in het Philadelphia Museum College of Art deel aan een debat over de toekomst van de kunst, met als titel ‘Where do we go from here?’ Hij verleent zijn medewerking bij de terugkeer van de Arensberg- collectie naar het Philadelphia Museum, is aanwezig op een symposium in het Museum of Modern Art in New York met als thema ‘A propos de Ready-made’, neemt deel aan tentoonstellingen, samenkomsten, laat zich interviewen. De titel van Doctor of Humanities wordt hem verleend door de Wayne State University, Detroit, Michigan. 1962

Marcel Duchamp at the Walker Art Center, 1965

Hij werkt nog altijd aan Etant donnés: ...

1960 In May, Marcel Duchamp takes part in the symposium «Should Artists go to College» at Hofstra College; he is elected to the National Institute of Arts and Letters. Collaborates with Breton in organizing the exhibition «Surrealist Intrusion in the Enchanter’s Domain» at the d’Arcy Galleries in New York, also designing the catalogue’s cover. Marcel Duchamp is the most respected and admired artist amongst all members of the American avant-garde, receiving many of them at-home with graceful courtesy. His fame, after so many years of ‘peaceful’ existence, both surprises and amuses him.

1961 On 20 March, lectures at the Philadelphia Museum College of Art on the theme «Where do we go from Here?» He assists in the re-installation of the Arensberg Collection in Philadelphia; takes part in a symposium at the Museum of Modern Art in New York, «A Propos of Readymades»; participates in exhibitions, conventions, gives interviews. Receives a «Doctor of Humanities» degree from Wayne State University in Detroit, Michigan. He is delighted. 1962

Work continues on Etant donnés...

1963 Marcel Duchamp krijgt een steeds drukker leven. Hij houdt in het Baltimore Museum of Art een lezing met als titel ‘A propos of Myself’. Jacques Villon sterft op 9 juni in Puteaux. Marcel Duchamp en zijn vrouw wonen de uitvaartplechtigheid bij. Op 11 september sterft Suzanne Crotti. Een eenmansexpositie van Marcel Duchamp in Galerie Burén in Stockholm. In het Pasadena Art Museum: By or of Marcel Duchamp or Rrose Sélavy, de eerste grote retrospectieve van zijn werk.

1963 Marcel Duchamp busier and busier; lectures at the Baltimore Museum of Art, «A propos de moi-même». Jacques Villon dies June 9th at Puteaux; Marcel Duchamp and his wife attend the funeral. He protests against the participation of the army (a contingent of parachutists!) at the ceremony. Death of Suzanne Crotti on 11 September. Marcel Duchamp solo show at Buren Gallery in Stockholm; at the Pasadena Art Museum: «By or of Marcel Duchamp or Rrose Selavy», the first major retrospective of his oeuvre.

1964 In Galleria Schwarz in Milaan vindt de tentoonstelling Ommagio a Marcel Duchamp plaats, n.a.v. replica’s van zijn ready-mades. De tentoonstelling wordt in verscheidene Europese landen, behalve in Frankrijk, gehouden. Jean-Marie Drot maakt voor de Franse televisie Jeu d’Echecs avec Marcel Duchamp.

1964 Homage to Marcel Duchamp at Galleria Schwarz in Milan; the edition of his readymades provokes protests and regrets on the part of his friends. The exhibition is presented in several European countries, but not France. For French television, Jean-Marie Drot makes the programme Jeu d’échecs avec Marcel Duchamp.

1965 Een belangrijke eenmansexpositie van Marcel Duchamp, Not Seen and/or Less Seen ojlby Marcel Duchampl Rrose Sélavy 1904-1964 vindt plaats in de Cordier & Ekstrom

1965 Major solo exhibition at Cordier and Ekstrom Gallery in New York: «Not Seen and /or Less Seen of/ by Marcel Duchamp/ Rrose Selavy 1904-1964». The ‘Association

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Gallery in New York. Hij wordt door de Association pour l’Etude du Mouvement Dada uitgenodigd op een diner op 15 mei ter ere van Rrose Sélavy in restaurant Victoria in Parijs. Hij brengt de zomer in Cadaqués door. In oktober stellen drie jonge schilders, Aillaud, Arroyo en Recalcati, in Galerie Creuze in Parijs een reeks schilderijen tentoon : La Fin tragique de Marcel Duchamp. ‘De enige manier waarop je zoiets kunt weerleggen, is je onverschillig te tonen,’ verklaart Marcel Duchamp.

pour l’étude de dada’ fetes Marcel Duchamp - ‘in honour of Rrose Selavy’ - with a gala dinner on May 15th at the Victoria restaurant in Paris. Summer in Cadaquès. In October, at Galerie Creuze in Paris, three young painters (Aillaud, Arroyo and Recalcati) exhibit a suite of canvases: La Fin Tragique de Marcel Duchamp. Marcel Duchamp declares, “The sole rebuttal... indifference.” Forced to move from his studio on 14th Street, he sets-up in a commercial building at 80 East 11th Street.

1966

De eerste grote retrospectieve in Europa, The Almost Complete Works of Marcel Duchamp, vindt in juni en juli in de Tate Gallery plaats. Tristam Powell maakt een film, Rebel Ready-Made, voor de BBC. The World of Marcel Duchamp van Calvin Tomkins verschijnt in New York. In zijn atelier voltooit en signeert Duchamp in het geheim Etant donnés: ... Alleen zijn vrouw en William Copley, zijn executeur-testamentair, zijn op de hoogte. In Parijs verneemt hij, op 28 september, de dood van André Breton, die hij sinds lang niet meer heeft gezien.

1966 First large European retrospective: «The Almost Complete Works of Marcel Duchamp» at the Tate Gallery in June and July. For BBC television, Tristam Powell makes the film Rebel Ready-Made; publication in New York of Calvin Tompkins’ The World of Marcel Duchamp. Duchamp finishes and signs Etant donnés… in the secrecy of his studio; only his wife and legal executor William Copley are in the know. In Paris on 28 September, the death of André Breton they hadn’t seen each other for many years.

1967

1967 On April 15th, Marcel Duchamp attends the opening of the exhibition “Les Duchamp: Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, Suzanne DuchampCrotti” at the Rouen museum. Unveils, not without some emotion, a commemorative plaque on the façade of the family home at 71, rue Jeanne-d’Arc. He also attends, on June 6th, the exhibition opening of “Duchamp-Villon, Marcel Duchamp” at the Musée national d’Art moderne, Paris. Ever accomodating, Marcel Duchamp is also present at the opening of “Editions de et sur Marcel Duchamp” at Galerie Givaudan in Paris. Marcel Duchamp draws enjoyment and amusement from these late-in-the-day homages.

Marcel Duchamp woont de feestelijke opening bij van de tentoonstelling Les Duchamp: Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, Suzanne Duchamp- Crotti in het museum van Rouen, op 15 april; hij onthult de tegen de gevel van het ouderlijk huis aangebrachte plaat, in de rueJeanned’Arc nr. 71. Ook woont hij in juni de opening bij van de tentoonstelling Duchamp- Villon, Marcel Duchamp in het Musée National d’ Art Moderne in Parijs en de vernissage van Editions de et sur Marcel Duchamp in de Galerie Givaudan in Parijs.

1968 Marcel Duchamp neemt deel aan ‘Reunion, musical performance’, door John Cage op 5 februari in Toronto georganiseerd; Marcel Duchamp, zijn vrouw en John Cage spelen er schaak op een schaakbord dat elektronisch is uitgerust, zodat de geluiden worden overgebracht. Het decor van het ballet Walkaround Time, door Merce Cunningham voorgesteld op het 2e Festival in de universiteit van Buffalo, in New York State, op 10 maart, is gebaseerd op Le Grand Verre; Jasper Johns nam de leiding van het project op zich. Aan het einde van de voorstelling komt Marcel Duchamp voor het publiek op het toneel groeten, tussen Merce Cunningham en Carolyn Brown in, de twee solodansers. In het Museum of Modern Art in New York wordt de belangrijkste plaats in Dada, Surrealism and Their Heritage aan Marcel Duchamp toegekend, die in de Verenigde Staten een roem geniet die geen kunstenaar vóór hem ooit genoot en die de Fransen onbekend is. Hij brengt de zomer in Cadaqués door. Korte tijd na zijn terugkeer naar Neuilly, op 2 oktober, sterft Marcel Duchamp. Na met Juliet en Man Ray en Robert Lebel gedineerd te hebben, wordt hij om vijf na één ‘s nachts door een hartaanval geveld. Hij wordt begraven in het familiegraf op het Cimetière Monumental van Rouen; op zijn verzoek zullen op zijn graf de volgende woorden gegraveerd worden: ‘Het zijn overigens altijd de anderen die sterven.’

Deze chronologie is ontleend aan Marcel Duchamp. Ingénieur du temps perdu. Entretiens avec Pierre Cabanne. (Parijs, 1977). Ze is gebaseerd op Marcel Duchamp (The Museum of Modern Art en Philadelphia Museum of Art, 1973), op Sur Marcel Duchamp van Robert Lebel (Parijs, 1959) en op de gesprekken van Pierre Cabanne met Marcel Duchamp. – Nederlandse vertaling door Chris van de Poel, gepubliceerd in: Pierre Cabanne. Gesprekken met Marcel Duchamp (Antwerpen/Leuven, 1991).

1968 Marcel Duchamp takes part in “Reunion”, a musical performance organized by John Cage on February 5th in Toronto, during which he plays chess with his wife and Cage on a chessboard wired for sound. The sets for Merce Cunningham’s ballet Walkaround Time, presented at the 2nd Festival of the Contemporary Arts at the University of Buffalo on March 10th, is inspired by Marcel Duchamp’s Large Glass (supervised by Jasper Johns). At the end of the performance, Marcel Duchamp comes on stage for the audience’s plaudits flanked by Cunningham and dancer Carolyn Brown. At New York’s Museum of Modern Art, the exhibition “Dada, Surrealism and Their Heritage” gives pride of place to Marcel Duchamp; he has a fame unrivalled in the United States, while being relatively ignored in France. Summer in Cadaquès. Shortly after his return to Neuilly, Marcel Duchamp dies suddenly on October 2nd, aged 81. After dining at home, with friends Juliet and Man Ray and Robert Lebel, Marcel Duchamp dies at 1:05 AM, stricken by a fatal heart attack. He is buried in the Rouen Cemetery, with the epitaph on his tomb reading: “D’ailleurs, c’est toujours les autres qui meurent.” (“Besides, it’s always the others who die”).

Chronology first published in Marcel Duchamp. Ingénieur du temps perdu. Entretiens avec Pierre Cabanne. (Paris, 1977). Based on Marcel Duchamp (The Museum of Modern Art, New York, and Philadelphia Museum of Art, 1973), on Sur Marcel Duchamp by Robert Lebel (Paris, 1959) and on the conversations by Pierre Cabanne with Marcel Duchamp.

Marcel Duchamp, Étant donnés (1946-1966)

Teeny and Marcel Duchamp and John Gage, 1968 The Reunion of Electro Music and Chess

Uitgegeven ter gelegenheid van de tentoonstelling Marcel Duchamp in Galerie Ronny Van de Velde, Knokke, van 3 oktober tot 30 november 2015

This publication accompanies the exhibition Marcel Duchamp at Galerie Ronny Van de Velde, Knokke, on view from October 3rd to November 30th 2015

Concept: Ronny Van de Velde Coördinatie: Jessy Van de Velde Lay-out: Ronny Van de Velde Tekst: Jan Ceuleers Vertaling: Pia Nkoduga Fotografie: Luc De Corte (Steurs nv Graphic S­ olutions) Prepress en vormgeving: Fabienne Peeters (Steurs nv Graphic Solutions) Druk: Graphius, Gent Illustatie omslag: Marcel Duchamp, Eau et Gaz

Concept: Ronny Van de Velde Coordination: Jessy Van de Velde Lay-out: Ronny Van de Velde Text: Jan Ceuleers Translation: Pia Nkoduga Photography: Luc De Corte (Steurs nv Graphic ­Solutions) Prepress & design: Fabienne Peeters (Steurs nv Graphic Solutions) Printing: Graphius, Ghent Cover illustration: Marcel Duchamp, Eau et Gaz

Dank aan Jan Ceuleers, dhr. en mevr. Kelman, Francis Naumann, Archief Nellens, Peter Pauwels, Philip Van den Bossche, dhr. en mevr. Vercheval, Jean Van der Sanden

With special thanks to Jan Ceuleers, Mr. and Mrs. Kelman, Francis Naumann, Nellens Archive, Peter Pauwels, Philip Van den Bossche, Mr. and Mrs. Vercheval, Jean Van der Sanden

© 2015 André Breton © 2015 Jan Ceuleers © 2015 Marcel Duchamp Estate © 2015 John D. Schiff © 2015 Niki Ekstrom © 2015 Picabia Estate © 2015 Irving Penn © 2015 Man Ray Estate © 2015 André Raffray © 2015 Bert Stern © 2015 Ronny Van de Velde

© 2015 André Breton © 2015 Jan Ceuleers © 2015 Marcel Duchamp Estate © 2015 John D. Schiff © 2015 Niki Ekstrom © 2015 Picabia Estate © 2015 Irving Penn © 2015 Man Ray Estate © 2015 André Raffray © 2015 Bert Stern © 2015 Ronny Van de Velde

Bijlagen - Marcel Duchamp, brief aan de heer Wallach, New York, 18 augustus 1954 - André Breton, brief aan Jean Benoît, St Cirq la Popie, 4 augustus 1959 - Twee pagina’s uit de nieuwjaarscatalogus van Grands Magasins du Louvre, Parijs, 1903

Inserts - Marcel Duchamp, letter to Mr Wallach, from New York, August 18, 1954 - André Breton, letter to Jean Benoît, from St Cirq la Popie, August 4, 1959 - Two pages from the New Year’s catalogue of the Grands Magasins du Louvre, Paris, 1903

Galerie Ronny Van de Velde Zeedijk 759 (hoek Golvenstraat) B-8300 Knokke-Zoute T +32 (0)50 60 13 50, +32(0) 477 55 10 28 Vrijdag: 14:00-18:00; zaterdag - zondag: 11:00 – 18:00; maandag: 14:00-18:00

Galerie Ronny Van de Velde Zeedijk 759 (corner Golvenstraat) B-8300 Knokke-Zoute T +32 (0) 50 60 13 50, +32 (0) 477 55 10 28 Friday: 14:00-18:00; Saturday - Sunday: 11:00-18:00; Monday: 14:00-18:00

Cogels-Osylei 34 B-2600 Berchem T +32 (0)3 216 93 90 Alleen na afspraak [email protected] www.ronnyvandevelde.com

Cogels-Osylei 34 B-2600 Berchem T +32 (0) 3 216 93 90 By appointment only [email protected] www.ronnyvandevelde.com

Deze catalogus wordt gratis aangeboden en is niet te koop.

This catalogue is offered free-of-charge and is not for sale.

Group-photograph at Dorothea Tanning’s exhibition, Knokke (1967), including E.L.T. Mesens, Max Ernst, Marcel Duchamp, Teeny Duchamp. Dorothea Tanning and Félix Labisse. Private collection.