Duchamp Marcel, Signed (40 results)

Softcover. Condition: Good. No jacket. In French. Inscribed by Bernard Dorival, curator of the Musee National d'Art Moderne in Paris. Shelfworn.

241 S. Opp. 4°. tadelloses Exemplar. Signatur des Verfassers.

Softcover in plain brown slipcase, 148 pages; very good condition; clean and crisp; no internal marks. Laid in is a resume, obituary, and stapled funeral booklet for Suzette Morton Davidson, who designed the book. An edition of 2000. Foreign shipping may be extra.

Scarce volume on Russian artist termed "father of Russian Constructivism" here signed by the artist and his wife, making this already uncommon publication even more special and uncommon. This was, at the time, the only published English language volume on the artist, and the most substantial volume published by The Societe Anonyme. Signed on the front free endpaper to a NYC artist, from "Davey and Marussia Burliuk." Generally a nice copy. No DJ if ever issued with one. Textured red boards have some very noticeable instances of being rubbed and scuffed, particularly along the spine. A few stray scuff spots to front and back panels as well, resulting in uneven discoloration in parts. Apparent ink mark seeming to be the letter "A" to front cover as well. Otherwise just scuffed a bit along the edges. Now in mylar. Interior is bright and clean, minor toning to pages, but no marks besides the signatures and inscription. Binding solid, sturdy, square. Opens ever so slightly wider at page 15, but no threat to integrity. Overall a superb copy of this very uncommon book, here warmly inscribed by the artist and his wife.

Hardback. 19 x 24cm 134pp a near fine hardback in dust jacket signed to art curator Jennifer Munday, by Francis M. Naumann, with a drawing on the title page. Marcel Duchamp suggested that: 'I have come to the conclusion that while all artists are not chess players, all chess players are artists.' With a preface by Francis M. Naumann, black and white images of Duchamp studying his next move, together with colour reproductions of Nude Descending a Staircase plus an interior shot of Duchamp's New York studio. Near fine in near fine dustjacket.

Hardback. Condition: Very good. 22 x 30cm 527pp very good hardback in dust jacket signed on the title page by author Francis M. Naumann and dedicated to Jennifer Mundy, art historian and curator. Described as essays on the Art, Life and Legacy of Marcel Duchamp, it is a beautifully designed work, by Dana Martin-Strebel, with many colour plus black and white reproductions.A very heavy book, may need extra postage.

Plain gray slipcase contains 3 books: Notes and Notations is a string-bound 36 page booklet, in French; signed by Richard Hamilton and Ecke Bonk at rear and numbered 173/300; housed in gray hardcover folder; AND In the Infinitive is a hardcover book without dj as issued, 126 pages; in English; published in 1999 by The Typosophic Society with isbn 3883753912; also numbered 173/300; and The Bride Stripped Bare, a hardcover with clear plastic dustjacket, unpaginated, published by Hansjorg Mayer in 1976; also numbered 173/300. All books and slipcase in as new condition. Foreign shipping may be extra.

Marcel Duchamp (illustrator). 4° - 99pp - B/w Photo-reproductions. Victor - Marcel Duchamp (1887-1968) French American artist, chess player, and inventor who played a key role in the development of the avant-garde in the United States and in New York City, where he spent the last 25 years of his life. Duchamp was the first artist to elevate a toilet to the status of an art form. For his talk at the American Federation of the Arts in Houston, "On the Creative Act," for which he labeled himself a 'mere artist,' Duchamp said, "Let us consider two important factors, the two poles of the creation of art: the artist, on the one hand, and on the other the spectator who later becomes the posterity.if we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the esthetic plane about what he is doing or why he is doing it. The book dedicated by Jean Clair to Mme Claire Gilles-Guilbert as well as a letter from the same on a sheet of paper from Marcel Duchamp regarding the preface to this book.Original boards. In Very good condition.

99 exemplaires hors commerce No 41. 14,5 x 21 cm. 1 janvier 1. Erste Auflage, 4 S. Illustrierte Originalbroschur. 1 Zeichnung. leichte Gebrauchsspuren. Handschriftliche Widmung Arnauds: "Vive Eugen Helmlé et que l'année 1990 lui soit . avec le cordial souvenir de Noel Arnaud". Signatur des Verfassers.

Soft cover. Condition: Very Good. 1st Edition. Quarto. Wrappers illustrated by Pavel Tchelitchew. Near fine in stapled wrappers with some light soiling and modest age-toning. This is copy number 240 of 500 copies Signed by the author (of a total edition of 1500). Includes poems for works by Duchamp, Fini, Francés, Tanguy, and Tchelitchew. Covers a little frayed at edges. Signed by Author(s).

Hardback. Condition: Very good. Third edition. 17 x 24cm very good third edition hardback, printed boards, transparent jacket, some minor wear to head of spine and corners. Signed by Richjard Hamilton on the title page, Described as a typographic version by Richard Hamilton of Marcel Duchamp's Green Box translated by George Heard Hamilton.

Soft cover. Condition: Very Good. 1st Edition. 4Sm.8° - 171pp - B/w reproductions. Marcel Duchamp or the great fictionalist by Jean Clair (1940) French essayist, a polemicist, an art historian, an art conservator, and a member of the Académie Française since May 2008. He was, for many years, the director of the Picasso Museum in Paris. Among the milestones of his long and productive career is a comprehensive catalog of the works of Balthus. He was also the director of the Venice Biennale in 1995. First edition, inscribed and signed by Jean Clair (the top of the page cut off). Original wrappers. In very good condition. Signed by Author(s).

Couverture souple. Condition: Bon. Edition originale. Paris, aux éditions Galerie de l'Institut, 1957 In-8 (24,50 cm x 17 cm), 136 pp. Broché, cousu, sous couvertures souples. Premier plat illustré par Marcel Duchamp. Exemplaire en bon état. Dos un peu usé. Édition originale. Très bel envoi de Georges Hugnet à Georges-Armand Masson, écrivain. "A Georges-Armand Masson / dont le rire cruel / cache tant d'attention et d'humanité / son ami / Georges Hugnet / 8 avril 1957". Illustrations à pleine page, in fine. Belle provenance littéraire. Peu courant avec envoi. Dédicacé par l'auteur.

Hardcover. Condition: Very Good. Dust Jacket Condition: Poor. 1st Edition. From the Collection of the Art Critic Sidney Tillim, with a personal inscription. on the inside cover. Translated and with a Preface by George Heard Hamilton. This is a Good condition hard cover, only part of the dust jacke remains, minor rubs and scuffed. The pages are in Very Good condition. Size: 8vo - over 7¾" - 9¾" tall, a great gift! Inscribed by Illustrator(s).

Two oven gloves / potholders in red, blue and yellow tartan with additional applied white cloth tape and silk labels with hanging strap at head, each rectified at lower end to create two legs, the 'male' with excised section to create a 'fly' with concealable pink-headed phallus of stuffed white cloth, the 'female' with flap and applied section of animal fur to create pubic hair, the labels verso signed and dated in laundress ink 'Marcel Duchamp 59'; male: 203 x 177 mm; female: 205 x 198 mm. Marcel Duchamp's rare anthropomorphic imitated rectified readymade 'Couple de Tabliers' made by Mimi Parent. From the edition limited to 20 copies, each signed and dated 'Marcel Duchamp 59' in ink to cream silk ribbon pasted to the upper right verso of each. To create these readymades (Schwarz describes them as 'imitated recitified readymades'), Duchamp bought a pair of plaid potholders in a New York bazaar before adding various elements to 'rectify' them and to sexualise them with male and female characteristics. Conceived and executed by Marcel Duchamp in New York in 1959, this pair of 'imitated rectified readymades' are from the original edition of 20 assembled by Mimi Parent for the édition de tête edition of 'Boîte alerte!', itself the deluxe version of the catalogue for 'EROS', the Exposition inteRnatiOnale du Surréalisme, organised that year by André Breton at the Galerie Daniel Cordier, Paris. It had been intended that Duchamp would collaborate with Breton and he remained credited although his participation was minimal. The exhibition focussed on erotic love and the sexualised female, with the intention to shock, provoke and liberate the imagination of its audience. 'Si Marcel Duchamp est bien à l'origine du premier couple de tabliers en achetant dans une boutique à New York ce qui devient ainsi un ready-made, on doit les couples de tabliers suivants au travail de Mimi Parent, comme le précise Arturo Schwarz dans son catalogue raisonné. Quand Duchamp écrit à André Breton au début du mois de novembre 1959 '[Les tabliers] pourraient être fabriqués à Paris, en quelques jours et à moins cher, si l'idée vous en plaît', c'est donc `a Mimi Parent qu'il fait référence.' (Catalogue of the sale of Paul Destribats). The example of 'Couple de Tabliers' presented here - issued originally in a white stamped and franked envelope together with the catalogue 'Boîte alerte' not present with this pair - are remarkably well preserved and remain in excellent, fresh condition. PROVENANCE: Collection I.B & G.L. Sold 2007 Private collection France [Schwarz 574; see 'Paul Destribats - Bibliothèque des Avant-Gardes' Part III, Tome 2 (2021), lots 222 / 223; see 'Bibliothèque Daniel Filipacchi Première Partie' (2004), lot 82].

Small 4to. (270 x 210 mm). [7 bifolia including wrappers]. Front wrapper with typographic title, justification verso, text and verse by various dadaists recto and verso illustrated with four tipped-in illustrations on white paper (see below) by Arp, RIbemont-Dessaignes, Ernst and Duchamp, final leaf (rear wrapper) with 'Catalogue' recto and verso; sheet size: 270 x 210 mm. Original publisher's printed wrappers with typographic title to front cover in black, justification verso, catalogue to rear wrapper and interior, staple preserved, later stitching. A presentation copy of the very scarce 'SaLoN DAda' with the rare invitation to the highly controversial 'Soirée dada'. From the edition limited to 600 numbered copies, each stamp-numbered to the justification to front wrapper verso. Tristan Tzara's presentation is in black ink to the left-hand margin of the centre spread: 'à Hannie et Aldo / van Eyck / Pour le 30ème Anniversaire / de Dada // avec le souvenir amical / de / Tristan TZARA / Sur les lieux du crime / Zürich 23 févr. 46' and with a typical Tzara sketch of a flower. The spread includes (above) the legend 'Conformément aux règlements en vigueur l'amour est interdit aux végétaux des squares', (at left) Tzara's 'L'art et la chasse' and (at right) the tipped-in illustration of Duchamp's 'Mariée'. Opening with Philippe Soupault's 'Le Profil de dada', the catalogue 'SaLoN DAda' represents both the highwater mark and the beginning of the end of dada in Paris. 'SaLoN DAda' was convened in June 1921, after Picabia had left the movement (although he was to return) despite all he had done to initiate 'SaLoN DAda', Breton did not participate and Duchamp had departed both physically for New York and metaphorically: although his contribution to the catalogue (the reproduction of his painting 'Mariée') remains, his contributions to the exhibition (nos. '28' to '31' under his name are blank) were removed. 'SaLoN DAda' as an exhibition held at the Galerie Montaigne (within the Théâtre des Champs-Elysées) was largely successful albeit not without controversy, featuring international contributions from Arp, Baargeld, Man Ray, Charchoune, Walther Mehring, J. Evola, Aldo Fiozzi and Joseph Stella, as well as Jacques Rigaut, Jacques Vaché, Gala and Paul Eluard and Théodore Fraenckel among others. Literary contributors include the aforementioned Soupault ('Le Profil de dada'), Paul Eluard ('L'Ombre aux soupirs'), Arp (as poet: 'Le Pompe des nuages' from the German 'Die Wolkenpumpe'), J. Evola ('Croix jaune'), Stanislas Margarine [sic] (untitled), Man Ray ('L'Inquiétude'), Jacques Rigaut ('Fable'), Georges Ribemont-Dessaignes ('Plaisir secret'), Tzara (as above and 'Epiderme de la nuit croissance'), Benjamin Péret ('Mémoires de Benjamin Péret' and 'Mystère de ma naissance') and Louis Aragon ('Autre procès-verbal'). Also included, inserted loose, is the announcement for 'Soirée dada'. A single sheet of cream glossy paper printed in black recto only (270 x 206 mm), the announcement details the soirée to be held on June 10th, 1921, at 9 o'clock in the Galerie Montaigne with a programme of nine performances. Tickets were available for 10 Francs and for that price one could have seen the following: I. 'La Chanson du catalogue de l'exposition (au piano)' by Mme E. Bujaud; II. 'La Boite d'allumettes (Le Président de la République de Liberia visitera l'exposition)' by Philippe Soupault; III. 'A l'évangile' by Louis Aragon; IV. 'La Volaille miraculeuse (Danse créée par l'auteur)' by Valentin Parnak; V. 'Le livre des rois' by Georges Ribemont-Dessaignes; VI. 'Par le cou des brises' by Paul Eluard; VII. Le vol organisé (nouveau système de gyravion) by Benjamin Péret; VIII. 'Diableret (au piano Mmme. Pirouelle et M. Emile Sab)' by Philippe Soupault; IX. 'Le coeur à gaz (Pièce de Théâtre)' by Tristan Tzara. The performances were absurd and the reception mixed at best. By the time of the performance of 'Le Coeur à gaz', with a coterie of dadaists taking part, the audience was riotous: 'Après l'entracte, la troupe des dadaïstes représente 'Le Coeur à gaz' de Tzara. La pièce, totalement absurde, est lue avec une accentuation grossière et provoque l'hilarité du public qui exprime son mécontentement en partant massivement et bruyamment. Une fois de plus, Dada réussit à faire scandale . ' (Xavier Rey). Tzara's drama was performed again - and again aroused a furore - in 1923 at the final rupture of Paris dada; it was not published in book form until Guy Lévis Mano's edition in 1946. 'Ce projet, en germe depuis que le Salon des Indépendants a refusé de l'integrer à son programme, tient autant de Tzara que de Picabia . La création dada parisienne se présente à son apogée, provocation, humour talentueux et inventions incongrues agrémentant un programme particulièrement riche. L'exposition ouvre le 6 juin dans le hall du studio des Champs-ELysées, au huitième étage du théâtre, baptisé pour l'occasion 'galerie Montaigne' . Tzara parvient ainsi a réaliser ce qu'il recherche tant: la fusion entre les poètes et les artistes plasticiens dans une exposition inattendue qui abolit la frontière entre les genres . Ce catalogue, tout comme la plupart des cartons d'invitation et le programme, témoigne d'un certain retour à la rigueur typographique . La parole dadaïste trouve tout son éclat dans cette mise en page régulière, dotée d'une frise guindée . '. (Xavier Rey). Aldo van Eyck (1918 - 1999) and Hannie van Rooijen (1918 - 2018) were influential Dutch architects of international repute. In the 1940s the couple lived in Zurich where through Siegfried Giedion and Carola Giedion-Welcker they met a number of the artists and poets connected to dada: Arp, Tzara, Ernst, Brancusi and others; these friendships led too to a connection with CoBrA and, of course, through the architecture they held in common, Constant. Initially the pair collaborated or worked separately but from 1983 - Aldo's own studio with Theo Bosch was closed - they formed the.

Hardcover. Condition: Fine. No jacket. Facsimile reprint of the 1974 edition, #84/100cc, signed by Duchamp's widow Alexina Duchamp. Includes one lithograph, two reproductions, the text booklet that has the signature, and a pair of 3-D glasses. The paper glasses are a little bent, but still in in very good shape. In a clamshell box.

Softcover. Second Edition. INSCRIBED by Man Ray just above the table of contents: "À Noma / ma mie / mon amie bien aimée / Man Ray" ("To Noma / my girlfriend / my darling friend / Man Ray"). Text in French and English. "Noma" is likely Noma Copley, born Norma Rathner, a jewelry designer and person of note in French surrealist circles. Copley married her husband William (to whom she was introduced by Ray) in 1953, and their estate in Longpont-sur-Orge was a gathering space for avant-garde artists and writers in the interwar period. Noma served as a muse and close friend to Ray for many years. A groundbreaking photography album, considered one of the definitive works on May Ray, featuring over 100 pages of the artist's photographs and "rayographs," alongside essays by his contemporaries. Very Good plus in wrappers with a white comb binding. Moderate discoloration along the binding, with light creasing and rubbing on the wrappers. Housed in a custom quarter-leather pictorial clamshell box. Signed.

Softcover, 232 pages, in French; poor condition, the front cover is present but detached; yellowed clear tape is wrapped around spine and about 1/4 inch to edges of front and rear covers; creases to spine with small tears and loss at top of spine; small pieces of yellowed tape to upper right and left corners of front cover and inner front flap; folded plastic illustration of Large Glass still bound in as first page; signed in pen by Marcel Duchamp on next blank page; no internal marks. Foreign shipping may be extra.

2 vols. Folio. (425 x 260 mm). [158 leaves (vol. I) + 100 leaves (vol. II); pp. xiv, 293, (5); viii, 142, (5)]. Half-title, printed title and contents to each vol., vol. I with Schwarz's dedication to André Breton, quotation by Lewis Carroll and text including reproductions of Duchamp's notes in black with highlighting where applicable in colour and illustrated with 9 original etchings by Duchamp (2 double-page as spreads), vol. II with explanatory note and text with bibliography and final quotation from Shakespeare and illustrated with 9 original etchings by Duchamp, final leaves to each vol. with justification and achevé d'imprimer. Loose as issued in original publisher's white printed paper wrappers with titles to front covers in black and red, vol. I with white canvas chemise with titles to spine in black and red and clear plexiglass printed slipcase with colour image of 'The Large Glass' to front cover, vol. II with orange silk-covered cloth chemise with titles to spine in burgundy and matching slipcase with printed 'éros c'est la vie / Rrose Sélavy' in burgundy to front cover, each vol. preservved in the matching original mailing box. A superb copy, pristine in the original protective wooden shipping boxes, of Marcel Duchamp's final, exegetic pronouncement on his 'most important work': 'La Mariée Mise à Nu par Ses Célibataires, Même', 'The Large Glass'. From the edition limited to 150 numbered copies on handmade wove paper with the watermark 'THE LARGE GLASS', with each volume signed by Duchamp and Schwarz; 15 hors commerce copies numbered in Roman numerals were also issued. Marcel Duchamp considered 'The Large Glass' to be 'the most important work I ever made'. A large kinetic structure composed of plate glass and lead wire, Duchamp constructed the work in New York from 1915 to 1923. The Schwarz-Duchamp collaboration, resulting in the present work, is based on the notes Duchamp made during construction of the Large Glass. All unpublished notes were recovered by Duchamp in 1964, and from this collection Arturo Schwarz selected the 39 most directly concerned with the Large Glass. The 'Large Glass' was meant to be a mechanically functioning apparatus composed of two principal elements: the Bride (several plates of glass located at top of structure) and the Bachelors (nine moulds). This copy retains the original wooden mailing crates; as such, the copy is in superb condition and the perspex slipcase for vol. I is unusually well preserved. The crates feature matching numbering to the book, stamp-numbered and in manuscript in pencil to the exteriors. [Schwarz 643; Schwarz 658].

Square 4to. (288 x 234 mm). [20 bifolia: 40 leaves + 'diptyque' + multiple + suite; pp. 79, (i)]. Half-title with copyright verso, printed title with 'A Souvenir d'Armand de la Beaumelle' verso and Lebel's text of 'La Double Vue', section title 'L'Inventeur du Temps Gratuit' and Lebel's text, final leaf with justification and achevé d'imprimer; also included, hors commerce, is the double-page original etching by Giacometti ('diptyque gravé à l'eau-forte'), Marcel Duchamp's original signed paper multiple ('La Pendule à Profil') and a suite of six additional original etchings by Giacometti, each signed in pencil. Loose as issued in original publisher's black paper wrappers with gold triangular cut-out vignette with title in black to front wrapper and silver circular cut-out vignette with second title to rear wrapper, Giacometti's signed diptych within blue printed boards and suite in white printed wrapper, original publisher's blue paper board chemise with black label to spine with title in blue and matching slipcase. Robert Lebel's dual novel and autobiography with Marcel Duchamp's signed multiple, Giacometti's signed diptych and the additional signed suite of his etchings. From the edition limited to 126 numbered copies on vélin cuve BFK Rives with an original double page etching by Giacometti (signed on the cover as usual) and Marcel Duchamp's original signed multiple, with this hors commerce copy with the additional suite of 6 smaller etchings, all signed by Giacometti; a further 150 'Club' copies were issued with an etching by Ferró as well as 1,200 copies with reproductions. This is one of the 15 'hors commerce' examples with 6 additional prints signed by Giacometti (as with copy no. 1); the remaining examples of the édition de tête, i.e. nos. 2 - 11, included only an additional 3 signed etchings by Giacometti. The justification, Giacometti's 'diptyque', the additional suite (and its wrapper) together with Duchamp's multiple are all designated 'H[ors]. C[ommerce]. C' in pencil. 'In addition, there are 15 copies hors commerce designated HC / A to HC / O, with the suite of 6 smaller etchings, all signed.' (Lust). 'Clock in Profile (1964) is a pliage of stiff paper with a central circle that can be folded so that the piece can stand upright. It was intended to be incorporated into the numbered edition of Robert Lebel's book La Double Vue Suivi de l'Inventeur du Temps Gratuit. Duchamp's three-dimensional materialization of the concept of l'Inventeur du Temps Gratuit ('The Inventor of Free Time') is described in Note 73 of the Notes and Projects: 'The Clock in Profile. / and the Inspector of Space'. The title of Lebel's book plays on the assonance of vue (vision) and vie (life) . Lebel, an intimate friend of Duchamp's and author of the first pioneering monograph on the artist, had published an imaginary biographical sketch of Duchamp, 'l'Inventeur du Temps Gratuit' in 1957. This, plus an equally imaginary autobiographical novel, became La Double Vue . Lebel's and Duchamp's conception of time seems to share the most ancient and universal desire of the alchemist (and of man), for the mastery of time implies the possibility of remaining eternally young.' (Arturo Schwarz - The Complete Works of Marcel Duchamp). [Schwarz 612; Lust 177 - 183].

Hardcover. Condition: Very Good. Limited Edition. A green-cardboard mailbox that Marcel Duchamp created as a catalog for the 1959 Exposition Internationale du Surréalisme (EROS) in Paris. The box contains letters, texts, telegrams, and postcards representing or made by the artists who participated in the show. One of 200 copies. Marcel DUCHAMP (1887-1968). Boîte alerte (Alert box). Lascivious Missives - 1959 / 1960. Set of documents contained in a green cardboard letterbox measuring 28.5 x 18 cm with opening, movable hat, title on the front followed by a label printed in red: Lascivious Missives and, on the left side, printed on one line International Exhibition of Surrealism . Surrealist box composed by André Breton and Marcel Duchamp to serve as a receptacle for the catalog of the International Surrealism Exhibition (1959-1960) organized at the Cordier gallery and various other documents detailed below: 1 - The exhibition catalog, large narrow In-8 of 144 pp., heavily illustrated, paperback, illustrated cover, numbered 5/200. 2 - Nine lascivious Missives: - 1. Robert Benayoum, pink envelope Not to be opened under any circumstances containing Le Corridor, illustrated leaflet in four panels. - 2. Micheline Bounoure, yellow envelope Be ardent in the forest containing two original compositions in symmetrical colors on the same sheet obtained by folding. - 3. Alain Joubert, pale green envelope containing La Perle fine , text printed on four leaves. - 4.Red envelope Have you thought about donating a little blood containing a printed leaflet: La Pointe. - 5. R. Benayoum, Strictly personal white envelope containing authorization to republish a redacted text. - 6. Octavio Paz, airgram Huis clos containing Edemira B. printed on two sheets and two photographs. - 7. Transparent envelope Notice of suffering containing an anonymous leaflet Letters from a sadist . - 8 André Pieyre de Mandiargues, orange External use envelope containing a La Marée leaflet. - 9. A white window envelope containing a woman's black stocking marked Haut by Mimi Parent. 3 - A cable on pink paper by Marcel Duchamp Yours at André Breton . 4 - A double-sided 45 rpm vinyl record with texts spoken by: side a. J. Mansour, The religious intoxication of big cities ; side b. B. Péret, La Brebis galante . 5 - Six color postcards by Bellmer, Dali, Gorky, Miró, Svanberg, Clovis Trouille. 6 - Four original lithographs numbered 5/200 signed by the artists: Marie Toyen, Max Walter Svanberg, Adrien Dax and Joan Miro and an etching numbered 5/200 and signed by Jacques Le Maréchal. Signed by Illustrator(s).

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

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

Condition: Very Good. First edition. FIRST EDITION: A REMARKABLE ASSOCIATION COPY. INSCRIBED BY DUCHAMP TO HIS GOOD FRIEND AND ONE OF THE FOUNDERS OF SURREALISM, PAUL ÉLUARD. Inscribed in ink on the half-title: "Cher Eluard / Marcel Duchamp" Marcel Duchamp (1887-1968) used his female alter ego Rrose Sélavy as the "author" for many of his most audacious works, including this collection of aphorisms. As an artist, Duchamp is associated with Dadaism, Cubism, and Surrealism though he resisted group affiliations. Instead, he focused on art that served the mind rather than art that pleased the eye. Dividing his time between New York and Europe, he was also an accomplished chess player, a prankster, and a writer. He especially enjoyed experimenting with verbal punning, which he viewed as a source of inspiration and humor. In addition to working with his contemporaries in the Dada and Surrealism circles, Duchamp had a seminal influence on younger Pop artists like Andy Warhol and Jasper Johns. Duchamp's Rrose Sélavy was an artist, muse, and creative experiment that brought to life his symbolic use of language. Images of Sélavy - Duchamp dressed as a woman - first emerged in 1921 in a series of photographs taken by fashion photographer and artist Man Ray. Her name, as pronounced in French, sounds like "Eros, c'est la vie", meaning "The passion of love [sex], such is life". This describes Duchamp's vision of life: the joy to live and roam free in thought. Rrose Sélavy inspired everything from collections of surrealist poetry to a 1921 sculpture called Why Not Sneeze, Rrose Sélavy? Sélavy gave Duchamp an opportunity to show off his fondness for wordplay and his interest in androgyny and gender fluidity; Duchamp was, after all, the artist who drew a mustache and beard on a postcard of the Mona Lisa. In 1939, his collection of aphorisms entitled, Rrose Sélavy: Oculisme de precision, poils et coups de pieds en tous genres [Rose Sélavy: Precision oculism, complete line of whiskers and kicks] was published by Guy Lévis-Mano, renowned for printing works by prestigious artists such as Paul Éluard and Man Ray. This copy we have on offer is inscribed "Cher Éluard. Marcel Duchamp." Duchamp personally dedicated it to his close friend Paul Éluard, a French poet and one of the founders of the Surrealist movement. Though Duchamp wrote "word plays" as early as 1922, this collection was the first time his puns were published in one place. In this anthology of anagrams, double-entendres, and spoonerisms, he played with words that often had nothing to do with each other such as "My niece is cold because my knees are cold" and "abominable abdominal fur." Duchamp believed that "if you introduce a familiar word into an alien atmosphere, you have something comparable to distortion in painting, something surprising and new." ("Marcel Duchamp interview with Katharine Kuh") On the relationship between Paul Éluard and Duchamp: Duchamp and Éluard were part of an intimate group of artists that included Pablo Picasso, Man Ray, Salvador Dalí and Max Ernst. The mutual admiration and close ties between Éluard and Duchamp were evident throughout the 1930s. In 1936 Éluard presented Duchamp with a collection of his poems which was inscribed "a Marcel Duchamp, votre ami Paul Éluard" ["to Marcel Duchamp, your friend Paul Éluard"]. He also wrote "Rosse-est-la-vie" under his inscription, likely an allusion to Rrose Sélavy. In 1938, the year before Duchamp presented Éluard with this signed collection of aphorisms, they collaborated on the Exposition Internationale du Surréalisme [International Surrealist Exhibition] in Paris. Curators André Breton and Paul Éluard recruited Marcel Duchamp to serve as generator (art director) and mediator-Breton and Éluard were often at odds with each other. Salvador Dalí, Max Ernst and Man Ray also contributed to this major cultural event which pioneered the innovative concept of an immersive art show and proved to be the key Surrealism exposition during the interwar period. The Exposition Internationale du Surréalisme represented the last time that Duchamp, Éluard and their fellow artists would present work together in Europe, since many Surrealists, including Duchamp, fled France to escape Nazi persecution. In 1940, Duchamp assembled his Boîte-en-valise [Box in a Suitcase], a valise containing 79 small reproductions of his works, including his 1939 collection of aphorisms, which he re-copied onto music paper. Later that year Duchamp carried Boîte-en-valise to New York City, where he joined a number of the Surrealists in exile, including Breton and Ernst. Éluard remained in France distributing anti-German flyers and writing anti-Nazi poetry under a pseudonym, frequently moving around to avoid detection by the Germans. Throughout his life Paul Éluard was an avid art and book collector so perhaps this inscribed copy of Rrose Sélavy: Oculisme de precision, poils et coups de pieds en tous genres was a parting gift from Duchamp to Éluard. Marcel Duchamp and Paul Éluard were instrumental in the founding of Modernist artistic principles. Their work directly inspired the development of Pop art and Conceptual art and there's even an oyster bar in Manhattan called Sel Rrose, after Rrose Sélavy. Both Duchamp and Éluard experimented with new verbal techniques and the free expression of thought. This inscribed copy of Rrose Sélavy: Oculisme de precision, poils et coups de pieds en tous genres exemplifies the humor and absurdity appreciated by two of the most important members of the 20th century Parisian avant-garde, and connects them by inscription and ownership of this unique piece. Provenance: From the collection of Paul Destribats (1926-2017), who assembled what is generally regarded as the finest collection of books on the avante-garde. First edition. One of 500 copies on vélin blanc (out of a total edition of 515). This copy not numbered, likely indicating it was intended for presentation. Paris: G.L.M., 1939. 12mo (158 x 114mm). Half brown morocco.

4to. (300 x 205 mm). pp.(32). Illustrated throughout with reproduction photographs printed in black and white, printed endpapers; occasional green tissue guard leaves; colophon page with artist signatures to rear. Original publisher's suede-backed green printed boards; matching green suede slipcase with brown suede label, title stamped in gilt. The important document / artist book detailing Richard Hamilton's reconstruction of Marcel Duchamp's 'The Large Glass', signed by Marcel Duchamp and Richard Hamilton. From the de luxe edition limited to 25 copies, signed by both Hamilton and Duchamp. In May 1966, Hamilton reconstructed Duchamp's 'The Large Glass' at the Hatton Gallery in Newcastle, titling the work 'The Bride Stripped Bare By Her Bachelors Even Again.' That same year the work was taken south for the Tate Gallery's Duchamp retrospective, itself curated by Hamilton, further securing the artist's link with Duchamp and his legacy. It has been suggested that Hamilton viewed himself as Duchamp's rightful heir, and Duchamp's involvement (and signature, here), certainly indicates mutual respect; it has also been noted that Duchamp was always interested in the idea of replication.

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

Stuttgart. Hansjörg Mayer. 2002. 3 Volumes and Cloth covered original slip-case. 24 x 16 x 4,5 cm. Containing a set of 3 books: a) The Bride stripped bare, eben. A typographic version by Richard Hamilton of Marcel Duchamp's Green Box (boards/glassine jacket). b) Marcel Duchamp: Notes et/and Notations (cloth). c) Marcel Duchamp - a l'infinitif. The typosophic society (half cloth, illustrated boards). In original publisher's slipcase. All books numbered. Here book No. 18. Book c) signed in colophon by Richard Hamilton and Ecke Bonk. - Sehr gutes Exemplar. Fine copy. Mint ! Noch originalverpackt. Sprache: Englisch. *** Bitte kontaktieren Sie uns immer BEVOR Sie bestellen! Für ausführliche Beschreibungen und Bilder sowie günstigere Versandoptionen kontaktieren Sie mich bitte per Email! Please contact us always BEFORE you order! For detailled descriptions and photos as well as cheaper shipping options please send an email! ***.

New York. Departement of Fine Arts University of Newcastle upon Tyne. 1966. 4° Unpaginated. Publisher's pictorial boards. "WE ARE WELLKNOWN FOR BOOKS ONLY IN BEST CONDITION!" WIR SIND BEKANNT FÜR SOLIDESTE VERPACKUNG! Illustrated throughout. - A fine copy in best condition. Handwritten signed and especially handwritten dedicated by Hamilton nicely to Marcel Duchamp. Sprache: Englisch. *** Bitte kontaktieren Sie uns immer BEVOR Sie bestellen! Für ausführliche Beschreibungen und Bilder sowie günstigere Versandoptionen kontaktieren Sie mich bitte per Email! Please contact us always BEFORE you order! For detailled descriptions and photos as well as cheaper shipping options please send an email! ***.

7 pages sur 5 feuillets in-8 et in-4, à l'encre bleue ou noire sur papier pelure gris, bleu et crème.jointe : une lettre autographe signée de Henry Zirker (?) en français, à entête de Art of the century films, Inc. 2 pages in-4. Homme de lettres et d'images, Jacques Brunius se lie dès sa création avec le groupe surréaliste de Paris et travaille avec Vitrac, Desnos, Bunuel dont il est l'assistant réalisateur sur l'Age d'Or, Prévert, Renoir, Pagnol.En 1954, Duchamp et Brunius collabore ensemble sur l'ouvrage En marge du cinéma français. Ils se découvrent alors une passion commune pour les échecs.Au milieu des années 1960, Jacques Brunius crée un programme radiophonique "Lewis Carroll, le maître de l'école buissonnière" à laquelle participent de nombreuses personnalités dont Dominique Aury, Michel Bouquet, PhilippeSollers et Marcel Duchamp. Il intervient sur la partie d'échecs dans De l'autre côté du miroir.Pour préparer le programme, Duchamp se procure un ouvrage du célèbre spécialiste autodidacte des mathématiques récréatives Martin Gardner : "J'ai acheté le très beau livre de Martin Gardner et je constate que tous ses commentaires échiquéens sur le Looking Glass sont parfaits. Si comme je le suppose, il s'agît de télévision (et non pas de radio [il s'agit en fait de radio]) - je vous envoie avec quelques retards (!), les différents diagrammes qui se succèdent [.] Je ne vois rien à ajouter de vive voix et suis tout à fait d'accord sur le côté rèverie et inconséquence échiquéennes qui font le charme de ce problème de l'autre côté du miroir".Il indique à son correspondant une de ses expositions à venir : "Ekstrom vernit le 14 jan. une exposition de mes choses : "Less seen or not seen - 1904-1964" - vous enverrai un catalogue". Il annonce, enfin, qu'en accord avec Schwarz, son galeriste, il ne participe plus à la revue Minotaure "pour différentes raisons sans importance".