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MARCEL DUCHAMP (1887-1968) 3 STOPPAGES ÉTALON (3 STANDARD STOPPAGES) inscribed "Un mètre de fil droit, horizontal, tombé d'un mètre de haut. (3 Stoppages Étalon; appartenant à Marcel Duchamp) 1913-14" on the reverse of each canvas strip; signed and dated again "Marcel Duchamp 1964" on the reverse of the central canvas strip; titled and dated "3 STOPPAGES ÉTALON 1913-14" in gold ink on three leather labels affixed to each glass panel; inscribed "Marcel Duchamp 1964 Ex Arturo" and engraved "3 STOPPAGES - ÉTALON, 1913-14 EDITION GALERIE SCHWARZ, MILAN" on a copper plate affixed to the artist's wooden storage case three pieces of thread, each measuring 393/8 in. (100 cm) in length, laid down on a strip of canvas mounted on glass panel with leather labels accompanied by three wood slats in artist's wooden storage case glass panel: 495/16 x 71/4 x 1/4 in. (126.9 x 18.5 x .6 cm) each three wooden slats: 431/4 x 21/2 x 1/8 in. (109.8 x 6.6 x.4 cm) 423/4 x 21/2 x 1/8 in. (108.6 x 6.4 x .4 cm) 47 x 21/2 x 1/8 in. (119.4 x 6.4 x .4 cm) artist's wooden storage case: 11 x 507/8 x 9 in. (28 x 129.2 x 22.3 cm) executed 1913-1964 The original work, produced in 1913, is in the permanent collection of the Museum of Modern Art, New York; the present lot was produced under the artist's supervision after photographs of the original and dimensions supplied by the Museum of Modern Art, New York; it is an artist's proof, dedicated to Arturo Schwarz, from an edition of eight plus one replica reserved for the artist and two replicas made for museum exhibition purposes. ESTIMATE: - $400,000-600,000 Embracing an aesthetic of accident, Duchamp created the present work by dropping three, meter-long strands of thread onto painted canvases from a height of one meter. Affixed to their supports with a layer of varnish, the serpentine strings were cut into thin strips, and three wooden templates were then fashioned from the random profiles assumed by the threads. Presented as a self-sufficient sculpture, these components constitute a classic Dada exercise in the creative possibilities of chance. Yet 3 Standard Stoppages also heralded Duchamp's later masterpiece, The Bride Stripped Bare by Her Bachelors, Even (1915-1923, The Philadelphia Museum of Art). The artist employed the present templates to trace the tangled capillary tubes that link the bride to her courting bachelors. Duchamp has explained this connection as follows. "The idea of letting a piece of thread fall on a canvas was accidental, but from this accident came a carefully planned work. Most important was the accepting and recognizing of this accidental stimulation. Many of my highly organized works were initially suggested by just such chance encounters." (A. Schwarz, The Complete Works of Marcel Duchamp, New York, 2000, p. 127.) PROVENANCE Dedicated by the artist to Arturo Schwarz, 1964 EXHIBITED NEW YORK, The Museum of Modern Art, FANTASTIC ART, DADA, SURREALISM, December 7, 1936-January 17, 1937, no. 223 (another example exhibited) NEW YORK, Sidney Janis Gallery, CLIMAX IN 20th CENTURY ART, 1913, January 2-February 3, 1951 (another example exhibited) NEW YORK, The Museum of Modern Art, NEW ACQUISITIONS: THE KATHERINE S. DREIER BEQUEST, June 23-October 4, 1953 (another example exhibited) Zurich, Kunstgewerbemuseum, Dokumentation Über Marcel Duchamp, June 30-August 28, 1960, p. 22 (another example exhibited) STOCKHOLM, Moderna Museet, DUCHAMP, 1963 (another example exhibited) STOCKHOLM, Galerie Burén, MARCEL DUCHAMP RéTROSPECTIVE, April-May 1963 (another example exhibited) pasadena, Pasadena Art Museum, MARCEL DUCHAMP: A RETROSPECTIVE EXHIBITION, October 8-November 3, 1963, no. 36 (another example exhibited) MILAN, Galleria Schwarz, OMAGGIO A MARCEL DUCHAMP, June 5-September 30, 1964 NEW YORK, Cordier & Ekstrom, NOT SEEN AND/OR LESS SEEN OF/BY MARCEL DUCHAMP/RROSE SÉLAVY, 1904-64, January 14-February 13, 1965, no. 55 (another example exhibited) THE HAGUE, Gemeentemuseum, MARCEL DUCHAMP: SCHILDERN, TEKENINGEN, READY-MADES, DOCUMENTEN, February 3-March 15, 1965, no. 29 (another example exhibited) LONDON, The Tate Gallery, THE ALMOST COMPLETE WORKS OF MARCEL DUCHAMP, June 18-July 31, 1966, no. 110 (another example exhibited) JERUSALEM, The Israel Museum, MARCEL DUCHAMP: drawings, etchings for the large glass, readymades, March-May 1972 (another example exhibited) MILAN, Galleria Schwarz, MARCEL DUCHAMP: 66 CREATIVE YEARS, December 12, 1972-February 28, 1973, no. 60 PHILADELPHIA, Philadelphia Museum of Art and NEW YORK, The Museum of Modern Art, MARCEL DUCHAMP, September 22, 1973-February 10, 1974, no. 101 (another example exhibited) PARIS, Musée National d'Art Moderne, Centre national d'art et de Culture Georges Pompidou, L'OEUVRE DE MARCEL DUCHAMP, January 31- May 2, 1977, no. 94 (another example exhibited) VANCOUVER, British Columbia, Canada, Vancouver Art Gallery, DUCHAMP READYMADES, April 29-June 4, 1978 (another example exhibited) OTTAWA, Alberta College of Art, MARCEL DUCHAMP: READYMADES, ETC., October 16-November 15, 1979, p. 29 (another example exhibited) BARCELONA, Fundació Joan Miró; MADRID, Sala de Exposiciones de la Caja de Pensiones and COLOGNE, Museum Ludwig, DUCHAMP, February 29-August 19, 1984, no. 55 (another example exhibited) MILAN, Accademia di Belle Arti di Brera, MARCEL DUCHAMP, LA SPOSA ... E I READYMADE, May 20-July 10, 1988, p. 48, no. 48 (another example illustrated) ANTWERP, Galerie Ronny van de Velde, MARCEL DUCHAMP, September 15-December 15, 1991 (present lot exhibited) ONTARIO, Canada, National Gallery of Canada; CALGARY, Alberta, The Glenbow Museum; SACKVILLE, New Brunswick, The Owens Art Gallery; HALIFAX, Nova Scotia, The Art Gallery of Nova Scotia; SHERBROOKE, Quebec, Galerie d'art du Centre Cultural de l'Université de Sherbrooke; WINNIPEG, Manitoba, Winnipeg Art Gallery; JONQUIÈRE, Quebec, Centre national d'exposition à Jonquière and WHITEHORSE, Yukon, Yukon Arts Centre, MARCEL DUCHAMP: DUSTBALLS & READYMADES, August 30, 1997-August 29, 1999 (another example exhibited) LITERATURE R. Lebel, SUR MARCEL DUCHAMP, PARIS, 1959, pls. 64 and 64a/b+ (another example illustrated) W. Hopps, U. Linde and A. Schwarz, MARCEL DUCHAMP: READY-MADES, ETC. (1913-1964), MILAN, 1964, p. 29, no. 1 (another example illustrated) A. Schwarz, THE COMPLETE WORKS OF MARCEL DUCHAMP, LONDON, NEW YORK, 1969, pp. 443-444, no. 205 (another example illustrated) J. Masheck, marcel duchamp in perspective, englewood cliffs, new jersey, 1975, fig. 13 (another example illustrated) J.-C. Bailly, DUCHAMP, NEW YORK, 1986, p. 45 (another example illustrated) U. Linde, MARCEL DUCHAMP, STOCKHOLM, 1986, pp. 35, 136-137 and 139 (another example illustrated) G. Moure, MARCEL DUCHAMP, LONDON, 1988, nos. 74 and 75 (another example illustrated) M. Partouche, MARCEL DUCHAMP: UNE VIE D'ARTISTE, MARSEILLE, 1991, p. 40 (another example illustrated) D. Waldman, COLLAGE, ASSEMBLAGE, AND THE FOUND OBJECT, NEW YORK, 1992, p. 136, fig. 186 (another example illustrated) P. Hulten, ed., MARCEL DUCHAMP: WORK AND LIFE, CAMBRIDGE, Massachusetts, 1993, p. 33, fig. 19.5.1914 (another example illustrated) J. Mink, MARCEL DUCHAMP 1887-1968: ART AS ANTI-ART, COLOGNE, 1995, pp. 46-47 D. Joselit, INFINITE REGRESS: MARCEL DUCHAMP, 1910-1941, CAMBRIDGE, Massachusetts, 1998 p. 13, fig. 1.3 (another example illustrated) D. Ades, N. Cox and D. Hopkins, MARCEL DUCHAMP, LONDON, 1999, p. 78, fig. 60 (another example illustrated) F. M. Naumann, MARCEL DUCHAMP, THE ART OF MAKING ART IN THE AGE OF MECHANICAL REPRODUCTION, NEW YORK, 1999, p. 44, fig. 2.6; p. 132, fig. 5.11; p. 223, fig. 8.23; p. 231, fig. 8.39 and p. 242, fig. 8.64 (other examples illustrated) A. Schwarz, THE COMPLETE WORKS OF MARCEL DUCHAMP, NEW YORK, 2000, Vol. I, pp. 594-595, no. 282 (another example illustrated)
Auction Location:
United States
Previewing Details:
Viewing in Chelsea Saturday May 4, 2002 - Sun
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