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This item WAS NOT SOLD. Auction date was 2002 May 13 @ 16:00UTC-8 : PST/AKDT
MARCEL DUCHAMP (1887-1968) APOLINÈRE ENAMELED signed and dated "[from] Marcel Duchamp 1916 1917" lower left; inscribed "Don't do that" on the manufacturer's label adhered to the reverse; signed and dedicated "Marcel Duchamp Exempl. Arturo" on the reverse; signed, dedicated and dated "Marcel Duchamp, 1964, Ex Arturo" and engraved "APOLINÈRE ENAMELED 1916-17 EDITION GALERIE SCHWARZ, MILAN" on a copper plate adhered to the reverse pencil and paint on cardboard and painted tin (advertising sign for Sapolin Enamel) 10 x 13 x 18 in. (25.4 x33 x 45.7 cm) executed 1917-1964 The original work, produced in 1917, is in the permanent collection of the Philadelphia Museum of Art; the present lot was produced under the artist's supervision; 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: - $300,000-400,000 In 1964, Duchamp described Apolinère Enameled as "another assisted Readymade, dated 1916-1917. I changed the lettering in an advertisement for 'Sapolin paints,' misspelling intentionally the name of Guillaume Apollinaire and also adding the reflection of the little girl's hair in the mirror. I am sorry Apollinaire never saw it - he died in 1918 in France." (A. Schwarz, THE COMPLETE WORKS OF MARCEL DUCHAMP, New York, 2000, p. 648.) By using black paint to conceal some of the letters of 'Sapolin Enamel' and painting in new letters, Duchamp altered the text on the advertising card to read as 'Apolinère Enameled.' Apolinère Enameled also served to honor his friend, the poet Apollinaire, who had made Duchamp the subject of the last chapter of his book about Cubist painters. Moreover, Duchamp playfully changed the manufacturer's name and city, GERSTENDORFER BROS. NEW YORK, U.S.A, into a series of disconnected words which read as: Any act red by her ten or epergne, New York, U.S.A. PROVENANCE Dedicated by the artist to Arturo Schwarz , 1964 EXHIBITED Pasadena, Pasadena Art Museum, MARCEL DUCHAMP: A RETROSPECTIVE EXHIBITION, October 8-November 3, 1963, no. 61 (another example exhibited) MILAN, Galleria Schwarz, OMAGGIO A MARCEL DUCHAMP, June 5-September 30, 1964 (another example exhibited) NEW YORK, Cordier & Ekstrom, NOT SEEN AND/OR LESS SEEN OF/BY MARCEL DUCHAMP/RROSE SÉLAVY, 1904-64, January 14-February 13, 1965, no. 62 (another example exhibited) LONDON, The Tate Gallery, THE ALMOST COMPLETE WORKS OF MARCEL DUCHAMP, June 18-July 31, 1966, no. 125 (another example exhibited) MILAN, Galleria Schwarz, MARCEL DUCHAMP: 66 CREATIVE YEARS, December 12, 1972-February 28, 1973, no. 73 (another example exhibited) PHILADELPHIA, Philadelphia Museum of Art; NEW YORK, The Museum of Modern Art and CHICAGO, The Art Institute of Chicago, MARCEL DUCHAMP, September 22, 1973-April 21, 1974, no. 119 (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. 109 (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. 107 (another example exhibited) MILAN, Accademia di Belle Arti di Brera, MARCEL DUCHAMP, LA SPOSA... E I READYMADE, May 20-July 10, 1988, p. 57, no. 74 (another example illustrated) ANTWERP, Galerie Ronny van de Velde, MARCEL DUCHAMP, September 15-December 15, 1991 (present lot exhibited) VENICE, Palazzo Grassi, MARCEL DUCHAMP, April 4-July 18, 1993, p. 65 (another example exhibited) LITERATURE R. Lebel, SUR MARCEL DUCHAMP, PARIS, 1959, pl. 77 (another example illustrated) W. Hopps, U. Linde, and A. Schwarz, MARCEL DUCHAMP: READY-MADES, ETC. (1913-1964), MILAN, 1964, pp. 50-51, no. 9 (another example illustrated) A. Schwarz, THE COMPLETE WORKS OF MARCEL DUCHAMP, NEW YORK, 1969, p. 465, no. 243 (another example illustrated) K. Coutts-Smith, DADA, LONDON, 1970, p. 53 (another example illustrated) P. Cabanne, Les 3 Duchamp: jacques Villon, raymond Duchamp-villon, Marcel Duchamp, Paris, 1975, p. 143 (another example illustrated) J. Masheck, marcel duchamp in perspective, englewood cliffs, new jersey, 1975, fig. 22 (another example illustrated) A. Schwarz, MARCEL DUCHAMP, NEW YORK, 1975, pl. 110 (another example illustrated) T. Zaunschirm, BEREITES MÄDCHEN READY-MADE, KLAGENFURT, 1983, p. 68, fig. 16 (another example illustrated) E. Jaguer and J.-J. Lebel, AFTER DUCHAMP, PARIS, 1991, p. 75 D. Waldman, COLLAGE, ASSEMBLAGE, AND THE FOUND OBJECT, NEW YORK, 1992, p. 140, fig. 192 (another example illustrated) P. Hulten, ed., MARCEL DUCHAMP: WORK AND LIFE, CAMBRIDGE, Massachusetts, 1993, p. 65 (another example illustrated) G. Borgna, ed., DADA: L'ARTE DELLA NEGAZIONE, ROME, 1994, p. 189, pl. III/1 (present lot illustrated) J. Mink, MARCEL DUCHAMP 1887-1968: ART AS ANTI-ART, COLOGNE, 1995, p. 92 (illustrated) F. M. Naumann, MARCEL DUCHAMP, THE ART OF MAKING ART IN THE AGE OF MECHANICAL REPRODUCTION, NEW YORK, 1999, p. 72, fig. 3.15 (another example illustrated) A. Schwarz, THE COMPLETE WORKS OF MARCEL DUCHAMP, NEW YORK, 2000, pp. 647-648, no. 344
Auction Location:
United States
Previewing Details:
Viewing in Chelsea Saturday May 4, 2002 - Sun
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