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This item WAS NOT SOLD. Auction date was 2002 May 13 @ 16:00UTC-8 : PST/AKDT
MARCEL DUCHAMP (1887-1968) TRAVELER'S FOLDING ITEM signed and dated "Marcel Duchamp 1964" in white ink on the lower inside edge; inscribed "Marcel Duchamp, 1964 Ex Arturo" and engraved "...PLIANT...DE VOYAGE, 1917 EDITION GALERIE SCHWARZ, MILAN" on a copper plate attached on the lower inside edge above the signature Underwood typewriter cover 91/16 x 171/8 x 71/4 in. (23 x 43.5 x 18.5 cm) executed 1916-1964 The original, produced in 1916, was lost; the present lot was produced under the artist's supervision after THE BOX IN A VALISE (1935-1941) reproduction; 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 1953, when asked his reasons for adopting a typewriter cover as a Readymade, Duchamp replied: "I thought it would be a good idea to introduce softness in the Readymade - in other words not altogether hardness, porcelain or iron, or things like that..." (A. Schwarz, THE COMPLETE WORKS OF MARCEL DUCHAMP, New York, 2000, p. 646.) Indeed with Traveler's Folding Item, Duchamp made the first "soft" sculpture known to art history (C. Tomkins, Duchamp, New York, 1996, pp. 160-161.) PROVENANCE Dedicated by the artist to Arturo Schwarz, 1964 EXHIBITED NEW YORK, Bourgeois Galleries, EXHIBITION OF MODERN ART, April 3-29, 1916, no. 50 (noted as two Readymades; believed to have been the Traveler's Folding Item, although no specific mention of it in the catalogue) STOCKHOLM, Galerie Burén, April-May 1963 (another example exhibited) Pasadena, Pasadena Art Museum, MARCEL DUCHAMP: A RETROSPECTIVE EXHIBITION, October 8-November 3, 1963, no. 62 (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. 64 (another example exhibited) LONDON, The Tate Gallery, THE ALMOST COMPLETE WORKS OF MARCEL DUCHAMP, June 18-July 31, 1966, no. 127 (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. 70 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. 117 (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. 108 (another example exhibited) VANCOUVER, British Columbia, Canada, The 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. 39 (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. 84 (another example exhibited) MILAN, Accademia di Belle Arti di Brera, MARCEL DUCHAMP, LA SPOSA... E I READYMADE, May 20-July 10, 1988, p. 56, no. 57 (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. 58 (another example exhibited) LITERATURE W. Hopps, U. Linde and A. Schwarz, MARCEL DUCHAMP: READY-MADES, ETC. (1913-1964), MILAN, 1964, p. 17, no. 11 (another example illustrated) A. Schwarz, THE COMPLETE WORKS OF MARCEL DUCHAMP, NEW YORK, 1969, p. 463, no. 240 (another example illustrated) A. Schwarz, MARCEL DUCHAMP, NEW YORK, 1975, pl. 109 (present lot illustrated) U. Linde, MARCEL DUCHAMP, STOCKHOLM, 1986, p. 55 (installation view) M. Partouche, MARCEL DUCHAMP: UNE VIE D'ARTISTE, MARSEILLE, 1991, pl. 121 (installation view) E. Jaguer and J.-J. Lebel, AFTER DUCHAMP, PARIS, 1991, p. 157 (another example illustrated) P. Hulten, ed., MARCEL DUCHAMP: WORK AND LIFE, CAMBRIDGE, Massachusetts, 1993, p. 58 (another example illustrated) G. Borgna, ed., DADA: L'ARTE DELLA NEGAZIONE, ROME, 1994, p. 74, pl. I/17 (another example illustrated) J. Mink, MARCEL DUCHAMP 1887-1968: ART AS ANTI-ART, COLOGNE, 1995, p. 67 (illustrated) D. Joselit, INFINITE REGRESS: MARCEL DUCHAMP, 1910-1941, CAMBRIDGE, Massachusetts, 1998, p. 89, fig. 2.7 (another example illustrated) D. Ades, N. Cox and D. Hopkins, MARCEL DUCHAMP, LONDON, 1999, p. 158, fig. 120 (another example illustrated) F. M. Naumann, MARCEL DUCHAMP, THE ART OF MAKING ART IN THE AGE OF MECHANICAL REPRODUCTION, NEW YORK, 1999 (other examples illustrated; p. 226, fig. 8.29 and p. 246, fig. 8.70) A. Schwarz, THE COMPLETE WORKS OF MARCEL DUCHAMP, NEW YORK, 2000, pp. 645-646, no. 342 (another example illustrated)
Auction Location:
United States
Previewing Details:
Viewing in Chelsea Saturday May 4, 2002 - Sun
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