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MARCEL DUCHAMP (1887-1968) WITH HIDDEN NOISE inscribed in white paint on top of upper plate"P.G....

Currency:USD Category:Everything Else / Other Start Price:NA Estimated At:200,000.00 - 300,000.00 USD
MARCEL DUCHAMP (1887-1968) WITH HIDDEN NOISE inscribed in white paint on top of upper plate P.G....
MARCEL DUCHAMP (1887-1968) WITH HIDDEN NOISE inscribed in white paint on top of upper plate"P.G. .ECIDES DÉBARRASSE. LE. D.SERT. F.URNIS.ENT AS HOW.V.R. COR.ESPONDS" inscribed in white paint on bottom of lower plate ".IR. .CAR.É LONGSEA? F.NE, HEA., .O.SQUE? TE.U S.ARP BAR AIN?" inscribed "Marcel Duchamp 1964 Ex Arturo" and engraved "A BRUTT SECRET, 1916 EDITION GALERIE SCHWARZ, MILAN" on copper plate affixed to artist's wooden storage case ball of twine (containing small unknown object added by Alexina Duchamp) pressed between two brass plates joined by four long screws 41/4 x 51/8 x 51/8 in. (10.8 x 13 x 13 cm) artist's wooden storage case: 5 x 57/8 x 57/8 in. (12.7 x 15 x 15 cm) executed 1916-1964 The original work, produced in 1916, is in the permanent collection of the Philadelphia Museum of Art; the present lot was made in 1964 under the artist's supervision from photographs of the original supplied by the Philadelphia Museum of Art; 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: - $200,000-300,000 In an interview with James Johnson Sweeney in 1955, Duchamp explained the meaning behind the enigmatic title With Hidden Noise: "This Readymade is a ball of twine between two squares of brass...and before I finished it, Walter Arensberg put something inside the ball of twine, and never told me what it was, and I did not want to know. It was a sort of a secret; and it makes a noise, so we called it a Readymade with a secret noise. Listen to it. I never know whether it is a diamond or a coin." Duchamp later elaborated on the inscription that appears on both the lower and the upper brass plates: "On the brass plaque I wrote three short sentences in which letters were occasionally missing like in a neon sign when one letter is not lit and makes the word unintelligible." According to Duchamp, the words inscribed on the two plates were nothing but "an exercise in comparative orthography (English-French). The letters must be replaced by one of the two letters of the other two lines, but in the same vertical as the period-French and English are mixed and make no sense. The three arrows indicate the continuity of the line from the lower plate to the other (upper) still without meaning." (A. Schwarz, THE COMPLETE WORKS OF MARCEL DUCHAMP, New York, 2000, p. 644.) PROVENANCE Dedicated by the artist to Arturo Schwarz, 1964 EXHIBITED STOCKHOLM, Galerie Burén, DUCHAMP RÉTROSPECTIVE, April-May 1963 (another example exhibited) Pasadena, Pasadena Art Museum, MARCEL DUCHAMP: A RETROSPECTIVE EXHIBITION, October 8-November 3, 1963, no. 60 (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. 61 (another example exhibited) LONDON, The Tate Gallery, THE ALMOST COMPLETE WORKS OF MARCEL DUCHAMP, June 18-July 31, 1966, no. 124 (another example exhibited) MILAN, Galleria Schwarz, MARCEL DUCHAMP: 66 CREATIVE YEARS, December 12, 1972-February 28, 1973, no. 69 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. 116 (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. 107 (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. 56 (another example exhibited) ANTWERP, Galerie Ronny van de Velde, MARCEL DUCHAMP, September 15-December 15, 1991 (present lot exhibited) LITERATURE R. Lebel, SUR MARCEL DUCHAMP, PARIS, 1959, pl. 74a/b (another example illustrated) J. Masheck, marcel duchamp in perspective, englewood cliffs, new jersey, 1975, fig. 20 (another example illustrated) A. Schwarz, MARCEL DUCHAMP, NEW YORK, 1975, pl. 107-108 (another example illustrated) T. Zaunschirm, BEREITES MÄDCHEN READY-MADE, KLAGENFURT, 1983, p. 53, fig. 9 (another example illustrated) J.-C. Bailly, DUCHAMP, NEW YORK, 1986, p. 53 (another example illustrated) G. Moure, MARCEL DUCHAMP, LONDON, 1988, no. 83 (another example illustrated) D. Waldman, COLLAGE, ASSEMBLAGE, AND THE FOUND OBJECT, NEW YORK, 1992, p. 141, fig. 194 (another example illustrated) P. Hulten, ed., MARCEL DUCHAMP: WORK AND LIFE, CAMBRIDGE, Massachusetts, 1993, p. 63 (another example illustrated) J. Mink, MARCEL DUCHAMP 1887-1968: ART AS ANTI-ART, COLOGNE, 1995, p. 64 (this work illustrated) D. Joselit, INFINITE REGRESS: MARCEL DUCHAMP, 1910-1941, CAMBRIDGE, Massachusetts, 1998 (other examples illustrated; p. 80, fig. 2.3; p. 82, fig. 2.4 and p. 83, fig. 2.5) D. Ades, N. Cox and D. Hopkins, MARCEL DUCHAMP, LONDON, 1999, p. 163, nos. 124 and 125 (another example illustrated) F. M. Naumann, MARCEL DUCHAMP, THE ART OF MAKING ART IN THE AGE OF MECHANICAL REPRODUCTION, NEW YORK, 1999, p. 74, fig. 3.9 and p. 243, fig. 8.66 (other examples illustrated) A. Schwarz, THE COMPLETE WORKS OF MARCEL DUCHAMP, NEW YORK, 2000, p. 644, no. 340 (another example illustrated)