marcel duchamp, Signiert (100 Ergebnisse)

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

Zustand: Gut. 84 S. Ein gutes und sauberes Exemplar. - 344 numbers. Guestsbooks of the Galerie Springer, 1969-1990 -- A lot of Dada -- Marcel Duchamp, Autographed letter to Henry McBride -- Die freie Straße. Gegen den Besitz! -- 29 original manifestos oft he futurists -- George Grosz, Siegfried Hitler, poster -- Wedding announcement of Frank Lloyd Wright and Olgivanna Wright and many more. Sprache: Deutsch Gewicht in Gramm: 550 Mit zahlr. auch farb. Abb. Originalbroschur.

8°. ill. OBroschur. Zustand: Sehr gut. 70 Seiten. Beiliegend eine Karte des Verlags mit Signatur von Wieland Schmied. Tadellos. Sprache: Deutsch Gewicht in Gramm: 450.

[1. Aufl.]. 119 (1) Seiten, Illustriert. Ein Band mit Texten des Schweizer Künstlers Gottfried Honegger in der Reihe Kunsttheorie. In seinen (imaginären) Briefen stellt Honegger Fragen zur Kunst in der Gesellschaft, Briefe an: Leonardo da Vinci, Sonia Delaunay, Vincent van Gogh, Marcel Duchamp, Giovanni Pisanello, Henri Matisse, Rene Magritte, Mark Rothko, Fernand Leger, Yves Klein, Domenico Ghirlandaio, Kasimir Malewitch, Edvard Munch, Sophie Taeuber, Alberto Giacometti, Giorgio Chirico, Josef Beuys, Roy Lichtenstein, Hans Arp u.a. Auf dem Titelblatt von Gottfried Honegger handschriftlich signiert. ISBN- 9783931876438 Sprache: Deutsch [Künstler, Graphik, Objektkunst, Künste, Bildende Kunst allgemein, Lyrik, Kunstwissenschaft, Kunstheorie] Gr.-8°, 18 x 24,5 cm, ill. Opbd., von sehr guter Erhaltung.

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.

Hardcover with dust jacket. Zustand: Gut. VII, 244 p.: Ill. Schutzumschlag berieben, Vorderschnitt fleckig, Autorensignatur im Vorsatz / Dust jacket rubbed, fore edge stained, author signature on endpaper. - Contents Part One: I Have Been Warned to Stay Away from Eschatology: I Can't Do It The Devil Never Sleeps The Revelation of St. John Modern Attitudes and Masques Approaches to the Soul Elvis 20/20: Concluding Remarks at the Third International Elvis Conference in Memphis, Tennessee, 1997 The Millennium Pics Human Remedies Against the Devil Another Autumn Allen Ginsberg Hello, Cosmos! Week of the Dead The Manners of the Unspeakable How Do You Say Goodbye to the 20th Century? A Russian Poet at the Seashore San Francisco's Poet Laureate Poetic Terrorism Solution: EnivreZ'Vous: The Bars of New Orleans or with Kerri McCaffety in the Realm of Timelessness Part Two : In Defense of Innocence Bad Childhoods Innocence Lost under Capitalism! The Unabomber in School The Art of Escape The Pleasures of Art Not So Fruit: Three Paintings by Amy Weiskopf The Heracliteans: Early Devils Part Thr ee: The Devil in Eastern Europe, One of his Ancestral Homes Romania: The Varkolak Return to Romania: Notes of a Prodigal Son The Berlin Mall r Prague (cont.) A Simple Heart How We Got to Kosovo Exiles, All Part Four: The Devil's Art: Autobiography Adding Life, Erasing the Record Against Synchronicity Collecting The Strangeness of Languages Animals: The Thin Furry Line between Us and the Devil Walking Bear Grandfatherhood Love in the Nineties The Blessed Waters of Sleep Professional Hazards Part Fiv e: Amnesia of the Body Politic Tolerance, Intolerance, Europe & America The Anxious Middle Class The Angels in the Closet The Devil's Most Insidious Aspect: Amnesia The Hidden History of Chicago Shell Games Prosperity and the Devil Houses and Shops From American Life Fried Rice Marcel Duchamp Would've Loved Wal-Mart Mystery of the Market From Subversion to Whimsy Heat and the School for Crawling Ice Hint of Fall Air Travel and the Advance of Demonism Berkeley Ratio of Derriere versus Frontal Beauty & Safety Part Six: Virtuality Takes Command Virtuality Takes Command The V-Chip AOL Addict Tells All / The Mouse with Glowing Ears Tech-Withdrawal Anxiety. ISBN 9780312202941 Sprache: Englisch Gewicht in Gramm: 531.

Quer-Gr.8? 12 Bl. mit 9 montierten, farbigen Abbildungen, nur am Oberrand befestigt, r ckseitig und auf dem Blatt darunter weitere einfarbige Abbildungen. Farbig illustrierter Okart. Gutes Exemplar. Lose beiliegend zwei weitere Bl?tter zu weiteren Publikationen des K nstlers, Titel mit eigenh?ndiger Widmung und Unterschrift des K nstlers. Der in Mannheim geborene Stuttgarter K nstler studierte an der Stuttgarter Akademie unter den Professoren Moritz Baumgartl und Rudolf Schoofs, Er nutzt Objekte und Instrumente des t?glichen Gebrauchs, wie Haushaltswaren, elektrische Ger?te, Fortbewegungsmittel, Kleidungsst cke, Mobiliar etc. und zerlegt sie um sie neu zu montieren und umzuwerten. Dabei steht er im weiteren Sinne in der Tradition eines Marcel Duchamp. Sprache: de.

8°. Orig.-Karton. 125 S., 1 Bl. mit Abbildungen. Zettel mit einer handschriftlichen Widmung Molderings beiliegend (gutes Exemplar). Sprache: Deutsch Gewicht in Gramm: 480.

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 Man 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.

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. Zustand: 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).

Hardcover. Zustand: Very 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.

Folio. (370 x 520 mm). pp. (5) including wrapper. Leaf with title recto and explanatory text verso ('COMBAT de BOXE / Pied du jongleur de gravité / Vêtement de la mariée') with colour (blue, green and red) keyed to the engraving by Man Ray, the engraving with additional colour, numbered '1 / 100' at lower left and signed at lower right 'M R' in pencil. Original publisher's printed wrappers with titles in black to front cover, additional original glassine jacket. Copy number 1 of this collaboration between Man Ray and Marcel Duchamp from 'The Large Glass': 'Combat de Boxe'. From the edition limited to 100 numbered copies, this copy numbered '1 / 100' and signed by Man Ray with his initials in pencil. 'Combat de Boxe' is the joint project - a posthumous one in the case of Duchamp who had died in 1968 - of Man Ray and Marcel Duchamp (the drawing by Man Ray is based upon an original idea of Duchamp) and relating to 'The Large Glass'. The print is presented in a folio with a page of text by Duchamp explaining the codes used for the making of the drawing. [Schwarz 337 for the photograph of the original drawing 'Combat de Boxe'; see Schawarz pp. 172 - 175].

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.

Small folio. (292 x 214 mm). [46 leaves]. Leaf with half-title with die vignette (the 'dé' of the title as an image) recto and 'Du Mème Auteur' verso in green, leaf with original collage poème-découpage dated 'Mai 36' and initialled 'GH' by Hugnet in red verso as frontispiece, printed typographic title, leaf with quotations recto (by Isidore Ducasse, Xavier Forneret and Saint-Just) and first poem verso, 19 further poems by Hugnet, numbered '2' to '20' recto with verse verso and each poem with facing reproduction collage poème-découpage (13 with colour elements), final leaf with justification and achevé d'imprimer recto with the signatures of Duchamp and Hugnet to a sheet of torn pink paper pasted to the leaf as usual; Hugnet's text with typographic ornaments and small vignettes printed in green throughout. Original 'couverture-cigarettes' by Marcel Duchamp (see below), brown morocco-backed card boards stitched with raffia in the Japanese manner with mounted original hand-coloured photographs by Duchamp beneath celluloid, over original green wrappers by Duchamp with mounted embossed photographic reproduction of 'Why Not Sneeze Rose Sélavy?' and pictorial title composed of vignettes and names from the Surrealist pantheon. The édition de tête of 'La Septième Face du Dé' with Marcel Duchamp's 'couverture-cigarettes' and an original collage poème-découpage by Georges Hugnet. From the edition limited to 270 numbered copies signed by Hugnet and Duchamp, with this one of the first 20 examples from the édition de tête on japon blanc with Marcel Duchamp's 'couverture-cigarettes' (see below) and with Hugnet's unpublished original collage poème-découpage as frontispiece; 24 additional hors commerce lettered copies were also issued. Two different bindings, each with some slight variation among examples, appear to have been issued. We locate copies with - as for the present example - a green or brown morocco backing sewn with raffia as well as a different version with a white / cream canvas backing also with raffia stitching. All of the copies have two photographs of unwrapped cigarettes coloured by hand with aniline pasted to the covers at the left-hand (right-hand for the rear cover) edge. Of those copies with the white / cream canvas backing, we can trace two examples without numbering, as well as a further, hybrid, copy printed on blue paper with stab holes at the outer right (i.e. the wrong) edge of the sheets; this copy on blue paper - copies on blue paper are not described on the justification of the book as requiring the édition de tête binding - also features two identical photographs for the 'couverture-cigarettes' front cover unlike all other examples we trace. In addition, several copies also incorporate thick celluloid boards - as here - over the original photographs; the catalogue for the sale of the books of Paul Destribats clarifies this final point with a quotation: 'Duchamp utilise, de plus, une feuille de Cellophane - cette 'cellulose diaphane' dont le brevet venait juste, en 1936, d'être déposé - qui crée une pellicule, un effet de verre ou de lamelle . '. (Georges Didi-Huberman and Didier Semin). 'For the 'Couvertures cigarettes' front and back covers of the deluxe edition of 20, he began with a print of an oversize, hand-coloured photograph of three cigarettes 'stripped bare' of their wrapppers. He created the front cover by cutting down the images, slicing off one lone cigarette and overlapping it with the other two so that only two cigarettes are immediately visible. Then he repeated the process for the back cover. The photographs are glued on the inner side only, and the outer side remains free.' (Schwarz, pp. 733 / 734). 'Hugnet's 'La Septième face du dé: Poèmes-découpages', published in 1936, was Surrealism's first attempt to combine graphics with poetry. In collages of cutout images and printed letters and words, he succeeded in creating - brusquely, violently, with mystery - a world bearing the traces of a dark.

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".

Hardcover. Zustand: Gut bis sehr gut. Zustand des Schutzumschlags: Gut bis sehr gut. M : 94 pages, 23 x 28 cm, clothbound; black-and-white & color illustrations, includs a signed postcard by Ad Petersen - offset-printed Monograph of photographs of artists taken by Dutch curator and art historian Ad Petersen. Preface by Roland Topor with an introduction by Ad Petersen. Includes images of Ben Vautier, Joseph Beuys, Yve-Alain Bois, Mary Boone, Marcel Broodthaers, John Cage, Christo, Jan Dibbets, Jean Dubuffet, Marcel Duchamp, Robert Filliou, Lucio Fontana, Gilbert & George, Richard Hamilton, Edward and Nancy Kienholz, Jannis Lounellis, Claes Oldenburg, Meret Oppenheim, Markus Raetz, Robert Rauschenberg, Niki de Saint Phalle, Julian Schnabel, Joel Shapiro, Daniel Spoerri, Jean Tinguely, Roland Topor, David Tudor, James Turrell, and many others. Includes index of all artists photographed. Signatur des Verfassers.

The covers are an original, signed color aquatint approx. 13 x 19 inches, This is copy no. 4 of what appear to be 200 copies. Warmly inscribed 9.60 to Joshua Taylor. 4 abstract compositions reproduced in black and white. [12] interior pp. Duchamp's poem is "Poème d'aujour d'hui" in two parts, in French. The bottom front corner of the front cover and inside pages are chipped approximately .5 cm. Otherwise, near fine. **Free domestic shipping with direct order.

Kl. 8°, 52 S., 2 Bll. Begleitheft und 12 Hefte mit je 4 Bll., mit zahlreichen teils farbigen Tafeln sowie 1 Originalgrafik (aquatinte rehaussée) von Stéphane Brunner. Orig.-Karton in Orig.-Pappschachtel mit Orig.-Bauchbinde. Erste Ausgabe.- Nummer 46 von 200 nummerierten Exemplaren mit einer signierten u. datierten Originalgrafik.Aus der Bibliothek Gregor Laschen.- 1. Ol'ga Rozanova. Richard Serra. 2. Richard Long. Markus Raetz. 3. James Turrell. Michele Zaza. 4. Georg Baselitz. Max Ernst. 5. Goya (Velázquez. Arnulf Rainer. 6. Jean Dubuffet. Joan Miró. 7.Josef Felix Müller. Hannah Villiger. 8. Christian Boltanski. Marcel Duchamp. 9. Charles de Montaigu. Diter Rot. 10. Donald Judd. Pat Steir. 11. Stéphane Brunner. "1918" (Kamenskij, Kruchenykh, Zdanevitch). 12. Pierre Courtin. Mikhail Karasik.- Pappschachtelrückseite mit kurzer Notiz, Bauchbinde mit minimalen Randläsuren und kleinem Besitzvermerk. Gutes Exemplar.

Hardcover. Zustand: Very Good. Schwarz Gallery, Milan. 1964. Poems by Arturo Schwartz, illustrated by Marcel Duchamp and Man Ray. This edition comprises of 12 lithographs, ten by Man Ray and two by Duchamp including a lithograph certificate signed by Marcel Duchamp in pencil, rolled (as issued) and protected in a mylard tube. Limited 125 copies, of which this is N 21. The book is loose as issued, wrappers in original glassine with a repaired tear. All collected in the original clamshell box. Signed in pencil on the justification page by the author and both artists. Missing the two extra suites and the two proofs. Signed by Illustrator(s).

First edition, first printing, number 58 of 150, numbered, signed and dated by the artist on the acrylic screenprint, and signed on the title page of text. This work is the third and final volume in a series of portfolios containing notes relating to the interpretation of Duchamp's work The Large Glass which he worked on from 1915-23. Folio. Screenprint titled Glider Containing a Water Mill in Neighboring Metals. Sheet size: 32.5 x 27.8 cm. Bound text, seven folders containing 81 collotype reproductions (some stapled, pinned or taped together as issued), and a screenprint on acrylic. All housed in a black cloth based box, lettering in yellow with an acrylic lid. All in excellent condition.

In original cloth slipcase. Karlsruhe/Northend/Fontainebleau 2002. Format 16,1 x 24,2 x 4,4 cm. Green Book: The Bride Stripped Bare by Her Bachelors, Even. A typographic version by Richard Hamilton of Marcel Duchamp's Green Box. 3rd ed. London 1976. 114 S. mit 12 Abb. sowie zahlr. Zeichn., einige davon auf Pergamentpapier, gebunden. White Book: Marcel Duchamp. A l'infinitif. A typotranslation by Richard Hamilton and Ecke Bonk of Marcel Duchamp's White Box. Northend Chapter 1999. 136 S. mit 116 (115 farb.) Abb., Hlb. Guide Bleu: Marcel Duchamp. Notes et / and Notations. La marie mise à nu par ces celibataires, même. A l'infinitif. Ecke Bonk / typosophes sans frontières. 1.Aufl. 2002. 36 S., brosch. mit grauem Leinen-Umschlag. - Aufl. 300 Expl. Die Edition ist von Hamilton und Bonk auf der letzten Seite des Guide Bleu numeriert und signiert. Die Exemplare der anderen beiden Bücher sind jeweils mit der entsprechenden Nummer versehen. All 3 volumes signed and numbered. Near fine condition. Nahezu verlagsfrisch. Sprache: Deutsch. *** 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! ***.

First UK edition, first printing, signed in red pen on the front free endpaper by Duchamp and inscribed and signed in black pen by R.B. Kitaj "Duchamp signed this at Richard's house on 19 June 66" with a black line through the first 7 words, signed in black felt tip by Hamilton opposite the title page. Duchamp stopped working on the artwork The Bride Stripped Bare by Her Bachelors, Even, widely referred to as The Large Glass, in 1923, after eight years, not because it was complete, but because he decided it should remain "definitively unfinished." Later, in 1927, when the glass was en route to collector Katherine Dreier's house from an exhibition in Brooklyn, he was thrilled to discover it had been damaged, saying the accidental cracking finished the work in a way that he never could have. Octavo. With photographic plates, full-page drawings, diagrams, various typographic formats, annotations, vignettes, and musical notation. Original green boards, titles to front cover in black and white, titles to spine in white. With original acetate dust jacket. Housed in a burgundy clamshell box with black calf spine. Minor rubbing to corners in fine dust jacket.

First UK edition, first printing, signed in pencil by Duchamp on the title page. Duchamp stopped working on the artwork The Bride Stripped Bare by Her Bachelors, Even, widely referred to as The Large Glass, in 1923, after eight years, not because it was complete, but because he decided it should remain "definitively unfinished." Later, in 1927, when the glass was en route to collector Katherine Dreier's house from an exhibition in Brooklyn, he was thrilled to discover it had been damaged, saying the accidental cracking finished the work in a way that he never could have. Octavo. With photographic plates, full-page drawings, diagrams, various typographic formats, annotations, vignettes, and musical notation. Original green boards, titles to front cover in black and white, titles to spine in white. With original acetate dust jacket. Boards lightly unevenly faded, corners lightly rubbed, dust jacket lightly nicked to corners.

Zustand: Very Good+. First Edition, Trade Issue. Inscribed in French by Marcel Duchamp on page following front transparency, then signed and dated. Translated the inscription reads, "Dear [Alma?] I appreciate the catalogues you sent me, etc. and here's another book, with no pretense. Salutations, Marcel Duchamp New York City, 1960." 231 pp. with b&w folding transparency of La Marieé Mise a Nu par ses Célibataires, Même. Printed wrappers. In French. First edition, trade issue. Very Good+ with rubbing along edges of wrappers, vertical crease to spine, internally clean and bright. Some pages unopened. A rare signed copy of the writings of the pioneering artist associated with the Cubist, Dadaist, and conceptual art movements; the title translates to Salt Merchant in English.

Paperback. Zustand: Fine. First Edition. Wraps. Signed presentation copy: "Briony Ð might be useful for speech writing. Brendan. Xmas 2015." 8vo.pp. 60. Original publisher glossy photographic wraps, lettered Black with a an image of the courtyard garden installation at Gigouzac, Saint Eutrope de Born in 2007. The garden is dedicated to JRM Keighley of Melbourn, whose commonplace book inspired the creation of a wall of 'sayings,' and this book. Contributors include: George Orwell, Harry S Truman, Isamu Noguchi, Marcel Duchamp, Sir Paul McCartney, Confucius.ISBN:9781463560089. Fine. Signedes.

Zustand: FINE. Advance Reading Copy (trade paperback format. ) The author's first novel, a literary thriller which Colson Whitehead called "A kickass debut from start to finish" and Robin Sloan described as "unexpected, uncategorizable, unputdownable." This features 17 year-old Lee Cuddy who is on the run. "Betrayed by her family after taking the fall for a friend, she finds refuge in a cooperative of runaways holed up in an abandoned building they call the Crystal Castle. But the faade of the Castle conceals a far more sinister agenda, one hatched by a society of fanatical men set on decoding a series of powerful secrets hidden in plain sight. And they believe Lee holds the key to it all. Aided by Tomi, a young hacker and artist with whom she has struck a wary alliance, Lee escapes into the unmapped corners of the cityempty aquariums, deserted motels, patrolled museums, and even the homes of vacationing families." SIGNED on the title page and dated in April 2017, that is before publication. 374 pp. Very near fine in illustrated wrappers with self-flaps (toning to edges of textblock).