LOT DETAILS

Materials:

Pen and ink, airbrushed ink, photograph heightened with pencil and collage on paper

Measurements:

11.77 in. (29.90 cm.) (height) by 7.95 in. (20.20 cm.) (width)

Markings:

Signed Marcel Duchamp, signed with Duchamp’s pseudonym Rrose Sélavy and also inscribed by Duchamp en collaboration avec Man (lower left); signed Man Ray, dedicated by Man Ray à André Breton (lower right)

Exhibited:

Paris, Galerie Goemans, Exposition des Collages (curated by Louis Aragon), 1930, no. 9 Milan, Galleria Schwarz, Omaggio a Marcel Duchamp, 1964, no. 20, illustrated in the catalogue Stockholm, Moderna Museet, Dada, 1966, no. 60, illustrated in the catalogue London, Tate Gallery, The Almost Complete Works of Marcel Duchamp, 1966, no. 142, illustrated in the catalogue Philadelphia, Philadelphia Museum of Art; New York, The Museum of Modern Art & Chicago, The Art Institute of Chicago, Marcel Duchamp, 1973-74, no. 139, p. 294, illustrated in the catalogue [incorrectly as inscribed 1964] New York, The Solomon R. Guggenheim Museum, 20th Century American Drawing: Three Avant-Garde Generations, 1976, no. 37 Paris, Musée national d'art moderne, Centre Georges Pompidou, L'Œuvre de Marcel Duchamp, 1977, no. 128, p. 102, illustrated in the catalogue [incorrectly catalogued as photo-collage - facsimile] Barcelona, Fundació Joan Miró; Madrid, Sala de Exposiciones de la Caja de Pensiones & Cologne, Museum Ludwig, Duchamp, 1984, no. 108 Paris, Musée national d'art moderne, Centre Georges Pompidou, André Breton, La beauté convulsive, 1991, p. 154, illustrated in the catalogue Venice, Palazzo Grassi, Marcel Duchamp, 1993, illustrated in colour in the catalogue

Literature:

Francis M. Naumann, The Recurrent, Haunting Ghost: Essays on the Art, Life and Legacy of Marcel Duchamp, New York, 2012, pp. 98-103, for a discussion devoted to La Belle Haleine; p. 105, mentioned; Francis M. Naumann, Marcel Duchamp, The Art of making art in the age of mechanical reproduction, New York, 1999, pp. 85-86, discussed; p. 87, fig. 3.47, illustration of Man Ray’s photograph of the present work; Gloria Moure, Marcel Duchamp, Works, Writings, Interviews, Barcelona, 2009, illustrated p. 84; Arturo Schwarz, The Complete Works of Marcel Duchamp, New York, 1997, vol. I, mentioned pp. 212-218; vol. II, no. 386, illustrated p. 687 [as: Imitated Rectified Readymade / collage]; Gloria Moure, Marcel Duchamp, London & Barcelona, 1988, no. 99, illustrated; Arturo Schwarz, The Complete Works of Marcel Duchamp, New York, 1969, no. 271, p.484-485; Arturo Schwarz, Man Ray, The Rigour of Imagination, London, 1977, fig. 383, p. 244, illustrated; fig. 50, p. 48, illustration of Duchamp’s perfume bottle on the cover of New York Dada magazine, 1920; Robert Lebel, Sur Marcel Duchamp, Paris, 1959, listed under no. 149, p. 170

Provenance:

Carl Fredrik Reuterswärd, Lausanne (acquired from the above in 1964); Arturo Schwarz, Milan (acquired from the above in 1964); André Breton, Paris (a gift from the above); Man Ray