Alexina and Marcel Duchamp Papers, circa 1886-1990, undated
PRÉSENTATION DU CONTENU
The Alexina and Marcel Duchamp Papers are comprised of Marcel Duchamp's personal papers as well as published material documenting the artist and his work that were compiled and organized by his widow, Alexina Duchamp. The collection includes a large photograph collection documenting Duchamp's life from his boyhood in Blainville, France through his last years spent partially in New York City and Cadaques, Spain. The collection includes a small portion of his personal correspondence, notes for several autobiographical and topical lectures delivered primarily in the early 1960s, and various personal papers, including birth and marriage certificates, military papers, and visas. The collection also includes material generated by other individuals that further serve to document Duchamp's life and work, and that were retained by him and later, by his widow. This material includes transcripts of various interviews with Duchamp conducted between 1945 and 1966 and typescripts for various articles and books about Duchamp which were sent to him by their authors for his review and comment. In many cases, correspondence with these authors is also preserved. Finally, the collection includes ephemera and published articles on Duchamp, which were seemingly collected and organized primarily by his wife, Alexina Duchamp, as much of the material postdates Duchamp's death.
NOTE BIOGRAPHIQUE ET HISTORIQUE
Perhaps more than any other artist of the twentieth century, the iconoclastic ideas and work of Marcel Duchamp shaped the course of modern and contemporary art in the United States and Europe. French American artist Henri-Robert-Marcel Duchamp was born in Blainville, near Rouen, France on July 28, 1887 to Justin-Isidore (Eugène) Duchamp and his wife, Marie-Caroline-Lucie Nicolle. Duchamp had five siblings, including three artists: painter Jacques Villon (born Gaston Duchamp, 1875), the sculptor Raymond Duchamp-Villon (born Raymond Duchamp, 1876), and the painter Suzanne Duchamp (born 1889). Marcel Duchamp briefly studied painting at the Académie Julien in Paris. In 1905, he completed a year of voluntary military service. Following his discharge, he returned to Paris, where he painted and produced cartoons for "Le Courrier Français" and "Le Rire."
Between 1908 and 1913, Duchamp lived and worked in the Paris suburb of Neuilly. During these years, he often traveled to Puteaux on Sunday where artists and writers including Jean Metzinger, Fernand Léger, Georges Ribemont-Dessaignes, and Guillaume Apollinaire gathered at his brothers' studios. In 1909, he exhibited publicly for the first time, showing two works at the Salon des Indépendants, and three at the Salon d'Automne. Also around this time, Duchamp met the painter Francis Picabia, whose spirited individualism and radical artistic ideas meshed well with Duchamp's. They became close friends and remained so until Picabia's death in 1953.
By 1911, Duchamp was working in a Cubist style and began incorporating sexual mechanical symbolism, biomorphism, and motion into such works as "Coffee Mill" and "Sad Young Man in a Train." The following year, he completed his best known painting, "Nude Descending a Staircase, No. 2," which he withdrew from the March 1912 Salon des Indépendants in protest against criticism from the hanging committee. The painting later caused a scandal at the 1913 Armory Show in New York (traveled to Boston and Chicago), the first exhibition devoted to European modernism in the United States, where it was described by one critic as depicting an "explosion in a shingle factory." As a result, Duchamp became famous in the United States while remaining relatively obscure in Europe. During July and August of 1912, Duchamp traveled to Munich, where he painted "The Passage from the Virgin to the Bride" and "The Bride," and executed the first drawing on the theme of "The Bride Stripped Bare by Her Bachelors."
In 1913, Duchamp virtually abandoned all conventional forms of painting and drawing, and began experimenting with chance, producing "Three Standard Stoppages" and "Erratum Musical." He also began studies and notes for his magnum opus "The Bride Stripped Bare by Her Bachelors, Even (the Large Glass)" (1915-1923), a complex allegory of frustrated desire. In October of the same year, he moved back to Paris and, shortly thereafter, mounted a bicycle wheel upside down on a kitchen stool. This object, which he found visually delightful, proved to be a forerunner to the Readymades, commonplace objects that Duchamp elevated to the status of art by selecting, inscribing, and, sometimes, slightly altering them. The following year, Duchamp collected a small group of notes and one drawing in the "Box of 1914," of which at least three photographic replicas were made.
With the outbreak of World War I and his exemption from military service due to a mild heart condition, Duchamp found France to be inhospitable and in 1915 departed for New York, where he remained until 1918. While in the United States, Duchamp lived first with Walter and Louise Arensberg at 33 W. 67th Street, and later in a studio above their apartment. Walter Pach had introduced Duchamp to the Arensbergs upon his arrival, and they became instant and lifelong friends. In addition, the Arensbergs became Duchamp's greatest patrons, assembling the preeminent collection of his works that they presented to the Philadelphia Museum of Art in 1950. In exchange for rent, the Arensbergs eventually acquired ownership of "The Large Glass," which they later transferred to Katherine Dreier.
During this time, Duchamp was a primary participant in the so-called Arensberg Salon, where intellectuals, artists, writers, and others gathered almost nightly to imbibe, exchange artistic ideas, and play chess. Duchamp was also active in a variety of organized avant-garde artistic events and activities that helped to define New York's manifestation of the Dada movement. He exhibited five paintings and drawings, as well as two Readymades, at the April 1916 exhibition of modern art at the Bourgeois Gallery. He was a founding member of the Society of Independent Artists, Inc. His relationship with this organization was cut short when he resigned from the board after his submission of a urinal, under the pseudonym R. Mutt, was rejected from the inaugural exhibition. In addition, Duchamp with the aid of Henri-Pierre Roché, Walter Arensberg, and Beatrice Wood, published two little magazines: "The Blind Man" and "RongWrong."
Following the United States entry into World War I in 1917, Duchamp departed for Buenos Aires. During his nine-month stay in Argentina, Duchamp completed his study on glass, "To Be Looked at with One Eye, Close to, for Almost an Hour," worked on drawings for "The Large Glass," and played chess avidly. In June 1919, Duchamp sailed for France and once there, became associated with the Paris Dada group, which included André Breton, Louis Aragon, Paul Eluard, Tristan Tzara, Georges Ribemont-Dessaignes, and others. During this time, he produced "L.H.O.O.Q.", a postcard of Leonardo's Mona Lisa "rectified" with goatee and mustache, perhaps his work most frequently identified with the Dada movement.
In 1920, Duchamp returned to New York for a year's stay, during which he collaborated with photographer and painter Man Ray on a number of projects. Duchamp, with Man Ray's assistance, produced and documented "Rotary Glass Plates (Precision Optics)," and together they shot an anaglyphic film using two synchronized cameras. Along with Katherine Dreier, they conceived and founded the Société Anonyme, the first museum in the United States dedicated to modern art. Man Ray also photographed Duchamp in female guise, thereby documenting his newly created feminine alter-ego, Rrose Sélavy, who would henceforth give her name to Duchamp's published puns and Readymades. Duchamp and Man Ray also edited and published the single-issue little magazine "New York Dada" in April 1921. A few months later, Duchamp again sailed for Europe, settling in Paris with his sister Suzanne and her artist husband, Jean Crotti. Man Ray arrived in Paris a month later, and they continued their film experiments, which culminated in 1926 with "Anemic Cinema." Also in 1921, Duchamp had a comet shape shaved into his hair, a gesture prescient of the body art movement of the later twentieth century.
In 1922, Duchamp returned to New York to continue work on "The Large Glass," which the Arensbergs had transferred to Katherine Dreier in the previous year, shortly before they moved to California. While in New York, Duchamp designed the layout for "Some French Moderns Says McBride," an anthology of art critic Henry McBride's writings published by the Société Anonyme. Over the next 45 years Duchamp continued to create a variety of design projects, including exhibitions, books, and posters. In January 1923, Duchamp signed "The Large Glass," having brought it to a state of "incompletion." Shortly thereafter, he returned to Paris, where he remained until 1942 except for occasional trips around Europe and brief visits to New York in 1926-1927, 1933-1934, and 1936.
Over the next ten years, Duchamp dedicated an increasing amount of time to chess, participating in several professional competitions, including a 1925 chess tournament in Nice for which he designed the poster. And, in 1932, Duchamp published with Vitaly Halberstadt "L'Opposition et les cases conjugées sont réconciliées," a chess manual dedicated to several special end-game problems, for which Duchamp designed the layout and cover.
Despite pursuing chess professionally, Duchamp kept his hand in the art world. He participated in the organization of several exhibitions, including the 1926-1927 International Exhibition of Modern Art at the Brooklyn Museum, which included his "The Large Glass." The work was broken during its return to Dreier's Connecticut home, and Duchamp spent a month repairing it in 1936. Duchamp also earned money through the speculative purchase and sale of works of arts, including several on behalf of the Arensbergs. In 1927, for example, he purchased in conjunction with Roché a large number of works by his close friend Constantin Brancusi from the John Quinn estate. In June of that year, Duchamp married Lydie Sarazin-Levassor, whom he divorced a few months later. The marriage was a short and temporary disruption in his nearly twenty-year relationship with Mary Reynolds, an American widow who moved to Paris in the early 1920s where she became skilled in the art of bookbinding.
In 1934, Duchamp began a series of projects to produce or reproduce several works of art as editions. He assembled notes and photographs pertaining to "The Large Glass," for facsimile reproduction in "La Mariée mise à nu par ses célibataires, même" (known as "The Green Box"), published in an edition of 300. The following year, he produced a set of six Rotoreliefs in an edition of 500 that he displayed at the annual Paris inventors' salon. He also began a six-year project to assemble material for the "Box in a Valise," a museum in miniature of all his important works of art. The first Box was published in 1941. Duchamp and various assistants, including Joseph Cornell, Xenia Cage, and Jacqueline Matisse, assembled individual valises slowly over a period of several decades.
Work on the Box, like Duchamp's life itself, was complicated by the outbreak of World War II. He departed Paris in late May 1940 just weeks ahead of the Nazi Occupation. He and Mary Reynolds spent the summer in Arcachon in the Occupied Zone with Suzanne and Jean Crotti, and returned to Paris in September. Around that time, Duchamp began planning to immigrate to New York. Because of complications with his visa, the process took nearly two years, and required the help of many friends including Katherine Dreier, Alfred H. Barr, Jr., and Walter Arensberg. In the meantime, he received a permanent pass for the "free zone" as a cheese merchant, and surreptitiously transferred the Box components from his rue Larrey studio that he had occupied since 1926 to Marseilles, from where they were eventually shipped to New York.
Duchamp arrived in New York in June 1942, while Reynolds remained in Paris. He quickly became associated with the Surrealist group of artists and writers temporarily living in New York during the war, which included Breton, Max Ernst, Matta, André Masson, and Yves Tanguy. This was a natural progression as Duchamp had been publicly associated with Surrealism for some time. He had been included in the exhibition "Fantastic Art, Dada, Surrealism" at The Museum of Modern Art in 1937, as well as the "Exposition Internationale du Surrealisme" at the Galerie Beaux Arts, Paris, 1938.
During the 1940s and early 1950s, Duchamp served as editorial advisor for several issues of "VVV," and designed the cover for the Marcel Duchamp (March 1945) issue of "View" magazine. He collaborated with Breton, Sidney Janis, and Raymond A. Parker on the catalog and exhibition of "First Papers of Surrealism," sponsored by the Coordinating Council of French Relief Societies, and designed an installation for this exhibition using a mile of string. He participated in the filming of the surrealist movie by Hans Richter, "Dreams That Money Can Buy." In the fall of 1946, Duchamp visited Paris, where he and Breton designed and prepared the exhibition "Le Surréalisme en 1947" at the Galerie Maeght. Following his December return to New York, Duchamp in collaboration with Enrico Donati designed the exhibition's catalog, and hand-colored 999 foam-rubber "falsies" labeled "Prière de Toucher," for the deluxe edition. He also collaborated with Breton on window installations at Brentano's and the Gotham Book Mart. Also during this time, Duchamp began to fabricate "Etant donnés: 1º la chute d'eau, 2º le gaz d'éclairage," his last major work. The majority of the work, completed in secret between 1946 and 1966, was carried out in Duchamp's top-floor studio at 210 West 14th Street, which he had taken in 1943.
Simultaneous with his clandestine work on this tableau-assemblage, Duchamp made his own opinions on art much more public than ever before. In 1946, he granted his first extended interview with James Johnson Sweeney. Three years later, he participated in the three-day session of the Western Round Table on Modern Art, held at the San Francisco Museum of Art. In 1950, he contributed thirty-three critical studies of artists to the catalog of the "Collection of the Société Anonyme," which had been donated by Dreier to the Yale University Art Gallery. Between the mid-1950s and the mid-1960s, Duchamp delivered a number of important lectures at several locations. Duchamp delivered his autobiographical lecture "Apropos of Myself," regarding his artistic work from 1902-1925, at the Baltimore Museum of Art, Brandeis University, and the City Art Museum of St. Louis, revising it slightly each time. Duchamp addressed more theoretical issues in his lecture "The Creative Act" at the American Federation of Arts Convention in 1957, and as a panelist in the symposium "Where Do We Go from Here?" at the Philadelphia Museum College of Art in 1961.
On January 16, 1954, Duchamp married Alexina (Teeny) Sattler, who had previously been married to art dealer Pierre Matisse, the son of Henri Matisse. Alexina was born in Cincinnati on January 6, 1906 to ophthalmologist Robert Sattler and his second wife, Agnes Mitchell, and studied sculpture for a while in Paris and Vienna. With his marriage to Alexina, Duchamp acquired a new family of three stepchildren, Paul, Jacqueline and Peter. In December of that year, Duchamp became a naturalized United States citizen. Around 1958, the couple began spending summers in Cadaqués, Spain, on the Costa Brava, and in 1959, they moved their permanent residence from 327 East 58th Street to 28 West 10th Street, where they remained until Duchamp's death.
In 1959, Duchamp assisted Robert Lebel with the design and publication of his monograph "Sur Marcel Duchamp," then the most comprehensive and definitive work on Duchamp. The following year, George Heard Hamilton and Richard Hamilton published "The Bride Stripped Bare by Her Bachelors, Even," the first full English translation of "The Green Box." These publications, along with the opening of the Louise and Walter Arensberg Collection galleries at the Philadelphia Museum of Art in 1954, raised awareness about Duchamp's works and ideas among a number of American artists, including Robert Rauschenberg, Jasper Johns, and Andy Warhol. In turn, Duchamp took an interest in contemporary art, attending performances and befriending younger artists.
He also received an increasing number of honors and accolades. In 1960, he was elected to the National Institute of Arts and Letters and the following year, he received an honorary Doctor of Humanities degree from Wayne State University. In 1963, Duchamp had his first major retrospective exhibition, "By or of Marcel Duchamp and/or Rrose Sélavy," at the Pasadena Art Museum, organized by Walter Hopps. A major one-man exhibition, "Not Seen and/or Less Seen of/by Marcel Duchamp/Rrose Sélavy 1904-64," at Cordier Ekstrom Gallery, New York followed two years later. His first major European retrospective came in 1966 with "The Almost Complete Works of Marcel Duchamp," organized by Richard Hamilton at the Tate Gallery, London. In 1963, Ulf Linde created replicas of several of Duchamp's Readymades, and, the following year, Duchamp authorized Arturo Schwarz to produce thirteen Readymades each in a regular edition of eight. In 1967, Cordier Ekstrom Gallery published "A l'infinitif," a limited boxed edition of seventy-nine unpublished notes dating from 1912 to 1920, reproduced in facsimile.
Around 1965, Duchamp was forced to vacate his 14th Street studio, and moved the nearly completed "Etant donnés..." to a small room in a commercial building at 80 East 11th Street. He signed the work in 1966, and the following year wrote notes and assembled photographs for a manual of instructions for dismantling and reassembling the work. Before his departure for Europe in the summer of 1968, Duchamp showed his close friend William Copley the completed "Etant donnés" and expressed his wish that it join the large group of his works already at the Philadelphia Museum of Art. On October 2, 1968, during Marcel and Alexina Duchamp's customary summer and early fall visit to Paris and Cadaqués, Duchamp died in Neuilly. The following year, the Cassandra Foundation, with which Copley was associated, presented "Etant donnés" to the Philadelphia Museum of Art as Duchamp had hoped.
Following Duchamp's death, Alexina Duchamp moved to Villiers-sous-Grez, near Paris, where she assembled an archive of photographs and other material documenting the life and work of her late husband. She maintained a close friendship with many of Duchamp's friends, including Jasper Johns, Richard Hamilton, composer John Cage, and choreographer Merce Cunningham. Alexina Duchamp died on December 20, 1995 at the age of 89.
INFORMATIONS ADMINISTRATIVES
- Organisme
- Philadelphia Museum of Art, Library and Archives
- Mention préférée
- [Item identification and date], [Series info.], Alexina and Marcel Duchamp Papers, Philadelphia Museum of Art, Library and Archives.
- Dates extrêmes
- circa 1886-1990, undated
- Informations sur l'acquisition
- Gift of Jacqueline, Paul and Peter Matisse in memory of their mother Alexina Duchamp, 1998.
- Informations sur le traitement
- These materials were arranged and described by Katherine Stefko, Adrianna Del Collo, and Vicky Rodner. Funded by a grant from The Andrew W. Mellon Foundation.
ACCÈS
- Conditions d'accès
- The collection is open for research. David Sylvester's typescript for the article "Bicycle Parts" can only be consulted with permission of the author's estate.
- Conditions d'utilisation et de reproduction
- The Alexina and Marcel Duchamp Papers are the physical property of the Philadelphia Museum of Art, Archives. The Museum holds literary rights only for material created by Museum personnel or given to the Museum with such rights specifically assigned. For all other material, literary rights, including copyright, belong to the authors or their legal heirs and assigns. Researchers are responsible for obtaining permission from rights holders for publication and for other purposes as stated.
SOURCES COMPLÉMENTAIRES
Marcel Duchamp Archives, Paris, France. Important collection including interviews, exhibition ephemera, correspondence, photos, publications, and documentation of Duchamp's work. Contact the Association Marcel Duchamp.
- Cotes extremes
- MDP
- Importance matérielle
- 18 linear feet
Birth certificates1942, 1946
Marcel Duchamp bulletin de naissance1946 July 24
Marcel Duchamp extrait du casier judiciare1942 March 28
Identification cards1942-1944, 1950, 1961, 1968, undated
Marcel Duchamp Museum of Modern Art member card1969 March 31
Marcel Duchamp registration certificate1942 August 10
Marcel Duchamp voter registration card1961 October 14
Military papers. France1905-1906
Military papers. United States1917-1918
Envelope bearing handwritten notes1917-1918
Passenger ticket for ship from Havre to the United States1947 January 13
Marcel Duchamp passenger ticket1947 January 13
Marcel Duchamp Form 1-94undated
Marcel Duchamp Republique Française passport1954 October 22
Passports. United States1957, 1966
Marcel Duchamp United States passport1957 January 18
Marcel Duchamp United States passport1966 March 22
Receipt for "Le Portrait de Chauvel"1962 May 30
Correspondence from Museum of Modern Art to Marcel Duchamp1950 January 31
Receipt for rent of studio at 14th Street. New York City1943 October 1
Marcel Duchamp application to extend time of temporary stay1943 December 23
Marcel Duchamp application to extend time of temporary stay1944 December 14
Visa statement of intent. United States1941 June 4
Visas. United States1946-1950
Marcel Duchamp United States visa1946-1950
Brandeis University. Correspondence regarding Marcel Duchamp's lecture1963 November 20-21
Correspondence from Virginia Harriman to Marcel Duchamp1961 September 5
Correspondence from Virginia Harriman to Marcel Duchamp1961 October 12
Correspondence from Virginia Harriman to Marcel Duchamp1961 November 10
Correspondence from Dorothy Cogswell to Marcel Duchamp1961 December 8
Correspondence from Frank P. Graham to Marcel Duchamp1961 October 23
Correspondence from Frank P. Graham to Marcel Duchamp1961 November 8
Unidentified noteundated
Notes from conversation with Marcel Duchamp1947 March 19
Notes from first conversation with Marcel Duchampcirca 1945 February
Notes from fourth conversation with Marcel Duchamp1945 March 30
Notes from second conversation with Marcel Duchamp1945 February 23
Notes from sixth conversation with Marcel Duchamp1945 April 14
Notes from twenty-fifth conversation with Marcel Duchamp1945 September 24
Notes from twenty-third conversation with Marcel Duchamp1945 August 16
Correspondence from Michel Carrouges to Marcel Duchamp1950 January 1
La critique doit etre une discipline philosophique1966 September 27
The Enigmatic Marcel Duchamp1963 December 16
Notes on the work of Marcel Duchamp1949-1951
Correspondence from Helen Freeman Corle to Marcel Duchampcirca 1950 July 30
Correspondence from Helen Freeman Corle to Marcel Duchampcirca 1951-1952 August
Correspondence from Helen Freeman Corle to Marcel Duchampcirca 1950-1952
Strip-teaseundated
The four-chambered heartundated
Marcel Duchamp ou le Chateau de la Purete1966 October
Sad Young Man on a Train: Hommage à Marcel Duchamp1948 January 30
Souvenirs on Marcel Duchampundated
Souvenirs sur Marcel Duchampundated
Dada's Daddy1952 April 28
Marcel Duchamp, Viteundated
Jeux de motsundated
Jeux de motsundated
Schwarz, Arturo. "Marcel Duchamp: for times younger than all of us." Typescript. 2 pages1967 (or 1987?) January - July
Marcel Duchamp: for times younger than all of us1967 (or 1987) January -July
Plus tard que.... (Part 1)1967 January
Plus tard que.... (Part 2)undated
Resume certifie conforme1963 February
Correspondence from Jean Suquet to Marcel Duchamp1949 December 18
Correspondence from Jean Suquet to Marcel Duchamp1950 January 8
Correspondence from Marcel Duchamp to Jean Suquet1949 December 25
Bicycle Parts1990 January
Mechanics of the Large Glassundated
Aide-Memoire1951 April 23
Ode à Marcel Duchamp1953 June 14-19
Breton, André1950
Correspondence from André Breton to Marcel Duchamp1950 January 3
Brun, Jean1946
Envelope from Jean Brun to Marcel Duchamp1946 May 24
Correspondence from Jean Brun to Mary Reynolds1946 December 16
Francis Bacon Foundation1951 February - August
Correspondence from Walter and Louise Arensberg to Marcel Duchampcirca 1951 February 19
Francis Bacon Foundation. Includes undated inventories of the Arensberg Collection1951 September - 1952 March, undated
Gardie, [?] to Alexina Duchamp1967 January 1
Correspondence from [?] Gardie to Alexina Duchamp1967 January 1
Correspondence from Lucien Lefebvre-Foinet to Marcel Duchamp1951 February 28
Correspondence from Société Radio-Canada to Marcel Duchamp1960 September 1
Suquet, Jean1957
Correspondence from Jean Suquet to Marcel Duchamp1957 December 19
Correspondence from Wayne State University to Marcel Duchamp1961 September 11
Correspondence from Jean Cassous to Sidney Janis1963 March 11
Correspondence from Sidney Janis to Jean Cassou1963 March 6
Correspondence from Sidney Janis to Marcel Duchamp1963 March 13
"Iris.Time" no. 6 and no. 8. Pamphlets1963 May 13, 1963 July 13
Iris.Time, no. 61963 May 13
Iris.Time, no. 81963 July 13
Alexander Iolas Gallery. "Takis." Exhibition announcement1963 October - November
"Yo Sermayer" exhibition announcement1967 November
"Yo Sermayer" exhibition announcement1967 November
Cordier & Ekstrom. "Hommage à Caissa." Invitation1966 February
"Hommage à Caissa" invitation1966 February
Galleria Schwarz. "Homage to Marcel Duchamp." Publication announcement1964 June - September
"Homage to Marcel Duchamp" publication announcement1964 June - September
Galleria Schwarz. "Marcel Duchamp" Exhibition announcement1965 December - 1966 February
"Marcel Duchamp" exhibition announcement1965 December - 1966 February
"The Stettheimer Doll's House" pamphletcirca 1947
"Les Détraquées" scriptundated
Rose Fried Gallery. "Duchamp freres and soeur." Exhibition catalog.1952 February - March
"Duchamp freres and soeur Oeuvres d'Art" exhibition catalog1952 February - March
"Art and anti-art." The Listener1959 November 5, 12, 19
The Listener. "Art— anti-Art : The ideas of pre-Dada"1959 November 11
The Listener. "Art— anti-Art"1959 November 5
The Listener. "The Silence of Marcel Duchamp"1959 November 5
Abstract art1956 October 1
Combat-Art. "L'art abstrait est une revolution"1956 October 1
New York Times. "Art: Modern Classics at Guggenheim"1961 February 7
Art market in the United States1946, 1955
Fortune. "57th Street"1946 September
Fortune. Clipping about the art market1955 December
Scrapbook page for Misc.undated
Barr, Alfred Hamilton1953 December
Baudelaire, Charles1955 January
L'Oeil. "Visages de Baudelaire"1955 January
Braque, Georges1963 September
Le Monde. "La Mort de Georges Braque"1963 September 3
Chess1962-1967, undated
Newspaper clippings regarding Chess1962-1967; undated
Dadaundated
Combat-Art. "Sus au Miserabilisme!"1956 March 5
Dalí, Salvador1962, undated
"Dali Collects a Masterpiece"1962 January 24
Duchamp, Marcel. Opinions on art1961 March 26
Scrapbook page for MD on Artundated
Duchamp, Marcel. Pictorial works1949-1965, undated
The New York Times. "Leonardo Duchamp"1965 February 17
Modern Painters. "Marcel Duchamp: The Chess Mind"1989 December
L'Oeil (journal)1955 January 19-25
L'Oeil. "Événement de la saison: Les Revues d'Art"1955 January 19-25
Herald Tribune. "Art: Dali and Some Surrealist 'Enchanters'"1960 December 4
Neo-dada and new realism1962 February 5
Combat-Art. "Le nouveau réalisme et le baptême de l'objet"1962 February 5
Picabia, Francis1954, 1964, undated
Candide. "Merci, Picabia"1964 November 19-26
Combat-Art. "Hommage a Picabia"1954 December 6
Spectacles. "Francis Picabia, le peintre défroqué"1964 November 19-26
Rey, Henri Francois1962 October - December
L'express. "Interallié: Henri-Francois Rey"1962 December 6
L'express. "Pour les prix: Du bien senti"1962 October 25
Ribemont-Dessaignes, Georges. "Edgar Varese." Gazette Litteraire1954 December 18
Gazette Litteraire. "Edgar Varese"1954 December 18
Exhibition Indicates a Return to Sentiment1963 Summer
The New Yorker. "The art galleries: the art object"1963 August 10
Salon de la Section d'Orundated
Scrapbook pages (loose) regarding Jacques Villon exhibitionscirca 1962-1964, undated
Scrapbook pages regarding Jacques Villon exhibitionscirca 1962-1964; undated
Senegalese revolutioncirca 1960
"La revolution de Dakar"circa 1960
Tax deductions for charitable art donations1962 January 17
Catalog1913-1979
"Painters of the section d'Or" exhibition catalog1967 September - October
"Contemporary music" catalog1976-1979
Galleria Schwarz. "Picabia Mechanique." Exhibition catalog1964 May - June
"Picabia Mechanique" exhibition catalog1964 May - June
"Collection of the Société anonyme - Museum of Modern Art: 1920" exhibition catalog1939 November - December
Gimpel Fils. "Marcel Duchamp." Exhibition catalog1964 December - 1965 January
"Marcel Duchamp" exhibition catalog1964 December - 1965 January
Moderna Muséet. "OnskeMuséet." Exhibition catalog1963 December - 1964 February
"ÖnskeMuséet" exhibition catalog1963 December - 1964 February
Musée des beaux-arts. "USA nouvelle peinture." Exhibition catalog1966 January - February
"USA nouvelle peinture" exhibition catalog1966 January - February
"Louvre du XXe siecle" exhibition catalog1952 May - June
"Marcel Duchamp" exhibition catalog1965 July
Monographs1968
Periodicals1922-1982
Art digest 26.20.1952 September
Art digest. "Good Stock at the Modern"1952 September 15
Art digest. "A Marcel Duchamp profile"1952 January 15
Art in America 54.2. Includes Marcel Duchamp article "Speculations"1966 March - April
Art in America. "Speculations"1966 March - April
Art Institute of Chicago quarterly 52.21958 April 1
Art international. "Duchamp"1964 January 16
Art journal. "The Art of Marcel Duchamp"1962-1963 Winter
Art news. "The Arensberg riches of Cubism"1949 November
Art news. "Conversation Piece"1950 September
Art news. "Anonyme no longer"1953 January
Art news. "The Arensbergs"1954 March
Art news. "The creative act"1957 June-July-August
Art news. "J'accuse Marcel Duchamp"1965 February
Artforum. "Marcel Duchamp"December 1963
Arts. "The Duchamp Family"1957 April
Carnegie Magazine. "The International Jury of Award"1958 November
Craft horizons. "Bookbinding: the art of Mary Reynolds"1961 January - February
Current biography. "Duchamp, Marcel"1960 June
Das Kunstwerk. "Marcel Duchamp"1961 January
L'eau est une flamme mouillee 11959 Spring
L'oeil. "Dernière soirée avec Marcel Duchamp"1968 November
L'oeil. "L'Armory Show"1959 February
L'oeil. Special "Minotaure" issue1962 May - June
"Minotaure." Exhibition catalog.1962 May - June
La biennale di Venezia. "8 Storie Sugli Scacchi"1954 September - October
Life. "Dada's Daddy"1952 April 28
Life. "Speaking of Dada"1953 May 25
The London magazine. "Marcel Duchamp"1963 December
New Yorker. "The Art galleries: Marcel Duchamp"1965 January 30
The New Yorker. "Profiles: Not seen and/or less seen"1965 February 6
Newsweek. "'Art was a dream...'"1959 November 9
Phases. "Disoptiksdemarcelduchamp"1954 January
Time 85.6. Includes article "Pop's Dada," p. 781965 February 5
Time, "Pop's Dada"1965 February 5
Chessearly 1920s-1968, undated
Family and friendscirca 1950s
Groupearly 1920s-1949
Unidentified. Chess group, including Marcel Duchamp. Belgium [?]circa early 1920s
Chess group, including Marcel Duchampcirca early 1920s
Chess group, including Marcel Duchampcirca early 1930s
Chess group, including Marcel Duchamp1928 August 6
Marcel Duchamp1925-1967, undated
Roskam, [?]. Marcel Duchamp playing chess1931 January
Marcel Duchamp playing chess1931 January
Marcel Duchamp with Man Ray's magnetized chess boardcirca late 1940s
Marcel Duchamp with Othersearly 1920s-1968, undated
Marcel Duchamp and Alexina Duchamp at the chess club1963 August 1
Marcel Duchamp and Alexina Duchamp at the chess club1963 August 1
Marcel Duchamp and Alexina Duchamp at the chess club1963 August 1
Unidentified. Marcel Duchamp, Alexina Duchamp and others at chess partylate 1950s-early 1960s
Marcel Duchamp, Alexina Duchamp and others at chess partylate 1950s-early 1960s
Marcel Duchamp, Alexina Duchamp and others at chess partylate 1950s-early 1960s
Exhibitions and events1942-1967, undated
Negatives and Transparencies1921-1965, undated
Duchamp family playing cardsundated
Negative of "Bottlerack"undated
Portraits and snapshotscirca 1886-1968, undated
Family and friends1915-1960, undated
Brancusi, Constantin. On deck of boat; one photo with dogcirca 1926, undated
Crotti, Jean1956 Summer
Profile of Jean Crotti1956 Summer
Alexina Duchamp seated on couch in a gowncirca 1960s
Duchamp, Catherine. Cabinet cardbefore 1908
Catherine Duchampbefore 1908
Eugène Duchamp1918
Duchamp, Magdeleine and Yvonne Duchamp as girlscirca 1902, circa 1904
Duchamp-Villon, Raymondcirca 1914
Raymond Duchamp-Villoncirca 1914
Duchamp-Villon, Raymond. Cabinet card1901 April
Raymond Duchamp-Villon1901 April
Engel-Pak profile1941 January
Henri-Pierre Roché in bed1959 January
Henri-Pierre Roché in bed1959 January
Henri-Pierre Roché in bed1959 January
Henri-Pierre Roché in bed1959 January
Henri-Pierre Roché in bed with unidentified man1959 January
Tribout, Dr. Ferdinandbefore 1937
Dr. Ferdinand Triboutbefore 1937
Villon, Jacqueslate 1950s
Jacques Villonlate 1950s
Jacques Villon in profilelate 1950s
Villon, Jacques. Photo by Goldainemid 1950s
Portrait of Jacques Villonmid 1950s
Marcel Duchampcirca 1888-1968, undated
Marcel Duchamp near window of a workshopcirca 1960
Donati, Enrico. Marcel Duchamp.circa late 1950s-early 1960s
Marcel Duchampcirca late 1950s, early 1960s
Marcel Duchampcirca late 1950s, early 1960s
Marcel Duchampcirca late 1950s, early 1960s
Marcel Duchampcirca late 1950s, early 1960s
Marcel Duchampcirca late 1950s, early 1960s
Eagle, Arnold. Marcel Duchamp seatedcirca 1960s
Marcel Duchamp seatedcirca 1960s
Marcel Duchamp1964
Marcel Duchamp as a young boycirca 1890
Grab, Richard de. Marcel Duchamp. 58th Street. New York, New Yorkcirca late 1940s-early 1950s
Marcel Duchampcirca late 1940s-early 1950s
Marcel Duchamp in corduroy jacket, leaning on a chaircirca late 1940s
Man Ray. Marcel Duchamp at a tablecirca 1940s
Marcel Duchamp at a tablecirca 1940s
Marcel Duchampcirca 1920-1923
Marcel Duchamp1917
Marcel Duchamp in gardencirca 1931-1934
Unidentified. Marcel Duchamp. New York, New York1943 February
Fragment photograph of Marcel Duchamp1943 February
Marcel Duchamp smoking with collar up1943 February
Marcel Duchamp in fur coat at dock26 February 1927
Madeleine Duchampcirca 1884
Marcel Duchamp with otherscirca 1886-1966, undated
Marcel Duchamp and Beatrice Wood1963 October
Donati, Enrico. Marcel Duchamp and Donaticirca 1955-1959
Marcel Duchamp and Enrico Donaticirca 1955-1959
Marcel Duchamp in front of window1953 January
Marcel Duchamp's silhouette1953 January
Silhouette of Marcel Duchamp's profile1953 January
Two unidentified men seated1953 January
Marcel and Alexina Duchamp in Palm Beach, Florida1962 February
Marcel and Alexina Duchamp in Palm Beach, Florida1962 February
Duchamp family in Blainville, Francecirca 1899
Duchamp family in Blainville, Francecirca 1899
Duchamp family in Blainville, Francecirca 1899
Marcel Duchamp and Mary E. Dreier1936 June
Marcel Duchamp with group of friends in New Yorkcirca 1944-1945
Marcel Duchamp with group of friends in New Yorkcirca 1944-1945
Waldberg, Michel. Marcel Duchamp and Robert Lebelcirca late 1950s-early 1960s
Marcel Duchamp and Robert Lebelcirca late 1950s-early 1960s
Marcel Duchamp with works of art1949-1967, undated
"The Large Glass"1966 January-February
Alexina Duchamp with "Nude Descending a Staircase"1966 January-February
Detail of "The Large Glass"1966 January-February
Detail of "The Large Glass"1966 January-February
Detail of "The Large Glass"1966 January-February
Detail of "The Large Glass"1966 January-February
Marcel Duchamp with "The Large Glass"1966 January-February
Marcel Duchamp with "The Large Glass"1966 January-February
Marcel Duchamp with "The Large Glass"1966 January-February
Marcel Duchamp with "The Large Glass"1966 January-February
Marcel Duchamp with "The Large Glass"1966 January-February
Marcel Duchamp with "The Large Glass"1966 January-February
Marcel Duchamp with "The Large Glass"1966 January-February
"Marcel Duchamp Cast Alive"circa 1965
Marcel Duchamp with portrait bustcirca 1965
Marcel Duchamp with portrait bustcirca 1965
Marcel Duchamp in front of "Rotoreliefs"circa 1960
Marcel Duchamp smoking cigar in a haze of smoke1967 March 10
Unidentified. Marcel Duchamp sitting by "Fountain"1965 February
Marcel Duchamp sitting by "Fountain"1965 February
Placescirca 1890-1968
Duchamp family home in Blainville, Francecirca 1890-1900
Duchamp family home in Blainville, Francecirca 1890-1900
Fireplace in Cadaquès, Spaincirca 1960s
Works of Art1911-1968, undated
Photograph of "Little Girl"undated
Photograph of "Baptism"undated
Photograph of "Baptism"undated
Photograph of "Le Tréport"undated
Duchamp, Marcel, 1887-1968. "Tzanck Check." Readymade1919 December 3
Photograph of "Tzanck Check"undated
Photograph of "Fresh Widow"undated
Photograph of "Fresh Widow"undated
Photograph of "Beautiful Breath, Veil Water"circa 1950s or 1960s
Photograph of "Bicycle Wheel"circa late 1950s
Stockholm replica of "Bicycle Wheel"circa 1960
Stockholm replica of "Bicycle Wheel"circa 1960
Photograph of "Bottlerack"undated
Photograph of "Bottlerack"undated
Photograph of "Bottlerack"circa 1964
Photograph of "Bouche-Évier (Sink Stopper)"1967 March 10
Photograph of "Bouche-Évier (Sink Stopper)"1967 March 10
Photograph of "Box in a Valise"1958 May
Photograph of "Box in a Valise"circa 1955
Photograph of "Bust Portrait of Chauvel"circa 1949
Photograph of "Chessmen"circa 1960s
Duchamp, Marcel. "Chocolate Grinder, No. 1" and "Chocolate Grinder, No. 2." Paintings1913 February - March, 1914 February
Photograph of "Chocolate Grinder, No.1"1913 April-June
Photograph of "Chocolate Grinder, No.2"1913 December - 1914 May
Photograph of "Clémence"undated
Duchamp, Marcel. "Dulcinea." Painting1911 October
Dulcinea1911 July-August
Duchamp, Marcel. "For a Game of Chess." Drawing1911 October
Photograph of "Locking Spoon"1956-1958
Photograph of "Network of Stoppages"1957 May 2
Photograph of "Nine Malic Moulds"1914-1915
Photograph of "Nude on Nude"undated
Photograph of "Nude on Nude"undated
Photograph of "Red Nude"undated
Photograph of "Red Nude"undated
Photograph of "Sonata"undated
Photograph of "Study for Portrait of Chess Players"1911 October-November
"Tu m'" installed in Katherine Dreier's apartmentcirca 1918-1919
Photograph of "Two Nudes"undated
Identification des images de Duchamp1972 July 13
Photograph of "Baudelaire"undated
Photograph of "Le Cheval"undated
Photograph of "Le Cheval"undated
Photograph of "Les Amants"undated
Photograph of "Maggy"undated
Photograph of "Maggy"undated
Photograph of "Maggy"undated
Photograph of "Seated Nude"undated
Photograph of "The Cat"undated
Photograph of "Blau"undated
Man Ray [attr.]. Chessboardundated
Photograph of "Chessboard"undated
Photograph of "Composition"undated
Photograph of "Figure"circa 1950s
Photograph of "Printemps"undated
Photograph of "Air-France"undated
Photograph of "Allégresse"undated
Photograph of "Allégresse"undated
Photograph of "Clos normand"undated
Photograph of "Clos normand"undated
Photograph of "Clos normand"undated
Photograph of "En Plein Vol"undated
Photograph of "Galop"undated
Photograph of "Galop"undated
Photograph of "Jeu"undated
Photograph of "Jeu"undated
Photograph of "L'espace"undated
Photograph of "L'insecte"undated
Photograph of "La cage"undated
Photograph of "Le matrois"undated
Photograph of "Le theatre"undated
Photograph of "Le théâtre"undated
Photograph of "Les fenêtres"undated
Photograph of "Les fenêtres"undated
Photograph of "Noblesse"undated
Photograph of "Papiers"undated
Photograph of "Papiers"undated
Photograph of "Repliement"undated
Photograph of "Repliement"undated
Photograph of "The Lovers"undated
Photograph of "Two figures"undated
Photograph of "Two figures"undated
Box and Box in a Valise1935-1950s, undated
Chronologies of Duchamp's career1938-1939, undated
Inventory of "Box in a Valise" supplies for Peggy Guggenheimcirca 1941-1942
Inventory of "Box in a Valise" supplies for Yvonne Duvernoycirca 1941-1942
Lists of deluxe and regular edition "Box" owners[1942?], 1950s?
Lists of deluxe and regular edition Box in a Valise owners[1942?], 1950s?
Lists of works included and not included in the Box in a Valiselate 1940s-early 1950s
Notesundated
Table showing location of Duchamp's works of artcirca 1936-1942
Table showing location of Marcel Duchamp's works of artcirca 1936-1942
Graphic design projectscirca 1916-1959, undated
Readymades1959-1962
Étant donnésearly 1960s, undated
Brick archway in Cadaquésearly 1960s
Brick archway in Cadaquésearly 1960s
Business cardsundated
Waterfall sceneundated
Fragment of waterfall sceneundated
Fragment of waterfall sceneundated
Fragment of waterfall sceneundated
Fragment of waterfall sceneundated
Fragment of waterfall sceneundated
Fragment of waterfall sceneundated
Fragment of waterfall sceneundated
Fragment of waterfall sceneundated
Fragment of waterfall sceneundated