Marcel Duchamp (1887-1968)
... contenant chacune 69 items et un original ... As the outstanding extra feature of the numbered deluxe examples of his edition de ou par Marcel Duchamp ou Rrose Selavy Duchamp adds an original. These originals are prominently positioned and displayed in the inner side of the lid of each valise, framed in black velvet in the beginning. From the first example, the boîte-en-valise No I/XX in 1941 for Peggy Guggenheim, to the last one XX/XX in 1949 for the Stedelijk Museum in Amsterdam, the character of the original allows for a considerable change. (1) For No I/XX to No IX/XX–and for all four 0/XX for the Arensbergs, Kay Boyle, Mary Reynolds and Katherine Dreier–the originals Duchamp chooses (with one exception) are his coloriages originaux for the production of the pochoir colored reproductions of his paintings including the 9 moules malic and the Large Glass. Four valises out of the 24 include hand-painted color studies for the Large Glass. These coloriages represent not only a highly artistic and aesthetical value on their own, but they also had a great technical importance for the production. Duchamp relies on very detailed aides-memoires studies–mainly notations in pencil–for the colors of his paintings, which he gathers while staying in the US in the summer of 1936. Not earlier than the following year he begins translating those notes into his coloriages originaux for the pochoir studios and workshops in Paris. These workshops are doing all the stencil-coloring for the intended edition of over 300 copies each on the base of monochromatic collotype prints. This whole approach and meticulous process is hard to comprehend in times of ubiquitous digital presence of color imagery where you just need to press the print button to get any color reproduction in seconds. By 1943-1944 Duchamp obviously runs out of significant coloriages or he simply wants to change the concept concerning the choice of his original contributions. For the remaining number of deluxe boîtes to be completed over the next five years he chooses a wide variety of items including highly personal contributions: drawings from 1912 and 1918, a ready-made padlock for a bicycle, pubic hair and a paysage fautif drawn with seminal fluid. Julien Levy receives No X/XX, the first boite-en-valise with the new concept. The original is the study for the back cover of VVV magazine–a cutout silhouette of a female torso in profil–backed with chicken wire. The issue of VVV No 2-3 appears in 1943. The boîte No X/XX for Levy is completed in 1944. Next is No XI/XX for Elizabeth Rockwell and Orin Raphael. This boîte includes as the original a complex and multilayered collage: working proofs from recently completed projects. Details from different endeavors are fused and entangled here. The Pocket Chess Set (1943-1944) on one side and a cover proposal for Vogue magazine–known as Allegorie de Genre / Portrait of George Washington (1943). Four deluxe valises have the common theme of the cavalier–obviously Duchamp’s favorite chess piece. If you want to include Roche’s boîte No III/XX into the count–with the coloriage of Portrait de joueurs d’echecs–there are five originals relating to the game of chess: No XVII/XX–for the Sociétè Anonyme, a drawing of a knight/cavalier: the company‘s logo. No XIX/XX–for Marguerite Haguenbach, a projected shadow of a knight’s silhouette: Ombre sans cavalier. No X/XX–for Julien Levy, has a calligraphic reference to the chess-piece: La fourchette du cavalier. A strategically advantageous position of the knight. In the subsequent example No XI/XX–Duchamp includes studies for the chess symbols for his Pocket Chess Set. There are two pencil drawings of the pawn. A very thin pencil line indicates the proportionally enlarged shape of the future miniature chess piece. (2) Above the drawings is a print with a knight and pawn separated by a wavy cut edge. This is already a proof print–close to the final production–of the chess pieces for the Pocket Chess Set. In fact the lay-out of the chess pieces here is prepared for the print-run on the celluloid plates. The cut out (absent) symbols that fill the space between the knight and the pawn are in correct sequence of the board bishop, queen and king. The rook on the print-sheet is to the left of the knight. As Duchamp printed those chess symbols on the back of a transparent material, the images of the chess pieces on paper are reversed. Soon after he arrives back in the United States Duchamp starts to work on the Pocket Chess Set, while he also is still occupied with the slow production of the boîtes. Pocket Chess Set and boîte-en-valise are ideal companion pieces, united in the same spirit. Both are projects about travelling, of being on the road, in some sort of transit stage. They share the same natural philosophy. A radical condensation of time and space. A philosophical reflection on the curriculum vitae and the strategic game of chess both in a highly concentrated portable format: ... résistant aux secousses et déraillements. (3) The other prominent element–somehow defining the size of the original in No XI/XX–is an irregular cut piece of dark green-grey cardboard on the right, arching over to the left edge. What may appear like a shape torn at random turns at a more focused attention into a representation of a coastline, into a rendering of the East Coast of America including Florida and the Gulf of Mexico. This part of the original is without doubt a preparatory study for Allegorie de Genre–George Washington. (4) In 1943 Alexander Liberman–the recently appointed new art-director for Vogue magazine–invites artists, photographers and designers to make suggestions for the Independence Day issue in July 1943 intended as an homage to George Washington. One of the invited artists is Marcel Duchamp. Yet the work he submits as his proposal never makes it onto the July Vogue cover. Liberman and the editorial board of Vogue are not amused by the obvious references to war and wounds suggested by the iodine stained gauze used in the piece. Together with the added 13 stars holding down the stripes of gauze Duchamp‘s cover-idea is also referring to the flag of the USA, turning the star spangled banner into a stained bandage. And to complete this hardly disguised anti-war manifest, the northern border of the USA is altered into a profile of George Washington. This combination of a caustic view on the first president and a critical approach to the flag is not acceptable for publication in the United States of America–at war for 18 months in July 1943. So far only one other preparatory study for Allegorie de Genre has surfaced. Integrated by Joseph Cornell in his Duchamp Portrait Box this work-proof was found posthumously in Cornell’s estate, now in the collection of the Philadelphia Museum of Art. Here again the study refers to the rendering of eastern and western coastline of the USA. (5) An ambitious, multi-layered and blind embossed color print of Allegorie de Genre–George Washington appears in VVV No 4, February 4 1944. Beyond these direct references to the chess pieces for the Pocket Chess Set and Allegorie de Genre the present original is a very enigmatic piece. The array of a knight, a pawn, a study of a horse’s head, ink traces of compass work and a piece of cardboard in the shape of the eastern coast line of the USA creates its own mindscape. By adding a wide spectrum of different originals over a period of nine years to his 24 deluxe examples of the edition de ou par Marcel Duchamp ou Rrose Selavy Duchamp succeeds in weaving new layers of reference to his portable retrospective, adding new overtones to the well-tempered ensemble, in particular with the contributions to the ten boîtes between 1944 and 1949. Uniting the 24 boîtes-en-valise in one exhibition deserves a prominent place on the to-do list. It is not surprising to find in VALISE the anagram SELAVI. Ecke Bonk March 2015 Notes (1) No IV/XX for Henriette Gomez never received a valise. Here the original is placed in the same compartment as the folders. It is a manuscript note from 1936, for Apolinère enameled, not a coloriage original. (2) Other pencil drawings relating to the Pocket Chess Set pieces are now in the collection of Centre Georges Pompidou. Published in: Marcel Duchamp Notes, Paris, 1982. (3) R. Lebel, Marcel Duchamp, New York, 1959, p. 137. (4) Collection of Centre Georges Pompidou, Paris. (5) Philadelphia Museum of Art and Houston, The Menil Collection, Joseph Cornell/Marcel Duchamp…in Resonance, October 1998-May 1999, pp. 287 and 333, no. 29 (illustrated in color, p. 145). PROPERTY FROM THE COLLECTION OF ALEXANDRA RAPHAEL
Marcel Duchamp (1887-1968)

de ou par Marcel Duchamp ou Rrose Sélavy (La Boîte-en-valise) [Series A] Untitled

Marcel Duchamp (1887-1968)
de ou par Marcel Duchamp ou Rrose Sélavy (La Boîte-en-valise) [Series A]
signed, numbered and dedicated ‘pour Elizabeth Rockwell ce no. XI/XX de vingt boîtes-en-valise contenant chacune 69 items et un original et par Marcel Duchamp New York 1945’ (on the bottom of the box); stamped and numbered 'ORIN RAPHAEL XI/XX' (on the inner edge of the valise); stamped again 'ORIN RAPHAEL' (on the front side of the valise); signed again, dated and inscribed 'Marcel Duchamp 1944 N.Y.' (lower left of Untitled)
original leather valise containing the original paper collage, pen and India ink and pencil on paper (Untitled) mounted on the inside of the cover as issued, including the celluloid Glissière and the set of sixty-eight miniature replicas and reproductions in black and white and in colors by Marcel Duchamp mounted on and contained within the original cardboard box
Valise: 16 1/8 x 14 7/8 x 4 in. (40.9 x 37.8 x 10.2 cm.)
Box: 15 x 13 ¾ x 3 in. (38.2 x 34.9 x 7.6 cm.)
Untitled: 9 ½ x 10 1/8 in. (24.1 x 25.7 cm.)
Conceived in 1935-1941; this Boîte-en-valise example no. XI/XX assembled in spring 1944 and Untitled executed in New York, 1944
Orin and Elizabeth Raphael (Outlines Gallery), Pittsburgh (acquired from the artist, 1944).
By descent from the above to the present owner.
R. Lebel, Marcel Duchamp, New York, 1959, pp. 54, 55, 82, 83 and 173-174, no. 173 (another example illustrated, pl. 109).
C. Tomkins, The World of Marcel Duchamp, 1887-1968, New York, 1966, p. 156.
A. Schwarz, The Complete Works of Marcel Duchamp, New York, 1970, pp. 511-513, no. 311a (another version illustrated, pp. 511-512).
P. Cabanne, Dialogues with Marcel Duchamp, New York, 1971, p. 79.
E. Bonk, Marcel Duchamp, The Box in a Valise: de ou par Marcel Duchamp ou Rose Sélavy, New York, 1989, pp. 257 and 298 (other examples illustrated, pp. 258-297).
C. Tomkins, Duchamp: A Biography, New York, 1996, pp. 314-328.
D. Ades, N. Cox and D. Hopkins, Marcel Duchamp, London, 1999, pp. 175 and 178.
F.M. Naumann, Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction, New York, 1999, p. 142, no. 5.31 (another version illustrated in color).
A. Schwarz, The Complete Works of Marcel Duchamp, New York, 2000, vol. I, pp. 47, 762 and 764, no. 484 (another example illustrated in color, p. 407, pl. 191; another example illustrated again, p. 763).
F.M. Naumann, The Recurrent, Haunting Ghost: Essays on the Art, Life and Legacy of Marcel Duchamp, New York, 2012, pp. 136-157 (another example illustrated in color, p. 136).
l. Witham, Picasso and the Chess Player: Pablo Picasso, Marcel Duchamp, and the Battle for the Soul of Modern Art, Hanover, 2013, pp. 167 and 183-184 (another example illustrated).
Pittsburgh, Carnegie Museum of Art, Collection of Mr. and Mrs. Orin Raphael, December 1978-January 1979, no. 27.
Philadelphia Museum of Art and Houston, The Menil Collection, Joseph Cornell/Marcel Duchamp…in Resonance, October 1998-May 1999, pp. 287 and 333, no. 29 (illustrated in color, p. 145).
London, Tate Modern and Barcelona, Museu Nacional d'Art de Catalunya, Duchamp, Man Ray, Picabia, February-October 2008, p. 142, no. 188 (Outline of the East and Southeast United States illustrated in color).
Arnolfini Bristol and London, Whitechapel Art Gallery, Museum Show, September-November 2011.
Venice, Fondazione Prada, The Small Utopia, July-November 2012, p. 301, no. 23 (other versions illustrated in color, p. 23).
London, Tate Gallery, 1999-2015 (on extended loan).
Sale room notice
Please note that the Association Marcel Duchamp will examine this work at Christie’s New York on 22 May 2015.

Brought to you by

Brooke Lampley
Brooke Lampley

Lot Essay

Jacqueline Matisse Monnier and the Association Marcel Duchamp have confirmed the authenticity of this work.

There was nothing like it before, nor has there been since: a work absolutely sui generis, a major modern artist’s virtual museum in portable miniature. The marvelous impact of this landmark compilation stems from the stimulating mix of the radically influential paintings and objects represented therein, by which Marcel Duchamp irreversibly altered our understanding of the issues Francis M. Naumann has concisely framed as “the art of making art in the age of mechanical reproduction” (op. cit., 1999 and 2012). The ramifications of this prescient artist’s ideas are everywhere evident in the art of our time, from Warhol’s Brillo boxes to Richter’s recent Patterns and STRIPS. This is Marcel Duchamp’s La boîte-en-valise [The Box in a Valise] specifically number XI of the twenty boxes I through XX/XX, which, together with four boxes the artist added hors-série (designated O/XX), comprise the deluxe ‘Series A’ edition of de ou par MARCEL DUCHAMP ou RROSE SÉLAVY [from or by MARCEL DUCHAMP or RROSE SÉLAVY] (Schwarz, no. 484). Duchamp conceived the album idea in early 1935 and first produced it in box form during the wartime occupation of Paris in 1941; he completed the ‘Series A’ edition, including the present work, in New York between 1942 and 1949.
The present ‘Series A’ example, is unique as Duchamp inscribed on the valise which contains the box the name of its first owner, Orin Raphael. The subscriber who ordered the box from Duchamp was actually Raphael’s soon-to-be wife Elizabeth–née Rockwell (for whom a handwritten dedication appears inside of the box by the artist), later known as Betty Raphael–who in 1941 at the age of twenty-one opened Outlines, the first gallery in Pittsburgh dedicated to showing modern art. This deluxe Boîte-en-valise has remained in the Raphael family’s possession since it was acquired from Duchamp in 1944 and had held pride of place at the Tate Gallery, London, where it had been on loan since 1999.
La boîte-en-valise (Series A) is an attaché-case-sized box of cloth-covered cardboard enclosed in a protective leather-covered valise with a convenient handle. Duchamp ingeniously designed the Boîte to open by stages and unfold before one’s eyes, thus revealing its diverse yet carefully organized contents. Inside are 69 superbly executed hand-worked reproductions–state-of-the-art in their time–of works drawn from the entire span of Duchamp’s career, from 1910 through the late 1930s. Each of the boxes in the deluxe ‘Series A’ furthermore contains a 70th work as a subscription bonus, “a signed original work”–in the case of the Raphael Boîte-en-valise XI, a cut and torn paper collage which shows the coastline of the eastern and southeastern United States, mysteriously incorporating drawn studies for Pocket Chess Set, 1943 (Schwarz, nos. 496-504).
Duchamp aimed in La boîte-en-valise to present the viewer with a compact retrospective compendium of his paintings, drawings, readymades and other objects, with writings as well, amounting to a nearly comprehensive inventory of his significant oeuvre up until that time. “The manifold overlaps and cross-references in his work as a whole are reflected in the spatial construction of the Boîte, as well as in the arrangement of the reproductions,” Ecke Bonk has written. “His artistic statements and achievements, in all their heterogeneous and many-side profusion, are presented here by Duchamp as a carefully ordered whole” (op. cit., 1989, p. 9).
By far the most elaborate of the four important boxes that Duchamp created during his career, La boîte-en-valise is deservedly celebrated for being the most imaginatively conceived and rigorously painstaking in its fabrication. There are five known versions (one of them now lost) of The Box of 1914 (Schwarz, no. 285); these contain varying materials that include fifteen notes, photographed and contact printed on photographic paper and one photograph of a drawing relating to drawings for La mariée mise à nu par ses célibataires, même (The Bride Stripped Bare by her Bachelors, Even [The Large Glass]), 1915-1923 (Schwarz, no. 404; The Philadelphia Museum of Art). The Box of 1932 (Schwarz, no. 432) contains Duchamp’s manuscript, drawings and diagrams for his chess treatise L’opposition et les cases conjuguées sont réconciliées.
In both America and Europe Duchamp had a small but dedicated following of cognoscenti; he was virtually unknown, however, to a wider public, and realized there was no prospect of a major mid-career exhibition such as that which Picasso and Matisse had been given during the early 1930s to publicly showcase their achievements. As the decade was drawing to a close, moreover, the tense political situation in Europe suggested to Duchamp it was unlikely he could remain there for long. “The urge to preserve (through reproduction) his past work may have acquired by this time a new incentive: the increasingly ominous threat of a European war,” Calvin Tomkins has written. “Duchamp, like many others, was packing his bags” (op. cit., 1996, p. 116). It was now time to take stock of his career, self-curate and package in some kind of manageable portfolio his singularly intriguing inventory of art works. And by stages he came to that realize that this project should be regarded as an art work of a novel and original kind in its own right.
Duchamp began to assemble the material for his “album”, which he had not yet determined would be contained in a box, during the spring of 1935. While undertaking various individual projects for surrealist publications in Paris, he continued to compete in chess tournaments, an activity which many assumed to be his primary professed occupation; he also wrote a weekly column on the subject for the Paris newspaper Ce Soir. In May he sailed to America, where he spent two months piecing back together the fragments of The Large Glass, which in 1927 had shattered in transport and in that condition was unviewable. He installed the repaired work, sandwiched between two pieces of plate glass secured in a metal frame and now ready to be photographed for his album, in the library of Dreier’s home in West Redding, Connecticut. This work would be the centerpiece of his album.
To create his reproductions Duchamp employed the technique known as pochoir, in which colors were brushed on by hand, guided by a series of stencils, over finely grained, subtly half-toned collotypes prepared from black and white photographs of the original works. This process gave results superior to offset lithography or any kind of color photographic reproduction then in use.
As he compiled the reproductions, Duchamp decided in early 1940 that his album would not be presented or published in book form, but would be organized as an elaborate box with opening wings and internal compartments. As Naumann has pointed out, the box design may have derived from “the 17th or 18th century Flemish Kunstkabinet, a piece of furniture designed like a treasure box,” although “sources closer to home were more likely, such as the display cases that were used to house a variety of household products...which could be found in almost any Parisian department store from the beginning of the century” (op. cit., 1999, p. 140).
“The magnitude of the logistics of the whole album project is hard to comprehend,” Bonk has written. “Duchamp never before or after conducted an enterprise depending on so many people and different kinds of professionals–comparable in scale and the required precise choreography only to a film production” (exh. cat., op. cit., 1998, p. 103). Most of the reproductions for the first series of boxes had been completed when German armies invaded France in May 1940, forcing the artist to leave Paris and seek safety in the seaside village of Arcachon, near Bordeaux. Duchamp continued his project by enlisting the skills of a local printer. He decided that a certain number of the boxes would be kept in a portable container for convenient carrying and safe storage, in consideration, perhaps, of the perilous circumstances of wartime living. This is the true Boîte-en-valise; a box lacking the container is, correctly speaking, simply known as the Boîte.
When he returned in September to German-occupied Paris, Duchamp had printed a bulletin de souscription in which he announced that on 1 January 1941 he would commence publication of the tirage de luxe of 20 numbered examples of de ou par MARCEL DUCHAMP ou RROSE SÉLAVY, 69 items plus an original work by the artist. He set the price at 5,000 francs–reduced, however, to 4,000 francs (then around $200) if the buyer placed an order before 1 March 1941. The announcement contained a reply order form that could be snipped off and sent in; it carried the promise that the subscriber would receive the completed box in no more than a month’s time.
Duchamp received his first order from Peggy Guggenheim, which he completed and dispatched via his friend the writer Henri-Pierre Roché to her in Grenoble. In May Duchamp completed O/XX for his companion Mary Reynolds, and II/XX for the poet and graphic artist Georges Hugnet. Roché received III/XX, which Duchamp had reserved for him, in June. Duchamp was by now preparing to leave France for the United States, as many French artists and intellectuals had already done, but he needed a way to get his album production out of the country as well. Assuming the guise of a traveling buyer of cheese, Duchamp obtained the necessary passes that enabled him to move with relative freedom between occupied Paris and points south. During the course of several trips he transported enough components for around fifty boxes to Marseilles, his likely port of departure.
Duchamp then learned that Guggenheim was preparing to move her art from storage in the Grenoble Museum; she would disguise the collection as household goods to avoid export difficulties, and ship everything from Marseilles to New York. Duchamp then moved to Grenoble two cases of box materials; Guggenheim gladly included them in her shipment, which she sent off prior to leaving France in July 1941. The Boîte materials arrived in New York long before Duchamp eventually showed up to use them. It was not until the following spring that he finally obtained the necessary passport, exit papers and visas that would allow him to leave France. He gave La boîte IV/XX (without a valise) as a parting gift to his friends André and Harriet Gomes. On 14 May 1942 Duchamp sailed from Marseilles and made his way to New York, where he arrived on 25 June.
Soon after his arrival Duchamp met several times with Joseph Cornell, of all American artists the one he most admired. On 31 July he brought to Cornell’s home in Flushing, Queens, an example of La boîte-en-valise for study and discussion. Soon afterwards Cornell began assisting in the assembly of the boxes. By the end of the year Duchamp completed and signed numbers V/XX for Bernard Reis, VI/XX for Sidney Janis, VII/XX for Elizabeth Paepcke and VIII/XX for James Johnson Sweeney. During 1943 Duchamp presented IX/XX to the Museum of Modern Art (on 10 June Cornell received from Duchamp $20 in payment for working on this box and a regular edition example). The remaining balance of hors série examples designated O/XX were completed for Dreier, Arensberg and Kay Boyle. In January 1944 La boîte-en-valise X/XX was ready for Julien Levy.
In her chronology for the exhibition Joseph Cornell / Marcel Resonance, Susan Davidson notes that during the spring of 1944 Duchamp completed and signed La boîte en valise XI/XX “for Orin Raphael, the husband of Elizabeth Rockwell” (exh. cat., op. cit., 1998, p. 287). Elizabeth Rockwell had met Orin Raphael, a furniture designer, just before she opened the gallery she called “Outlines” in 1941. While Raphael was serving overseas during the Second World War, Elizabeth ordered La boîte-en-valise from Duchamp and had the artist inscribe it with his name. Elizabeth and Orin married following the latter’s return at war’s end. Around the same time Duchamp was working on Orin Raphael’s box, Elizabeth Rockwell was showing during March-April 1944 Surrealist Objects–Toys, Peep-Shows, Pin-Ball Machines and Others–by Joseph Cornell at Outlines, including Magic Soap Bubble Set, 1940, which remained in her family’s possession until it was auctioned at Christie's in 2013 and achieved the record price at the time for this artist.
Andy Warhol and fellow art students in Pittsburgh liked to visit Outlines, where Betty Raphael carried on a full schedule of exhibitions, concerts, film showings and lectures until the gallery closed in 1947. He probably had his first encounter with Duchamp’s work at Outlines, possibly viewing this very Boîte-en-valise. Years later Warhol acquired the Reis Boîte-en-Valise V/XX; it was subsequently sold in his estate sale during 1988.
La boîte-en-valise nos. XII-XX/XX were completed between the summers of 1946 and 1949. Work proceeded on the unnumbered “Series B” through 1954. “Series C” through “F”, executed in Paris, were realized between 1958 and March 1971, posthumously completing the edition of around 300 examples that Duchamp had planned at the outset some three decades earlier, incorporating various modifications, alterations, additions and subtractions made along the way.
Duchamp’s ideas about organizing the contents of La boîte-en-valise indeed proved useful when he was finally given his first and only lifetime museum retrospective at the Pasadena Art Museum in 1963. Walter Hopps, the young curator who had taken on the job of presenting Duchamp’s work to the public, took the title of the show from La boîte-en-valise–“by or from Marcel Duchamp or Rrose Sélavy”–and installed the galleries to reflect the affinities and cross-relationships between various works as the artist had ordered and arranged them within the internal divisions and compartments of his portable box. The exhibition was revelatory, and inspired important gallery shows devoted to Duchamp’s work later in the decade. Following Duchamp’s death in October 1968, Jasper Johns offered this tribute in appreciation:
“Marcel Duchamp, one of this century’s pioneer artists, moved his work through the retinal boundaries which had been established with Impressionism into a field where language, thought and vision act upon one another. There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art... He declared that he wanted to kill art (‘for myself’) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, ‘a new thought for that object.’ The art community feels Duchamp’s presence and his absence. He changed the condition of being here” (“Marcel Duchamp [1887-1968],” Artforum, vol. VII, no. 3, Nov. 1968, p. 6).

Artist Photo:
Marcel Duchamp displaying an incomplete Boîte in the apartment of Peggy Guggenheim, New York, August 1942. Reproduced in Time, 7 September 1972.

Elizabeth Rockwell, Director of the gallery Outlines, Pittsburgh.
Marcel Duchamp and Katherine Dreier in her library, West Redding, Connecticut, with the repaired Large Glass, 1936. Photograph in the collection of the Société Anonyme, Yale University Art Gallery, New Haven.
Marcel Duchamp, drawing for the design of La boîte-en-valise, 1940. Duchamp Estate, Villiers-sous-Grez.
Page from the catalogue for the Grands Magasins du Louvres, 1903. Ronny van de Velde, Belgium.
Joseph Cornell, Magic Soap Bubble Set, 1940. Formerly in the Collection of Mr. and Mrs. Orin Raphael; sold, Christie’s New York, 15 May 2013, lot 19.

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