Lot 38
  • 38

Marcel Duchamp

Estimate
200,000 - 300,000 EUR
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Description

  • Marcel Duchamp
  • Miroir
  • inscribed with the signature Marcel Duchamp and stamped with the number 64031208 (on the reverse and visible, inverted, on the recto)
  • mirror mounted in a wooden frame
  • 47.8 x 37.8 cm ; 18 ¾ x 14 ¾ in.

Provenance

Private Collection, Milan (acquired from the artist in 1964)

Exhibited

Verona, Palazzo Forti, Dadaismo Dadaismi : Da Duchamp a Warhol, 1997, no. 19

Literature

Arturo Schwarz, The Complete Works of Marcel Duchamp, New York, 2000, no. 607, illustrated pp. 841-842

Condition

Overall this work is in very good original condition. There is minor natural tarnishing of the mirror surface along the left edge and on the right part of the lower edge. There are a few scattered minor spots of oxidation throughout the mirrored surface, consistent with normal aging. The frame shows signs of natural wear with two tiny chips, and requires strengthening at the joints. The incised signature is in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

The theme of the “mirrorical return” surfaces from time to time in Duchamp’s oeuvre. His signing of the back of these three mirrors was occasioned by his visit to the site of the Thirteenth Milan Triennale, where a one-man exhibition of the work of Enrico Baj (including his characteristic collages of broken-up mirrors) was being installed by Stefano Bini and his two brothers. On signing the three mirrors, Duchamp remarked : “I am signing readymade future portraits.”

Arturo Schwarz, The Complete Works of Marcel Duchamp, vol. 2., New York, 2000, p. 841