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After 1923, Marcel Duchamp was largely considered an artist who had stopped making art to devote his life to playing chess, but as is now known, he never fully abandoned the idea of producing art. His artistic production may very well have been curtailed by his activities as a chess player, but it had clearly not ceased. The degree to which Duchamp perpetuated the rumor of his inactivity as an artist is difficult to say. At the time, we know that he did nothing to contest it, although years later he would disavow ever having made such a claim. Among the alternatives he explored was to replicate earlier examples of his own work, reproducing it in sufficient numbers to make it more accessible to a larger audience. He produced prints, designed book covers, posters and a suitcase containing small-scale replicas of his work, all of which are featured in this sale.
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\nThe title selected for this sale—“Duchamp & Company”—were words used by Alfred Stieglitz in a letter to Georgia O’Keeffe in describing the people who brought the original 1917 Fountain (urinal) to his gallery to be photographed. It is here used to refer to a host of mainly contemporary artists who are consciously influenced by him and feature in this auction, including Man Ray, Robert Rauschenberg, Richard Pettibone, Mike Bidlo, Sherrie Levine, John Baldessari and Joseph Kosuth.
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\nView Conditions of Sale >
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\nPriority Bidding is here! Secure a lower Buyer's Premium.
\n
\nDeadline to submit priority bids is Tuesday 21 April, 3pm ET
\n
\nLearn more >

\n","auctionDetailsSmall","New York Auction 23 April 2026","extraInfo","

editions@phillips.com
\n+1 212 940 1220
\n

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Cary Leibowitz
\nWorldwide Co-Head of Editions
\ncleibowitz@phillips.com
\n

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Kelly Troester
\nWorldwide Co-Head of Editions
\nktroester@phillips.com
\n

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Sarah Browne
\nSpecialist, Head of Sale, Editions
\nsbrowne@phillips.com
\n

\n\n

Jason Osborne
\nSpecialist, Editions
\njosborne@phillips.com

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David Hockney, Man Looking for His Glasses, April 1986, 1986. Editions & Works on Paper New York.

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Left: Pablo Picasso, Le repas frugal (The Frugal Meal), plate 1 from La Suite des Saltimbanques, 1904. Right: Pablo Picasso, Buste d'homme (Bust of a Man), plate 4 from La Suite des Saltimbanques, 1905. MODERNISM: Editions & Works on Paper.

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Kelly Troester, Worldwide Co-Head of Editions, Deputy Chairman, Americas

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After years (!) surrounded by the history of printmaking in one fashion or another, many colleagues and friends in the business think about or are asked, "What would your fantasy collection include?" I am sure we would all have large storage spaces to rotate themes and new passions, but master prints would be a classical focus of mine. I’d have a few Dürers for sure, a Three Trees, Schongauer’s Temptation of St. Anthony, Blake, Segers, early Klee, Manet, Redon, a Degas monotype, Kirchner, Munch, Frida’s only litho… and these two moody beauties leading us into the 20th century. Drawn when Picasso was 23 or 24 years old, and his second and fourth prints made: truly, wow. All dramatic black and whites on my walls — especially with these rich and rare impressions of mannerist street performers: a blind man, an early lover of Picasso’s, and a young man — both (or all three figures) are glimpses of history as we move further away from them. Probably more important to me would be their symbolism of the dark fragility and the contrasting strength of life at the same time. How fortunate that these sheets still exist for us to savor. #collectprints

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Marcel Duchamp, Certificat de Lecture, from Il Reale Assoluto (Degree in Reading, from The Absolute Reality), 1964. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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Cary Leibowitz, Worldwide Co-Head of Editions, Deputy Chairman, Americas

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I love this lithograph. Hang it on your wall to show that you are not only allowed to read, but also to look and think about what you want to read and think whenever you feel like it.

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Maybe it's an over-60 thing.

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Certificat de Lecture, or a "Certificate of Reading," a "Degree in Reading."

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(Made about 40 years after Mr. Duchamp “wasn’t making art” for a book of poetry by Arturo Schwarz.)

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Sometimes, an artist not making art is art history in the making.

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The certificate serves as an "inalienable and non-transferable" document — I have earned this certificate to prove I have a seat at the cool kids' table!

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Get me a bigger bucket list!

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But I am tired and can only think about so much per minute, hour, day, month, year, decade.

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Hang it on your wall to show that you are not only allowed to read, but also to look and think about what you want to read and think whenever you feel like it. Sorry, I said that already.

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Jasper Johns, Skin with O'Hara Poem, 1963-65. Editions & Works on Paper New York.

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Sarah Browne, Specialist, Head of Sale

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A poem to honor Frank and Jasper:

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Jasper Johns presses himself

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into the surface

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not drawing, not describing

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just leaving

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proof of contact

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hands, face

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not drawn, not described

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but transferred

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like a thought you didn’t quite finish

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the paper stays precise

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cool, measured

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a presence

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a moment of contact

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that’s already gone

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and still it lingers

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somewhere between touch and image

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as if the act of making

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hasn’t quite let go

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Howard Hodgkin, Venice, Afternoon, from Venetian Views, 1995. Editions & Works on Paper New York.

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Jason Osborne, Specialist

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Howard Hodgkin mostly painted at a modest scale, though there were exceptions. Think paintings-you-could carry-on-the-subway type scale. I find it strange and unpredictable that, with the less immediate medium of printmaking, he often chose to go so big. As seen here in his 1995 etching Venice Afternoon, from Venetian Views, which measures just over 66 x 77 inches. This is one of a set of four Venetian views, which are presumably abstract interpretations of the landscape, light, and vibe of Venice in the Morning, Afternoon, Evening, and Night. What I love most about them is that they have an immediate and beautiful sense of a specific place that belies the difficult poetic labor and repetition that went into their production.

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Joan Miró, Saccades: one plate, 1962. MODERNISM: Editions & Works on Paper.

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Audrey Bastian, Cataloguer

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I’ve heard people bemoan that prints are flat, but isn’t that the point? The paper passes through the press and is merged with the plate. But prints aren’t just flat; they started with dimension, in the printshop with heavy ink rollers, deep-etched lines, and acid baths. Maybe on account of my knack for looking closely, a trusty loupe (magnifier), and its 4x5-inch scale, this little Miró is full of depth. The yellow ink was printed last, and with the help of magnification, I see all its freckles sitting atop the surface, radiating against the black ground. The yellow ink oozes out of the plate's contained borders, like hands reaching out from two dimensions, telling you this is a Miró, come and look closer!

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\nDavid Hockney, Man Looking for His Glasses, April 1986, 1986. Editions & Works on Paper New York.

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Elizabeth Hoskins, Associate Researcher

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I relate to this poor guy, as I, too, have spent many a morning in frantic search of a pair of glasses that seem to effortlessly blend in with their surroundings. Hockney perfectly captures the awkwardness that comes from this pursuit: supremely hunched over, neck craned in all sorts of directions, feeling cartoonish and barely human as you pad around in relative blindness, hoping for a hit. To know Hockney goes through this same struggle with his iconic round specs brings me great comfort... even though his frames are a lot cooler than mine, if one of the greatest artists of our time can forego the contacts or Lasik that would put an end to the ever-maddening glasses hunt, so can I!

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\nMarcel Duchamp, Première Lumière (First Light), 1959. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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Vivienne Lange, Sale Manager

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I might be the biggest fan of one of the smallest works in the sale (the image itself is only 2 3/4 x 3 7/8 in!). Duchamp was renowned for his humorous use of wordplay, and this work is no exception. The etching served a practical purpose of replying to a submission request from Duchamp’s friend and collaborator, Pierre-André Benoit, for inclusion in his publication Première Lumière (First Light). Despite its petite proportions, the message packs a punch: a resounding NON (no, en français), though still fundamentally acting as a submission itself — a cheeky contradiction. I might just take some inspiration for my own responses... you must agree, non?

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\nCharles Burchfield, Study for Wallpaper in Black and White, 1922-28. MODERNISM: Editions & Works on Paper.

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Eliza Whalen, Intern

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In this 21st century world of minimalist kitchens and greige living rooms, Charles Burchfield reaches out his hand and mercifully lifts us into wallpaper heaven with this study. Between 1921 and 1929, Burchfield worked for M. H. Birge & Sons Company as a wallpaper designer; in a later interview, he claimed the incentive for taking the job was that he had "fallen in love" and needed steady work to support a future family. This piece was illustrated between 1922 — when Burchfield married his wife, and 1928 — when she became pregnant with their fifth child. Emblematic of a key period in his creative career before he was able to embrace painting full-time, I find Study for Wallpaper in Black and White to be a masterpiece in its own right.

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Discover more from Editions >

\n","publishDate","2026-04-06T16:56:05.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/167500819/specialist-picks-editions-season-in-new-york","displayOrder",1,"auctionEditorialID",8934,"editorialID",5268,"flocklerID",167500819,"https://flockler.com/thumbs/sites/889/duchamp-friends-editions-1-80a61082-b703-43cb-b268-7092cbb39e1b_s600x0.png","Phillips Editions invites you to explore the world of one of the most pivotal artists of the 20th century in DUCHAMP & COMPANY, Curated by Francis M. Naumann. ","Fountains of Inspiration","

Victor Obsatz, Portrait No. 29 (Double Exposure: Full Face and Profile) Portrait of Marcel Duchamp, 1953. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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Jonathan Santlofer, Portrait of Richard Mutt, 1996. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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The title selected for this sale — "Duchamp & Company" — was coined by Alfred Stieglitz in a letter to Georgia O’Keeffe in describing the people who brought the original 1917 Fountain to Duchamp’s gallery to be photographed. Over a century later, Duchamp's interventions continue to engage artists and audiences alike; the artist is currently the focus of an exhibition at the Museum of Modern Art, New York, through August. Duchamp & Company is here used to refer to a host of mainly contemporary artists who are consciously influenced by him and feature in this auction, including Man Ray, Robert Rauschenberg, Richard Pettibone, Mike Bidlo, Sherrie Levine, John Baldessari, and Joseph Kosuth. With 48 lots by Duchamp and 62 examples by his contemporaries and those inspired by his oeuvre, the sale offers a glimpse into the profound impact Duchamp’s legacy has had on modern and contemporary art.

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L-R: Pamela Joseph, Censored Small Fountain, 2014. Pablo Echaurren, U/siamo tutti Duchamp (We all are/use Duchamp), 2015. Mike Bidlo, Fractured Fountain (Not Duchamp Fountain 1917), 2015. John Baldessari, Repository (Green/Red), 2002. Rachel Lachowicz, Untitled (Lipstick Urinals), 1992. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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Left: Marcel Duchamp, An Original Revolutionary Faucet: Mirrorical Return, 1964. Right: Kathleen Gilje, Sant' Orinale (Saint Urinal), 2017. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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DUCHAMP & COMPANY features eight contemporary references to Duchamp’s infamous urinal, including one of Mike Bidlo’s repeated variations (this example is in bronze), John Baldessari’s green ceramic bedpan multiple bearing the phrase "THE ARTIST IS A FOUNTAIN," and Kathleen Gilje’s golden icon deifying Duchamp’s Fountain. Rachel Lachowicz’s set of three urinals comprised of lipstick, wax, and Hydrocal seems to even directly draw on Duchamp’s assertion of the importance of the number three: "One is unity," he explained, "two is double, duality, and three is the rest."

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The readymade allowed for artists to think that anything could be legitimately considered a work of art, and that is exactly what happened, especially in the 1950s and 1960s, when artists like Robert Rauschenberg (lot 437) and Jasper Johns began to pay attention to Duchamp’s innovations. This occurred in the era of Pop Art, where artists seized upon imagery drawn from popular culture, and then shortly thereafter by conceptual artists who sought the primacy of an idea over whatever form it took. This tendency reached its pinnacle in the 1980s, when appropriation artists like Elaine Sturtevant (lot 485), Richard Pettibone (lots 463, 464, and 494), Sherrie Levine (lots 404, 491, and 495) and Mike Bidlo (lots 431 and 477), consciously sought to replicate the example of his work, some literally (as in recreating works he had made) to others who introduced significant variations, all acknowledging the precedence of Duchamp and the importance of ideas his work introduced.

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Marcel Duchamp, Marcel Duchamp's studio at 33 W. 67th Street, New York (1917-18), 1940. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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In addition to the Fountain, DUCHAMP & COMPANY includes plentiful references to Duchamp’s most iconic imagery by a range of contemporary artists. Perhaps most immediately recognizable are the works inspired by Duchamp’s first readymade, the Bicycle Wheel. If you look closely, you might catch a reconstruction of the original work in Marcel Duchamp's studio at 33 W. 67th Street, New York (1917-18). Damian Elwes, known for his practice of depicting artists’ studios, features the Bicycle Wheel in Duchamp's Studio 2 in a similar setup to Duchamp's photograph. The harlequin pattern is reminiscent of the diamond color samples painted on Duchamp’s final painting on canvas Tu m’, and perhaps of a distorted chessboard. Richard Hamilton’s photograph of Readymade Shadows, Richard Pettibone’s replica Bicycle Wheel 1913, and André Raffray’s pencil drawing Shadow of the Bicycle Wheel all emphasize the continuous impact of Duchamp’s ideas and practice.

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Top: Damian Elwes, Duchamp's Studio 2, 2003. Bottom: Richard Hamilton, Readymade Shadows, 2005-6. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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Left: Richard Pettibone, Bicycle Wheel 1913, 1998. Right: André Raffray, Shadow of the Bicycle Wheel, 1993. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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One might also spot numerous references to Duchamp’s 1919 tongue-in-cheek work L.H.O.O.Q., in which he originally drew a beard and mustache atop a postcard of Leonardo da Vinci’s Mona Lisa. With his 1965 return to the imagery, Duchamp mounted playing cards featuring da Vinci's famous subject on a dinner invitation card, adding the inscription "rasée" or "shaved," as she was missing Duchamp’s added mustache and goatee. When spoken phonetically in French, "L.H.O.O.Q." sounds like "elle a chaud au cul," which translates to "she has a hot ass" — Rob Wynne’s 1997 adaptation She Has a Hot Ass features Mona Lisa with a store-bought costume mustache and beard and the English translation stitched around the frame, a cheeky nod to Duchamp’s original.

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Left: Marcel Duchamp, L.H.O.O.Q. rasée (shaved), 1965. Right: Rob Wynne, She Has a Hot Ass, 1997. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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Marcel Duchamp, Mustache and Beard of L.H.O.O.Q., 1941. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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A particularly special highlight of the sale is De ou par Marcel Duchamp ou Rrose Sélavy (La Boîte-en-valise), série F (From or by Marcel Duchamp or Rrose Sélavy (The Box in a Valise) series F), in which Duchamp created miniature reproductions of eighty of his most significant works, to be stored and displayed within a red, fabric-covered box within a red leather suitcase. Considered a "portable museum," his self-referential masterpiece is the ultimate Duchamp multiple and a perfect encapsulation of Duchampian iconography.

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Marcel Duchamp, De ou par Marcel Duchamp ou Rrose Sélavy (La Boîte-en-valise), série F (From or by Marcel Duchamp or Rrose Sélavy (The Box in a Valise) series F), 1935-40/1966. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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Left: Marcel Duchamp, The Chess Players, 1965. Right. Charles Juhàsz-Alvardo, Duchamp in Check (Readymade Chess), 1995. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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Duchamp’s influence on contemporary art cannot be overstated, though it has often been misguided and vastly exaggerated. Whenever anyone sees in a work of art an object they recognize from their everyday lives, the specter of Duchamp is invoked. As a result, he is blamed for much of the bad art produced over time, but he is also rarely credited for what is considered good, except by artists, many of whom consciously seek to have their work associated with his. "All art (after Duchamp) is conceptual (in nature)," wrote Joseph Kosuth (lots 416 and 492) in 1969, "because art only exists conceptually."

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Discover more from DUCHAMP & COMPANY, Curated by Francis M. Naumann >

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For some twenty-five years, the English-born American artist Damian Elwes has made it his métier to paint the interior of artists’ studios, from Matisse, Picasso, Warhol and Duchamp (the subject of his exhibition at Francis M. Naumann Fine Art in 2004) to, more recently, Frida Kahlo, Salvadore Dalí, Alexander Calder, Roy Lichtenstein, Keith Haring and Jean-Michel Basquiat. This portrayal of Duchamp’s studio at 33 West 67th Street is based on two black-and-white photographs of the apartment the artist occupied in 1917-18 above the home of collectors Walter and Louise Arensberg, who paid his rent in exchange for ownership of his Large Glass. In his painting, Elwes adds measurement marks, similar to those that are visible on Duchamp’s earliest drawings for the Large Glass, which can be seen leaning against the wall in one of the photographs, and the Bicycle Wheel, visible in the other. The overall chevron pattern is reminiscent of the color samples painted on Duchamp Tu m’ .

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\"\" — Duchamp’s studio, ca. 1917-18. Artwork: © 2026 Association Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York

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\"\" — Duchamp’s studio, cal 1917-18. Artwork: © 2026 Association Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York

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\"\" — Marcel Duchamp, *Tu m*’, 1918, Yale University Art Gallery, New Haven, CT; gift of Katherine S. Dreier and the Société Anonyme. Artwork: © 2026 Association Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York

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—F.M.N.

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Duchamp & Company, Curated by Francis M. Naumann

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In 2004, a group of English art professionals determined that Marcel Duchamp’s Fountain—the urinal that he submitted to the First Exhibition of the Society of Independent Artists in New York in 1917 under the pseudonym of R. Mutt—was the single most influential artwork produced in the modern era. This object was called by Duchamp a readymade, a commonplace manufactured object that he designated a work of art. Although he had made several in this genre beforehand—a bicycle wheel mounted on a stool, a bottle rack and a shovel that he hung from the ceiling of his studio—and some had been placed on public view, they were largely ignored. He knew, however, that a bathroom fixture like a urinal could not be so easily overlooked, and it was not. It was refused from display and the subsequent fallout was seismic—more now than then—as the art world would never be the same again. What it allowed is for artists to think that anything could be legitimately considered a work of art, and that is exactly what happened, especially in the 1950s and 1960s when artists like Robert Rauschenberg (lot 437) and Jasper Johns first started to pay attention to Duchamp’s innovation. This occurred in the era of Pop Art, where artists seized upon an imagery drawn from popular culture, and then shortly thereafter by conceptual artists who sought the primacy of an idea over whatever form it took. This tendency evolved to reach its pinnacle in the 1980s, when appropriation artists like Elaine Sturtevant (lot 485), Richard Pettibone (lots 463, 464, and 494), Sherrie Levine (lots 404, 491, and 495) and Mike Bidlo (lots 431 and 477), consciously sought to replicate the example of his work, some literally (as in recreating works he had made) to others who introduced significant variations, all acknowledging the precedence of Duchamp and the importance of ideas his work introduced.

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Duchamp’s influence on the work of contemporary art cannot be understated, although it has often been misguided and vastly exaggerated. Whenever anyone sees in a work of art an object they recognize from their everyday lives, the specter of Duchamp is invoked. As a result, he is blamed for much bad art that has been produced over time, but rarely is he credited for that which is considered good, except by artists, many of whom consciously seek to have their work affiliated with his. “All art (after Duchamp) is conceptual (in nature),” wrote Joseph Kosuth (lots 416 and 492) in 1969, “because art only exists conceptually.”

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The words selected for this sale—“Duchamp & Company”—were those used by Alfred Stieglitz in a letter to Georgia O’Keeffe in describing the people who dropped off the urinal to his gallery to be photographed. It is here used to refer to a host of contemporary artists who are consciously influenced by him.

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413

Damian Elwes

Duchamp's Studio 2

Further Details

Full-Cataloguing

Damian Elwes