MAN RAY, Self portrait, 1974 [sculptural poster]
69,7 x 99,5 cm
folded for mailing as issued
publisher Studio Marconi, Milano, Italy
sculptural poster as self portrait designed by the artist
three tiny wears in center due to folding as sent
extremely rare, not mentioned in the Junko and Teruo Ishihara collection.
€ 10.000,- including handmade wooden reader’s desk
In his fifties Man Ray shaved half his face for the above self-portrait. Francis Naumann has suggested that this act may have referred to Man Ray’s duel identity as an American artist with strong ties in Europe. He was living in Hollywood at the time he took the photograph in 1942, and would return with his wife Juliet to Paris in 1951 to spent the rest of his life.
This large triptych print was published as an announcement for a work called Autoritratto (23 x 18 cm), a signed and numbered photo edition of 23 copies – together with a biographical text and an archivist’s note in pencil with the name of the artist.
MAN RAY, Self Portrait, 1965
24 x 17 x 4 cm
book, autobiography, ill.
1st edition, hand signed in pencil
published by Little Brown & Company Ltd, Canada in association with Atlantic Monthly Press
dust cover on lower front side has tiny chips; for the rest more than very good
very rare in this state
This copy of the autobiography Self Portrait of Man Ray has been signed as if the book itself is an art object, i.e. there is no dedication, just a signature in pencil and therefore very rare, as such. The dust cover is supported by a mylar protection cover and an extra inner Highsmith paper wrapping (white).
MAN RAY, Self Portrait, ca 1980
15 x 10 cm / 4″ x 6″
for sale in combination with Man Ray Self-portrait, i.e. extremely rare poster as sculpture in print
Self portrait photographed in 1943 by Man Ray. In his fifties Man Ray shaved half his face for the above self-portrait. Francis Naumann has suggested that this act may have referred to Man Ray’s duel identity as an American artist with strong ties in Europe. Man Ray was living in Hollywood at the time he took the photograph (1942), and would return with his wife Juliet to Paris in 1951 to spent the rest of his life in the capital.
MAN RAY, Cadeau, 1974
16,5 x 10,2 x 9,5 cm
cast iron, copper nails, plastic card certificate
signed with initials, numbered
Conceived in 1921 and published in 1974 by founder Luciano Anselmino, Turin in Italy. Signed on card certificate,
accompanied by a card bearing the number of the multiple and a numbered certificate by Arturo Schwarz with information about this object.
MAN RAY, The man, the art, the work, ca 1955
41,5 x 9,7 cm
pencil on (verso) invitation card of exhibition by Stoltenberg
Provenance : Juliet Man Ray
History of prices:
Auction house Drouot 22 June 1999 (Duchamp-Man Ray)
Paris Photo Collection € 1.100,- May 2013
Man Ray wrote the following text on the back of an invitation card: “The man, the art, the work, it is all one. The art of the inner works which unlike the outer does not forsake the content, which he does not do – and can only ‘be’ – spring from depths of which the day knows nothing. The inward work, however, consists in his turning the man he is, and the self he feels himself to be, into the raw material of training and shaping where end is mastering – in art – the artist and the human being meet in something higher. In [?] mastery proves its validity as a form only when it dereels[?] in the boundless truth only sustained by it becomes the origin. The master no longer seeks but finds.
MAN RAY, Cadeau, 1921
16,5 x 10,2 x 9,5 cm
Cast iron, copper spikes, cilinder shaped cardboard box, certificate
signed with initials in ink, numbered
The work ‘Cadeau’ was published in 1921 under the supervision of founder Luciano Anselmino, Turin. Here with original box. Again it was executed in 1974 by the same founder and publisher Luciano Anselmino in an edition of 5000, accompanied by a signed and numbered plastic card and a numbered certificate by Arturo Schwarz with information about the object.
“Man Ray never destroys, he always modifies and enriches. In this case, he provides the flat iron with a new role, a role that we dimly guess, and the probably accounts for the object’s strange fascination.”
Arturo Schwarz (dealer and author)