01.The numbering of the pages on the upper right corner is by Lillian Kiesler and possibly does not correspond with the original sequence. 02. The title on the first page has been added by Lillian Kiesler. For more information on the origin of the manuscript see the introduction to this text. 03. Fresh Widow, 1920, Museum of Modern Art (Katherine S. Dreier Bequest). Another work titled Bagarre d´Austerlitz also includes a window and is dated 1921. Both works are alluded to in the photomontage for View. 04. »On demande des moustiques domestiques (demi-stock) pour la cure d´azote sur la cote d´azur « (»On demand mosquitoes (half-stock) for the nitrogen cure on the Côte d´Azur« translation by Arturo Schwarz, in: The Complete Work of Marcel Duchamp, New York 1997, cat.418, p.712). This pun was written in capitals on a rotative disc for the film Anémic Cinéma, 1925-26, made in collaboration with Man Ray and Marc Allégret. 05. Glissière contenant un moulin à eau (en métaux voisins) (Glider Containing a Water Mill in Neighboring Metal), 1913-15, Philadelphia Museum of Art, The Louise and Walter Arensberg Collection. A reproduction of this work was used in the lower part of the triptych. 06. The letter »e« at the end of the word »heure« is missing in the text. The work described in this entry is: A regarder (l´autre côté du verre) d´un oeil, de prés, pendant presque une heure [To Be Looked at (From the Other Side of the Glass) with One Eye, Close to, for Almost an Hour], Museum of Modern Art, New York (Katherine S. Dreier Bequest). 07. Three Standard Stoppages, 1913-14, Museum of Modern Art, New York (Katherine S. Dreier Bequest). Kiesler owned the related painting Network of Stoppages (1914) which is reproduced on the back of the triptych page. He purchased it in 1937 from Joseph Stella and sold it at Julien Levy´s gallery in 1940. A letter from Julien Levy to Kiesler dated January 30, 1940 reports: »I undertake to offer for sale the Duchamp painting ”Reseaux des Stoppages” on a commission basis (…) I will try to sell it for as near $ 3,000.« The letter is preserved in the Archive of the Frederick Kiesler Center, Vienna. 08. »We esteem the bruises of the Eskimos with beautiful language«. This English translation is by Rosalind Krauss in The Originality of the Avant-Garde and Other Modernist Myths, Cambridge 1985, p.200. Arturo Schwarz translates it as follows: »Let’s dodge the bruises of the Eskimos in exquisite words.« From: A.Schwarz, ibid., cat. 420, p.713. This pun was written on a rotative disc for Anémic Cinéma (see note no. 2) as well as on the frame of Rotary Demisphere (Precision Optics), 1925. |
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