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(ALEXANDER RODCHENKO) (1891-1956)
Portfolio entitled
Fotografien und Fotomontagen.
With 24 (of 24) photographs of Rodchenko’s
compelling 1920s images. Silver prints, each measuring approximately 15
1
/
4
x11
1
/
4
inches (38.7x28.6
cm.), and the reverse, on mounts measuring 16x12 inches (40.6x30.5 cm.); also with a poster, overall
size 23
3
/
4
x32 inches (60.3x81.3 cm.). Folio-sized center-hinged case with the printed title; with
Varvara Stepanova Rodchenko’s signature and the edition notation 14, in pencil, on the colophon;
contents loose as issued.
ONE OF
20
NUMBERED COPIES
. Dresden, Germany:VEBVerlag der Kunst
Dresden, 1979
[2,000/3,000]
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●
MAN RAY (1890-1976)
Lampshade.
Real photo postcard (carte-postale), overall dimensions 5
1
/
4
x3
1
/
2
inches (13.3x8.9 cm.),
with Man Ray’s credit, the title, and copyright S©A, printed on recto and Société Anonyme, Inc.,
19 East 47th Street, N.Y. printed on verso. 1920
[5,000/7,500]
From the Collection of Emma Richardson Cherry,a painter and charter member of the SociétéAnonyme.
Although Alfred Stieglitz may be credited with introducing modern art to an American audience, the
Société Anonyme (i.e.,“Corporation Incorporated”), elevated the recognition of avant-garde art through
its programs of exhibitions and lectures. Co-founded by Marcel Duchamp, Man Ray, and Katherine
Dreier, an arts patron and artist, in 1920, the Société collected and displayed paintings, collages, sculptures,
and photographs by a wide-ranging group of artists that reflected the experimental nature of modernism.
Artworks by well-known American and European figures were displayed alongside those by those by
lesser known, and in some cases, outsider artists. Nevertheless, regardless of whether a work was by
Duchamp or Walmar Shwab, these wonderfully curious constructions and artworks were embraced by
critics, curators and private collectors, and played an important role in influencing popular taste.
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