Man Ray

Paul Eluard, Paris (acquired directly from the artist)
Mme Paul Eluard
Lucien Scheler, Paris (his sale: Paris, Hôtel Drouot, Le Cabinet de Lucien Scheler, December 2000, lot 42)

London, Institute of Contemporary Arts, An Exhibition, Retrospective and Prospective of the works of Man Ray, 1959, no. 5
New York, The New York Cultural Center, Man Ray Inventor Painter Poet, 1974-75, no. 2
London, The Institute Of Contemporary Arts, Man Ray, 1975, no. 2
Roma, Palazzo delle Esposizioni, Man Ray, l'occhio e il suo doppio, dipinti, collages, disegni, invenzioni fotografiche, ogetti d'affezione, libri, cinema, 1975, no. 2, illustrated
Montclair, Montclair Art Museum, Conversion to Modernism : the early work of Man Ray, 2003, no. 82, illustrated
Lugano, Museo d'Arte Della Citta di Lugano, Man Ray, 2011, no. 13, p. 45, illustrated

Georges Ribemont-Dessaignes, Man Ray, Paris, 1929, p. 19, illustrated

The canvas is not lined. A few scattered areas of unpainted canvas appear which likely resulted during the process of drying. There is no evidence of retouching under examination with UV light. This work is in very good original 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."

This work will be included in the Catalogue of the Paintings of Man Ray, in preparation by Andrew Strauss and Timothy Baum.

Man Ray painted this work only a few months after visiting the Armory Show, the international exhibition of modern art that took place in New York in 1913 while he was staying in Ridgefield in New Jersey, not far from Manhattan. At this time, Man Ray was part of an artistic community composed of painters and writers. This painting reflects the artistic styles which had particularly inspired Man Ray during his visit of the Armory Show, notably Cézanne’s late works and the cubist works of Picasso and Braque. His use of geometric, cubic forms in the composition is indicative of Man Ray’s first steps along the path of abstraction.