Woodcut, on Fabriano Rosaspina Avorio paper, with full margins.
I. 21 x 19.5 cm (8 1/4 x 7 5/8 in.)
S. 29.6 x 25 cm (11 5/8 x 9 7/8 in.)
Signed, dated and annotated 'AP' in pencil (one of 10 artist's proofs, the edition was 50), published by Lazarides Gallery, London (with their blindstamp), framed.
Duchamp may have met Maria Martins as early as 1943, when her sculp- tures were paired with paintings by Mondrian in a show at the Valentine Gallery on 57th Street. She would have been forty-three at the time-thir- teen years younger than he was. By 1946 their relationship had advanced considerably, judging from the original art work that was included in the Boîte-en-valise he gave her. The originals in most of the early Valises had been Duchamp's hand-painted color guides, made to assist the printer of the collotype reproductions. For Maria Martins, however, he had done a sur- passingly strange drawing on celluloid backed with black satin: an abstract, flowing, amoeba-like shape that resembled nothing else in his entire oeuvre. Not until 1989 did chemical analysis disclose that his drawing medium was ejaculated seminal fluid. Duchamp's title for this erotic talis- man was Paysage fautif, or Faulty Landscape.