Skip to main content Skip to search Skip to search results

Duchamp, Alexina, 1906-1995

 Person

Found in 17 Collections and/or Records:

Alexina and Marcel Duchamp Papers

 Collection
Identifier: MDP
Overview The Alexina and Marcel Duchamp Papers are comprised of some personal papers of Marcel Duchamp as well as published material documenting the artist and his work that were compiled and organized by his widow, Alexina Duchamp. The collection is comprised of approximately 800 personal photographs; a small portion of Duchamp's correspondence; his lecture notes and transcripts; vital records; transcripts of several interviews with Duchamp; and published material concerning the artist.

Duchamp, Alexina, 1971-1974, undated

 File — Box: 2, Folder: 16
Scope and Content Note General correspondence primarily from and to the Philadelphia Museum of Art, but also The Museum of Modern Art (co-organizer of the exhibition) and The Art Institute of Chicago (third venue of the exhibition). Topics covered include preliminary exhibition ideas; provenance and biographical research on Duchamp and his works; press coverage of the exhibition; thank-you notes; and visitor responses to the exhibition. Also includes several cover letters from various correspondents forwarding copies...

Duchamp, Alexina, 1983

 File — Box: 24, Folder: 1
Scope and Content Note Contains letters with the Fundacio Joan Miró and art critic/guest curator Gloria Moure regarding the preparation of the exhibition and requests for loans. Also includes third-party correspondence regarding transportation of loans.

Duchamp, Alexina, 1987

 File — Box: 25, Folder: 19
Scope and Content Note Contains letters related to loans, the planning and installation of the exhibition, and related programs and educational events. Of particular note is the file on Willaim Copley, which includes a draft of his undelivered lecture on his friendship with Duchamp.

Duchamp, Alexina, 1992

 File — Box: 28, Folder: 9
Scope and Content Note Contains letters with exhibition organizers Pontus Hulten, Jennifer Gough-Cooper, and Jacques Caumont regarding exhibition loans and research.

Duchamp, Alexina, 1985-1986

 File — Box: 232, Folder: 12
Scope and Content Note By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...

Duchamp, Alexina, 1987-1988, undated

 File — Box: 232, Folder: 13
Scope and Content Note By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...

Duchamp, Alexina, 1989

 File — Box: 232, Folder: 14
Scope and Content Note By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...

Duchamp, Alexina, 1990-1991

 File — Box: 232, Folder: 15
Scope and Content Note By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...

Duchamp, Alexina, 1993

 File — Box: 232, Folder: 17
Scope and Content Note By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...