Man Ray, ‘Idole du pêcheur (Fisherman's Idol)’, 1973, Phillips
Man Ray, ‘Idole du pêcheur (Fisherman's Idol)’, 1973, Phillips

This work is an artist's proof from an edition of 9 plus 3 artist's proofs.

Signature: incised with the artist's signature and numbered 'Man Ray E.A' lower edge

Arturo Schwarz, Man Ray. The rigour of Imagination, London, 1977, no. 260, p. 147 (original variant illustrated)
Jean-Hubert Martin, Rosalind Krauss and Brigitte Hermann, Man Ray: Objets de mon affection, Sculptures et Objets, Catalogue raisonné, Paris, 1983, no. 37, p. 143 (original variant illustrated, p. 48)
Kishin Shinoyama, 'Man Ray atelier', Art Vivant, no. 15, 1985 (another example exhibited)
Gérard Durozoi, History of the Surrealist Movement, Chicago and London, 1997, no. 3, p. 79 (original variant illustrated, p. 78)

Keitelman Gallery, Brussels
Acquired from the above by the present owner

About Man Ray

Born Emmanuel Radnitzky, Man Ray adopted his pseudonym in 1909 and would become one of the key figures of Dada and Surrealism. One of the few American artists associated with these movements, Ray was exposed to European avant-garde artists like Pablo Picasso and Georges Braque at Alfred Stieglitz’s New York gallery and at the 1913 Armory Show. Ray’s photographic works are considered his most profound achievement, particularly his portraits, fashion photographs, and technical experiments with the medium, such as solarization and rayographs (an eponym for his photograms), which were celebrated by the Surrealists. “I do not photograph nature,” he once said. “I photograph my visions.” In 1915 he was introduced to Marcel Duchamp, who would become a lifelong friend and influence; he subsequently moved to Paris, practicing there for over 20 years.

American, 1890-1976, Philadelphia, Pennsylvania