Barcelona, ES
Details
- Dimensions
- 12.2ʺW × 1.18ʺD × 16.14ʺH
- Styles
- Modern
- Art Subjects
- Figure
- Period
- 1960s
- Country of Origin
- France
- Item Type
- Vintage, Antique or Pre-owned
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- Condition
- Good Condition, Unknown, Some Imperfections
- Color
- Black
- Condition Notes
- Very Good — This vintage item has no defects, but it may show slight traces of use\. Wear consistent with … moreVery Good — This vintage item has no defects, but it may show slight traces of use\. Wear consistent with age and use. less
- Description
-
This exceptional lithograph by man ray, titled "the father of mona lisa," is a distinguished piece from the portfolio s.m.s. …
more
This exceptional lithograph by man ray, titled "the father of mona lisa," is a distinguished piece from the portfolio s.m.s. #3 (shit must stop), published in april 1968. This portfolio is part of a groundbreaking series curated by william copley and dimitri petrov between february and december 1968, and man ray’s contribution stands out for its innovative approach and artistic brilliance. The lithograph, printed on wove paper, features the title, signature, and date in pencil on the verso (printed on the plate). Published by the letter edged in black press, the piece is from an edition of approximately 2000 copies, with many lost over time. Experts estimate that only between 800 and 1000 copies remain, making this artwork a rare and highly coveted collectible. The piece is elegantly framed, showcasing it in a high-quality frame with embedded glass for optimal display. As one of the most prized works from the s.m.s. Series—alongside pieces by duchamp, oppenheim, christo, and lichtenstein—this lithograph embodies the spirit of innovation and rebellion that characterized the era. The s.m.s. Portfolios, inspired by marcel duchamp’s boîte-en-valise and the dada and fluxus movements, aimed to challenge the elitism of the art world by making significant works from prominent 20th-century artists accessible through subscription. Although the s.m.s. Series lasted only a year due to escalating production and distribution costs, it remains a landmark in art history. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity
issues arising from misattribution less
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