Man Ray's 1913 Nude Playing Musical Instrument (Study for “Tapestry Painting”), recently uncovered from a family archive, marks an important moment in the artist’s early development. Dreweatts will be offering this exceptional piece at our next Modern & Contemporary Art auction on Thursday 10 July 2025.
Created while living at the Ridgefield artist colony with his first wife Donna, this work reflects his newfound inspiration from the 1913 Armory Show and his growing interest in Cubist forms, large-scale compositions, and the female nude. The piece was a precursor to a now-lost large-scale oil painting, documented only in a photograph from the artist’s archive. Likely gifted to Elisabeth Campbell Clarke during a 1950s trip to Paris with her son, Sir Charles "Toby" Clarke, the work remained hidden for decades. Toby, then a teenage photography enthusiast, developed a mentor-like relationship with Man Ray, evidenced by a signed copy of Photographs by Man Ray 1920–1934 Paris inscribed "For Toby, My probable successor" (see fig. 1). The study, blending quilt-like design and fresco ambition, belongs to Ray’s early tapestry series (1913–1919), combining Cubist abstraction, vibrant colour, and figurative forms - laying the groundwork for his later innovations.
The 1913 Armory Show in New York marked a pivotal moment for Man Ray. There, he encountered the radical works of European modernists like Marcel Duchamp and Francis Picabia, who were boldly experimenting with materials and techniques. This exposure profoundly influenced his artistic direction.
That same year, Ray moved out of his family home in New Jersey to a four-bedroom house atop the Palisades, which he rented with fellow artist Samuel Halpert. The spacious home allowed them to work on larger, more ambitious canvases and soon evolved into a vibrant artist’s colony known as Ridgefield. It attracted an array of creatives, including poet Alfred Kreymborg, who famously arrived “with a mandolin hung on his back”. Kreymborg, a writer, musician, and chess player, was one of many who contributed to the intellectual and creative energy of the house.
Inspired by this community, his wife Donna - who served as both muse and model - and the groundbreaking European art he had encountered at the Armory Show, Man Ray recalled the winter of 1913–1914 in Ridgefield:
“The winter of 1913–1914 passed uneventfully as far as outside appearances were concerned; inside our little house there was great activity. I started a series of larger canvases, compositions of slightly Cubistic figures, yet very colourful, in contrast to the almost monochromatic Cubistic paintings I had seen at the international show in the Armory.” Man Ray, Self Portrait,1963 (Penguin Classics, 2012) p. 45
In 1915, Charles Daniel established the Daniel Gallery in New York and gave Man Ray his first solo exhibition. Reflecting on the lead-up to this milestone, Ray wrote:
“I had redoubled my efforts and by July had produced a dozen presentable works. These were fair-sized canvases, but I started a larger one, three by six feet, on a specially prepared canvas to make it look like a fresco painting, which was first to fill a space in our living room.” Man Ray, Self Portrait,1963 (Penguin Classics, 2012) p. 49
It is quite possible that the present work was a design for this one-man exhibition in New York signifying an important moment in Man Ray’s early career as an artist.
Thursday 10 July, 10,30am BST
Donnington Priory, Newbury, Berkshire RG14 2JE
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VIEWING IN LONDON (HIGHLIGHTS)
Friday 27 June: 10am-4pm
Monday 30 June: 10am-4pm
Tuesday 1 July: 10am-4pm
VIEWING IN NEWBURY (FULL SALE)
Sunday 6 July: 10am-3pm
Monday 7 July: 10am-4pm
Tuesday 8 July: 10am-4pm
Wednesday 9 July: 10am-4pm
FURTHER INFORMATION:
General enquiries: + 44 (0) 1635 553 553 | pictures@dreweatts.com
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