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Modern and Contemporary Art
Artist: Marcel Duchamp, American, born France, 1887–1968

Rotary Glass Plates (Precision Optics) formerly titled as, Revolving Glass Machine


Painted glass, iron, electric motor, and mixed media (largest blade damaged in 2007 and replaced by facsimile in 2011)

165.7 × 157.5 × 96.5 cm (65 1/4 × 62 × 38 in.)
Gift of Collection Société Anonyme
Not on view
American, French
20th century

Societe Anonyme Collection


Collection of the Société Anonyme: Museum of Modern Art 1920 (New Haven, Conn.: Yale University Art Gallery, 1950), 148-50, ill.

Pontus Hulten, The Machine as Seen at the End of the Mechanical Age, exh. cat. (New York: Museum of Modern Art, 1968), 103, ill.

Robert L. Herbert, Eleanor S. Apter, and Elise K. Kenney, The Société Anonyme and the Dreier Bequest at Yale University: A Catalogue Raisonné (New Haven, Conn.: Yale University Press, 1984), 235, no. 234, ill.

Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 125, fig. 121.

Ruth L. Bohan et al., The Société Anonyme: Modernism for America, ed. Jennifer Gross, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2006), 192, ill.

Suzanne Stewart-Steinberg, The Pinocchio Effect: On Making Italians (1860–1920) (Chicago: University of Chicago Press, 2007).

Lars Blunck, Duchmaps Präzisionsoptik (Munich: Silke Schreiber, 2008), 41, ill.

Héctor Olea and Mari Carmen Ramírez, Building on a construct : the Adolpho Leirner collection of Brazilian constructive art at the Museum of Fine Arts, Houston (Houston: Museum of Fine Arts, Houston, 2009), 192, ill.

Leo Villareal, Leo Villareal (Ostfildern, Germany: Hatje Cantz Verlag, 2010), ill.

Ketevan Kintsurashvili, David Kakabadzé: Georgian Modern Artist and Inventor (New York: Nova Science Publishers, Inc., 2013), 132.

Wilfried Wang and Peter Adam, eds., O’Neil Ford Monograph 7: E.1027, Eileen Gray (Austin: The University of Texas at Austin, 2018), 60, ill.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.