Art historians and academics have pointed out that in 1917 Duchamp wrote to his sister, recounting how ‘one of my female friends under a masculine pseudonym, Richard Mutt, sent in a porcelain urinal as a sculpture’. Duchamp revealed that this model of urinal wasn’t even in production at the factory where he claimed to have picked it up; and that this artwork bore a more than passing similarity to the Elsa von Freytag-Loringhoven readymade sculpture called God, both in appearance and concept.