Frederick Kiesler

Collection of the artist
Bequeathed to the present owner

Overall in good condition. The metal appears to be aluminum, and it is our opinion that the work was originally unpainted. The poles and brackets have since been painted several times with housepaint, which is chipping in areas, and there is also a yellowed primer paint that was sloppily spilled onto areas of the aluminum shelf supports. It is also possible that Kiesler painted these supports at one point as an experiment, but then removed most of the paint. The shelf supports also have considerable yellowed paint droplets. We think the entire unit would look best if the paint is removed and the aluminum is polished. The plywood shelves were never lacquered, and remain in their original condition with heavy wear including surface dirt, stains, nicks, dings, chips, and writing in pencil to some shelves. This work is previously undocumented, as it was in constant use from its execution to just a few months ago.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The three lots offered here are works from the personal collection of Frederick and Lillian Kiesler. The Berenice Abbott photographs document the historic "Art of the Century" exhibition including the Correalist Rockers and Instruments designed by Kiesler. The most famous of the four photographs, illustrated on the facing page, depicts Kiesler reclining in one of the rockers, while an unknown woman, possible Peggy Guggenheim, crouches in front of a painting displayed on a Kiesler-designed easel. In 1947, Kiesler was photographed sitting behind his desk in their 56 Seventh Avenue apartment. These lots present collectors with a unique opportunity to acquire works from the designer's personal collection.