William Christenberry

a suite of 4 unique large-format Polaroid Polapan prints, each signed, dated, and numbered sequentially '1A' to '1D' in ink in the margin, 1984 (4)

These Polaroid prints are in generally excellent condition. In high raking light, various small disturbances to the very glossy surface are visible overall, but do not effect the prints' overall fine appearance. Additionally in raking light, faint impressions/transfers, perhaps from a prior mat that is no longer with the photographs, are visible. On each of the prints along the upper and lower margin edges, thin strips of rice paper tape run the width. '1B' - In raking light, various small creases are visible; however, most do not break the emulsion. Also visible in raking light are various soft surface scuffs and scratches that do not break the emulsion. On the reverse of the print, there is a large deposit of a glossy indeterminate substance. '1C' - Visible upon close examination in raking light in the upper left corner of the image is a large fingerprint with a halo surrounding it. '1A' - The lower edge of the print is unevenly trimmed, as is typical of large-format Polaroids. In high raking light, a few long linear surface scuffs are visible along the left edge of the image.
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 American South has provided photographer and multi-media artist William Christenberry with the themes that have occupied his work for the past decades.  In addition to his examination of vernacular structures and the Southern landscape, he has focused, too, on the darker elements of Southern culture, including the Ku Klux Klan.  Christenberry became interested in studying the Klan as a graduate student in the early 1960s and attended three Klan rallies, filling notebooks with sketches and observations.  In 1962, he transformed these experiences into The Klan Room, a constantly changing installation in his Washington, D. C., studio, of sculptures, photographs, drawings, and ephemera.  In the Metamorphosis series—presented in variant color and black-and-white versions in this and the following lot—a child's doll evolves, over a sequence of four images, into a menacing hooded and robed Klu Klux Klan figure.  The series illustrates an objective Christenberry articulated this way: 'There is a line to explore here, between beauty and evil' (Christenberry Reconstruction, p. 24).