Takis (Panayiotis Vassilakis)

This work is stable and has scattered areas of rust, as visible in the catalogue illustration, which are coherent with artist's medium. The appearance could possibly be improved with some work of restoration. This work is overall in good condition consistent with age.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Takis first started working on his Signals in 1955 when, while waiting at Calais train station following his Hanover Gallery exhibition in London, he was struck by the metal constructions of the railway. First consisting of thin steel rods, his Signals developed into proper kinetic sculptures in the following years, sometimes with added motors and explosives.

'Before long, my Signals were transformed from railway signals into rockets, antennae and radio receivers. Travelling often by aeroplane, I was always delighted by the aerodromes and their giant radars which turned slowly, seeking out the metallic objects which glide in space. It is as though they were monstrous instruments intercepting cosmic events'. (Takis, Estafilades, Paris, 1961, p.150)