Claes Oldenburg

Galerie Maurice, Boston
Acquired from the above by the present owner in September 2013

Chicago, Richard Gray Gallery, Claes Oldenburg: An Exhibition of Recent Small Scale Fabricated Works and Drawings, September - November 1977, cat. no. 12 (another example exhibited)
Cincinnati, Carl Solway Gallery, Claes Oldenburg: A Complete Survey of Sculptures in Edition 1963-1990, April - June 1990, cat. no. 22 (another example exhibited)
Miami, The Art Museum at Florida International University, Miami Pops! Pop Art from Miami Collections, September - November 1996, p. 27 (another example exhibited and illustrated)
New York, Whitney Museum of American Art, An American Legacy, A Gift to New York, October 2002 - January 2003, p. 81 (another example exhibited and illustrated)
Nashville, Frist Center for the Visual Arts, Real Illusions: Contemporary Art from Nashville Collections, February - June 2003, cat. no. 33, p. 46 (another example exhibited)
Las Vegas, Bellagio Gallery of Fine Art, 12 + 7: Artists & Architects of City Center, September 2009 - April 2010
New York, Nicholas Robinson Gallery, Donald Judd and 101 Spring Street, March - April 2010 (another example exhibited)

Exh. Cat., New York, Whitney Museum of American Art, Twentieth Century Sculpture: Process and Presence, 1983, p. 18, illustrated
Exh. Cat., Toledo Museum of Art, Citywide Contemporary Sculpture Exhibition, 1984, p. 39, illustrated
Exh. Cat., Tokyo, Minami Gallery, Shimizu Kusuo to Minami Garō, 1985, p. 91, illustrated
Katherine Hinds, Contemporary Sculpture from the Martin Z. Margulies Collection, Coconut Grove 1986, p. 106, illustrated in color
Exh. Cat., Madison, University of Wisconsin, Elvehjem Museum of Art, The Terese and Alvin S. Lane Collection: Twentieth-Century Sculpture and Sculptors' Works on Paper, 1995, p. 143, illustrated
Suzanne McCullagh and François Borne, Gray Collection: Seven Centuries of Art, Chicago 2010, p. 169, illustrated 
Hannah W. Blunt and Fronia Simpson, Eds., The Lunder Collection: A Gift of Art to Colby College, Waterville 2013, p. 345, illustrated 

This work is in very good and sound condition overall. A few light white abrasions are visible to the maroon-painted area and a few minor surface scratches and drip accretions are visible on the stainless steel elements, most notably on the underside of the eraser. Under close inspection, a few pinpoint spots of paint loss are visible to the black base and to along the bottom of one of the blue-painted rods. The black base has lightly rusted in areas.
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.

"As with monument makers of the past, Oldenburg leaves remnants of our society behind for current and future generations to ponder. By working within this tradition, he effectively integrates his art into the culture at large, a practice not generally found among twentieth-century painters and sculptors, though much in keeping with historical art."

Germano Celant in Exh. Cat., Washington, D.C., National Gallery of Art, Claes Oldenburg: An Anthology, 1995, p. 262