
Property from The William Louis-Dreyfus Foundation
Study for a Soft Sculpture in the Form of a Drainpipe
Lot Closed
February 28, 07:31 PM GMT
Estimate
8,000 - 12,000 USD
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Read more.Lot Details
Description
Property from The William Louis-Dreyfus Foundation
Claes Oldenburg
b. 1929
Study for a Soft Sculpture in the Form of a Drainpipe
signed with the artist's initials and dated 67 (lower right)
crayon and watercolor on paper laid down on board
30 by 22 ¼ in.
76.2 by 56.5 cm.
Executed in 1967.
Please note that this lot will not be on view during the sale exhibition. It is located at our Long Island City, New York storage facility. If you would like to examine it in person before the sale please contact Juliette Saylor at Juliette.Saylor@sothebys.com
Sidney Janis Gallery, New York
The Collection of Dr. and Mrs. William C. Levin, Galveston
Coleman Bancroft, New York
William Louis-Dreyfus, Mount Kisco, New York (acquired from the above in 2010)
Acquired as a gift of the above in 2015
New York, Sidney Janis Gallery, An Exhibition of New Works by Claes Oldenburg, April - May 1967
New York, The Museum of Modern Art, Claes Oldenburg, September - November 1969
Pasadena Art Museum, Claes Oldenburg: Object into Monument, December 1971 - February 1972
Claes Oldenburg, known for his large scale installations and soft sculptures, often chose mundane objects from everyday life as his subjects, including
fans, phones, and other household items. He conceived his ideas for this artworks in three dimensions through a series of sketches, often loose and gestural and some of which included notes and large text. Many of Oldenburg’s works were made in collaboration with his wife, Coosje van Bruggen. In the 1969 monograph of Oldenburg's works on paper, the curator Gene Baro illuminated the importance of drawing to the artist's process in his statement, “With Claes Oldenburg the act of drawing seems wholly natural, a reflex to his inner life and the world about him. Of course, he draws also quite deliberatively, in preparation for his work in sculpture; but his preoccupation with drawing- or, rather, the ways in which drawing serves his preoccupations- goes well beyond this practical necessity” (Gene Baro, Claes Oldenburg: Drawings and Prints, London 1969, p.11).
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