View full screen - View 1 of Lot 552. Study for a Soft Sculpture in the Form of a Drainpipe.

Property from The William Louis-Dreyfus Foundation

Claes Oldenburg

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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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).