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John Angus Chamberlain Auction Price Results

John Angus Chamberlain (1927-2011)  Please Register/Login to access your Invaluable Alerts

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John Chamberlain, Yellow Coconut, Marker and Pencil Drawing

Lot 11: John Chamberlain, Yellow Coconut, Marker and Pencil Drawing

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Description: Artist: John Chamberlain, American (1927 - 2011) || Title: Yellow Coconut || Year: 1981 || Medium: Marker and pencil on newsprint || Image Size: 19.25 x 8.5 inches || Size: 19.25 x 10 in. (48.9 x 25.4 cm)

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John Chamberlain, Blue Pineapple, Marker and Pencil Drawing

Lot 27: John Chamberlain, Blue Pineapple, Marker and Pencil Drawing

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Description: Artist: John Chamberlain, American (1927 - 2011) | Title: Blue Pineapple | Year: 1981 | Medium: Marker and pencil on newsprint | Image Size: 17.25 x 8.5 inches | Size: 17.25 x 10 in. (43.82 x 25.4 cm)

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John Chamberlain, V from the Ten Coconut Portfolio, Etching

Lot 88: John Chamberlain, V from the Ten Coconut Portfolio, Etching

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Description: Artist: John Chamberlain, American (1927 - 2011) II Title: V from the Ten Coconut Portfolio II Year: 1982 II Medium: Etching, signed and numbered in pencil II Edition: 18/25 II Image Size: 4 x 5 inches II Size: 17 x 15 in. (43.18 x 38.1 cm)

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John Chamberlain, Flashback, Lot of Six Lithographs

Lot 91: John Chamberlain, Flashback, Lot of Six Lithographs

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Description: Artist: John Chamberlain, American (1927 - 2011) | Title: Flashback III, IV, V, VI, VII, VIII | Year: 1981 | Medium: Lot of Six Lithographs, each signed and numbered in pencil | Edition: 175 | Size: 28 in. x 20 in. (71.12 cm x 50.8 cm) (each)

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John Chamberlain, Ten Coconut Portfolio of 6 Etchings

Lot 118: John Chamberlain, Ten Coconut Portfolio of 6 Etchings

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Description: Artist: John Chamberlain, American (1927 - 2011) || Title: Ten Coconut Portfolio 1-6 || Year: 1982 || Medium: Portfolio of Six Etchings, each signed and numbered in pencil || Edition: 18/25 || Image Size: 7 x 5 inches || Size: 17 x 15 in. (43.18 x 38.1 cm)

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JOHN CHAMBERLAIN, (AMERICAN B. 1927), UNTITLED

Lot 136: JOHN CHAMBERLAIN, (AMERICAN B. 1927), UNTITLED

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Description: JOHN CHAMBERLAIN (american b. 1927)/span UNTITLED 1964, pencil signed and numbered 39/48, with full margins. Novak Graphics, Toronto, Canada, publishers and with their blindstamps and inkstamp verso.Color woodcut on Arches. image: 35 x 23 1/2 in. (88.8 x 59.6cm) sheet: 41 1/2 x 29 1/4 in. (105.3 x 74.2cm)

Condition Report: The yellows brighter in person than as they appear in the catalogue. Hinged to the support in places along the reverse of the upper margin edge (showing through slightly, slight attendant rippling). Otherwise, overall in very good, original condition. Floated, all edges visible. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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JOHN CHAMBERLAIN, (AMERICAN B. 1927),

Lot 137: JOHN CHAMBERLAIN, (AMERICAN B. 1927), "UNTITLED"

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Description: JOHN CHAMBERLAIN (american b. 1927)/span "UNTITLED" 1994, signed in black ink and numbered 'Pres. Proof 1/2' (the edition was 30), the full sheet; Graphicstudio, Tampa, Florida, publisher. Screenprint on black and gray on pressed aluminum. sheet: 36 x 36 in. (91.3 x 91.3cm)

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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John Chamberlain (1927-2011) Canapé-sculpture Tissu, bois et métal Pièce unique Date de création : vers 1970 H 73 × L 216 × P 200 cm...

Lot 146: John Chamberlain (1927-2011) Canapé-sculpture Tissu, bois et métal Pièce unique Date de création : vers 1970 H 73 × L 216 × P 200 cm...

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Description: John Chamberlain (1927-2011) Canapé-sculpture Tissu, bois et métal Pièce unique Date de création : vers 1970 H 73 × L 216 × P 200 cm Bibliographie : John Chamberlain, A Catalogue Raisonné of the Sculpture 1954-1985, Julie Sylvester, Hudson Hills Press in association with the Museum of Contemporary Art, Los Angeles, 1986, p. 221 Expositions : Design = Art : Functional Objects from Donald Judd to Rachel Whitebread, Cooper-Hewitt, National Design Museum, Smithsonian Institution, New York, 10 septembre 2004 - 27 février 2005 Museum of Design, Atlanta, 7 avril - 9 juillet 2005 Aspen Art Museum, 5 août - 2 octobre 2005

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John Chamberlain, American (1927-2011) Circa 1960 Watercolor on Paper

Lot 169: John Chamberlain, American (1927-2011) Circa 1960 Watercolor on Paper "Nude Studies". Pencil Signed and Dated Lower Right. Measures 22 Inches Tall and 18-5/8 Inches Wide. Domestic Shipping $148.00

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Description: John Chamberlain, American (1927-2011) Circa 1960 Watercolor on Paper "Nude Studies". Pencil Signed and Dated Lower Right. Measures 22 Inches Tall and 18-5/8 Inches Wide. Domestic Shipping $148.00

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JOHN CHAMBERLAIN Untitled.

Lot 174: JOHN CHAMBERLAIN Untitled.

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Description: JOHN CHAMBERLAIN Untitled. Color monotype and embossing on Arches, 1986. 753x940 mm; 29 5/8x37 inches, full margins. Signed and inscribed "1" in pencil, lower margin, with the artist's black ink stamp, lower right. Published by Novak Graphics, Toronto, with the black ink stamp, verso, and the blind stamp lower right.

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John CHAMBERLAIN (né en 1927) SANS TITRE Aquarelle sur papier

Lot 186: John CHAMBERLAIN (né en 1927) SANS TITRE Aquarelle sur papier

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Description: John CHAMBERLAIN (né en 1927) SANS TITRE Aquarelle sur papier signé, annoté et numéroté au dos "Chamberlain, MAAB, #423" h: 24 w: 20,50 cm

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John CHAMBERLAIN (né en 1927) SANS TITRE Aquarelle sur papier

Lot 187: John CHAMBERLAIN (né en 1927) SANS TITRE Aquarelle sur papier

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Description: John CHAMBERLAIN (né en 1927) SANS TITRE Aquarelle sur papier signé, annoté et numéroté au dos "Chamberlain, MAAB, #306" h: 24,50 w: 20,50 cm

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John CHAMBERLAIN (né en 1927) SANS TITRE Aquarelle sur papier

Lot 188: John CHAMBERLAIN (né en 1927) SANS TITRE Aquarelle sur papier

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Description: John CHAMBERLAIN (né en 1927) SANS TITRE Aquarelle sur papier signé, annoté, numéroté au dos "Chamberlain, MAAB, #189" h: 19,50 w: 25 cm

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John CHAMBERLAIN (né en 1927) BROKE PURPLE, 1983

Lot 223: John CHAMBERLAIN (né en 1927) BROKE PURPLE, 1983

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Description: John CHAMBERLAIN (né en 1927) BROKE PURPLE, 1983 Pochoir en couleurs et gaufrage, épreuve signée, datée "83" et justifiée "SP" 65,5 x 66 cm - encadrée Très bon état

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JOHN CHAMBERLAIN (b. 1927): GALEON

Lot 226: JOHN CHAMBERLAIN (b. 1927): GALEON

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Description: Silkscreen print in colors, 33 x 26 1/8 in. (sheet), 2/6 printers proof, signed and dated '79.

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John Chamberlain, American (b. 1927)

Lot 251: John Chamberlain, American (b. 1927)

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Description: John Chamberlain, (American, b. 1927) Flashback: Six Platessilkscreens in coloreach signed in pencil, Chamberlain, and numbered VIII, IX, (2) XXXIV, (2) XXXIII respectively, with London Arts, Inc. blind stamp, Detroit, MI, all with full marginseach sheet size: 28 by 19 _ in.

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John CHAMBERLAIN (né en 1927) SANS TITRE, 1966 Dessin à l'encre bleue sur papier

Lot 323: John CHAMBERLAIN (né en 1927) SANS TITRE, 1966 Dessin à l'encre bleue sur papier

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Description: John CHAMBERLAIN (né en 1927) SANS TITRE, 1966 Dessin à l'encre bleue sur papier signé du monogramme et daté en bas à droite "JC, 66" h: 21 w: 27,50 cm Provenance : Vente Bukowski, Stockholm, 1er novembre 1994, n° 296

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MARIANO FORTUNY Y MARSAL (SPANISH, 1838-1874) THE LIBRARY, along with 22 other prints Handcolored etching: 20 x 25 3/4 in.

Lot 346: MARIANO FORTUNY Y MARSAL (SPANISH, 1838-1874) THE LIBRARY, along with 22 other prints Handcolored etching: 20 x 25 3/4 in.

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Description: MARIANO FORTUNY Y MARSAL (SPANISH, 1838-1874) THE LIBRARY, along with 22 other prints Handcolored etching: 20 x 25 3/4 in. 23 works in all

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JOHN ANGUS CHAMBERLAIN (AMERICAN, 1927-2011) FOUR ABSTRACT PRINTS- FROM THE FLASHBACK SERIES Serigraph: 21 3/4 x 15 3/4 in. (sight)

Lot 348: JOHN ANGUS CHAMBERLAIN (AMERICAN, 1927-2011) FOUR ABSTRACT PRINTS- FROM THE FLASHBACK SERIES Serigraph: 21 3/4 x 15 3/4 in. (sight)

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Description: JOHN ANGUS CHAMBERLAIN (AMERICAN, 1927-2011) FOUR ABSTRACT PRINTS- FROM THE FLASHBACK SERIES Serigraph: 21 3/4 x 15 3/4 in. (sight) One Framed; lower left numbered: AP II/X; lower right signed: Chamberlain;Flashback III; lower left numbered AP 3/10: lower right signed: Chamberlain; Flashback IV; lower left numbered: V/X lower right signed: Chamberlain; Flashback V: lower left numbered: HC 3/10 and signed lower right: Chamberlain;

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JOHN CHAMBERLAIN 1927 - 2011 Whimblown. 2006.

Lot 3483: JOHN CHAMBERLAIN 1927 - 2011 Whimblown. 2006.

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Description: JOHN CHAMBERLAIN 1927 - 2011 Whimblown. 2006. Painted chrome steel. 23.5 x 40.6 x 33 cm. Provenance: - Pace Wildenstein, New York. - Private collection Germany. John Chamberlain is one of the most important sculptors of Abstract Expressionism and one of the precursors of Pop Art. John Chamberlain was born in Rochester, Indiana in 1927 and, from the age of 4, grew up in the house of his grandmother in Chicago. In 1943-46 he served with the US Marines, and in the late 1940s he trained as a hairdresser. He did not start his art studies at the Art Institute of Chicago until 1951. Then from 1955 to 1956 he attended the renowned Black Mountain College. While still in his final year he moved to New York and there in 1958 he had his first exhibition at the Davida Gallery. At the workshop of Larry Rivers, Chamberlain devised his first sculpture made of car parts. In 1963 he moved with his family to Embudo, New Mexico. There he began a series of works using car paint and metallic flakes. After some brief stays in California and New York, in 1966 he followed his family to Santa Fe, New Mexico, where he also taught. There his first sculptures made of plastic foam were created. 1968 was a year dedicated to John Chamberlain's various film projects. After extended stays in California in 1971 he returned to New York where he had his first retrospective at the Guggenheim Museum. In 1974 he returned to working with car parts. In the late 1970s and 1980s he worked on some larger projects and public commissions. Car parts are the raw materials which John Chamberlain made his own very early in his career and used again and again. In his early sculptures in fact he used car parts from scrap yards, which he then adapted in his workshop; with time, he was to have parts delivered directly from the car manufacturers. He received the individual painted parts and re-shaped them in his studio. This fascination can perhaps be best explained through the perspective of his generation and nationality. Particularly in the United States in the 50s and 60s, the car was the symbol of freedom and independence, but also the rising economic power of the United States and its consequent prosperity. Lovingly and sometimes lavishly fitted out, painted with garish and glistening colours, the cars of the period were integral to the street scene. Chamberlain's works are not ready-mades which he has found in the scrap yards and then presented as art. On the contrary, he takes the material, which is indeed used, but then re-shapes it himself in his studio, sometimes using his own scrap press, and allows formidable works to emerge from this process. As in the present piece, we see the evidence of handling, and the observer is conscious of the fact that this is a hard material which is difficult to manipulate, but which Chamberlain has selected and, in an almost playful manner, has created new forms with it. Only with this intractable metal does the artist appear to be able to dispense with any form of figuration or other expression, as he brings the material to life by manipulating and distorting it: "Initially, of course, they were made as standard parts. Nothing at all was left to chance. Now, by virtue of the artist's wilful intervention, the material is given its first opportunity to relax. In this sense, Chamberlain's sculptures echo the anarchy of the Dadaists", (exh. cat.: Pötter, Jochen (ed.). John Chamberlain, Staatliche Kunsthalle Baden-Baden, Stuttgart 1991, p. 12). This effect is grounded in a thorough commitment to abstraction and the fully three-dimensional quality of his sculptures, so that his works immediately establish a relationship with their setting and the observer. JOHN CHAMBERLAIN 1927 - 2011 Whimblown. 2006. Bemalter Chromstahl. 23,5 x 40,6 x 33 cm. Provenienz: - Pace Wildenstein, New York. - Privatsammlung Deutschland. John Chamberlain zählt zu den bedeutendsten Bildhauern des Abstract Expressionism und zu den Wegbereitern der Pop Art. 1927 wird John Chamberlain in Rochester, Indiana geboren und wächst seit seinem 4 Lebensjahr bei seiner Grossmutter in Chicago auf. In den Jahren 1943-46 dient er in der US-Marine und macht in den späten 1940er Jahren eine Ausbildung zum Frisör. Erst 1951 beginnt er sein Kunststudium am Kunstinstitut von Chicago, von 1955-1956 besucht er das renommierte Black Mountain College. Noch in seinem Abschlussjahr zieht er nach New York, wo er 1958 seine erste Ausstellung in der Davida Gallery hat. Im Atelier von Larry Rivers entwirft Chamberlain seine erste Skulptur aus Autoteilen. 1963 zieht er mit seiner Familie nach Embudo, New Mexico. Er beginnt mit einer Werkserie aus Autolack und Metallic-Flocken. Nach kurzen Aufenthalten in Kalifornien und New York, folgt er 1966 seiner Familie nach Santa Fe, New Mexico, wo er auch unterrichtet. Es entstehen die ersten Skulpturen aus Schaumstoff. Das Jahr 1968 steht ganz im Zeichen von diversen Filmprojekten John Chamberlains. Nach längeren Aufenthalten in Kalifornien kehrt er 1971 nach New York zurück, wo im Guggenheim Museum seine erste Retrospektive stattfindet. 1974 wendet er sich wieder der Arbeit mit Automobilteilen zu. In den späten 1970er und 1980er Jahren arbeitet er an einigen grösseren Projekten und öffentlichen Aufträgen. Automobilteile sind der Werkstoff, den John Chamberlain für sich schon früh entdeckt hat und immer wieder verwendet. In seinen frühen Skulpturen verwendet er tatsächlich Autoteile vom Schrottplatz, die er dann in seinem Atelier bearbeitet; mit der Zeit aber wird er direkt von den Autoherstellern beliefert. Er bekommt die lackierten Einzelteile und verformt sie dann in seinem Studio. Die Faszination lässt sich wohl am besten aus seiner Generation und Nationalität heraus erklären. Besonders in den USA der 1950er und 60er Jahre ist das Auto ein Symbol für Freiheit, Unabhängigkeit, aber auch für die aufstrebende Wirtschaftsmacht der Vereinigten Staaten und dem damit aufkommenden Wohlstand. Liebevoll und z.T. aufwendig ausgestattet, grellfarbig und glänzend lackiert prägen die Automobile zu dieser Zeit das Strassenbild. Bei Chamberlains Werken handelt es sich nicht um 'Ready-Mades', die er auf Schrottplätzen findet und dann als Kunst postuliert. Ganz im Gegenteil nutzt er zwar das gebrauchte Material, bearbeitet es aber dann selbst in seinem Atelier, z.T. mit seiner eigenen Schrottpresse und lässt eindrucksvolle Werke entstehen. Wie auch bei unserer vorliegenden Arbeit sehen wir die Fertigungsspuren und es wird dem Betrachter bewusst, dass es sich um einen harten und schwer zu kontrollierenden Werkstoff handelt, den Chamberlain sich ausgesucht hat und doch erscheint es ihm fast spielerisch zu gelingen, neue Formen zu schaffen. Nur dieses widerspenstige Metall scheint es dem Künstler zu ermöglichen, auf jegliche Figuration oder Ausdruck verzichten zu können, da er durch die Bearbeitung und Verformung das Material zum Leben erweckt: 'Ursprünglich mussten sie ja der Norm gehorchen; sie waren als uniformierte Teile vom Band gelaufen. Dem Zufall war jeglicher Boden entzogen. Indem er jetzt durch den mutwilligen Zugriff des Künstlers seine Chance erhält, kann das Material erst aufatmen. In diesem Sinne gehen die Skulpturen Chamberlains auf den Anarchismus der Dadaisten zurück.' (Ausst.Kat.: Pötter, Jochen (Hrsg.). John Chamberlain, Staatliche Kunsthalle Baden-Baden, Stuttgart 1991, S. 12) Unterstützt wird diese Wirkung durch das absolute Bekenntnis zur Abstraktion und die Allansichtigkeit seiner Skulpturen, wodurch seine Werke umgehend mit der Umgebung und dem Betrachter in Beziehung treten.

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Chamberlain, John: Famous Last Words

Lot 8060: Chamberlain, John: Famous Last Words

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Description: Famous Last Words 6 Farblithographien auf BFK Rives-Velin. 1990. Ca. 45 x 40 cm (ca. 75 x 55 cm). Jeweils signiert. Auflage 50 num. Ex. Chamberlain, einer der Wegbereiter der Pop Art, schuf meterhohe Plastiken aus ausrangierten Cadillacs, Motorteilen, Stahlresten und Gummi und verwandelte widerspenstige Materialien in vibrierende, farbenfrohe Skulpturen. Die zehn Lithographien umfassende Folge "Famous last words" illustriert Gedichte von Robert Creeley. Den Künstler Chamberlain und den Dichter Creeley verband eine lange Freundschaft. Herausgegeben von Novak Graphics, Toronto, mit deren Blindstempel unten rechts sowie Stempel und Numerierung verso, zudem mit dem datierten Copyright-Stempel Chamberlains. Prachtvolle, farbintensive Drucke, meist mit dem vollen Rand.

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JOHN CHAMBERLAIN (American, 1927-2011) Untitled, 1979 L

Lot 66063: JOHN CHAMBERLAIN (American, 1927-2011) Untitled, 1979 L

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Description: JOHN CHAMBERLAIN (American, 1927-2011) Untitled, 1979 Lithograph in colors 20-5/8 x 15 inches (52.4 x 38.1 cm) (sheet) Ed. HC 2/2 Signed and dated in pencil with multiple blind stamps in bottom margin Printed by Topaz Editions, Inc., Tampa, Florida

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JOHN CHAMBERLAIN (American, 1927-2011) Untitled (three

Lot 70046: JOHN CHAMBERLAIN (American, 1927-2011) Untitled (three

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Description: JOHN CHAMBERLAIN (American, 1927-2011) Untitled (three works), 1979 Etching, lithograph and screenprint Each approx. 13-1/4 x 9-1/2 inches (33.6 x 24.1 cm) Ed. AP 5/5; AP 3/4; AP Each signed and annotated Printed by Topaz Editions Inc., Tampa, Florida

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JOHN CHAMBERLAIN (American, 1927-2011) Welding (five wo

Lot 72046: JOHN CHAMBERLAIN (American, 1927-2011) Welding (five wo

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Description: JOHN CHAMBERLAIN (American, 1927-2011) Welding (five works), 1979 Color lithographs 31-1/2 x 24 inches (80.0 x 61.0 cm) Ed. AP & PP (various) Each signed and dated lower right with edition lower left Printed by Topaz Editions, Inc., Tampa LITERATURE: SVC/Fine Arts Gallery, University of South Florida, Five in Florida, Tampa, January 7 - February 8, 1980, illustrated in colors (other examples)

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JOHN CHAMBERLAIN (American, b. 1927) Flashback (8 works

Lot 72101: JOHN CHAMBERLAIN (American, b. 1927) Flashback (8 works

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Description: JOHN CHAMBERLAIN (American, b. 1927) Flashback (8 works), 1979 Color silkscreen's on Arches paper 28-1/8 x 20 inches (71.4 x 50.8 cm) Ed. bon a tirer (aside from the edition of 175) Each signed and inscribed

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JOHN CHAMBERLAIN (American, b. 1927) Welding (5 works),

Lot 72103: JOHN CHAMBERLAIN (American, b. 1927) Welding (5 works),

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Description: JOHN CHAMBERLAIN (American, b. 1927) Welding (5 works), 1979 Color lithograph 31-1/2 x 24 inches (80.0 x 61.0 cm) each Ed. 4/27 Each signed and dated lower right and numbered lower left Printed by Topaz Editions, Inc., Tampa LITERATURE: SVC/Fine Arts Gallery, University of South Florida, Five in Florida, Tampa, January 7 - February 8, 1980, illustrated in colors (other examples)

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Lot 1:

Description: John Chamberlain (AMERICAN, 1927-2011) Untitled, Series 315 signed, dated and indistinctly titled '*** from the ****** series # 315 Chamberlain 76' (on the reverse)watercolor on paper 2¼ x 1½ in. (5.7 x 3.8 cm.) Executed in 1976.

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JOHN CHAMBERLAIN

Lot 2: JOHN CHAMBERLAIN

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Description: JOHN CHAMBERLAIN B.1927 UNTITLED signed on the backing board welded and painted steel with fabric collage on particle board 12 x 16 1/2 x 6 in. 30.5 x 41.9 x 15.2 cm. Executed in 1961.

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JOHN CHAMBERLAIN

Lot 3: JOHN CHAMBERLAIN

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Description: PROPERTY OF A MANHATTAN COLLECTORUNTITLED (COUCH)measurements note28 3/4 x 85 x 78 1/4 in. (73 x 215.9 x 198.8 cm)ca. 1970cloth, wood and metal on castorsproduced by Daedalus ConceptsPROVENANCEA/D Gallery, New YorkEXHIBITEDJohn Chamberlain: Couches and Related Sculpture: 1967-1971, A/D Gallery, New YorkDesign = Art: Functional Objects from Donald Judd to Rachel Whitebread, Cooper-Hewitt, National Design Museum, Smithsonian Institution, New York, September 10, 2004-February 27, 2005 Museum of Design, Atlanta, April 7-July 9, 2005Aspen Art Museum, August 5-October 2, 2005LITERATUREJulie Sylvester, John Chamberlain: A Catologue Raisonnée of Sculpture 1954 -- 1985, 1986, New York, p. 221

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Lot 5:

Description: John Chamberlain (AMERICAN, 1927-2011) Untitled signed with initial and dated 'C 78' (lower right) collage--monotype, acrylic and metallic paint on board and acrylic on board laid down on foamcore10 x 16¼ in. (25.4 x 41.3 cm.) Executed in 1978.

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 - John Chamberlain , CA-D'ORO Steel

Lot 7: - John Chamberlain , CA-D'ORO Steel

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Description: painted steel

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JOHN CHAMBERLAIN

Lot 9: JOHN CHAMBERLAIN

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Description: JOHN CHAMBERLAIN B.1927 NUTCRACKER painted and chromium-plated steel 45 1/2 x 43 1/2 x 32 in. 115.5 x 110.5 x 81.2 cm. Executed in 1958.

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John Chamberlain (B. 1927)

Lot 11: John Chamberlain (B. 1927)

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Description: Oteenpainted steel24 1/2 x 36 x 26 1/2 in. (62.2 x 91.5 x 67.4 cm.)Executed in 1961.

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Lot 12: John Chamberlain (b. 1927)

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Description: Untitled (#68) signed, numbered and dated '#68 CHAMBERLAIN '66' on the underside urethane foam and cotton cord 8 x 12 x 12in. (20.2 x 30.5 x 30.5cm.) PROVENANCE Acquired directly from the artist.

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Lot 12: JOHN CHAMBERLAIN

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Description: UNTITLED signed and dated 60 on the reverse painted metal mounted on wood overall: 25 by 16 1/2 by 10 in. 63.5 by 41.9 by 25.3 cm. Provenance: Dwan Gallery, Los Angeles.

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Lot 12: CHAMBERLAIN, JOHN (1927)

Description: Untitled, 1960 Sculpture 25x17x10 inches (63.5x41.9x25.3 cm) signed & dated.

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Lot 13: CHAMBERLAIN, JOHN (1927)

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Description: Untitled Oil/paper 35x43 cm Signed, Dated -58 lower left.

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JOHN CHAMBERLAIN B. 1927

Lot 14: JOHN CHAMBERLAIN B. 1927

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Description: painted and chromium plated steel Executed in 1975, this sculpture was originally titled Walking Blue.

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JOHN CHAMBERLAIN

Lot 14: JOHN CHAMBERLAIN

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Description: JOHN CHAMBERLAIN B.1927 UNTITLED signed, dated 61 and inscribed To Andy painted tin, paper and fabric collaged on particle board 12 1/2 x 12 1/2 x 7 1/2 in. 31.8 x 31.8 x 19.1 cm.

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No Image Available

Lot 15: CHAMBERLAIN, John (1927)

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Description: Jo-So, 1960 [Sylvester 51] Sculpture & enamel/sheet metal/wood base 269,7 inches (685.0cm) upper left Illustrated.

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Mr. Moto, 1963

Lot 15: Mr. Moto, 1963

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Description: Mr. Moto, 1963Painted and chromium-plated steel. 73.7 x 76.2 x 68.6 cm. (29 x 30 x 27 in).  

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Lot 15: JOHN CHAMBERLAIN

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Description: Mr. Moto

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JOHN CHAMBERLAIN

Lot 16: JOHN CHAMBERLAIN

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Description: B. 1927LARO28 by 35 by 30 in. 71 by 89 by 76 cm.painted and chromium-plated steelExecuted in 1962.PROVENANCELeo Castelli Gallery, New YorkAlfred Ordover, New York (acquired from the above in 1962)Private Collection, Birmingham, MichiganThence by descent to the present ownerLITERATUREJulie Sylvester, John Chamberlain: A Catalogue Raisonné of the Sculptures 1954 - 1985, New York, 1986, cat. no. 119, p. 69, illustrated

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No Image Available

Lot 16: CHAMBERLAIN, JOHN (1927)

Description: Tomato poodle, 1988 Sculpture 104x50x47 inches (264.2x127x119.4 c).

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JOHN CHAMBERLAIN

Lot 18: JOHN CHAMBERLAIN

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Description: PROPERTY FROM THE VANTHOURNOUT COLLECTIONB. 1927CAPTAIN COOKE85 x 50 x 30 in. 215.9 x 128.3 x 76.2 cm.painted and chrome plated steelExecuted in 1988.PROVENANCEAnthony Ralph Gallery, New YorkPrivate Collection, Switzerland (acquired from the above in 1989)Sotheby's, New York, November 16, 1995, Lot 396BGalerie Jablonka, Cologne Acquired by the present owner from the above in 1996NOTEAn energetic and seductive force emanates from John Chamberlain's Captain Cooke (1988). The painted steel forms project from the wall and the ostensibly sharp and severe material takes on a life-like quality that undulates and breathes. Chamberlain's work is strongly influenced by the Abstract Expressionist painters of the 1950s, especially Willem de Kooning and Franz Kline who painted with a speed and muscularity that can also be seen in Chamberlain's sculptures. Sculpture, previously considered to be a more ponderous medium, becomes gestural and robust in the hands of this artist. As Chamberlain states, "There is material to be seen around you every day. But one day something -- some one thing -- pops out at you and you pick it up, and you take it over, and you put it somewhere else and it fits, it's just the right thing at the right moment." (Exh. Cat., Baden-Baden, Kunsthalle, 1991, p.32). Chamberlain's chosen material -- found crumpled steel, plain and painted -- creates a dichotomy essential to Chamberlain's work that is both playful and destructive in its distortion. Captain Cooke comes later in Chamberlain's oeuvre and in contrast to his earlier sculpture, the artist has achieved a greater fluidity and softer volumetric geometry. The pieces of metal twist and fall as if they are fabric concealing a human form with a sexuality and eroticism, bearing a resemblance to skin, as the metal strains and pulls tightly. A hard material that is not often considered artistic ironically seduces the viewer.

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JOHN CHAMBERLAIN

Lot 18: JOHN CHAMBERLAIN

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Description: PROPERTY FROM THE VANTHOURNOUT COLLECTIONB. 1927CAPTAIN COOKE85 x 50 x 30 in. 215.9 x 128.3 x 76.2 cm.painted and chrome plated steelExecuted in 1988.PROVENANCEAnthony Ralph Gallery, New YorkPrivate Collection, Switzerland (acquired from the above in 1989)Sotheby's, New York, November 16, 1995, Lot 396BGalerie Jablonka, Cologne Acquired by the present owner from the above in 1996NOTEAn energetic and seductive force emanates from John Chamberlain's Captain Cooke (1988). The painted steel forms project from the wall and the ostensibly sharp and severe material takes on a life-like quality that undulates and breathes. Chamberlain's work is strongly influenced by the Abstract Expressionist painters of the 1950s, especially Willem de Kooning and Franz Kline who painted with a speed and muscularity that can also be seen in Chamberlain's sculptures. Sculpture, previously considered to be a more ponderous medium, becomes gestural and robust in the hands of this artist. As Chamberlain states, "There is material to be seen around you every day. But one day something -- some one thing -- pops out at you and you pick it up, and you take it over, and you put it somewhere else and it fits, it's just the right thing at the right moment." (Exh. Cat., Baden-Baden, Kunsthalle, 1991, p.32). Chamberlain's chosen material -- found crumpled steel, plain and painted -- creates a dichotomy essential to Chamberlain's work that is both playful and destructive in its distortion. Captain Cooke comes later in Chamberlain's oeuvre and in contrast to his earlier sculpture, the artist has achieved a greater fluidity and softer volumetric geometry. The pieces of metal twist and fall as if they are fabric concealing a human form with a sexuality and eroticism, bearing a resemblance to skin, as the metal strains and pulls tightly. A hard material that is not often considered artistic ironically seduces the viewer.

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Lot 19: CHAMBERLAIN, JOHN (1927)

Description: Untitled, 1963 Sculpture 72x48x42 inches (182.9x121.9x106.5) Julie Sylvester, no.179, 1986.

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19JOHN  CHAMBERLAIN

Lot 19: 19JOHN  CHAMBERLAIN

Description: B.  1927  –  2011 AAP painted  steel 25  by  33  by  23  in.      63.5  by  83.8  by  58.4  cm. Executed  in  1960.

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John Chamberlain (b. 1927)

Lot 20: John Chamberlain (b. 1927)

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Description: Azimuth Lamellapainted and chromium plated steel110 1/2 x 53 1/2 x 44in. (280 x 135.9 x 112cm.)Executed in 1988

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JOHN CHAMBERLAIN

Lot 20: JOHN CHAMBERLAIN

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Description: B.1927 BLUE FLUSHING painted and chromium plated steel 59 x 63 x 27 in. 149.9 x 160 x 68.6 cm. Executed in 1975, this sculpture was originally titled Walking Blue.

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