Sculptor, Photographer, Painter, b. 1927 - d. 2011
(b Rochester, Indiana, 1927) American sculptor. Chamberlain is known for his sculptures of crushed materials and pieces of metal and steel found in junkyards; typically employing automobile lacquer, foam, rubber, paper, Plexiglas and bright hues of industrial paint. His pieces are often constructed in a way that suggests halted movement. From 1943 to 1946 Chamberlain served in the Navy before attending the Art Institute of Chicago in 1951. Influenced by David Smith, he began working in metals. In 1955 he attended and taught at Black Mountain College in North Carolina until 1956. His work evolved from constructing flat, metal sculptures in the early 1950s, to using metal automobile scraps and crushed parts almost exclusively from 1959 on. Successful in the 1960s, Chamberlain exhibited his sculptures widely, including: The Art of Assemblage exhibition at MOMA in New York; the Sa Paulo Bienal; and the Venice Biennale. In addition to sculpture, Chamberlain has also experimented with painting, creating geometric works from sprayed automobile paint, and panoramic photography. He has received two John Simon Guggenheim Memorial Foundation fellowships, as well as the International Sculpture Center’s Skowhegan Medal for Sculpture and Lifetime Achievement Award in Contemporary Sculpture.
John Chamberlain Flashback I 1981 screenprint in colors on Arches image: 19 h x 14.625 w in (48 x 37 cm) sheet: 27.875 h x 20 w in (71 x 51 cm) Signed and numbered to lower edge 'II/LXXV Chamberlain'. This work is proof 2 of 75 apart from the edition of 175 co-printed by Topaz Editions Inc., Tampa and Master Editions, New York and published by London Arts Inc., Detroit. This work will ship from Lambertville, New Jersey.
John Chamberlain (1927-2011) Flashback I, from the Flashback Portfolio Screenprint in colours, 1981, signed in pencil, numbered from the edition of 75 in roman numerals, published by London Arts Inc., Detroit, with their blindstamps and the blindstamp of Topaz Editions Inc., Tampa, on BFK Rives woves paper, with full margins, sheet 713 x 503mm (28 x 19 3/4in) (unframed)
John Chamberlain A Gift #9 1998 offset lithograph in colors image: 13.75 h x 19.25 w in (35 x 49 cm) sheet: 21.75 h x 29.5 w in (55 x 75 cm) Signed, dated, and numbered to lower edge '42/63 Chamberlain 98'. This work is number 42 from the edition of 63 printed and published by Pace Prints, New York. This work will ship from Lambertville, New Jersey.
John Chamberlain Flashback I 1981 screenprint in colors on BFK Rives image: 19 h x 14.5 w in (48 x 37 cm) sheet: 28 h x 20 w in (71 x 51 cm) Signed and numbered to lower edge 'III/LXXV Chamberlain'. This work is proof 3 of 75 apart from the edition of 175 printed by Topaz Editions Inc., Tampa and published by Master Editions, New York. This work will ship from Lambertville, New Jersey.
John Chamberlain Flashback I 1981 screenprint in colors on Arches image: 19 h x 14.375 w in (48 x 37 cm) sheet: 28 h x 20 w in (71 x 51 cm) Signed and numbered to lower edge 'V/LXXV Chamberlain' with printer's blindstamps. This work is proof 5 of 75 apart from the edition of 175 co-printed by Topaz Editions Inc., Tampa and Master Editions, New York and published by London Arts Inc., Detroit. This work will ship from Lambertville, New Jersey.
John Angus Chamberlain 1927-2011 Flashback I Lithograph on Paper Flashback I from the Flashback Suite No. 54 from a Limited edition of 175 Hand signed bottom right Approximate Image size: 27.75" H x 19.75" W Approximate Frame size: 31.5" H x 23.25" W Frame in as is condition, with Tru Vue Museum Glass.
Property from the Collection of Annabelle and Bernard Fishman John Chamberlain 1927 - 2011 Le Molé stamp-signed, titled and numbered 12/56 (on the foil label) polyester resin, aluminum and silicon oxide multiple height: 7 in. (18 cm.) Executed in 1971, this work is number 12 from the edition of 56 plus three artist's examples, published by Gemini G.E.L., and with their copyright stamp.
Signed and dated 1979 on bottom right hand corner. Print 3/6. Titled "Galion". Dimensions: (Frame) H 36.5" x W 29" (Print) 32.5" x W 26" Condition: Minor scuffs on frame. Print slightly displaced in frame, needs adjustment. Wear consistent with age and display.
John Chamberlain Flashback V 1981 lithograph and screenprint in colors on Arches image: 19.25 h x 15.125 w in (49 x 38 cm) sheet: 28 h x 20 w in (71 x 51 cm) Signed and numbered to lower edge '165/175 Chamberlain' with printers' blindstamps. This work is number 165 from the edition of 175 co-printed by Topaz Editions Inc., Tampa and Master Editions, New York and published by London Arts Inc., Detroit. This work will ship from Lambertville, New Jersey.
CHAMBERLAIN , JOHN 1927 Rochester, IN/USA–2011 New York Title: Untitled. Date: 1973. Technique: Acrylic and polyester resin on Aluminium. Measurement: 65 x 180 x 140 cm. Due to the material’s high malleability, some of Chamberlain’s sculptures have lost their original shape, causing their dimensions to change. Provenance: - Private collection (presumably the Richard Librizzi collection) - Allan Stone Gallery, New York - Private collection (inherited from the previous owner) - Private collection, New York (acquired from the previous owner in 2022) - Heritage Auctions, Dallas, Auction 8141, 14 November 2023, Lot 77034 - Private collection, North Germany Literature: - Sylvester, Julie: John Chamberlain: A Catalogue Raisonné of the Sculpture 1954–1985, New York 1986, cat. rais. no. 456, p. 129 (with different dimensions here) - Characteristic crumpled aluminium work that embodies Chamberlain’s unique visual language - Sculptures by the artist in this format are very rare on the German auction market - Chamberlain’s works are among the key works of the international artistic avant-garde - Work with high recognition value Formative Influences John Chamberlain was born on April 16, 1927, in Rochester, Indiana, and grew up with his grandmother in Chicago. Following his service in the U.S. Navy between 1943 and 1946, he initially worked as a hairdresser before enrolling at the Black Mountain College in North Carolina in 1955. There, he encountered influential intellectuals, including poets such as Charles Olson, Robert Duncan, and Robert Creeley, all of whom profoundly shaped his aesthetic thinking. Inspired by Willem de Kooning and Franz Kline, Chamberlain rapidly developed a unique visual language aligned with Abstract Expressionism. Since the 1950s, he had worked with found, painted sheet metal—often salvaged from automobiles—which he crumpled, folded, and welded into amorphous sculptural forms. In 1971, he was honored with his first major retrospective at the Solomon R. Guggenheim Museum in New York, followed in 1986 by another at the Museum of Contemporary Art, Los Angeles. Chamberlain passed away in 2011, leaving behind an extensive body of work encompassing sculpture, painting, photography, and film. The Play of Contrasts The present work from 1973 belongs to a phase in which Chamberlain temporarily moved away entirely from the use of automobile parts and turned instead to other industrial materials. Yet his formal signature remains unmistakable. The sculpture is composed of aluminum coated with acrylic and polyester resin lacquer, compressed into an oval form through the use of a scrap press. The surface is dominated by a metallic silver, punctuated by vivid bursts of color. Bright orange emerges prominently in several areas, while green, yellow, and blue reveal themselves only upon closer inspection. Rather than being compressed into a tightly compacted sphere, the material opens at numerous points, exposing interior spaces that grant insight into the work’s inner structure and reveal the complexity of the material itself. What had once been standardized sheets of metal are transformed through Chamberlain’s intervention into vibrant, singular entities. Scratches, irregularities, and dents do not destroy the material; rather, they reveal its manifold characteristics. The idiosyncratic nature and complexity of aluminum continue to assert themselves in the work to this day: since its creation in 1973, it has remained in a state of transformation, causing its dimensions and form to shift subtly over time. By elevating industrial materials to the status of art, Chamberlain not only blurred the boundaries between art and everyday life but also helped pave the way for Pop Art. At the same time, he disrupts established order by depriving the material of its intended function, introducing an anarchic gesture reminiscent of the spirit of the Dadaists. Volume, Structure, and Physical Paradox Chamberlain’s central artistic interest lay in exploring the possibilities of volume and structure. The material qualities of substances have fascinated artists since antiquity, and Chamberlain stands within a lineage of major figures such as Leonardo da Vinci, who likewise experimented intensively with perspective and the effects of light and shadow. Part of the fascination of the present work lies in its physical paradox: through its size and density, it appears immensely heavy and monumental, yet surprises the viewer with its comparatively light weight. Within these tensions resides the sculpture’s appeal: it is simultaneously chaotic and deliberate, dense and open, destructive yet generative. To summarize in the words of Chamberlain’s friend and close contemporary, Donald Judd: “Chamberlain’s sculpture is at once turbulent, passionate, ‘cool,’ and hard.” (Donald Judd, quoted in Art International, no. 10, January 1964, pp. 38–39.) Sophie Ballermann Estimated shipping costs for this lot: The lot is unsuitable for parcel shipping. Transport only by shipping company after consultation following the auction. additional shipping insurance Shipping insurance up to total invoice amount of 25,000 Euros: max. 41.65 Euro over a total invoice amount of 25,000 Euros: 1.8 o/oo USA by individual arrangement after the auction. #John Chamberlain #Abstract Expressionism #Nouveau Réalisme #USA #Post-War Art #1970s #Post War. In accordance with §26 UrhG (German Copyright Act), VAN HAM is obliged to pay a statutory resale royalty on the sale proceeds of all original works of fine art and photography whose authors have not been deceased for 70 years prior to the end of the calendar year of the sale. The buyer shall contribute 1.5% of the hammer price to this fee.
Robert Mnuchin: Collector at Heart John Chamberlain 1927 - 2011 ZAPOTILLA BENDAY painted and chromium-plated steel 18 ½ by 20 by 23 in. 47 by 50.8 by 58.4 cm. Executed in 2005.
Robert Mnuchin: Collector at Heart John Chamberlain 1927 - 2011 CONEYISLANDDORIC painted and chrome-plated steel 16 ½ by 17 ½ by 15 in. 41.9 by 44.5 by 38.1 cm. Executed in 2008.
Robert Mnuchin: Collector at Heart John Chamberlain (1927 - 2011) Untitled painted metal, fabric, paper collage, metal staples, plastic and acrylic on paper mounted on board 12 by 17 ¼ by 6 ½ in. 30.5 by 43.8 by 16.5 cm. Executed in 1961.
CHAMBERLAIN, JOHN (Rochester 1927 - 2011 New York) : "Bombay DJiin"; Stahlblech-Schrott, verchromt und polychrom lackiert; H: 28 cm, B: 23,5 cm, T: 19 cm
John Chamberlain, American (1927-2011). 'A Gift I' 1997. Six-color screenprint on Coventry Rag. This work is part of the 'American Academy of Arts and Letters Centennial Portfolio'. Print is unframed and paper measures 24" W x 18" H; Image 19.75" W x 14" H. This is signed lower right and numbered lower left 25/100. Condition: good condition, please see all photos. Contact AAG for more detailed information if needed. AAG is not responsible for any errors or omissions to any lots. All sales are final and sold as is. This lot cannot be shipped in house. Please contact our third party shippers for quotes.
John Chamberlain Rand Piece 1971 typewritten paper in plastic report cover 11 h x 8.5 w in (28 x 22 cm) Signed to title page 'Chamberlain'. Provenance: Natzler Family Trust This work will ship from Los Angeles, California.
John Chamberlain (American, 1927-2011) Liu Ting, 1966 urethane foam tied with cord 17 x 22 x 24 1/2 inches. Property from the Collection of the Late Seth Siegelaub This lot is located in Philadelphia.
John Chamberlain (American, 1927-2011) Eiffel Tower chromogenic print signed in ink in the margin 13 1/2 x 5 1/2 inches (sight) 24 1/2 x 16 1/2 inches (frame)
John Chamberlain 1927 - 2011 Sockets painted chromium-plated steel 4⅝ by 4½ by 5 in. 11.7 by 11.4 by 12.7 cm. Executed in 1977, this work is number 10 from an edition of 30 unique variants.
Property from a Private American Collection John Chamberlain 1927 - 2011 Spledidium incised with the artist's signature Chamberlain (on the underside) painted and chromium-plated steel 19.7 by 31 by 22.9 cm. 7 ¾ by 12 ¼ by 9 in. Executed in 1996.
JOHN CHAMBERLAIN (American, 1927–2011) After Dogberry, 1993 Serigraph with relief elements and collage on paper Paper size: 82½ in. H x 29½ in. W (209.6 x 74.9 cm) Framed: 86 in. H x 32½ in. W (218.4 x 82.6 cm) This large-scale work exemplifies John Chamberlain’s dynamic approach to printmaking, translating the physical intensity of his sculptural practice into a richly layered two-dimensional format. After Dogberry combines bold, gestural passages of color with relief textures and collage elements, creating a surface that oscillates between painting, print, and low-relief construction. The dense accumulation of forms and saturated hues conveys a sense of movement and improvisation characteristic of Chamberlain’s mature output. Issued as a serigraph with relief print and collage, the work demonstrates the artist’s interest in expanding the technical possibilities of print media beyond flat imagery. The vertical composition accentuates the cascading rhythm of color and material, reinforcing the sculptural presence of the piece even when mounted on the wall. The example offered here is an artist’s proof, numbered 4/9, and dates to 1993, a period when Chamberlain was actively collaborating with master printers to explore complex, materially driven print processes. Maker Bio: John Chamberlain (American, 1927–2011) was an influential American artist best known for his groundbreaking abstract sculptures made from crushed and welded automobile parts. Expanding his practice across drawing, painting, photography, and printmaking, Chamberlain consistently challenged distinctions between media. His work is represented in major museum collections worldwide, including the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum; and the Art Institute of Chicago. Have a similar item to sell? Contact us at info@marketauctionsinc.com Please review all photos closely. The nonappearance of a condition report does not mean that the lot is in perfect condition, does not show wear due to age and use, or is free from damage. Market Auctions Inc. strongly suggests that you request a condition report before placing a bid. You may request one from us via this auction platform. Please note that any condition reports are given as strictly as a courtesy to interested parties and should not be considered a statement of fact. Market Auctions Inc. bears no responsibility for any error or omission. All sales are final and sold as is. Measurements are approximated. Please note shipping is not included. All collectibles, silver, antiques, and paintings please contact our third party shipper listed below: Raymie's Trucking (954) 980-3454 - raymiestrucking@yahoo.com For furniture and very large items, please contact an appropriate freight / transport company for shipment. SALES TAX NOTICE PLEASE TAKE NOTICE that Market Auction, Inc., only collects and remits sales tax on items purchased by Florida residents. ALL OUT OF STATE purchasers are required to pay sales tax to their respective States. Purchasers holding valid resale certificates must provide proof of same prior to purchase. Market Auctions, Inc. takes no responsibility for purchaser failure to remit sales tax to the proper non-Florida taxing authority and for any fines or penalties that may result.
John Chamberlain #2 (from the Flashback series) 1979 screenprint in colors on Arches image: 18.875 h x 14.75 w in (48 x 37 cm) sheet: 28.125 h x 20 w in (71 x 51 cm) Signed and numbered to lower margin '87/175 Chamberlain' with blindstamps. This work is number 87 from the edition of 175 printed by Topaz Editions Inc., Tampa and published by London Arts Inc., Detroit. This work will ship from Chicago, Illinois.
Property from a Private West Coast Collection John Chamberlain 1927 - 2011 Do Undo Otters II painted and chromium-plated steel 12 ½ by 9 ½ by 9 in. 31.8 by 24.1 by 22.9 cm Executed in 1994.
Property from a Prestigious Private Collection John Chamberlain 1927 - 2011 LEXICONOFFURN painted and chromium-plated steel 13 by 16 ½ by 13 ¼ in. 33 by 41.9 by 33.7 cm. Executed in 2006.
Artist/Designer; Manufacturer: John Chamberlain (American, 1927-2011) Marking(s); notes: signed, blind stamp; ed. 30/175 aside from the edition of 10 AP's; 1989 Materials: lithograph on Arches paper Dimensions (H, W, D): 28"h, 20"w; 33.5"h, 25.5"w frame (each) Additional Information: The lithographs, from the suite of eight for the "Flashback" series, were printed by Topaz Editions Inc., Tampa, Florida, and published by London Arts Inc., Detroit, Michigan.
John Chamberlain Rolling Stones 1965 auto lacquer on Formica 16.75 h x 16.75 w in (43 x 43 cm) Signed, titled and dated to verso 'Rolling Stones Chamberlain '65'. Provenance: Acquired directly from the artist, Collection of Jack Brogan This work will ship from Los Angeles, California.
John Chamberlain, American (1927-2011). "Ohne Titel' is a photograph mounted in a wood frame and signed lower right. Label on verso from 'Karsten Greve Galerie Koln, Catalogue Raisonne 3/9'. Measures 30"H x 33.25"W framed; 20"H x 24"W visual. Provenance: Estate of Prominent Miami Art Collector. Condition: good condition, please see all photos. Contact AAG for more detailed information if needed. AAG is not responsible for any errors or omissions to any lots. All sales are final and sold as is. This lot cannot be shipped in house. For an instant guaranteed third party shipping quote through Quality Packing and Shipping visit: https://www.qualitypackship.com/abington-copy-1 or contact our other third party shippers.
John Angus Chamberlain 1927-2011 Flashback I Lithograph on Paper Flashback I from the Flashback Suite No. 54 from a Limited edition of 175 Hand signed bottom right Approximate Image size: 27.75" H x 19.75" W Approximate Frame size: 31.5" H x 23.25" W Frame in as is condition, with Tru Vue Museum Glass.
John Chamberlain 1927 - 2011 Le Molé polyester resin, aluminum and silicon oxide multiple, lacking the signed and numbered foil label overall approx.: 7 by 7 ½ by 7 in. (17.8 by 19.1 by 17.8 cm.) Executed in 1971, this example is presumably from the edition of 56 plus 3 artist's examples, published by Gemini G.E.L.
JOHN CHAMBERLAIN (1927-2011). Untitled. welded and painted chromium-plated steel, acrylic and ink on paper, fabric and staple assemblage on particle board, in artist's frame.
John Chamberlain 1927 - 2011 Moonmilk steel assemblage signed, titled and dated '91 (on the underside) 7 by 4 by 4 in. 17.8 by 10.2 by 10.2 cm. Executed in 1991.
JOHN CHAMBERLAIN (Rochester 1927–2011 New York City) Grass Skirt Opus. 2002. Steel sculpture, painted and chrome-plated. 41.5 × 40 × 35 cm. Provenance: - Galerie Karsten Greve, St. Moritz. - Private collection, Switzerland, acquired at the above gallery in 2003. Chamberlain's work is characterised by his desire to break with traditional notions of sculpture and to blur the boundaries between painting and sculpture. With his welding technique, he transposed the pictorial language of Abstract Expressionism into the third dimension. Although he often resorted to prefabricated material and although the moulding process using the scrap press machine could only be controlled to a limited extent, his works were by no means random creations. Rather, he produced carefully composed, intuitively crafted forms that often only reveal their full effect with the choice of their titles. For his sometimes monumental sculptures, Chamberlain used materials such as discarded Cadillacs, engine parts, scraps of steel or rubber. Despite the rugged materials, he succeeded in creating works that evoke associations with living bodies, birds, trees, ships or flowers. The title of the work offered here at auction, ‘Grass Skirt Opus’, refers to Chamberlain's exciting combination of nature and culture. In his response to the mythology of nature within Abstract Expressionism, he went even further than his contemporaries. While Jackson Pollock declared: ‘I am nature’, Chamberlain countered with the astute statement: ‘Culture is nature’ - for him, man-made objects were just as much a part of the natural world as birds' nests or beaver dams. Chamberlain consciously operated in the tension that exists between nature and artistic order. In his late work, the previously compact formal language became more open: the sculptures became lighter, airier and more playful, characterised by the use of coloured steel and chrome fragments. ‘Grass Skirt Opus’ is a particularly impressive example of Chamberlain's virtuosity in transforming industrial metal parts into floating, almost poetic structures. ------------------------------------------------- JOHN CHAMBERLAIN (Rochester 1927–2011 New York City) Grass Skirt Opus. 2002. Stahlplastik, lackiert und verchromt. 41,5 × 40 × 35 cm. Provenienz: - Galerie Karsten Greve, St. Moritz. - Privatsammlung Schweiz, in obiger Galerie 2003 erworben. Chamberlains Werk ist geprägt von dem Bestreben, mit traditionellen Vorstellungen von Skulptur zu brechen und die Grenzen zwischen Malerei und Plastik verschmelzen zu lassen. Mit seiner Schweisstechnik überträgt er die Bildsprache des Abstrakten Expressionismus in die dritte Dimension. Obwohl er häufig auf vorgefertigtes Material zurückgreift und die Formgebung durch die Nutzung von Schrottpressen nur begrenzt kontrollierbar ist, sind seine Arbeiten keineswegs zufällige Gebilde. Vielmehr entstehen sorgfältig komponierte, intuitiv gestaltete Formen, die oft erst durch die Wahl ihrer Titel ihre volle Wirkung entfalten. Für seine teils monumentalen Skulpturen nutzt er Materialien wie ausrangierte Cadillacs, Motorteile, Stahlreste oder Gummi. Trotz der schroffen Werkstoffe gelingt es ihm, Arbeiten zu schaffen, die Assoziationen an lebendige Körper, Vögel, Bäume, Schiffe oder Blumen wecken. Der Titel des hier angebotenen Werks "Grass Skirt Opus" verweist auf Chamberlains spannungsvolle Verbindung von Natur und Kultur. In der Rezeption der Naturmythologie des Abstrakten Expressionismus geht er sogar über seine Zeitgenossen hinaus. Während Jackson Pollock erklärte: "Ich bin die Natur", kontert Chamberlain mit dem scharfsinnigen Statement: "Kultur ist Natur" – für ihn gehören menschengemachte Objekte ebenso zur natürlichen Welt wie Vogelnester oder Biberdämme. Chamberlain bewegt sich dabei bewusst im Spannungsfeld zwischen Natur und künstlerischer Ordnung. In seinem Spätwerk öffnet sich die zuvor kompakte Formensprache: Die Skulpturen werden leichter, luftiger und verspielter, geprägt von farbigen Stahl- und Chromfragmenten. Besonders das Werk "Grass Skirt Opus" zeigt eindrucksvoll, wie virtuos Chamberlain industrielle Metallteile in schwebende, beinahe poetische Gebilde verwandelt.
John Chamberlain, American 1927-2011 Untitled, 1973; lithograph on acetate, from, 'the New York Collection for Stockholm' portfolio, signed in marker pen and numbered 145/300, sheet 22.5 x 22.5 cm (unframed)
John Angus Chamberlain (American, 1927-2011). "Le Mole" - 1971, cast polyester resin covered with aluminum and silicon oxide vapor deposit, edition of 56, published by Gemini G.E.L., Los Angeles, CA, apparently unmarked. Provenance: Private Collection, Lilburn, GA. Literature: Gemini 278. Approximate dimensions: h. 6.5", w. 6.25", d. 7".
John Angus Chamberlain 1927-2011 Flashback I Lithograph on Paper Flashback I from the Flashback Suite No. 54 from a Limited edition of 175 Hand signed bottom right Approximate Image size: 27.75" H x 19.75" W Approximate Frame size: 31.5" H x 23.25" W Frame in as is condition, with Tru Vue Museum Glass.
