Anthony Caro

Collection of André Emmerich, New York
Ameringer/Howard Fine Art, New York
Acquired from the above by the present owner in June 2002 

Exh. Cat., New York, The Solomon R. Guggenheim Museum, David Smith, 1969, fig. 96A, p. 161, illustrated 
Richard Whelan and Clement Greenberg, Anthony Caro, Middlesex 1974, pl. 14, p. 49, illustrated 
Dieter Blume, Anthony Caro: Catalogue Raisonné Vol. III: Steel Sculptures 1960-1980, Cologne 1981, cat. no. 836, p. 52, illustrated 
Diane Waldman, Anthony Caro, New York 1982, fig. 7, illustrated
Terry Fenton, Anthony Caro, London 1986, pl. 14, n.p., illustrated

This work is in very good and sound condition overall. Under close inspection, a few scattered and unobtrusive drip accretions and some light scattered surface abrasions are visible, as to be expected from a work installed outside. The colors are bright, fresh and clean. There is some minor residue from a previous cleaning attempt. This work has been repainted.
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.

"By 1964, however, when [David Smith] was a visiting faculty member at Bennington College, Caro had developed an elegant and sophisticated style in which thin linear elements were usually fused or juxtaposed unpredictably with larger sections of flat or bent steel planes. Caro had already shown a preference for composing horizontally, across a ground plane, as opposed to Smith's longstanding tendency to favor vertical anthropomorphic structures; and in a work such as Flats, made at Bennington in 1964, Caro's characteristic style at this time is well represented."

Edward F. Fry in Exh. Cat., New York, The Solomon R. Guggenheim Museum, David Smith, 1969, p. 161