JOHN CHAMBERLAIN | Swans-52

Collection of Alan Jacobs, New York (acquired from the artist in 1976)
Collection of Peder Bonnier, New York
Private Collection, Sweden (acquired from the above in 1981)
Sotheby's, London, 10 February 2015, Lot 9
Acquired from the above sale by the present owner

Julie Sylvester, Ed., John Chamberlain: A Catalogue Raisonné of the Sculpture 1954-1985, New York 1986, cat. no. 546, p. 151, illustrated in color

This work is in very good and sound condition overall. The scattered signs of wear, such as scratches, rust, and paint losses, are inherent to the nature of the found materials and the artist's process. The joins and welds all appear to be sound and secure. All welds and joints are intact. As is to be expected in a work of this construction, the work is slightly dusty overall, primarily in the deepest folds and crevices.
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.

"I wasn’t interested in the car parts per se, I was interested in either the color or the shape or the amount. I didn’t want engine parts, I didn’t want wheels, upholstery, glass, oil, tires, rubber, lining, what somebody’d left in the car when they dumped it, dashboards, steering wheels, shafts, rear ends, muffler systems, transmissions, fly wheels, none of that. Just the sheet metal. It already had a coat of paint on it, and some of it was formed. You choose the material at a time when that’s the material you want to use, and then you develop your processes so that when you put things together it gives you a sense of satisfaction. It never occurred to me that sculptures shouldn’t be colored."
John Chamberlain