Claes Oldenburg, ‘Model (Ghost) Toaster 2/2’, Christie's

Claes Oldenburg (b. 1929)

Model (Ghost) Toaster 2/2

signed with initials, dated and inscribed 'CO 1972 #2' (on the underside)

painted canvas with kapok filling on a canvas-covered wood base

13 x 20 x 11 in. (33 x 50.8 x 27.9 cm.)

Executed in 1963-69. This is one of two extant versions of Model (Ghost) Toaster. Model (Ghost) Toaster (1/2) was destroyed and the other extant work is titled Soft Toaster, "Ghost" Version 3/3.

Signature: signed with initials, dated and inscribed 'CO 1972 #2' (on the underside)

New York, Museum of Modern Art, Claes Oldenburg, September-November 1969.

Tokyo, Minami Gallery, Claes Oldenburg, June-July 1973.

Orlando, Museum of Art, The Edward R. Broida Collection: A Selection of Works, March-June 1998, no. 144.

Jacksonville Museum of Modern Art, Intuition and Response: Masterworks from the Edward R. Broida Collection, 2003, p. 7 and 75 (illustrated).

F. Wehrlin, Dix Ans D'Art Vivant, 1955-1965, Saint-Paul (Alpes-Maritimes), Fondation Maeght, exh. cat., 1967, n.p., no. 180.

J. Weber. Pop-Art: Happenings und Neue Realisten, München, 1970, p. 43 (illustrated).

Edward R. Broida, New York

Private collection

Anon. sale; Sotheby's, New York, 11 November 2008, lot 18

Acquired at the above sale by the present owner

About Claes Oldenburg

“I am for an art that is political-erotical-mystical, that does something more than sit on its ass in a museum,” wrote Claes Oldenburg in his seminal 1961 manifesto I Am For An Art. From his Happenings beginning in the 1960s, to his enormous public sculptures of ice cream and rubber stamps, to his collaboration with his wife Coosje van Bruggen, Oldenburg has remained at the forefront of the Conceptual and Pop art movements. He has worked in a variety of mediums including performance, drawing, and writing, though he is best known for his large glossy or soft sculptures of ordinary consumer items, such as Lipstick (Ascending) on Caterpillar Tracks (1969-74). Some of Oldenburg’s most radical works remain in the realm of concept, as in his proposal for Thames Ball (1967)—a giant toilet tank ball that would have floated on the Thames River. “I am for an art that grows up not knowing it is art at all,” he wrote. “I am for an artist who vanishes.”

Swedish, b. 1929, Stockholm, Sweden, based in New York, New York