“CHANISKI” — the sculpture by Charles Bukowski, now in Matt Sesow’s studio (2026)

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taz (Berlin), February 9, 2001: “Die Nase voll,” by Falko Hennig — Hennig buys the clay figure Bukowski made from Linda King in Phoenix and pays toward a bronze cast for her
Archived copy for research · saved for the Matt Sesow Career Chronicle, history.sesow.com, October 17, 2026. Copyright remains with taz and the author; reproduced for reference and scholarship; contact
sesow@sesow.com with any request.

 taz zahl ich
Startseite

Archiv-Artikel

Die Nase voll

Die Nase voll
Der Zoll hat einen guten Riecher: Was alles passieren kann, wenn man sich eine kleine
Bronzestatue von Amerika nach Deutschland schicken lässt
9.2.2001 0:00 Uhr

teilen

von FALKO HENNIG
Im Sommer war ich in Phoenix, Arizona, und interviewte die Bildhauerin der BeatPoeten, Linda King. Die wirtschaftliche Grundlage dieser Reise wäre eine Berliner
Ökonomie wert, aber ich verschlimmerte meine durch den hohen Dollarkurs
verstärkte katastrophale finanzielle Lage noch, indem ich 300 Dollar für ein kleines,
von Charles Bukowski geformtes Männeken anzahlte.
Der Deal, den ich mit der Bildhauerin machte, war der: 500 Dollar für das Männeken,
das ein wenig aussah wie die, die der Dichter neben seine Signaturen zu malen
pflegte, und die Kosten für einen Bronzeabguss für die Bildhauerin selber. Ich musste
dann weiter, eine Buchhändlerin in San Pedro interviewen, die eine Studie zu Charles
Bukowski und seinen Einfluss auf die Welt plant – ein Projekt, das in seinen
Ausmaßen an die Entschlüsselung des Genoms erinnert.
Zurück in Deutschland, erfuhr ich von der Bildhauerin, dass der Bronzeabguss über
600 Dollar kosten würde. Ich überwies ihr, um meinen finanziellen Ruin zu
verstärken, noch 250 Dollar, damit sie die Hälfte der Gesamtsumme hätte. Nachdem
ich es schon kaum noch geglaubt hatte, bekam ich Wochen später dann vom
Briefträger einen Zettel ausgehändigt, dass ich mir ein Päckchen beim Hauptzollamt
Berlin in der Kufsteiner Straße 71–79 abholen könnte.
Das Amt war recht leer: Drei Bearbeiter und drei Kunden, von denen zwei auf einer
Bank warteten. Schilder zeigten an, dass der große Glaskasten das Revier des
Abfertigungsleiters war, und wo es zur Anmeldung ging. Eine Plakatserie erklärte die
Aufgaben des Zolls: „Der Zoll hat einen guten Riecher ...“ Darunter das Bild eines
Schäferhundes, „... und vom Drogenschmuggel die Nase voll.“ Es war eine richtige
Serie von Plakaten. Auf dem nächsten richtete sich der Lauf eines Revolvers auf den
Betrachter: „Der Zoll hat diese Waffe sichergestellt ... sie wird sich nie auf Sie richten.“
Auf einem weiteren waren zwei Jacken der Marke Thiemsee, wo das T wie ein E
aussieht: „Der Zoll erkennt die Fälschung sofort ... Sie erst nach 2 Wochen.
Verbraucherschutz: Wir arbeiten daran. Der Zoll.“
Ich ging auch noch an zwei niedlichen winzigen Äffchen vorbei, die wegen ihrer
beim Schmuggel verstorbenen Geschwister anklagend blickten. Ich reichte dem
fülligen Beamten mein Formular, und der Beamte kam wieder mit einem kleinen

Päckchen: „Was ist denn da drin?“ „Ein kleines Männeken aus gebranntem Ton.“ Er
baute mir eine goldene Brücke: „Ein Geschenk?“ Ich war zu blöd, die Tragweite dieser
Auskunft zu begreifen, und sagte: „Das war so ein Tauschgeschäft, ich hab die in
Amerika besucht und ihr einen Abguss bezahlt, 100 Dollar.“
Immerhin ahnte ich doch was und hatte meine wahren Kosten rasch dezimiert.
„Dann kostet das Zoll und Steuern unabhängig vom Verwendungszweck. Wie viel,
sagten Sie, haben Sie für den Abguss bezahlt? 200 Dollar?“
Jetzt wollte er mich reinlegen, aber ich blieb dabei: „Nein, 100 Dollar.“ „Gut, ich
glaube Ihnen. Vielleicht kucken Sie es sich mal an, ob es unbeschädigt ist. Zahlen Sie
bar?“ fragte er noch hinter seinem Computer, und ich bestätigte. „Macht 43,35 Mark.“
Da hatte ich ja Glück gehabt, wäre ich bei der Wahrheit geblieben, hätte ich
womöglich 400 Mark Zoll zahlen müssen. Ich öffnete das Päckchen. Unter
Zeitungspapier kam das unförmige braune Männchen mit erigiertem Penis zum
Vorschein, aber ein Arm war abgebrochen. „Es ist kaputt!“
Der Beamte: „Ich bestätige Ihnen das, dann können Sie das beim Postamt angeben,
das ist ja ein Wertpaket. Aber ich sage Ihnen gleich, bei der Verpackung, keine
Chance. Da müssen Versteifungen und so rein. Am besten fahren Sie zu dem
Postamt, mit dem wir zusammenarbeiten.“ Er beschrieb mir den Weg, ich ließ mir
das Formular geben: „Sie werden dann aufgerufen!“ Ich wartete auf der Bank auf den
Aufruf zum Bezahlen. Ein anderes Plakat forderte auf: „Bedrohte Natur weltweit
schützen!“
In der Mitte des Raumes standen zwei Töpfe mit Grünpflanzen, je ein immergrünes
Nadel- und ein Laubbäumchen, auf dem Fenstersims vier Kakteen. Durch die großen
Scheiben sah man das Gebäude des DeutschlandRadios, darüber stand aus
Denkmalschutzgründen RIAS. „Muss man das hier aufmachen?“, fragte erschreckt
eine Dame neben mir mit Blick auf das geöffnete Päckchen. „Nein, ich habe nur
nachgekuckt, ob es ganz ist.“ Endlich wurde ich aufgerufen. „Bitte
Diskretionsabstand einhalten!“ stand an der Geldannahmestelle, ein schon
abgetretener gelbschwarz gestreifter Balken zeigte, was damit gemeint war. Ich
verließ das Amt, vorbei an dem Schild „Ausfuhr“ und der verwaist darunter
stehenden Paketwaage. An der Ausgangstür stand: „Die Sendungen dürfen vom
Zollbeamten nur nach mündlicher Freigabe durch den Abfertigungsbeamten
entfernt werden.“
Bei diesem Ärgernis, angesichts des abgebrochenen Arms, hatte ich wohl noch die
vernünftigste Wahl getroffen – jeden höheren Wert hätte ich ja dann sowieso nicht
erstattet bekommen und trotzdem mehr Zoll bezahlen müssen. Wobei mir ein
Denkfehler auffiel: Weshalb sollte ich bei dieser offensichtlichen Beschädigung noch
den vollen Zoll und Steuer zahlen? Der wirkliche Wert müsste ja geringer sein. Ich
war hoffnungslos in meinem fein gestrickten Lügennetz verfangen. Ich klebte den
Arm mit 2-Komponenten-Kleber wieder ran, wobei ich bemerkte, dass der Fuß auch
schon mal abgebrochen war.
Immerhin: Mit diesem Artikel werde ich dann wohl alles von der Steuer absetzen
können, oder?
taz. die tageszeitung
Kultur

vom 09.02.2001
23

‘Skulpturen / Objektkunst / Kunstinstallationen
cca. 184 Zeilen / 8536 Zeichen
Ausgabe 6368

Feedback Feb!

fenieninwss @)
Diesenartieltelen OO QOQOQOOOS

‘KUOtDG Azz

[page 3 machine-read (OCR) from the image]

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Phoenix New Times, October 14, 2004: Studio Visit (Joe Watson) — Linda King
Archived copy for research · saved for the Matt Sesow Career Chronicle, history.sesow.com, October 17, 2026. Copyright remains with the original
publisher; reproduced for reference and scholarship; contact sesow@sesow.com with any request.

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Studio Visit
Linda King is digging past a mound of dirty clothes and clutter, into a corner of her bedroom,
where the air is stagnant and stale, to find her inspiration. "This is my muse," King declares,
followed by a nervous giggle, as she lifts the clay bust she molded of Charles...
By Joe Watson

October 14, 2004

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Audio by Carbonatix

Linda King is digging past a mound of dirty clothes and clutter, into a corner of her
bedroom, where the air is stagnant and stale, to find her inspiration.
“This is my muse,” King declares, followed by a nervous giggle, as she lifts the clay bust
she molded of Charles Bukowski back in 1970 above her head of wiry, reddish-brown hair,
and then slowly cradles it into her arms.
The base of the bust is caked in dust. Behind Bukowski’s left ear, remnants of a molding
done to create bronze replicas of the piece dot his neck.

This, King admits, is no way to preserve such an infamous work of art. Then again, the
five years of infidelity, drunken outrage and jealousy King and Bukowski — the iconic
author and poet otherwise known as “L.A.’s favorite dirty old man” — spent together in the
early 1970s, were no means by which to cultivate a loving, secure relationship.

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Bukowski died of cancer in 1994, but in many ways, he’s still very much alive for King.
Since fleeing both her “muse” and Los Angeles in 1975, driven to Phoenix by “one
extended nervous breakdown,” Linda King, now 64, has made a modest living off loving
Charles Bukowski, who was 20 years her senior. While odd jobs — as a waitress, bartender,
and now as a part-time caregiver to the elderly — have kept her afloat and her traditional
clay busts have helped pay the mortgage on her small home in central Phoenix’s Oakland
District, it’s the treasured booty Bukowski left behind that has King dreaming of a big
payday. Or, at the very least, a decent studio.
“I always wanted a studio built like a pyramid, and every step has a sculpture on it,” she
says in the backyard of her home, where an empty trailer serves as a workspace to paint

and sculpt in the winter months.
The sun is setting, and the shadows of the trailer and a wooden fence begin to creep
across the back wall of her home, on which local artist Jason Rudolph Peña’s mural of
Audrey Hepburn weathers and chips.
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Inside the house, through a pantry en route to the living room, tiny ceramic figures of
children playing ukuleles and snare drums stand guard on the kitchen window sill.
“I get those at the dollar store,” King says. “It’s amazing what these people in China will
sell for a dollar.”
Selling wares cheap isn’t exactly foreign territory for King.
Over the years — as Bukowski’s widow, Linda Lee, has made a fortune off the Bukowski
Empire, which includes the seminal books Post Office, Love Is a Dog from Hell, and Ham
on Rye, and others conceived or published during Bukowski’s and King’s relationship —
King has profited, as well, albeit to a much lesser degree.
advertisement

She’s sold dozens of first edition books by Bukowski, most of them endearingly signed to
her. This past summer, King sold an original clay sculpture Bukowski himself created one
night in 1971 — guzzling booze at King’s Burbank home — to Bukowski collectors in
Germany for a measly $500. She’s replicated and sold a dozen of her Bukowski busts in
bronze at $5,000 apiece. And she’s published several poems that read like an Alanis
Morrissette anthology; for example, this 1997 piece:

I am the woman who knows for sure
that Bukowski’s balls were bigger
I am the woman who knows
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that he liked hot chilies
in his stew
I am the woman who
introduced him to shampoo
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and Lucy Ball and Jerry Dumphy
I’m the one who removed
all the blackheads from his back
and front and face and behind

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Inside the home where King has now lived for the past 25 years, she finally finished a
book, appropriately titled Loving and Hating Charles Bukowski, two years ago. But after
sitting on the desk of an uninterested New York publisher for more than a year, King’s 300page manuscript is now collecting a layer of dust. (In 1978, Bukowski made money off his
own semi-fictional memoir of their relationship, Women, in which King is referred to as
“Lydia.”)
“I sure would like it if you could get someone’s attention,” she says, “and get this book
published. I might have to sell my house if I don’t make some money soon.”
To help her cause, King has taken to the circuit — of Phoenix art galleries, that is.
Throughout October, The Paper Heart is displaying King’s poems, busts and paintings, as
well as documentary films about Bukowski, in an exhibit titled Friends and Foes of
Charles Bukowski.
And the show includes controversial “love letters” Bukowski sent to King, most of which
were dated between 1970 and 1972. Controversial because King, despite being in
possession of and the inspiration for them, has no right to publish the letters, almost 60
total.
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Aside from those on display at The Paper Heart, and a few excerpted in two recently
published books about Bukowski, the collection in its entirety had never been seen before
King shared it with New Times.
In Women — and in reality — King often called Bukowski the “Old Troll.” He acknowledged
the affectionate diss in a letter to King in 1971:

The Troll, as he has told Linda, the Troll is a stupid man, that’s why he hides and writes . . .
almost masocistically [sic] torturing himself with his failures.
On February 11, 1971, Bukowski displays a tenderness rarely seen in his brash poems and
books in which he scribes, for instance, of “fucking” being the “best cure for a hangover”:
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I like to hold my hand flat against your belly, my arm curving over your side. I wish I were
there now, sleeping against you. well, cornflakes,
goodnight,
Buk.
The letters are covered in plastic liners, collected in a black three-ring binder. And there
they’ll remain, until, King says, someone makes her the right offer.
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John Martin, Bukowski’s former publisher who has since retired and sold his Black
Sparrow Press, once offered her $11,000 for the entire collection, an offer at which King
scoffed. According to King, Martin procured dozens of Bukowski letters shortly after his
death — at no cost to him — and made a profit of $75,000.
Martin, contacted at his home in Santa Rosa, California, tells New Times that King has no
right to publish the letters Bukowski sent her. “The letters belong to her, no question
about that,” says Martin, now 73. “But the publication rights remain with the estate of the
author. Without getting permission, no way she can publish them. It doesn’t matter
whether they’re written to her or someone else.”

King says she had the letters appraised by a collector in Santa Barbara, California, last
year for what she and her son, Scott, an aspiring filmmaker who goes to ASU and lives in a
spare bedroom, felt was a low-ball figure of $20,000.
“There are Bukowski letters that people sell on eBay for $1,000 apiece,” Scott says. “I’ve
seen some go for $5,000.”
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“I don’t really want to sell them, but I might have to,” Linda King says. “I’d prefer to just
sell the rights to them. I inspired them. I don’t see why I shouldn’t make some money off
of them.”
As for the bust, its sentimental value makes it the lone link to King’s past with Bukowski
she isn’t willing to part with.
“[Bukowski] always told me that I couldn’t write without him,” King says. “So I keep it next
to me when I write.
“You could always tell if we’d had an argument or if we’d broken up by where the bust was
at,” King recalls. “If everything was fine, he’d have it at his place. Or else I’d find it on my
doorstep if we were fighting.”
Maybe it’s found its resting place. Or maybe not. Keep an eye on eBay.
E-mail joe.watson@newtimes.com or call 602-744-6557.

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PBA Galleries, Sale 610, March 23, 2017 — Lot 57: The only known sculpture by Charles Bukowski
Archived copy for research · saved for the Matt Sesow Career Chronicle, history.sesow.com, October 17, 2026. Copyright remains with the original
publisher; reproduced for reference and scholarship; contact sesow@sesow.com with any request.

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Home / Sale 610: Fine Literature with Lawrence Ferlinghetti & the Beats / Catalogue / The only known sculpture
by Charles Bukowski

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AUCTION INFO

SALE 610: FINE LITERATURE WITH LAWRENCE FERLINGHETTI & THE BEATS
03/23/2017 11:00 AM PDT
CLOSED
STARTS ENDING
03/23/2017 11:00 AM PDT

LOT #57
THE ONLY KNOWN SCULPTURE BY CHARLES BUKOWSKI

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Description

Heading:
(Bukowski, Charles)
Title:
The only known sculpture by Charles Bukowski
Place Published:
[Los Angeles]
Date Published:
[1970s?]
Description:

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Full text

Text taken from the saved copy (where a page was only an image, it was machine-read and may contain errors — check against the page image before quoting). Copyright remains with the original publisher; kept for the historical record.

PBA Galleries, Sale 610, March 23, 2017 — Bust of Charles Bukowski by Linda King
Archived copy for research · saved for the Matt Sesow Career Chronicle, history.sesow.com, October 17, 2026. Copyright remains with the original
publisher; reproduced for reference and scholarship; contact sesow@sesow.com with any request.

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Home / Sale 610: Fine Literature with Lawrence Ferlinghetti & the Beats / Catalogue / Bust of Charles Bukowski
by Linda King

BACK TO CATALOGUE

AUCTION INFO

SALE 610: FINE LITERATURE WITH LAWRENCE FERLINGHETTI & THE BEATS
03/23/2017 11:00 AM PDT
CLOSED
STARTS ENDING
03/23/2017 11:00 AM PDT

LOT #52
BUST OF CHARLES BUKOWSKI BY LINDA KING

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Lot closed - Sold For
(Includes Buyers
Premium):$1,750

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ESTIMATE: $400 - $600
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Description

Heading:
(Bukowski, Charles)
Title:
Bust of Charles Bukowski by Linda King
Author:
King, Linda
Place Published:
[Los Angeles]
Date Published:

Shipping info

We have a full service shipping department to ensure proper packing and safe delivery of purchases at reasonable cost. We are specialists at packing and
shipping books and works on paper. All lots purchased by the same client are combined for shipping in order to keep the cost as economical as possible.
Our preferred method for domestic shipments is UPS Ground but we can also ship via FedEx or USPS Priority Mail. For international orders we select the
most appropriate carrier depending on the value and weight of the items purchased. We are happy to accommodate special arrangements by request.
Invoices are sent out the day following the auction and include a minimum $10 handling fee plus actual shipping and insurance charges.

Shipping estimates can be obtained by contacting pba@pbagalleries.com prior to the auction.

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© 2026, PBA Galleries. All rights reserved.
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Paul Fraser Collectibles, March 7, 2017: Charles Bukowski sculpture to sell on March 23
Archived copy for research · saved for the Matt Sesow Career Chronicle, history.sesow.com, October 17, 2026. Copyright remains with the original publisher; reproduced for reference
and scholarship; contact sesow@sesow.com with any request.

+44 (0)1534 639 998 | info@paulfrasercollectibles.com
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Charles Bukowski sculpture to sell on March 23
Mar 07, 2017

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A plaster sculpture by celebrated American author and poet Charles Bukowski is among the most intriguing
pieces in PBA Galleries’ March 23 sale in San Francisco.

0

Bukowski made this sculpture sometime in the 1970s
Bukowski was in a relationship with sculptor Linda King for around five years in the 1970s.
This appears to be his sole attempt at sculpture in all that time.
The piece, which is an abstract rendering of the “little man” figure he often drew next to his signature, was
originally cast in bronze. This is one of a small, later edition in plaster.
It’s valued at $400-600.
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Paul Fraser Collectibles, March 24, 2017: Charles Bukowski plaster sculpture triples estimate
Archived copy for research · saved for the Matt Sesow Career Chronicle, history.sesow.com, October 17, 2026. Copyright remains with the original publisher; reproduced for reference
and scholarship; contact sesow@sesow.com with any request.

+44 (0)1534 639 998 | info@paulfrasercollectibles.com
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Charles Bukowski plaster sculpture triples estimate
Mar 24, 2017

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A plaster sculpture by American poet, author and barfly Charles Bukowski more than tripled its estimate at
PBA Galleries in San Francisco on March 23.

0

Bukowski created this sculpture with the help of girlfriend Linda King
The piece was created sometime between 1970-1975, during his relationship with sculptor Linda King.
It’s thought to be a rendering of Bukowski’s “little man” figure, a doodle he sometimes included next to his
signature during book signings.
This is one of a small number of plaster pieces he made from the bronze original.
It had originally been valued at $600, but made $2,160.
Please sign up to our free newsletter to receive exciting news about book and manuscript auctions.
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Featured products
Elvis Presley Authentic Strands of Hair - clipped during his 1958 US Army haircut

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$531.79
In stock

Fidel Castro Signed Certificate

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In stock

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£45,000
In stock

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As a member, you'll receive:
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Paul Fraser Collectibles
19 Britannia Place
Bath Street
St Helier
Jersey
JE2 4SU
+44 (0) 1534 639998
info@paulfrasercollectibles.com
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ABOUT PAUL FRASER COLLECTIBLES

Paul Fraser Collectibles are proud to be the world's largest privately owned dealer in rare collectibles.
We deal in, and sell: rare British Postage Stamps, World and China Postage Stamps, rare British Coins and Ancient Coins, Autographs and
Signatures, Pop Memorabilia, Movie Memorabilia, Space Memorabilia, Luxury Watches and Historical Documents and Artefacts.
Famous memorabilia individuals include; Albert Einstein, Winston Churchill, Elvis, the Beatles, The British Royal Family, Mahatma Gandhi, Salvador
Dali, Napoleon Bonaparte, Henry VIII, Elizabeth I and many more.
PAYPAL & BANK TRANSFERS

You can use your PayPal account, with payments to: info@pfcauctions.com
or
For larger transactions, you may wish to contact us directly and we will organise a Bank Transfer with you.

© 2026 Paul Fraser Collectibles
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© 2026 Paul Fraser Collectibles
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