George Rickey

Galerie Schoeller, Düsseldorf
Acquired by the present owner from the above in 1991

Katonah Museum of Art, George Rickey: Art of Movement, September - November 1991, cat. no. 9, n.p., illustrated (ed. 1/3 exhibited)
New York, Maxwell Davidson Gallery, George Rickey Sculptures from the Collection of Roland L. Hummel, October - November 2006 (ed. 1/3 exhibited)

This work is in very good condition. Prior to consignment, the base was installed into the earth approximately 6 inches as is seen in the catalogue illustration. A conservator has recently removed the light soiling so no evidence of this soiling remains. Scattered areas of tape residue on the elements from previous packing have also been removed. There are a few scattered light and unobtrusive abrasions to the elements. Executed in 1988, this work is number 2 from an edition of 3.
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.

"In One Fixed Four Jointed Lines Biased, 1988 [the present work], Rickey has joined four moving parts and mounted them on a vertical support.  Moving through parallel planes, the biased-cut lines spin, extend, and pleat at nature's whim and, in the interim, intersect to form geometric shapes.  There is something comical in the acceleration of one line as it cantilevers out and cartwheels back and in the simultaneous deceleration of another.  In this work, Rickey has playfully heightened the underlying paradox between freedom and connectedness in jointed structures.  Through subtle alteration in proportion of weights and counter-weights, the artist varied each component's natural swing cycle, with the result that each line acquired unique character and apparent autonomy within the matrix of the structure.  Like a composer's arrangement of polyphonic parts, Rickey has produced, in visual art, a richly orchestrated visual event." - Jill Snyder (Exh. Cat., Katonah Museum of Art, George Rickey: Art of Movement, n.p.)

Please visit the catalogue page on Sothebys.com to view a film of the present work in motion.