Lot 408
  • 408

Lynn Chadwick

Estimate
400,000 - 600,000 USD
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Description

  • Lynn Chadwick
  • Little Girl II
  • Inscribed Chadwick, numbered twice C65 3/9, inscribed with the artist's monogram and with the foundry mark Morris Singer Founders Ltd
  • Bronze
  • Height: 69 in.
  • 175.2 cm

Provenance

Studio of the artist
Everard Read Gallery, Johannesburg (acquired from the above in 1999)
Acquired from the above on September 29, 1999

Literature

Dennis Farr & Eva Chadwick, Lynn Chadwick, SculptorWith a Complete Illustrated Catalogue 1947-1988, Oxford, 1990, no. C65, illustration of another cast p. 333 
Dennis Farr & Eva Chadwick, Lynn Chadwick, SculptorWith a Complete Illustrated Catalogue 1947-1986, Stroud, 1997, no. C65, illustration of another cast p. 373
Dennis Farr & Eva Chadwick, Lynn Chadwick, SculptorWith a Complete Illustrated Catalogue 1947-2005, Aldershot, 2006, no. C65, illustration of another cast p. 381
Judith Collins & David Finn, The Collection at Lypiatt Park, Lynn Chadwick, New York, 2006, illustrations of other casts pp. 212-17

Condition

Surface is slightly dirty. There are a few scattered nicks on the base and a few scattered stains, otherwise fine. This work is in very good condition.
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.

Catalogue Note

Collette Chattopadhay writes of the lyrical potency of the artist's mature works: "A new fondness for naturalism begins to appear in Chadwick's work which endows his geometric figures with a startling anthropomorphic credibility. The angle at which a geometric head tilts, or the manner in which a cubic torso leans forward or sideways, imbues these robotic creatures with an uncanny familiarity. Indeed, Chadwick's propensity for infusing cubic figures with ironic, anthropomorphic allusions remains one of his supreme artistic accomplishments, vying with and at times surpassing Picasso's explorations in these areas... Exploring the relation between stasis and movement, solid form and space, Chadwick's late works of the '80s and '90s continue to explore the nature of collective social identity while manifesting affection for the female torso, which is increasingly naturalistically portrayed" (Collette Chattopadhay, Lynn Chadwick (exhibition catalogue), Tasende Gallery, Los Angeles, 2002, p. 7).