Lynn Chadwick

Forum Gallery, New York
Acquired from the above in 2003

Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1986, Stroud, 1997, no. C136, illustration of another cast p. 423
Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Aldershot, 2006, no. C136, illustration of another cast p. 431

This work is in very good condition. With a variegated gray and black patina. The surface is a bit dirty in the deeper crevices. Some scattered blemishes to the patina on the base and minor signs of verdigris where the feet meet the base, otherwise fine.
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.
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Always seeking to refine the modern aesthetic in sculpture, Chadwick continued to challenge artistic convention through the latter years of his artistic career. The present work, conceived in 1995, is a lyrical testament to his stylized approach to sculpture. Whereas he had formerly displayed the faces of his figures as bold shapes, he here conceals the identity of this female figure through the previously absent feature of her hair. Nonetheless, this lack of distinct identity adds an enigmatic and striking element to High Wind IV.

Chadwick began the High Wind series in 1980 with Maquette I High Wind and by the time he conceived the present work he had thoroughly refined his model. The series centered on capturing motion and a sense of invisible forces, both recurrent themes throughout his oeuvre. As Dennis Farr and Eva Chadwick note in their catalogue raisonné on the artist, "Chadwick has always been intrigued by movement, either actual or implied, in his sculpture. From his early mobiles to his dancing Teddy Boy and Girl series of the 1950s to his cloaked walking women with windswept hair of the 1980s, he has explored figures in motion. Sometimes their cloaks and draperies flow out in the wind from behind them, or are caught by a gust and wrap themselves around the figures" (Dennis Farr & Eva Chadwick, op. cit., p. 15).