Lynn Chadwick

Osborne Samuel LLP, London (acquired from the artist)
Private Collection, United Kingdom 
Scott White Contemporary Art, La Jolla 
Acquired from the above 

Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1988, Oxford, 1990, no. C65, illustration of another cast p. 333
Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1986, Stroud, 1997, no. C65, illustration of another cast p. 373
Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With 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

This work is in very good condition. Greenish black patina. Some surface dirt in the deeper crevices and a few pindots of accretion under the bench and where the figure meets the bench, 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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Collette Chattopadhay writes of the lyrical potency of the artist's works of this period: "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).

 

Three seated female figure
high up on a hillside 
look over the panoramic scene.
Each is sitting on its own base,
each is a creature of its own innovative forms,
each looks out
and celebrates
extraordinary view of the vast lands 
stretching out before her. 

- Judith Collins