George Rickey

Acquired directly from the artist by the present owner in 1972

Lincoln, University of Nebraska, Sheldon Memorial Art Gallery and Sculpture Garden, American Sculpture: An Exhibition Organized to Inaugurate the Sheldon Sculpture Garden, September - November 1970
Los Angeles, University of California, UCLA Art Galleries; Palm Springs Desert Museum; Dallas Museum of Fine Arts; Wichita Art Museum; Lincoln, University of Nebraska, Sheldon Memorial Art Gallery; The Arts Club of Chicago; The Denver Art Museum; The San Francisco Museum of Art, George Rickey: Retrospective Exhibition, 1951-1971, 1971 - 1972
Denver Art Museum, Landscape as Metaphor, Visions of America in the Late 20th Century, May - September 1994

This work is in very good and sound condition overall and is in good working order. Any scattered surface abrasions or dirt accretions are all to be expected of a work installed in an outdoor environment. Sotheby’s will be happy to facilitate an introduction to the George Rickey Foundation who will be able to advise and assist with the installation of the work. Please note this work is being offered from the catalogue and has benefitted from restoration in 2013.
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.

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"Since I began in this kind of work in the 1940s, I've been interested in the essence of movement, not just in making objects that move, but in trying to use movement as an expressive means, as a painter might use color...I began to realize that if one was to use the movement as a kind of essential expression, one probably had to try it with extremely simple forms. And this led me gradually to pare the forms down until I arrived simply at lines. These pieces with long blades are really just an exploitation of the simplest means I could find at the time for showing a kind of ordered and related set of movements."

George Rickey