This exhibition celebrates the launch of two new books about Lynn Chadwick.
The definitive catalogue raisonne by Dennis Farr and Eva Chadwick has now been revised and updated and is published for the first time by Lund Humphries, with whom we have worked on many projects over the years. Every sculpture by the artist is illustrated with full supporting details.
`Lynn Chadwick', with photography by David Finn explores the important collection of sculpture housed at Lypiatt Park, the artist's home for 45 years. It is a rare opportunity to see so many works in such perfect settings in and around the house. The text is by Judith Collins a senior curator at the Tate and published by Ruder Finn.
Both books are available from the gallery and in addition we also have available the excellent Tate Gallery catalogue with text by Dennis Farr and the Chadwick monograph by Edward Lucie-Smith.
To accompany the launch of the new titles we will be exhibiting a selection of our available work by the artist. As well as bronzes from all periods of his working life we are also showing a group of works on paper. We have unearthed several rare Chadwick drawings and prints in recent years and these are shown for the first time.
Anyone who follows the art market will know that there is currently huge interest in British sculpture, in particular Chadwick, with record prices at auction indicating the strength of demand for his work. What is particularly gratifying is the interest in Chadwick’s early sculpture. The evolution of the artist’s approach to form during the 1950s took him from the earliest anthropomorphic beasts and birds through the earliest human forms with their spiky heads and attenuated limbs. By the mid 1970s the more recognisable triangular and square headed figures had emerged. As Chadwick’s reputation spread so many dealers and collectors came to know the artist through these later figures and the earlier work was not until recently much in evidence. The Tate Gallery show in 2004 was an important opportunity to put the earlier work in context, and it is clear that a true comprehension of Chadwick depends on the foundations that the early work provide.
Peter Osborne
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