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Two exciting new books to mark British sculptor Lynn Chadwick's Centenary in 2014
Crouching Beast I, Stainless steel, 122 × 142 × 315 cm, (48 × 56 × 124 in), 1990, Edition of 6.

LONDON.- Lund Humphries marks the 2014 centenary of British sculptor Lynn Chadwick with the first critical survey of his work and a completely revised edition of his sculpture catalogue

Art-book publisher Lund Humphries celebrates the centenary of the internationally renowned British sculptor Lynn Chadwick (1914-2003) this spring with publication of the first critical survey of his work and a completely revised edition of the Chadwick sculpture catalogue raisonné. The publications also coincide with a series of centenary exhibitions taking place in London, New York and Berlin in May 2014.

Lynn Chadwick by Michael Bird is the definitive, illustrated monograph on the artist, and has been produced with the full support of the Chadwick Estate. Drawing on unpublished documentary and archival material, as well as new interviews with those who knew and worked with Chadwick, critically acclaimed author Michael Bird provides a highly readable art-historical appraisal of Chadwick’s long career as a sculptor, from the 1950s to the 1990s.

Accompanying the monograph is a new edition of Lynn Chadwick Sculptor by Éva Chadwick and Dennis Farr: the complete catalogue of Chadwick’s sculpture, now re-designed and updated in a fourth edition which includes for the first time a complete, illustrated listing of Chadwick’s lithographs.

The two books will be available separately and also as an exclusive anniversary set presented in a specially designed real-cloth slipcase.

Part of a group of British sculptors whose work captured the essence of the Cold War epoch, Lynn Chadwick came to international prominence in 1956, when he fought off competition from Giacometti, César and Manzù to win the International Prize for Sculpture at the Venice Biennale. He was fêted as the natural successor to Henry Moore by the world’s press and throughout his career he continued to create welded metal sculptures based loosely around the human figure.

Though not a household name in the way Henry Moore became during his lifetime, Chadwick remained one of the most highly respected sculptors of his generation and his works feature in the collections of many major museums internationally, including Tate Gallery, London; MoMA, New York; and Centre Georges Pompidou, Paris.

Michael Bird’s new book is beautifully illustrated with a range of arresting photographs: images of Chadwick’s works, from early mobiles to large-scale bronzes; rarely seen shots by photographer David Farrell of the sculptor at work in his foundry in the 1950s; and a glimpse of the stunning, permanent exhibition of outdoor sculptures in the grounds of Chadwick’s former home, Lypiatt Park in Gloucestershire.

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