Lynn Chadwick, R.A. (1914-2003)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A PRIVATE SWISS COLLECTION
Lynn Chadwick, R.A. (1914-2003)

Pair of Sitting Figures IV

Lynn Chadwick, R.A. (1914-2003)
Pair of Sitting Figures IV
signed, numbered and dated '© Chadwick 72 657 3/6 C' (on the back of the male figure)
bronze with black patina
24 in. (61 cm.) high
with Marlborough Gallery, London, 1974.
Private collection, London.
with Timothy Taylor Gallery, London, where purchased by the present owner.
Exhibition catalogue, Chadwick, Recent Sculpture, London, Marlborough Fine Art, 1974, p. 28, no. 26, another cast illustrated.
D. Farr and E. Chadwick, Lynn Chadwick Sculptor: with a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, p. 295, no. 657, another cast illustrated.
London, Marlborough Fine Art, Chadwick, Recent Sculpture, January - February 1974, no. 26, another cast exhibited.
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Lot Essay

By the 1970s, Chadwick's `increasing tendency to interpret his work in terms of human relationship, rather than formal balance, begins to be audible. `Presences' was how he refereed to his new figure sculptures; they were about being, not doing: I used to call them `Watchers', but no longer. Sometimes they are not watching anything. What they are doing is illustrating a relationship - a physical relationship - between people'. It was through this relationship, not through purely formal or allusive qualities, that he wanted his sculptures to speak: `If you can get their physical attitudes right you can spell out a message'.

What was the message? Chadwick figure sculptures of the early and mid-1970s consist largely of male and female couples - standing, sitting, walking or even lying together on a base striped to resemble a beach recliner. The male forms tend to be angular, the female ones modelled in the manner of the Elektras made from steel and Stolit but recalling the hand-formed surfaces of ancient terracottas from Tanagra. The mood is comparably tender and intimate, modulated by fine tunings of attitude - the tilt of torso, shoulders and heads. Trios of Watchers - or Presences - returned, small-scale and utterly without the brute frontality of their monumental avatars. A preoccupation with physical relationship had, in its way, defined a popular awareness of the Britishness of British sculpture in the mid-twentieth century' (M. Bird, Lynn Chadwick, Farnham, 2014, p. 147).

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