LYNN CHADWICK, R.A. (1914-2003)
LYNN CHADWICK, R.A. (1914-2003)
LYNN CHADWICK, R.A. (1914-2003)
LYNN CHADWICK, R.A. (1914-2003)
3 More
Artist's Resale Right ("Droit de Suite"). Artist's… Read more THE ECLECTIC EYE: PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION
LYNN CHADWICK, R.A. (1914-2003)

Sitting Figures in Robes II

Details
LYNN CHADWICK, R.A. (1914-2003)
Sitting Figures in Robes II
signed with monogram, numbered and dated 80⁄788/ 3⁄9' (on the underside of each figure)
bronze with a black patina
13 in. (33 cm.) wide
Conceived in 1980.
Provenance
Acquired by the present owners' grandfather in the 1990s, and by descent.
Literature
D. Farr and E. Chadwick, Lynn Chadwick: Sculptor, with a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, p. 341, no. 788, another cast illustrated.
Exhibited
Kruishoutem, Fondation Vernneman, Lynn Chadwick: Recent work, October - December 1980, no. 788, another cast exhibited.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

Brought to you by

Alice Murray
Alice Murray Associate Director, Specialist

Lot Essay

We are very grateful to Sarah Chadwick for her assistance in preparing this catalogue entry.

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).

More from Modern British and Irish Art Day Sale

View All
View All