LYNN CHADWICK, R.A. (1914-2003)
Two Winged Figures
stamped with artist's monogram, dated and numbered '77 / 733 / S / 3/8' (on each figure's leg)
bronze with a black and polished patina
22 3/4 in. (57.8 cm.) high
Conceived in 1977 and cast in 1978 by Burleighfield Foundry.
with Alwin Gallery, London, where purchased by the present owner, circa 1989.
D. Farr and E. Chadwick, Lynn Chadwick: Sculptor, with a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, p. 320, no. 733S, another cast illustrated.
Londonderry, Keys Gallery, Lynn Chadwick, March 1979, no. 27, another cast exhibited, catalogue not traced: this exhibition travelled to Dublin, David Hendricks Gallery, April 1979; and Belfast, Arts Council Gallery, July - September 1979.
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.
Post lot text
‘Seeking not to replicate pre-existing organisms but to construct new creatures and beings, relying solely on his instinct and manual proficiency’, Chadwick redefined the way human forms can be represented in sculpture (N. Rogers, exhibition catalogue, Lynn Chadwick: Evolution in Sculpture, Abbot Hall Art Gallery and Blackwell, 2013, p. 6).
In Two Winged Figures, the figures stand side by side with their wings bellowing out behind them. Although static in their stance, each with three legs grounded to the floor, the extension of their wings evokes a great sense of movement. Dennis Farr and the artist’s wife, Eva, discussed the importance of movement in his work, stating, ‘Chadwick has always been intrigued by movement, either actual or implied, in his sculpture. From his early mobiles to his dancing Teddy Boy and Girl series of the 1950s to his cloaked walking women with windswept hair of the 1980s, he has explored figures in motion. Sometimes their cloaks and draperies flow out in the wind from behind them, or are caught by a gust and wrap themselves around the figures. This essentially lateral progression gives place to a vertical rhythm in his groups of, usually two, figures’ (D. Farr & E. Chadwick, Lynn Chadwick Sculptor, Farnham, 2014, p. 15).