LYNN CHADWICK, R.A. (1914-2003)
Pair of Sitting Figures IV
signed, numbered, dated and stamped with monogram 'CHADWICK 72 657M 2/6' (on the back of the male figure), signed, numbered, dated and stamped with monogram 'CHADWICK 72 657F 2/6' (on the back of the female figure)
bronze with a black patina
male figure: 23 1/2 in. (59.7 cm.) high
female figure: 24 1/4 in. (61.5 cm.) high
Conceived in 1973 and cast in 1974 by Lypiatt Foundry, Stroud.
Purchased at the 1974 exhibition by the present owner.
Exhibition catalogue, Chadwick: Recent Sculpture, London, Marlborough Fine Art, 1974, pp. 7, 28, no. 26, 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 1974, no. 26.
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.
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Post lot text
In the 1970s Lynn Chadwick returned to the human form, the subject becoming central again to his oeuvre. He created combinations of figural groups of up to four, five even six male and female figures. The figures are sitting, standing, and reclining, and in this way Chadwick opens new possibilities of exploring spatial relationships between forms. Chadwick always looked for geometry and tension in his sculpture, with the aim of avoiding the static.
In Pair of Sitting Figures IV, one of a series of pairs of sitting figures that he created in 1973, Chadwick has been particularly successful in portraying an alert intimacy between the male and female figure. When viewed alongside the other pairs of sitting couples that he conceived in 1973, Chadwick’s ability as one of the leading British sculptors of the 20th Century is immediately confirmed. Although all very similarly modelled, with subtle differences in the leg positioning and the angles of the heads, as well as the surface of the bronzes, each work portrays different sensations and emotions.