LYNN CHADWICK, R.A. (1914-2003)
LYNN CHADWICK, R.A. (1914-2003)
LYNN CHADWICK, R.A. (1914-2003)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more
LYNN CHADWICK, R.A. (1914-2003)

Maquette II Sitting Couple on Bench

Details
LYNN CHADWICK, R.A. (1914-2003)
Maquette II Sitting Couple on Bench
signed with monogram, numbered and dated 'C9S 84 1/9' (on the underside of each figure's cloak)
bronze with a black and polished patina
16 1/8 in. (41 cm.) long
Conceived in 1984 and cast in 1984 by Pangolin Editions, Stroud.
Provenance
with Marlborough Fine Art, London, where purchased by the previous owner in 1984.
Their sale; Sotheby's, New York, 13 November 2018, lot 389, where purchased by Robin and Rupert Hambro.
Literature
Arts Review, 9 November 1984, p. 553, another cast illustrated, as 'Maquette II Diamond'.
D. Farr and E. Chadwick, Lynn Chadwick Sculptor: With a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, p. 350, no. C9S, another cast illustrated.
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.

Brought to you by

Amelia Walker
Amelia Walker Director, Specialist Head of Private & Iconic Collections

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Lot Essay


Lynn Chadwick redefined the way human forms can be represented in sculpture, and was particularly interested in paired figures, having first approached the theme in the 1950s. It continued to occupy him throughout his career. He initially explored the human form by looking in detail at how a figure moves and at the stances they might take, but in the 1970s he started to standardise these figures. Eventually, Chadwick developed a kind of visual code, adopting a triangle and square head as a shorthand device for the symbolisation of the male and female forms.

Chadwick has discussed the reasons for blanked faces in his work: he understood body language to have a far greater power in conveying mood and character than facial features, which he felt to be limiting. Commenting in 1991, the sculptor revealed 'the important thing in my figures is always the attitude - what the figures are expressing through their actual stance. They talk, as it were, and this is something a lot of people don't understand' (the artist in an interview with Barrie Gavin broadcast on HTV West, 1991).

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

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