Lynn Chadwick, R.A. (1914-2003)
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Lynn Chadwick, R.A. (1914-2003)

Maquette I Sitting Couple on Bench

Lynn Chadwick, R.A. (1914-2003)
Maquette I Sitting Couple on Bench
stamped with number and dated 'C10S.9/9.1985' (on the underside of the male figure, female figure and bench)
bronze with a brown/grey and polished patina
12 ¼ in. (31 cm.) high
Conceived in 1984.
The artist, and by descent.
D. Farr and E. Chadwick, Lynn Chadwick Sculptor: with a Complete Illustrated Catalogue 1947-1996, Stroud, 1997, p. 342, no. C10S, another cast illustrated.
D. Farr and E. Chadwick, Lynn Chadwick: Sculpture with a Complete Illustrated Catalogue 1947-2005, Farnham, 2014, p. 350, no. C10S, another cast illustrated.
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.


With each method I have said what I had to say as well as I could. The actual technique acted as a guide, and gave its character to the work. I emphasise the character which the technique gives. There are limitations - I stress the character imposed by the limitations. Apart from these practical considerations I do not analyse my work intellectually. When I start to work, I wait till I feel what I want to do; and I know I am working by the presence or lack of a rhythmical impulse.

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).

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