Lynn Chadwick (1914-2003)
Maquette II Sitting Couple on Bench
incised with inscription, number and date '5/9 C9S 1984' (underneath the male figure's cloak); incised with inscription, number and date 'C9S 5/9 1984' (underneath the female figure's cloak); incised with inscription, number and date 'C9S 5/9 1984' (underneath the bench)
bronze with black patina and polished faces
33 x 42.4 x 16.5cm.
Conceived and executed in 1984, this work is number five from an edition of nine
Marlborough Fine Arts, London.
Acquired from the above by the present owner in 1985.
D. Farr and E. Chadwick, Lynn Chadwick Sculptor. With a Complete Illustrated Catalogue 1947-2005, Farnham 2014, no. C9S (another from the edition illustrated, p. 350).
London, Marlborough Fine Arts, Chadwick - Recent Sculpture, 1984, no. 14 (illustrated, p. 16).
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.
Please note this lot is the property of a consumer. See H1 of the Conditions of Sale.
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Lot Essay

'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' – Lynn Chadwick

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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