Lynn Chadwick (British, 1914-2003) Maquette Jubilee II 1983 Male: 89 cm. (35 in.) high; Female: 91 cm. (36 in.) high
94*W
Various Properties
Lynn Chadwick (British, 1914-2003)
Maquette Jubilee II 1983
numbered 'C3 7/9' (at the back of each cloak)
bronze with a light grey patina
Male: 89 cm. (35 in.) high; Female: 91 cm. (36 in.) high
Conceived in 1983 and cast as an edition of nine
Sold for £162,000 inc. premium

Footnotes

  • PROVENANCE:
    Private Collection, South Africa

    EXHIBITED:
    Montreal, Quebec, Theo Waddington, Lynn Chadwick, March-April 1984 (another cast)

    LITERATURE:
    Laurent Thierry, Lynn Chadwick, L'Oeil, Paris, June-July 1983, pp.335-336, no.82
    Nico Koster and Paul Levine, Lynn Chadwick, The Sculptor and His World, Leiden, 1988, pp.100-101 (another cast ill.)
    Dennis Farr and Éva Chadwick, Lynn Chadwick, Sculptor, Lund Humphries, Aldershot, 2006, cat.no.C3, pp.342-343 (another cast ill.b&w)

    'The two noble figures walk against the wind, their robes flying in the air and floating on the ground. A magnificent pattern is created by their noble stance, as their feet move forward and their heads rise in pride'. (Judith Collins, Lynn Chadwick, The Collection at Lypiatt Park, Ruder Finn Press, New York, 2006, p.152)

    The Jubilee series was conceived in 1977 and can be considered an important theme that showcased Chadwick's mature sculptural ability. The figures and figure groups that personify the artist today, were born out of ideas developed during the 1950s for works such as The Stranger and the Two Dancing Figures series. Winged figures were to appear in the early 1970s and act as a preface to the striding and voluminous cloaked examples that were to follow in later years and form the present lot. It was also at this time that gender became more defined with the female head adopting a pyramidal or diamond shape and the male a rectangular one that contributed to what Chadwick would frequently describe as 'attitude'.

    Maquette Jubilee II provides us with the opportunity to explore spatial relationships in that the two figures are not (as is sometimes the case) welded together. In this sense, and as Chadwick would have confessed, the sculptor's control of the forms is limited and we are able to manipulate them to our liking, surroundings or perhaps even mood (see Fig.1). The Jubilee series provided foundations for later themes such as High Wind, which dates to 1984 and portrays a woman caught in a gust of wind from behind her.

Category: Fine Art / Modern British and Irish Art

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