Footnotes

Provenance
With Osborne Samuel, London, where acquired by
Private Collection, from whom acquired by the present owner
Private Collection, South Africa

Literature
Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.326, cat.no.787S
Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.334, cat.no.787S
Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.341, cat.no.787S

Cloaked, reclining, winged, standing, walking, watching and of course, as in the present example, sitting – the theme of the couple preoccupied Lynn Chadwick throughout his career. The sheer number of different forms they took over a period of five decades clearly demonstrates the enduring hold they had on the artist.

Mobiles and beasts constructed of welded iron, rods and plaster in the early 1950s soon gave way to the first figures. Initially, they emerged all spindly legs and small, heraldic heads, maintaining an architectural feel. But in the following years the now familiar wings and square flat heads appeared, progressing later into the first seated works of the 1960s. Moving through the decade, the concept was explored further - certain body parts became polished, heads grew taller and multi-faceted, trunks and legs thicker. Later, in the early 1970s, a clear sexual differentiation was established – square head for male, triangular for female.

Sitting Figures in Robes I dates from 1980 by which point, Chadwick was truly master of his chosen subject. Here, the couple sit together resting quietly, separate from one other and their seat. Their dignified pose is supported by the cloaks they wear, anchoring them to ground and the faces are, as always, blank, with the artist once declaring "No expression is an expression" (Lynn Chadwick: The Couple, Exh.cat., Pangolin London, 2011, p.3). The body language is comfortable with the figure's legs at ease and their cloaks spilling over the edges of their seat, the overall impression being one of peace and content.

We are grateful to the Artist's Estate for their assistance in cataloguing this work.