Lynn Chadwick C.B.E., R.A.

(British, 1914-2003)

Sitting Figures in Robes I 47.4 cm. (18 3/4 in.) wide

Footnotes

Provenance
Acquired directly from the Artist, or his Estate, by the family of the present owner
Private Collection, Australia

Exhibited
Kruishoutem, Fondation Veranneman, Lynn Chadwick: Recent Works, 14 October-20 December 1980 (unnumbered)(another cast)

Literature
Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.326, cat.no.787 (ill.b&w p.227, another cast)
Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.334, cat.no.787 (ill.b&w p.335, another cast)
Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.341, cat.no.787 (ill.b&w, another cast)

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 the 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.

Another cast, of the 'S' variation of this edition, sold in these rooms for £151,500 on the 22 June 2022.

We are grateful to Sarah Chadwick for her assistance in cataloguing this lot.