Lot Essay
We are very grateful to Sarah Chadwick for her assistance in preparing this catalogue entry.
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Winged Figures II
Details
LYNN CHADWICK, R.A. (1914-2003)
Winged Figures II
stamped with monogram, signed, numbered and dated 'CHADWICK 75 / 688 7/8' (on the inside of the female figure's cloak)
bronze wih a black patina
19 1/2 in. (49.5 cm.) high
Conceived and cast in 1975 by Lypiatt Foundry, Stroud.
Winged Figures II
stamped with monogram, signed, numbered and dated 'CHADWICK 75 / 688 7/8' (on the inside of the female figure's cloak)
bronze wih a black patina
19 1/2 in. (49.5 cm.) high
Conceived and cast in 1975 by Lypiatt Foundry, Stroud.
Provenance
with Marlborough Fine Art, London.
Anonymous sale; Sotheby's, London, 30 November 1995, lot 206.
Anonymous sale; Sotheby's, London, 30 November 1995, lot 206.
Literature
D. Farr and E. Chadwick, Lynn Chadwick Sculptor With a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, p. 308, no. 688, another cast illustrated.
Exhibited
Copenhagen, Court Gallery, Lynn Chadwick, December 1975 - January 1976, another cast exhibited, catalogue not traced.
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.
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Further Details
‘At first I gave the rectangular heads to both genders. Then I thought, that’s not quite fair - I ought to give the female one a different head. I made the female head a pyramid so that the tip of the pyramid was just slightly higher than the male one, but the mass of the female one was slightly lower than the head of the male, so as to balance it not only from the point of view of gender but from the point of view of masses.'
(L. Chadwick, quoted in E. Lucie-Smith, Chadwick, Stroud, 1997, p. 98).
This balance of mass was fundamental to Chadwick. Indeed, within his works there lies a series of balancing idioms, with the artist playing with the parameters of mass and space; angular and organic forms; and the naturalistic and abstract. Chadwick explained the importance of such practice, ‘In the mobiles you have the arm, and you balance two things on it like scales - you have a weight at one end and an object at the other end. If you have a heavy weight close to the fulcrum then you can have a light thing at the other end. So you can [similarly] balance the visual weight of two objects. And so it was interesting to balance male with female. To me, I was balancing them, I suppose, psychologically, or whatever it was’ (loc. cit.).
(L. Chadwick, quoted in E. Lucie-Smith, Chadwick, Stroud, 1997, p. 98).
This balance of mass was fundamental to Chadwick. Indeed, within his works there lies a series of balancing idioms, with the artist playing with the parameters of mass and space; angular and organic forms; and the naturalistic and abstract. Chadwick explained the importance of such practice, ‘In the mobiles you have the arm, and you balance two things on it like scales - you have a weight at one end and an object at the other end. If you have a heavy weight close to the fulcrum then you can have a light thing at the other end. So you can [similarly] balance the visual weight of two objects. And so it was interesting to balance male with female. To me, I was balancing them, I suppose, psychologically, or whatever it was’ (loc. cit.).
Brought to you by
Alice Murray
Associate Director, Specialist