30. 30AR LYNN CHADWICK R.A. (1914-2003) Pair of Sitting Figures V (Male Figure) 1973-1984 Stamped with initial and numbered "658S 1/6" (under right leg) Bronze with black patina and polished facial surface Stamped with initial and numbered '658S 1/6' (onder het rechterbeen) Brons met zwart patina en gepolijst gelaatsoppervlakte Stamped with initial and numbered '658S 1/6' (under the right leg) Bronze with a black patina and polished face 49,5 x 43 x 71 cm Designed in 1973 as Pair de figures assises V (2) and executed in 1984, the present lot includes only the male figure. Ontworpen in 1973 als Pair of Sitting Figures V (2) en gegoten in 1984, het huidige lot is alleen een mannelijke figuur. Conceived in 1973 as Pair of Sitting Figures V (2) and cast in 1984, the present lot is male figure only Note: Farr- E Chadwick 658 S Provenance / Herkomst Sale : Christie's, London, 25 May 1994, lot 48 Private collection / privécollectie, Belgium Exhibition / Tentoonstelling United Kingdom, London, Odette Gilbert Gallery, Masters of Modern British Art, October-November 1986 (other font) Bibliographie / Bibliografie Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.296, cat. no.658S We would like to thank Successsion Lynn Chadwick for her help in cataloguing this lot. We zijn de Lynn Chadwick Estate dankbaar voor hun hulp bij het catalogiseren van dit lot We are grateful to the Lynn Chadwick Estate for their assistance in cataloguing this lot Triangles are the basic shape used to generate a huge variety of forms. Sometimes these forms are entirely abstract, without any kind of figurative reference - this is true of the Pyramids series, for example - and sometimes they are figurative. Inquisitor, for instance, is a sinister figure with a pointed hat or hood, wearing a sweeping cloak. One of the most interesting things about the sculptures is Chadwick's ability to generate forms related to nature from stringently geometrical basic shapes. Kink is like a twisting stem. It makes us think of a seedling bursting out of the soil, in the first urgency of growth. Yet it is, nevertheless, something created from elongated triangles interspersed with a few elongated rectangles. I said that it seemed to me that Chadwick's wartime service in the Fleet Air Arm had had an influence on the direction taken by his sculpture. Most people, asked to consider this, would look at the very early mobiles, with their hovering, flying forms, or at the winged figures of the 1950s, which are the currently unacknowledged but obvious predecessors to Antony Gormley's Angel of the North. Neither of these aspects of Chadwick's output is represented here. Rather it is when one thinks of actual aircraft construction that one begins to see the link. Aircraft of the type that Chadwick flew in the war were essentially thin skins of metal, braced by frames that were designed to combine optimum lightness with maximum strength. Extract from Edward Lucie-Smith, Lynn Chadwick: Out of the Shadows.