Lynn Chadwick (British, 1914-2003) - Maquette II Diamond (2 Figures)

Lynn Chadwick (British, 1914-2003) - Maquette II Diamond (2 Figures)

1984, each stamped with the artist's initial, 'C11S,’ stamp-numbered 5/9 and with the Pangolin Editions foundry mark on the underside. Bronzes with black patina with gold.
Larger figure:
height: 12 ½ in. (31.8cm)
width: 8 in. (20.3cm)
depth: 12 ¼ in. (31.1cm)
Smaller figure:
height: 13 in. (33cm)
width: 6 in. (15.2cm)
depth: 12 ¼ in. (31.1cm)

Provenance

Collection of Jordan and Cynthia Katz, Pennsylvania.
The Estate of Jordan and Cynthia Katz, Pennsylvania.

Exhibition

“Lynn Chadwick,” Museum of Modern Art, Toyama, Japan, April-May 1991 and traveling, illus. [another cast exhibited].

Literature

Masataka Ogawa, et al., Lynn Chadwick, Toyama, Japan: Museum of Modern Art, 1991, exh. cat., illus. [another cast illustrated].

Dennis Farr and Eva Chadwick, Lynn Chadwick: Sculptor, With a Complete Illustrated Catalogue 1947-2005, Burlington, VT: Lund Humphries, 2006, pp. 350-351, no. C11S [another cast illustrated].

Lot Essay

Lynn Chadwick (1914-2003) was a British sculptor known for his innovative and dynamic abstract sculptures. He often created small-scale models - or maquettes- usually made from materials like metal or bronze, that served as preliminary studies for his larger works. The two angular seated figurines that comprise Maquette II Diamond (2 Figures) are a particularly enchanting example of Chadwick’s work on a smaller scale. The figures appear to have their own identity, which is evident given their individual body shapes- one has a more soft and feminine figure, featuring an accentuated waist and hips, subtle belly and slender legs, while the other has much broader shoulders and a traditionally masculine torso. Furthermore, each figure has a polished bronze face, which was a trait Chadwick would occasionally incorporate into his sculptures. These faces, often characterized by their smooth surfaces and reflective qualities, added a striking contrast to the rough textures and angular forms of the surrounding sculptures. Chadwick's use of polished bronze faces brought a sense of human presence and introspection to his otherwise abstract compositions, creating a captivating interplay between the organic and the industrial within his art. The collection also includes a geometric candelabra, Three Branched Candle Holder III, which similarly illustrates the expansiveness of Chadwick’s oeuvre.