Lynn Russell Chadwick (British, 1914-2003) Walking Woman — Maquette VI, 1983 bronze with black patina signed with artist's monogram and numbered C 26S under skirt edition 7/9 8 7/8"h x 4 1/8"w x 6 5/8"d
Provenance: Christie's Contemporary Art Gallery (now Osborne Samuel Gallery), London, England, 1985 Property from a Prominent Michigan Collection
Literature: Farr, Dennis, and Eve Chadwick, Lynn Chadwick. Sculptor. With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, 2006, C26S, p. 360
Catalog Note: We would like to thank Sarah Chadwick for confirming the authenticity of this maquette edition.
Lynn Chadwick was launched on the international stage as one of a new generation of British sculptors exhibiting at the British Pavilion of the 1952 Venice Biennale. Here these young sculptors surprised the audience with their departure from previously dominant sculptural traditions by embracing new materials, including iron structures with plaster filler and industrial compounds. They presented jagged works concerned with the dematerialization of mass and the vitality of line.
Chadwick came of age as an artist after World War II, when a mood of existential anxiety converged with traditions of humanistic representation and modernist abstraction. In the 1960s, Chadwick became interested in both the abstract form in basic principles and looking at the human form, and later looking at how a figure stands and moves.
This maquette, Walking Woman, is characteristic of his sculptures of human figures cast in bronze during this period. The figure is clad in angular, rough drapery with a geometric, pyramidal head, blending Surrealism, the angst of Alberto Giacometti and the monumentalism of Henry Moore. During the 1970s and 1980s, Chadwick started to standardize these figures, developing a visual code. Eventually, most of the male figures had rectangular heads and the females had triangular heads, as exemplified here.