Lynn Chadwick

Bernard Degenhardt, Munich

Vienna, Vienna Secession, November 1956, no. 16

Dennis Farr and Eva Chadwick, Lynn Chadwick, Sculptor, Lypiatt Studio, Stroud, 1997, no.187, pp 108-109, illustrated

The work, intentionally pitted and uneven, is in good overall condition. Dirt has gathered in some of the crevices.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Conceived in 1956, the present work is unique.

The mid-1950s was an incredibly productive period for Chadwick, and many of the subjects he explored would become central themes for many years. One of these was that of a pair of conjoined figures which greatly occupied Chadwick at this period, and he produced a number of sculptures which explore this. One of the best-known and most commented on by contemporary critics was the Teddy Boy & Girl group, which has its genesis in the large 1955 sculpture Teddy Boy & Girl (F&C 170). Developed from the Dance, Conjunction and Encounter series of 1953-4, these pieces have a very distinctive form, with the two figures presented face to face, and whilst Chadwick removes virtually all extraneous detail, the male/female relationship is particularly clear, the slightly taller and bulkier male figure with vestigial arms raised high, engaged in frenetic dance, whilst his partner takes a more relaxed role. Chadwick's technique, using the welded metal rods of the sculptural armature as sculptural elements themselves, lent itself extremely well to the suggestion of material in these figures. As the title makes direct reference to the contemporary Edwardian-influenced Teddy Boy clothing style with its long draped jackets and sharply tapered trousers for men and the distinctive wide skirts with layers of petticoats for the girls, this element of a particular fashion is very much part of the overall piece. 

The large version of this sculpture, at over six feet tall, was included in Chadwick's 1956 Venice Biennale exhibition, where, to the surprise of many, he won the International Prize for Sculpture, beating, amongst others, Giacometti, Cesar and Richier, an award that went far in establishing the prominence of British sculptors throughout the decade.