- Lynn Chadwick
- Maquette Jubilee II
- each: stamped Chadwick, inscribed C3, dated 1983 and numbered 1/9
- bronze, in two pieces
height: 89cm. & 91cm.
Conceived in 1983 and cast in bronze in an edition of 9.
Thence by descent to the present owners
Nico Koster & Paul Levine, Lynn Chadwick, The Sculptor and His World, Leiden, 1988, another cast illustrated in colour pp. 100-101
Dennis Farr & Eva Chadwick, Lynn Chadwick Sculptor: With a Complete Illustrated Catalogue, London, 2006, no. C3, another cast illustrated p. 343
In the 1980s Chadwick executed several maquette versions on the subject of two walking figures titled Jubilee, culminating in the monumental bronze Jubilee IV (fig. 1). Dennis Farr wrote about the present composition: ‘Walking figures, their cloaks or robes blowing out behind them, provided Chadwick with a theme capable of sustaining endless variations, of which Maquette Jubilee II 1983 is a particularly dramatic example. […] In Maquette Jubilee II the robes form an elaborate butterfly-wing shape behind the two figures, supporting them too, but now imbued with a baroque exuberance that transcends the merely practical. Chadwick has enjoyed creating a fantastic shape for its own sake, rather as some of his female figures carry their skirts like a fan-tailed pigeon displaying its plumage’ (D. Farr, Lynn Chadwick (exhibition catalogue), Tate Britain, London, 2003-04, p. 79).
Discussing the artist's mature sculpture, Collette Chattopadhyay writes: ‘Exploring the relation between stasis and movement, solid form and space, Chadwick’s late works of the 80s and 90s continue to explore the nature of collective social identity while manifesting affection for the female torso, which is increasingly naturalistically portrayed’ (C. Chattopadhyay, Lynn Chadwick (exhibition catalogue), Tasende Gallery, Los Angeles, 2002, p. 7). Indeed in Maquette Jubilee II the female figure possesses a more characterised form and assertiveness. Both figures’ heads are gently inclined which gives the whole work a sense of determination. Chadwick expressed the need for his work to possess ‘attitude’, he explained that he would bestow this quality by ‘the way that you make something talk by the way the neck is bent, or the attitude of the head; you can actually make these sculptures talk, they say something according to the exact balance, whereas if they’re absolutely straight… well, I suppose that is saying something too’ (quoted from the British Library project Artists’ Lives, 1995, F 4564-B, p. 333).