Lot 390
  • 390


250,000 - 350,000 USD
531,000 USD
bidding is closed


  • Lynn Chadwick
  • Stairs
  • Each stamped with the artist's monogram and with the foundry mark Pangolin Editions and numbered C125 2/9 
  • Bronze
  • Height (I): 40 3/4 in.; 103.5 cm
  • Height (II): 39 1/4 in.; 99.7 cm
  • Conceived in 1990 and cast in bronze in an edition of 9.


Gasiunasen Gallery, Palm Beach
Acquired from the above on August 10, 2002


Lynn Chadwick (exhibition catalogue), Galería Freites, Caracas, 1993, illustration of another cast n.p.
Dennis Farr & Eva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-1996, Oxford, 1997, no. C125, illustration of another cast p. 415
Dennis Farr & Eva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2005, Aldershot, 2006, no. C125, illustration of another cast p. 423
Dennis Farr & Eva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2005, Farnham, 2014, no. C125, illustration of another cast p. 412

Catalogue Note

Fascinated by the rhythmic balance of human figures, Chadwick began exploring the motif of descending and ascending stairs in the early 1990s. Capturing motion was a central concern for Chadwick, and as the years progressed his walking sculptures became more vigorous: the wing-like forms previously stationed at the figures’ sides became flowing sleeves, capes or full-length cloaks. As Herbert Read notes, “Chadwick is preoccupied with states of attention or alertness in the human figure or the animal. His aim is to incorporate a moment of maximum intensity, and this he does by the most direct means—the reduction of bodily attitudes to their magnetic lines of force” (quoted in Judith Collins, Lynn Chadwick: The Collection at Lypiatt Park, New York, 2006, p. 22).

Chadwick uses his understanding of contradictory lines and shapes to create brilliant dynamism in an inherently stagnant moment. Chadwick heightens the inherent tension with the starkly forward facing positions of both figures, neither acknowledging the others’ presence. The artist reflected on this series of sculptures, stating “Curved figures of women are climbing and descending. Well dressed, well formed, unthinking, they know where they are going. They pass on the stairs, but do not see each other. The stairway is the passage to their destination” (ibid., p. 188).

Eva Chadwick has kindly confirmed that this cast is recorded in the artist’s archives.