London, Marlborough Fine Art, October – November 1966 (illustrated in the exhibition catalogue, no. 2);
Woking, The Lightbox, 2D:3D – Discover the Art of Sculpture: Sculpture & Sculptors’ Drawings from The Ingram Collection, 1 February – 1 March 2008;
London, Sotheby’s, Sculpture and Sculptors’ Drawings from The Ingram Collection, 10 – 21 January 2011;
Woking, The Lightbox, The Ingram Collection: Diamond Jubilee Exhibition, 6 March – 15 April 2012;
London, Canary Wharf, Bronze Sculptures from the Ingram Collection, 16 September – 15 November 2013;
Woking, The Lightbox, The Road to Abstraction, 21 May – 24 July 2016;
Hastings, Jerwood Gallery, Century: 100 Modern British Artists, 23 October 2016 – 8 January 2017;
Woking, The Lightbox, In Their Own Words: Artists’ Voices from The Ingram Collection, 20 May – 30 July 2017
Literature:
A.M. Hammacher, Die Entwicklung der modernen Skulptur; Tradition and Erneurung, 1973 (no. 312, pl. 352);
N. Koster and P. Levine, Leiden, 1988 (illustrated, p.83, 104);
D. Farr and E. Chadwick, Lynn Chadwick Sculptor, Oxford, 1990 (illustrated, no. 347, p. 170);
E.Lucie-Smith, Chadwick, Stroud, 1997 (p. 52, 67, pl. 34)
Lynn Chadwick came late to sculpture, as with Reg Butler, having initially trained in architecture. He gained prominence with two works included in the Festival of Britain in 1951 and showed at the 1952 Venice Biennale. He caused a sensation when he won the International Prize for Sculpture in Venice in 1956. Chadwick’s works are largely based on human or animal figures, examining aggression, vulnerability and interaction. Later Alligator is made of gypsum (used worldwide in concrete) and iron filings and is a playful representation of two people saying goodbye. Chadwick is always concerned with geometry and tension in a work and he strives to invest his pieces with a vital quality. In reference to his work he stated that he has “never really been attracted towards clay as a material to work with because it’s too nebulous to me and it’s too soft. I can’t think of any shape that clay ought to be, I mean it can be any shape therefore I don’t know what to do with it. Whereas, if I make my constructions which are made out of iron and straight lines, I can do a drawing, a three-dimensional drawing, in this material, which has a very definite shape.” Lynn Chadwick, British Library National Sound Archive, 1995. Here, the title is composed of two words that form a well-known catchphrase of the period, and becomes a light-hearted caricature of two people – male and female – saying goodbye to one another.
