'Watcher', 1959 is a museum quality example of Chadwick's early figurative work with its intricate welding and tactile surface enhanced by a beautiful rich patina. Watchers and strangers were both themes that Lynn Chadwick returned to again and again throughout his early career. The lone figure sometimes seen as a pair or in three's, reduced to blocks of form and mass on spindly legs, could be seen as semi autobiographical or hark back to the lone sentry men Chadwick would have been familiar with during the Second World War.

Lynn Chadwick rose to prominence in the 1950's with works that could be seen to rebel against the previous fashion for 'truth to materials' which Henry Moore and Barbara Hepworth promoted. Rather Chadwick's visual language looked towards new techniques of welding, elevating mass on spindly legs and using geometric frameworks or exoskeletons to work from the outside in.

In the book Outside The Shadows: Unseen Sculpture from the '50s and '60s Rungwe Kingdon explained: 'Lynn’s sculptural language was essentially built around triangles. The stability of a tripod, pyramid or cone, both as an actual form or as a concept to construct other forms, was intrinsic to his method. Juxtaposed triangles extended into squares, rectangles or even larger polyhedrons, could be extended further into three dimensional, cage-like constructions creating more organic objects. In using this language throughout the 1950’s he invented a very particular iconography of curious figures and beasts.'