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拍品詳情

寶兒 / 收藏家-第I部分:現當代藝術晚拍

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倫敦

Henry Moore, O.M., C.H.
1898-1986
FAMILY GROUP
bronze
height: 15cm.; 6in.
Conceived in 1944, the present work is one of two possible casts which predate the edition of 9 which was cast in 1956-7.
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來源

The Artist, from whom acquired by the previous owner circa 1951, and thence by descent
Sale, Phillips London, 21st November 1995, lot 43, where acquired by David Bowie

展覽

London, Tate, Henry Moore, 17th July - 22nd September 1968, cat. no.62 (another cast);
London, Lefevre Gallery, Henry MooreSmall Bronzes and Drawings, 30th November - 23rd December 1972, cat. no.7, illustrated p.21 (another cast);
Dallas, Dallas Museum of Art, Henry Moore, Sculpting the 20th Century, 25th February - 25th May 2001, cat. no.49, illustrated p.173 (another cast).

出版

Ionel Jianou, Henry Moore, Tudor Publishing, Paris, 1968, no.218, p.73 (another cast);
John Hedgecoe (ed.), Henry Moore, Thomas Nelson and Sons Ltd., London, 1968, illustrated p.176 (another cast);
David Sylvester (ed.), Henry Moore: Complete Sculpture 1921-1948, Lund Humphries, London, 1988, cat. no.230, illustrated p.144 (terracotta version);
Nicholas Lynton et al., Henry Moore: The Human Dimension, Henry Moore Foundation Enterprises, Leeds, 1991, cat. no.56, p.81, illustrated (another cast);
John Hedgecoe, Henry Moore, A Monumental Vision, Collins & Brown, London, 1998, no.233, illustrated (another cast).

相關資料

The concept of the family nucleus is one of the most universal themes in the history of human culture. For Henry Moore, the subject was a cornerstone of his work and it is a recurring idea throughout his oeuvre. Set within the post-war context when the present work was conceived, the group takes on the added significance as an emblem of hope, security and intimacy after the devastation wrought in all corners of the globe by the Second World War.

The genesis for Moore’s focus on the family has its roots in a number of projects – he had long been interested in the Mother and Child, carving early subjects such as Mother and Child (1929, Private Collection) and Mother and Child (1931, Hirschhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C.) but in the mid-1930s, the modernist architect Walter Gropius asked him to conceive a sculpture for a new school he was designing with Maxwell Fry in Impington, near Cambridge. The school would also function as a central meeting point for the surrounding communities and thus, the subject of a family seemed particularly apt. Moore filled nearly two sketchbooks with ideas depicting families in various poses and in the mid-1940s created at least fourteen small maquettes of family groups. The intimacy of the present arrangement undoubtedly recalls Renaissance treatments of the Madonna and Child together with St Peter and the child St John the Baptist, whilst the drapery on the figures is redolent of the Antique. In the context of the 1940s, the closeness of the family nucleus resonates in Moore’s work as an Official war artist – it was on descending into an underground station one night during a bombing raid that he was struck by the clusters of parents and their children huddled together taking shelter along the train platforms. The importance of family took on a personal significance in 1946 when his wife Irina gave birth to their daughter Mary.

Gropius’ Impington School commission was later shelved due to lack of funds however, importantly, F.R.S. Yorke resurrected the idea for the Barclay Secondary School in Stevenage and commissioned Moore to create his first monumental public sculpture – it is significant that such a pivotal commission should have been a family group.

寶兒 / 收藏家-第I部分:現當代藝術晚拍

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倫敦