Henry Moore, O.M., C.H.

Leicester Galleries, London, where purchased in1952, and thence by descent to the present owner

The following condition report was prepared by the paper conservationist, Jane MacAusland. Support Moore has used a sheet of wove paper to support this watercolour. This sheet appears to be partially adhered to a deep mount. The sheet is lightly foxed throughout. Otherwise it is in a good condition. Medium The watercolours are in a good condition though there is some slight fading in the more delicate tints as the work has been displayed for some time. Conservation Note For the longevity of this watercolour it is necessary, at some point, to remove it from its present mounting arrangement. This could be saved, as it is probably contemporary with the drawing, and the work could then be re-mounted using conservation materials. Note: This work was viewed outside studio conditions.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present work has been seen by the Henry Moore Foundation and given the reference number HMF 2446a.

The present sheet of studies develops Moore's concern with the family group but concentrates on a level of domesticity not normally evident in his work. The brightly coloured interiors in which the figures knit, read, and bathe and play with a young child (most obviously modelled on Mary, then three) are highly detailed and clearly recognisable as architectural spaces. Paintings, portraits and kitchenware hang from the walls and recognisable pieces of furniture re-appear in the various studies showing Moore responding to his surroundings.