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

Estimate

20,000 - 30,000 GBP

bidding is closed

Description

Henry Moore OM, CH
Seated Woman: Shell Skirt
signed and numbered 1/12; also stamped with NOAK BERLIN foundry mark
bronze with gold brown patina
height (excluding base): 16cm.; 6¼in.
Conceived in 1960, the present work is number 1 from an edition of 12 plus 2 artist's proofs.

Provenance

Acquired from the Artist by Sir Stephen and Lady Spender

Literature

Alan Bowness (ed.), Henry Moore Sculpture and Drawings 1955-64, volume 3, Henry Moore Foundation in association with Lund Humphries, London, 1965, LH459, p.28, illustrated pl.97 (another cast).

Condition

Dirt has gathered in some of the crevices and there are a few small spots of verdigris to her skirt , chair and neck but the sculpture is in good overall condition. Please telephone the department on 020 7293 6424 if you have any questions regarding the present work
"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."

Catalogue Note

Having met in the late 1920s, Henry Moore and Stephen Spender were life-long friends. Over the years Spender wrote several articles and a poem about Moore, and was a frequent visitor to Moore's studio at Perry Green, Much Hadham in Hertfordshire. Spender was always a great admirer of Moore's work and when an image of the poet was requested for the literary magazine, The London Mercury, Spender would only allow himself to be drawn by Moore. Though he very rarely made portraits, Moore drew several of his friend in 1934, 'partly with the idea, subsequently abandoned, of amalgamating several done at different angles into a single composite portrait' (Stephen Spender quoted in Roger Berthoud, The Life of Henry Moore, 1978, p.131). See also lot 82.