Hubert Dalwood, R.A.

Acquired directly from the Artist in 1957 by the previous owner
Private Collection

Antwerp, Middelheimpark, 5e Biennale voor Beeldhouwkunst, May - September 1959, cat. no.31 (another cast);
London, Gimpel Fils, Recent Sculpture by Hubert Dalwood, January 1960, cat. no.2 (another cast);
Roche Court, Salisbury, New Arts Centre, Hubert Dalwood: Landscape into Sculpture, 2009 (another cast).

Chris Stephens, The Sculpture of Hubert Dalwood, The Henry Moore Foundation in association with Lund Humphries, London, 1999, cat. no.80, p.117, illustrated fig.14, p.39 (another cast).

Dirt has gathered in some of the crevices otherwise the work appears in good original condition. The work is slightly loose on its wooden base. Please contact the department on 0207 293 6424 if you have any questions about 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.
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'In the mid-1950s Henry Moore began to acquire works by younger sculptors, amongst them Caro's Woman Waking up (1955) and Dalwood's Tree (1957). Unlike Caro's sculpture, Dalwood's directly evoked the landscape, but did so in ways that also suggested the human form. As viewers looked for the outlines and forms of a tree in this sculpture, so they looked for facial profiles and then for eyes, nose and mouth in the sculpture's crudely gridded sides. Tree was, and still is, a strange and enigmatic sculpture, and it is not difficult to see why it caught the eye and mind of Henry Moore.

Dalwood's Tree also stands as a bold early statement of interest in the complex relationship between sculpture, landscape and the imagination - a central strand to his work that would continue throughout his career' (Jon Wood, Hubert Dalwood - Landscape into Sculpture, 2009).