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

Acquired by the present owner circa 1974

Robert Melville, Henry Moore, Sculpture and Drawings 1921-1969, New York, Abrams, 1971, cat. no.603, illustrated (another cast);
Franco Russoli and David Mitchinson, Henry Moore Sculpture, Macmillan, London, 1981, cat. no.322, illustrated (another cast);
Alan Bowness (ed.), Henry Moore: Complete Sculpture, 1955-64, vol.3, Lund Humphries, London, 1986, LH470, illustrated p.46 (another cast).

The very edges of the bottom of the base are uneven, which is inherent to the cast. There are two tiny brown specks on the base. Otherwise the sculpture is in good overall condition, with a rich patina. Please telephone the department on 0207 293 64242 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.
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."

'About 1955 Moore quite suddenly started to do sculptures in which there are violent contrasts of surface tension, with exceedingly taut, bone-hard, passages moving into soft, resilient, fleshy passages, often very abruptly. This was at about the time when he started to work with pebbles that have surfaces partly smooth and partly rough and sudden alterations between convexes and concaves...'(David Sylvester, Henry Moore, New York and London, 1968, p.127).

Moore undoubtedly delights in the materiality of natural forms in the present work. Rejecting the smooth gilt polish possible in bronze, the surface of the sculpture is instead richly textured and the lush browns and greens of the patina harken back to flora and fauna. By substantially shifting the scale, small found objects such as bones, seeds or pebbles, become monumental abstracted forms, their details sharpened and surfaces accentuated. Moore was ever in tune with the effects of negative space and here the contrasts between voluminous mass and carved cavernous voids result in remarkable patterns of light and shadow across the piece.

In its verticality, and clear combination of found organic objects, the present work relates to a series entitled Upright Motives which Moore was commissioned to complete for the new Olivetti building in Milan in 1955. Moore felt that the low horizontal nature of the building called for sculptures which would contrast with this rhythm and he also wanted to diverge from the Reclining Figure themes that were occupying much of his work during that time. While in the end the sculptures were never installed (Moore was unimpressed by their intended placement in a car park), the artist was intrigued and stimulated by the initial designs and continued to work on the maquettes out of his own interest:

'I started by balancing different forms one above the other-with results rather like the Northwest American totem poles - but as I continued the attempt gained more unity also perhaps became more organic - and then one in particular ...took on the shape of a crucifix - a kind of worn-down body and a cross merged into one.' (The Artist, quoted in Philip James (ed.), Henry Moore on Sculpture, Macdonald, London, 1966, p.253).