Barbara Hepworth

Marlborough Fine Art, London

Alexander Goulandris (acquired from the above in May 1972)

Irving Galleries, Palm Beach

Acquired from the above in 1987

London, Marlborough Fine Art, 'Barbara Hepworth: "The Family of Man'': Nine Bronzes and Recent Carvings',  1972, no. 17, illustrated in color in the catalogue

New York, Marlborough, Barbara Hepworth: Carvings and Bronzes, 1979, no. 8, illustrated in the catalogue

Storm King Art Center, Barbara Hepworth, 1982, no. 2, illustrated in the catalogue

New York, Marlborough, Masters of Modern and Contemporary Sculpture, 1984, no. 29, illustrated in color

New York, Kent Fine Art, Visionaries, 1986- 87, illustrated in the catalogue

Very good condition. The marble is sound, there are a few surface scuffs which do not detract from the overall condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Created in 1971, this exquisitely-carved  marble sculpture served as the original to an edition of 6 bronze sculptures created the following year. The title Summer Dance alludes to the musical and social elements of pagan ritual that had been noted by commentators on Hepworth’s work for some time. As early as the 1930s, J.D.Bernal had drawn comparison with the ancient stone sites of Cornwall, and the artist herself freely acknowledged the powerful influence of both the landscape and its pagan history on her work.

The interaction of upright forms was a theme Hepworth developed in depth during her later years, culminating in the large groups, The Family of Man of 1970, Conversation with Magic Stones of 1973 and the present sculpture. These works beautifully articulate the concerns that she was exploring at the time, primarily that of social interaction.  Hepworth believed that sculpture needed to be experienced through all senses, the entire body of the viewer, rather than just through the eyes. In a 1972 interview with British Pathé, Hepworth stated, “I think every person looking at a sculpture should use his own body. You can’t look at a sculpture if you’re going to stand stiff as a ramrod and stare at it. With a sculpture you must walk around it, bend towards it, touch it, walk away from it.” (British Pathé, Barbara Hepworth Sculptress, 1972, London)