Henry Moore

The Henry Moore Foundation, Much Hadham, Hertfordshire 
Weintraub Collection, New York (sale: Sotheby's, New York, 9th November 1995, lot 344)
Emilio Arditti, Basel (acquired at the above sale)
Arij Gasiunasen Fine Art, Palm Beach
Private Collection, United States (acquired from the above in 1996)
Acquired by the present owner in 2011

Will Grohmann, Henry Moore, Berlin, 1960, illustration of the plaster pl. 158
Robert Melville, Henry Moore, New York, 1968, no. 505, illustration of another cast pl. XXII and of the plaster p. 212
Henry Seldis, Henry Moore in America, Los Angeles, 1973, no. 48, illustration of another cast pl. 266
David Finn & Kenneth Clark, Henry Moore Sculpture and Environment, London, 1977, illustration of another cast pp. 386-91
Alan G. Wilkinson, The Moore Collection in the Art Gallery of Ontario, Toronto, 1979, no. 110, illustration of another cast n.p.
David Mitchinson, ed., Henry Moore, With comments by the artist, London, 1981, illustration of another cast p. 153
William S. Lieberman, Henry Moore: Sixty Years of His Art, New York, 1983, illustration of another cast p. 86
Alan Bowness, ed., Henry Moore, Sculpture and Drawings, 1955-64, London, 1986, vol. III, no. 383, illustration of another cast p. 22

Attractive rich dark brown patina. There is some light surface wear consistent with handling and some dust in the crevices. There are a few tiny casting flaws in places. This work is in overall good 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. 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."

Ambitious in both scope and scale, Upright Motive no. 5  is a highly important work within Henry Moore’s 1950’s œuvre. In 1955, Moore was asked to make a sculpture for the courtyard of a new building in Milan, Italy. He later recalled: ‘I visited the site and a lone Lombard poplar growing behind the building convinced me that a vertical work would act as the correct counterfoil to the horizontal rhythm of the building. This idea grew ultimately into the Upright Motives. Back home in England I began a series of maquettes. I started by balancing different forms one above the other - with the results rather like the North West American totem poles...’ (quoted in David Mitchison, Henry Moore, With comments by the artist, London, 1981, p. 134). This connection with totemic figures – highly important elements of Native American culture - imbues Upright Motive no. 5 with a particular spiritual and philosophical significance, effectively becoming a repository of universal hopes and prayers. These powerful layers of symbolism appear particularly apposite within the context of 1950s Post-War Britain, which was still recovering from the effects of recent conflict. Ultimately, within Upright Motive no. 5 Moore forges together the various strands of influence that had inspired the series to create a work of immense emotional and intellectual resonance.