- Henry Moore
- Mother and Child with Apple
- Height: 28 in.
- 71.1 cm
Acquired at the above sale by A. Alfred Taubman
Robert Melville, Henry Moore, Sculpture and Drawings 1921-1969, London, 1970, nos. 512-13, illustration of another cast p. 359 (titled Mother and Child No. 1: Reaching for Apple)
Giulio Carlo Argan, Henry Moore, New York, 1971, fig. 133, illustration of another cast in color
David Mitchinson, ed., Henry Moore Sculpture with Comments by the Artist, London, 1981, nos. 290-291, illustration of another cast p. 141
Alan Bowness, ed., Henry Moore Sculpture and Drawings, 1955-64, vol. III, London, 1986, no. 406, illustration of another cast pl. 32
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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.
Discussing the major works produced in 1956-57 Giulio Carlo Argan writes: "The dilemma of the classical and anticlassical, of form and distortion, is applied to the problem of space. Monumentality becomes gigantism, an almost grotesque exaggeration: if the woman was to stand, her head would touch the clouds... Space flows over the figure like a stream over its bed" (G. C. Argan, op.cit.). The style and scale of Mother and Child with Apple's conception relates directly to the magnitude of the subject matter. The essential importance of maternity within the history of art has been monumentalised by Moore's sculptural exploration. As Gail Gelburd commented: "The theme of mother and child, then, not only refers to the maternal relationships but is about fertility, maternity and growth - universal ideas... The mother and child motif goes beyond the image to a primal motif based on the theme of life and birth, for Moore it means creativity. The art is reminiscent of some of the earliest primitive images due to its conceptual base. Moore's work is an attempt to get at the essential nature and to shape it from within...He breathes life and vitality into the inanimate object. The mother and child sculptures are not only a symbol of maternity but of creativity itself" (G. Gelburd in Mother and Child: The Art of Henry Moore [exhibition catalogue], Hofstra Museum, Hofstra University, New York, 1987, p. 27).
According to the Henry Moore Foundation, who have record of this bronze in their archives, the present sculpture was conceived in 1956 and cast during the artist's lifetime in an edition of ten plus one artist's proof. The Study Gallery in Poole, England, and the Israel Museum in Jerusalem both have casts of the Mother and Child with Apple in their collections.