Lot 161
  • 161

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

Estimate
15,000 - 25,000 GBP
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Description

  • Henry Moore, O.M., C.H.
  • Time/Life Screen: Maquette No.2
  • bronze
  • height (including base): 20.5cm.; 8in.
  • Conceived in 1952, the present work is from an edition of 9.

Provenance

Acquired by the late owner by the 1980s

Literature

John Hedgecoe, Henry Moore, Thomas Nelson & Sons Ltd., London, 1968, illustrated p.214 (another cast);
Alan Bowness, (ed.), Henry Moore Complete Sculpture 1949–54, Vol. II, Lund Humphries, London, 1986, cat. no.340, illustrated (another cast).

Condition

The sculpture appears sound. There is some slight rubbing to the protruding edges of the sculpture in places. There are one or two traces of casting residue, and there is some surface dirt across the work, particularly in the recessed areas. Subject to the above, the work appears to be in good overall condition. The work is affixed to a painted wooden base with two bolts. There is brown felt attached to the underside of the work. Please telephone the department on +44 (0) 207 293 6424 if you have any questions regarding 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."

Catalogue Note

‘The Four maquettes for the Time-Life building in Bond Street. First I tried to relate the openings to the fenestration of the building. This, I thought, was too obvious. Next I made more asymmetrical spaces and varied the size of each unit. But this had a rhythm too vertical for the squareness of the building. Then came the third, in which I used both horizontal and vertical forms and openings. Still I was dissatisfied. I made a fourth attempt which combined the horizontal and vertical forms into more squareness. I preferred this last maquette, and so carried it out in full size.’

(The Artist, quoted in John Hedgecoe, Henry Moore, Thomas Nelson & Sons Ltd., London, 1968, p.214.)