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

Gifted by the Artist to Julian Trevelyan in the 1930s

Ann Garrould (ed.), Henry Moore: Complete Drawings Vol.2 1930-39, Lund Humphries, 1998, cat. no.AG 34.23, illustrated p.116.

The sheet is very slightly cockled, but otherwise appears sound. The sheet is attached to the backing board by tabs at three places along the upper edge of the sheet, but not laid down. The edges of the sheet are slightly unevenly cut in keeping with the Artist's technique. There is a very small tear to the centre of the left edge, not visible in the present mount, and there are Artist pinholes to all four corners, some of which are visible in the present mount. There is very slight discolouration and very light handling marks along the edges, not visible in the present mount, and a small speck of surface dirt to the centre of the bottom edge, also not visible in the present mount. Subject to the above, the work appears in very good overall condition, with strong fresh colours. The work is presented in a simple wooden frame held under glass. 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."

'It is rare to find an artist of such great and obvious creative imagination who is also a balanced human being of deep wisdom. I believe that it was Sir Kenneth Clark who said that if it proved necessary to send an ambassador of the human race to Mars, Henry Moore should undoubtedly be chosen for the job, an opinion which I completely endorse.' (Julian Trevelyan, Indigo Days, Macgibbon & Kee, London, 1957, p.55).

After completing his training at Leeds school of art, Henry Moore lived and worked not far from Durham Wharf at 3 Grove Studios, Adie Road, Hammersmith between 1924 and 1928. During his time in Hammersmith he taught at the Royal College of Art in South Kensington and attended Leon Underwood’s Brook Green School of Art in nearby Girdlers Road. Moore was to become a close friend of Ursula Mommons and through her, Julian Trevelyan. They visited him regularly at the studio - he even had a series of his terracotta figures fired in Ursula's kiln. Moore also participated in Trevelyan's picture lending scheme and was most likely a guest at their artistic gatherings at Durham Wharf, keeping in touch with Trevelyan throughout his life. Trevelyan owned two works by Henry Moore (see lot 519) which he kept in the guest bedroom of the Wharf along with his Ceri Richards (see lot 518).