Henry Moore, O.M., C.H. (1898-1986)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more Property from the Estate of Bernard and Florence Roth
Henry Moore, O.M., C.H. (1898-1986)

Two Piece Sculpture No. 7: Pipe

Details
Henry Moore, O.M., C.H. (1898-1986)
Two Piece Sculpture No. 7: Pipe
signed and numbered 'Moore 4/9' (on the back of the base)
bronze with a polished patina
37 in. (94 cm.) long
Conceived in 1966.

Provenance
with Marlborough Gallery, New York.
with Waddington Galleries, London, where acquired by the late owners, circa 1977.
Literature
I. Jianou, Henry Moore, Paris, 1968, no. 521, pl. 33, another cast illustrated.
R. Melville, Henry Moore, Sculpture and Drawings, 1921-1969, London, 1970, p. 366, no. 700, another cast illustrated.
Exhibition catalogue, Henry Moore, Carvings, Bronzes, New York, Marlborough Gallery, 1970, pp. 62, 63, no. 25, another cast illustrated.
G.C. Argan, Henry Moore, New York, 1971, pl. 197, another cast illustrated.
Exhibition catalogue, Henry Moore, Florence, Forte di Belvedere, 1972, no. 141, another cast illustrated.
A. Bowness (ed.), Henry Moore, Sculpture and Drawings 1964-73, Vol. 4, London, 1977, p. 44, no. 543, pls 38, 39, another cast illustrated.
Exhibition catalogue, Henry Moore Sculptures et dessins, Paris, Orangerie des Tuleries, 1977, p. 178, no. 108, another cast illustrated.
F. Russoli and D. Mitchinson, Henry Moore, Sculpture, London, 1981, p. 189, figs. 407, 408, another cast illustrated.
Exhibition publication, Henry Moore in association with Henry Moore: sculptures, drawings and graphics 1921-1981, Madrid, Palacio de Velázquez, Palacio de Cristal del Parque del Retiro de Madrid, British Council, 20 May 1981, no. 70, another cast illustrated.
Exhibited
Otterlo, Rijksmuseum Kroller-Muller, Henry Moore, May - June 1968, no. 118, another cast exhibited: this exhibition travelled to Kunsthalle Düsseldorf; Rotterdam, July - September 1968; Museum Boymans van Beuningen, September - November 1968; and Kunsthalle Baden-Baden, November 1968 - January 1969.
New York, Marlborough Gallery, Henry Moore, Carvings, Bronzes, April - May 1970, no. 25, another cast exhibited.
Florence, Forte di Belvedere, Henry Moore, May - September 1972, no. 141, another cast exhibited.
Paris, Orangerie des Tuileries, Henry Moore Sculptures et dessins, May - August 1977, no. 108, another cast exhibited.
Madrid, Palacio de Velázquez, Palacio de Cristal del Parque del Retiro de Madrid, British Council, Henry Moore: sculptures, drawings and graphics 1921-1981, May - August 1981, no. 70, another cast exhibited.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

Brought to you by

Anne Haasjes
Anne Haasjes

Lot Essay

Conceived in 1966, Two Piece Sculpture No. 7: Pipe displays Moore's preoccupation with creating multiple and varied viewpoints from separate sculptural units that are brought together into relationships of tension and interdependence. Developing an idea which had first appeared in his work in the 1930s, Moore began to divide his reclining figures into two and, later, three and four pieces in 1959.

Moore has commented that Two Piece Sculpture No. 7: Pipe constituted "an attempt to make a sculpture which is varied in all its views and forms... One piece is very different from the other, and by combining the two I obtain many permutations and combinations. By adding two pieces together the differences are not simply doubled. As in mathematics, they are geometrically multiplied, producing an infinite variety of viewpoints" (H. Moore and J. Hedgecoe, Henry Moore, New York, 1968, p. 501).

Steven A. Nash has noted the influence of the Surrealists on Moore's multi-piece works, commenting: "The idea of spreading a sculptural composition across a flat base, so antithetical to the ancient tradition of the vertical statue, was very much in the air at the time. Moore would have seen examples in work by Arp, and certainly was aware of Giacometti's repeated and highly inventive use of the device" (exhibition catalogue, Henry Moore, Sculpting the 20th Century, Dallas Museum of Art, 2001, pp. 46-47). The act of cutting the figure into sections might initially appear as a perversely wanton act of surrealist violence. However, in contrast to the transgressive psycho-sexual attitudes that normally informed surrealist imagery, especially as seen in Giacometti's sculptures of this period, Moore's composite figures "are serene, psychologically neutral studies in formal balance and rhythmic variation" (ibid., p. 47).

The highly polished finish of the present work is particularly notable, calling to mind the sculptures of Constantin Brancusi whom Moore had admired for his ability to rid sculpture of all "surface excrescences" (quoted in A. Wilkinson, ed., Henry Moore, Writings and Conversations, Aldershot, 2002, p. 145). Two Piece Sculpture No. 7: Pipe was cast in bronze in a numbered edition of nine plus one artist's proof. Other bronze casts are in the collections of the Tate Gallery, London and The Whitworth Gallery at the University of Manchester. The original plaster from which the bronzes were cast is in the Henry Moore Sculpture Centre at the Art Gallery of Ontario, Toronto.

More from Modern British & Irish Art Evening Sale

View All
View All