Henry Moore (1898-1986)
THE TUTTLEMAN COLLECTIONDuring their marriage, Edna and Stanley Tuttleman curated one of the most eclectic and diverse collections of art, which spans multiple decades and a variety of media. Modernist sculpture masterpieces by artists such as Henry Moore and pop works by Roy Lichtenstein live side by side in a diverse arrangement that underscores the Tuttlemans’ love of art in many forms and traditions. Sculptures and paintings are represented as equally as acoustic and kinetic forms in the collection, with works by Alexander Calder and Henry Bertoia creating an atmosphere of pleasure that transcend the conventional and leans toward the unexpected.The Tuttlemans’ love-affair with all that is modern was articulated through a bold, salon-style installation in their family home that overtook every room and extended well into the surrounding landscape. Through this unique juxtaposition of works, the viewer gains a new appreciation for the relationships between works hanging side by side in close proximity to one another. The hanging is intuitive and not belabored—not overly planned or systematic. This style of installation underscores their love of the works themselves as well as their approach to collecting overall. The Tuttlemans sought out works by artists who resonated with them and purchased their work frequently.The Tuttlemans’ vast collection of sculpture displayed primarily outdoors was inspired by the family’s frequent stops at Storm King Art Center on their way to their Vermont home. While often times the sheer mass of a sculpture can limit its setting to the outdoors, many modern sculptors and collectors revel in the open air as a venue where the viewer is free to study the work from any distance and at any angle. From works by artists of American, Latin American, and British descent, Edna and Stanley Tuttlemans’ collection reveals a journey of collecting some of the finest examples of outdoor sculpture from all corners of the world. Displayed throughout the grounds of their Pennsylvania home, the Tuttlemans’ extraordinary collection occupied every garden, ledge and terrace creating a truly inspiring installation. Though their works are surrounded by the sublime and ever-changing environment, the love Edna and Stanley Tuttleman bestowed upon selecting a magnificent range of internationally-represented artists is unchanging.This passion and dedication seen not only in the Tuttlemans’ approach to collecting but also in their philanthropic efforts, was a hallmark of their marriage and a legacy of their life together. Edna and Stanley Tuttleman were committed to promoting the arts, culture and education in their community, and acted as benefactors to museums, universities, hospitals and temples in the Philadelphia area. The Tuttlemans funded, among others endeavors, The Tuttleman Contemporary Art Gallery at the Philadelphia Museum of Art; Franklin Institute’s Tuttleman Omniverse Theater; The Tuttleman Library at Gratz College; The Tuttleman Chapel at Temple Adath Israel; The Tuttleman Imaging Center at Graduate Hospital; The Tuttleman Learning Centers at Temple University and at Philadelphia University; The Tuttleman Auditorium and The Tuttleman Terrace at Institute of Contemporary Art; The Edna S. Tuttleman Directorship of the Museum at the Pennsylvania Academy of Fine Arts; and the Tuttleman Sculpture Gallery at the Pennsylvania Academy of the Fine Arts. These institutions that they fostered will stand as a beacon of their dedication to promoting the arts and education in their community.THE TUTTLEMAN COLLECTION
Henry Moore (1898-1986)

Working Model for Reclining Figure: Prop

Henry Moore (1898-1986)
Working Model for Reclining Figure: Prop
signed and numbered 'Moore 1/9' (on the back of the base)
bronze with green and brown patina
Length: 31 ½ in. (80 cm.)
Conceived and cast in 1976
Davlyn Gallery, New York.
James Goodman Gallery, New York (acquired from the above, May 1980).
Acquired from the above by the late owners, 8 August 1980.
F. Russoli and D. Mitchinson, Henry Moore Sculpture, London, 1981, p. 275, no. 572 (another cast illustrated in color).
A. Bowness, ed., Henry Moore: Complete Sculpture, 1974-1980, London, 1983, vol. 5, p. 26, no. 677 (another cast illustrated, pls. 60 and 61).
The Henry Moore Foundation, ed., Henry Moore: The Human Dimension, London, 1991, p. 125, no. 102 (another cast illustrated in color).

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Jessica Fertig
Jessica Fertig

Lot Essay

"I want to be quite free of having to find a 'reason' for doing the Reclining Figures, and freer still of having to find a 'meaning' for them. The vital thing for an artist is to have a subject that allows [you] to try out all kinds of formal ideas... in my case the reclining figure provides chances of that sort. The subject matter is given. It's settled for you, and you know it and like it, so that within it, within the subject that you've done a dozen times before, you are free to invent a completely new form-idea" (H. Moore, quoted in J. Russell, Henry Moore, London, 1968, p. 28).
The reclining female figure was Henry Moore's most enduring subject. Moore explained that his abiding attachment to this motif stemmed from the unparalleled formal freedom it allowed him. By 1976, the year the present sculpture was conceived, Moore's supreme mastery of the figure in repose was such that, as he made clear, "there's no need any longer to search for a personal style: I find work comes naturally" (Moore, quoted in A. Bowness, ed., op. cit., London, 1983, p. 7). This fluency is patently evident in the rhythmic rise and fall of forms in Working Model for Reclining Figure: Prop which effortlessly combines the formal innovations explored by Moore over the course of his exceptionally productive career.
The idea for the present sculpture was first developed in a small maquette subsequently enlarged by Moore to the present "working model" size. A larger version based upon this model was conceived in 1982, a cast of which is in the collection of the Museo de Arte Contemporáneo, Caracas. The elongated female figure of the present sculpture, propped up on one elbow, her twisting powerful chest pushing outwards and her knees upwards, is compositionally related to two other important reclining figures Moore sculpted at this time–Draped Reclining Figure and Reclining Figure: Angles. The particular pose evokes that of the pre-Columbian Toltec-Mayan figure of Chacmool. This sculpture had made a great impression upon Moore when he saw it reproduced in a book and when he first encountered a plaster cast of the original stone carving in Paris at the Trocadéro in 1922. "Its curious reclining posture attracted me," Moore remarked of Chacmool, "not lying on its side but on its back with its head twisted round" (Moore, quoted in A. Wilkinson, ed., Henry Moore: Writings and Conversations, Aldershot, 2002, p. 54).
The smooth hollow lower torso, characteristic of Moore's reclining figures, and sweeping curve of the figure's left arm creates a remarkable interplay of form and space. This interplay is further heightened by the strut or "prop" supporting the raised arm, which divides the ovoid space between limb and torso into two discreet areas and which brings to mind Moore's more abstracted two-piece reclining sculptures. Working Model for Reclining Figure: Prop reconciles, to some extent, both Moore's naturalistic and more abstract approaches to figuration. Writing of Moore's post-1973 sculptures, Alan Bowness observed that "the most obvious characteristic is a certain sense of consolidation-the drawing together of the threads of a long and various career" (A. Bowness, op. cit., 1983, p. 7).

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