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Barbara Hepworth (1903-1975)
Property from the Stanford Z. Rothschild, Jr. CollectionFor the investor, philanthropist, and collector Stanford Z. Rothschild, Jr., life was a never-ending opportunity for exploration and discovery. Across his ninety-one years, Stan cultivated a reputation as a fiercely intellectual and generous man with a passion for culture and community.Stanford Z. Rothschild, Jr. was the son of prominent Baltimore insurance executive Stanford Z. Rothschild, Sr. and his wife, the philanthropist, Marie Rothschild. Since the late nineteenth century, the family has championed civic leadership in their Maryland community. Marie Rothschild, in particular, was known as a stalwart supporter of causes such as the Baltimore Symphony Orchestra, Sinai Hospital—where she was the first woman to serve on the board of directors—the Jewish Community Federation of Baltimore, and the American Red Cross—where Marie spearheaded the de-segregation of blood donation during the Second World War. “My grandma was a primary inspiration for our interest in making the world a better place,” noted David Rothschild, son of Stanford Z. Rothschild, Jr. “She made it clear that when you are privileged enough to not have to worry about providing for yourself or your family, there is a fundamental responsibility to 'make the world a better place.'"Marie Rothschild would pass on her dedication to helping others to her son, who utilized his success in business and his love of fine art for the public good. A graduate of City College and the University of Pennsylvania’s Wharton School of Business, Stan served as an officer in the United States Navy before joining his family’s Sun Life Insurance Company, where he rose to President and CEO. After selling Sun Life in 1971, the collector founded The Rothschild Company to focus his energies on investing, a field that had always captured his imagination. At his investment management firm, the collector was known for his keen intelligence and commitment to innovation—qualities that earned him not only prodigious success, but also the respect of his colleagues. In recounting her father’s progressive mentality towards investing and collecting, his daughter, Ellen Rothschild Dame, recalls Stan “pouring over the book Art as Investment in the late 1960s, which acted as a catalyst for some of his earliest purchases, such as the Kandinsky and the Monets. As he developed his understanding of art as an asset, his passion for learning about the origin and historical significance of the work itself blossomed.” Enthralled with artists and the creative process, Stan assembled a striking collection of paintings, sculpture, and works on paper by master figures of the art historical canon. He was especially drawn to artists whose work was both intellectually rigorous and historically provocative, namely El Greco, Claude Monet, Robert Delaunay, Camille Pissarro, and Russian artists of the twentieth century. During his lifetime, Stan amassed one of the largest, privately owned collections of Russian avant-garde art in the United States. Through personal scholarship and in conversation with art historians and curators, he honed his unique connoisseurial vision, and could speak at length about the fascinating philosophical and social histories behind each work. For Stan art was a rich, challenging source of inspiration—a means of interacting with the ideas and individuals that shaped the world. “He would have people come to the house to talk about the art,” David said of his father. “He loved to give tours and talk about the art. It was not only about the beauty—it was about the purpose, the political meaning, and the intent. It was beyond the aesthetic.” Stan approached philanthropy in the same way that he approached collecting: with energy, dedication, and a desire to foster and acquire inspiration. For him, giving was an opportunity to think more broadly about improving communities through bold thinking; his philanthropic reach extended across the arts, education, political advocacy, and Jewish causes. To this end, he sold major works of art to fund his eponymous charitable foundations and gifted pieces to institutions, including the Baltimore Museum of Art. In recent years, a meaningful portion of proceeds from The Rothschild Art Foundation’s sale of Russian artworks expanded its annual giving capability and has supported major gifts to charities such as Central Scholarship, enabling greater college and vocational access in Maryland and beyond. With the proceeds from some of his most beloved works, including major pictures by Odilon Redon, Monet, and Delaunay, the Rothschild Art Foundation is poised to significantly expand its impact throughout the United States and catalyze major change in areas of education, entrepreneurship, and civic activism. As David explained of his family’s philosophy toward giving, “one of the greatest joys in life is being generous and working to make the world better for others.” Today, his children David Rothschild and Ellen Rothschild Dame, together with the extended Rothschild family, continue to champion the art and causes that shaped the life of Stanford Z. Rothschild, Jr. Benevolent, innovative, and intellectual, Stan represents the best in American philanthropy and entrepreneurship. Like the artwork he collected and cherished deeply, the legacy of Stanford Z. Rothschild, Jr. will leave a lasting impression on and enrich the lives of those who benefit from his philanthropic spirit for many years to come.Property from the Stanford Z. Rothschild, Jr. Collection
Barbara Hepworth (1903-1975)

Two Forms (Orkney)

Barbara Hepworth (1903-1975)
Two Forms (Orkney)
signed, dated, numbered and stamped with foundry mark 'Barbara Hepworth 1967 3/9 MS' (on a plaque on the underside)
polished bronze with original wooden base
Height: 7 7/8 in. (20 cm.) (including base)
Conceived and cast in 1967
Mr. and Mrs. A. Harvey (acquired from the artist, May 1967).
Anon. sale, Sotheby's, New York, 7 October 1988, lot 169.
New Art Centre & Gimpel Fils, London (acquired at the above sale).
Mr. and Mrs. Fried, United States (acquired from the above, August 1989); sale, Sotheby's, London, 26 June 2008, lot 390.
Acquired at the above sale by the late owner.
A. Bowness, ed., The Complete Sculpture of Barbara Hepworth, 1960-1969, London, 1971, p. 44, no. 441 (another cast illustrated, p. 45).
F. Davis, "Substance and Shadow, A Tribute to Dame Barbara Hepworth," Art and Antiques, 14 June 1975, p. 17 (another cast illustrated, fig. 3).
S. Bowness, ed., Barbara Hepworth, The Plasters, The Gift to Wakefield, Burlington, 2011, pp. 47-48, 61, 63, 152-153 and 182, no. 31 (another cast illustrated, p. 153, fig. 40; another cast illustrated in color; plaster version illustrated, pp. 62 and 153).
S. Bowness, Barbara Hepworth, The Sculptor in the Studio, London, 2017, p. 107.
St. Ives, Guildhall, Bernard Leach, Barbara Hepworth, Conferment, September-October 1968.
St. Ives, Penwith Society of Arts, Spring Exhibition, March-April 1968.
Yorkshire, Wakefield Art Gallery and Gouda, Museum Het Catharina Gasthuis, Barbara Hepworth, Polished Bronzes, May-September 2003.

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Lot Essay

Dr. Sophie Bowness will include this work in her forthcoming revised Hepworth catalogue raisonné under the catalogue number BH 441.

To Hepworth, “the carving of a stone by a sculptor’s hand is intimately associated with the hollowing of a cliff by the waves and with the hollows and cavities of a human body” (S. Bowness, Barbara Hepworth, Writings and Conversations, 2015, p. 200). In the smooth, rounded hollows of Two Forms (Orkney), Hepworth expresses her inimitable sensitivity to landscape and the human form, combining a solid monumentality with gentle suggestions of physicality.
During the 1960s, Hepworth made many of her most intriguing sculptures. Often two or three-part works on an intimate scale, she experimented in bronze and slate as well as wood and stone (fig. 1). Two Forms (Orkney) is an prime example of Hepworth’s experimentations from this period: two cast bronze forms are mounted as a pair on a wooden plinth, their bronze patina polished to a high, golden sheen. One is pierced with a perfectly circular hole, the other carved with a smooth, concave hollow. The two shapes give a harmonious impression of symbiosis; the tip of the pear-like form leans towards a corresponding indent atop the other. The perfectly circular concave hollow parallels the aperture in its pair.
Their verticality recalls the motif of the Neolithic standing stone, a favorite source of inspiration for Hepworth. The stone menhirs which Hepworth knew were those of the Penwith peninsular in west Cornwall where she lived and worked. These haunting affirmations of man’s relationship with the landscape are also found on the islands of Orkney, a place Hepworth would never visit but the ruggedness of which, drenched in rich, clear Atlantic light, she could easily imagine. Two Forms (Orkney) is imbued with a sensuality which tempers the lithic weight of the sculpture. The almost abdominal swell of the left form suggests a human shape, an egg-like fertility, or the softness of a sea-worn pebble. “I think of the works as objects which rise out of the land or the sea, mysteriously,” Hepworth said in 1970. “You can’t make a sculpture without it being a thing—a creature, a figure, a fetish” (quoted in A. Bowness, ed., op. cit., p. 14). Two Forms (Orkney) exemplifies Hepworth’s singular combination of the symbolic figure, rooted firmly in nature and natural materials, with pure, geometric form.
Hepworth was connected to the islands of Orkney through her close friend and patron, Margaret Gardiner. The two had remained friends since first meeting in London in the 1930s, and Gardiner had supported Hepworth by buying her work often. In 1979, she established an art gallery at Stromness in Orkney, known as the Pier Arts Centre. She donated a significant collection of works by Hepworth, many of which had until then resided in her garden. Hepworth named her sculptures by association after their execution, and it is likely with fondness that she thought of her close friend’s windswept garden at the opposite end of the British Isles, a distant landscape and yet one which she could imagine intimately from her studio on the luminous, dramatic Cornish coast.

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