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Dame Barbara Hepworth (1903-1975)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM THE COLLECTION OF MARY H.D. SWIFT
Dame Barbara Hepworth (1903-1975)

Turning form (Atlantic)

Details
Dame Barbara Hepworth (1903-1975)
Turning form (Atlantic)
signed and dated 'Barbara Hepworth 1961' (lower right), signed again, inscribed and dated again 'Barbara Hepworth/"Turning form (Atlantic)" 1961' (on the reverse)
oil and pencil on gesso-prepared board
24¾ x 17¾ in. (63 x 45 cm.)
This work is recorded as D 453.
Provenance
with Gimpel Fils, London, where purchased by the present owner's mother in July 1961.
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.

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Pippa Jacomb
Pippa Jacomb

Lot Essay

Turning form (Atlantic) demonstrates Barbara Hepworth's response to the Cornish coastline with which she once admitted to have become ‘bewitched’. Alan Bowness writes, 'Many of the drawings of the 1960s were made within view of the sea, in a studio overlooking the Atlantic beach of Porthmeor, and the movement of tides and the forms of the wave patterns on the sea-shore sometimes provide their immediate inspiration' (A. Bowness, Barbara Hepworth Drawings from a Sculptor's Landscape, London, 1966, p. 25). This sense of movement can be felt in Turning form (Atlantic): the oval hollow of the forms evoke the jutting rocks and windswept beaches of Cornwall, and the pattern of curved and straight pencil lines, so reminiscent of her stringed sculptures, seems to imply the rise and fall of waves, or the vibrations of wind. Hepworth's use of azure blue pigment also serves to suggest the sensation of the surrounding sea and sky.

In Turning form (Atlantic), Hepworth has applied pigment and rubbed it away in areas, eroding the surface to suggest a texture reminiscent of the natural wear of the sea and wind upon rocks. Hepworth compared the process of her picture-making to that of making sculpture, reinforcing the tangibility and physicality of her pictures: 'When I am making a drawing, I like to begin with a board which I have prepared with a definite texture and tone. I like to rub and scrape the surfaces as I might handle the surface of a sculpture' (B. Hepworth, quoted in H. Read, (ed.), Barbara Hepworth: Carvings and Drawings, London, 1952, pp. 68-69).

We are grateful to Dr Sophie Bowness for her assistance with the cataloguing apparatus for this work. Dr Sophie Bowness is preparing the revised catalogue raisonné of Hepworth’s paintings and drawings.

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