HENRY MOORE, O.M., C.H. (1898-1986)
HENRY MOORE, O.M., C.H. (1898-1986)
HENRY MOORE, O.M., C.H. (1898-1986)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM THE FOUNDATION MIREILLE AND JAMES LÉVY
HENRY MOORE, O.M., C.H. (1898-1986)

Mother and Child: Crossed Feet

Details
HENRY MOORE, O.M., C.H. (1898-1986)
Mother and Child: Crossed Feet
bronze with a dark brown patina, on a black painted wooden base
8 ½ in. (21.6 cm.) high, excluding base
Conceived in 1956 and cast in 1957, this is cast 4 of 9.
Provenance
with André Emmerich Gallery, New York, where purchased by the previous owner in July 1957.
Anonymous sale; Christie's, New York, 11 November 1992, lot 14, where purchased by the present owners.
Literature
Exhibition catalogue, Henry Moore, London, Whitechapel Art Gallery, 1960, n.p., no. 46, as 'Mother and Child Maquette No. II', another cast illustrated.
Exhibition catalogue, Henry Moore, Hamburg, British Council, Kunstverein, 1960, n.p., no. 40, another cast illustrated.
Exhibition catalogue, Henry Moore, Zürich, British Council, Kunsthaus, 1960, p. 31, no. 43, another cast illustrated.
I. Jianou, Henry Moore, Paris, 1968, p. 81, no. 390, as 'Mother and Child No. 2'.
H. Read, Henry Moore: Mother and Child, Milan, 1966, pl. 26, as 'Mother and Child No. 2', another cast illustrated.
D. Rodgers, My Favourite Things, New York, 1967, p. 54, another cast illustrated.
R. Melville, Henry Moore: Sculpture and Drawings 1921-1969, London, 1970, p. 359, no. 510, as 'Mother and Child No. 2: Crossed Feet', another cast illustrated.
A. Bowness (ed.), Henry Moore, Complete Sculpture: 1955-64, Vol. 3, London, 2005, p. 28, no. 407, another cast illustrated.
Exhibited
Hamburg, British Council, Kunstverein, Henry Moore, May - July 1960, no. 40, another cast exhibited: this exhibition travelled to Essen, Folkwang Museum, July - August 1960; Zürich, Kunsthaus, September - October 1960; Munich, Haus der Kunst, November - December 1960; Rome, Galleria Nazionale d'Arte Moderna, January - February 1961; Paris, Musée Rodin, March - April 1961; Amsterdam, Stedelijk Museum, June - July 1961; Berlin, Akademie Der Künste, July - September 1961; Vienna, Akademie Der Bildenden Künste, September - October 1961; and Humblebaek, Louisiana Museum of Modern Art, December 1961 - January 1962.
Geneva, Galerie Gérald Cramer, Henry Moore, November 1962, no. 15, another cast exhibited.
London, Whitechapel Art Gallery, Henry Moore, November - December 1960, no. 46, as 'Mother and Child Maquette No. II', 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.
Cancellation under the EU Consumer Rights Directive may apply to this lot. Please see here for further information.
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Lot Essay

Moore’s first investigations into the theme of the mother and child were conceived during the early 1920s whilst still at the Royal College of Art, and the subject remained a boundless well of inspiration throughout his career, with it becoming his most widely admired signature theme.

Mother and Child: Crossed Feet displays Moore’s mastery of combining human form with naturalistic elements. This can be seen here in the mother’s skirt, with its simplified curved organic shape with deep striations denoting pleats, which resembles a shell or cascading water. It can also be seen in the figure’s forms - the mother’s limbs and the baby’s face - evoking the array of pebbles and bones that Moore collected. Gail Gelburd explains, ‘Moore continuously found new ways of exploring the theme so that the imagery could take on meaning beyond the aesthetics of its form. The development of the mother and child imagery reveals that Moore’s involvement in this theme reaches beyond maternity to an inquiry into birth and creativity. The theme of the mother and child, the mother giving birth, the child struggling to emerge from the maternal womb, is like the stone giving birth to the form, the form struggling to emerge from the block of stone' (exhibition catalogue, Mother and Child: The Art of Henry Moore, Hempstead, New York, Hofstra University, 1987, p. 37).

Within Moore’s work, such as Mother and Child: Crossed Feet, one can see a myriad of influences, from the sculptures of Ancient Egyptian and Pre-Columbian cultures, to the Madonna and Child works of the Renaissance era, all of whom revered mother-child imagery, viewing them as powerful symbols of rejuvenation and fertility. Indeed, the Mother and Child was one of the most common and evolving artistic themes and cannot be defined by any one religion, continent or century. As was the practice with Moore, he took inspiration from many sources, both religious and secular. What was of the utmost importance to the artist was that his work was instilled with a human quality that could speak to people on a personal level, while also acting as a universal symbol that could transcend the boundaries of religion and culture. Moore explained, ‘It has been a universal theme from the beginning of time and some of the earliest sculptures we’ve found from the Neolithic Age are of a mother and child. I discovered, when drawing, I could turn every little scribble, blot or smudge into a Mother and Child. So that I was conditioned, as it were, to see it in everything’ (H. Moore and J. Hedgecoe, Henry Moore, New York, 1968, p. 61).


For additional information about the Foundation Mireille and James Lévy, please see the introduction to lot 176.

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