HENRY MOORE (1898-1986)
HENRY MOORE (1898-1986)
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PROPERTY FROM A PRIVATE SWISS COLLECTION
HENRY MOORE (1898-1986)

Two Piece Sculpture No. 7:Pipe

Details
HENRY MOORE (1898-1986)
Two Piece Sculpture No. 7:Pipe
signed and numbered 'Moore 3⁄9' (on the side of the base)
polished bronze
Length: 94 cm. (37 in.)
Conceived and cast in 1966
Provenance
Marlborough Fine Art, Ltd., London (1966)
Gimpel Fils, London (1967)
Mr. and Mrs. M.D. Lipsey, New York (acquired from the above, 26 January 1967)
Anon. sale, Sotheby's, London, 2 November 2011, lot 50
Private collection, by whom acquired from the above sale; Christie's New York, 1 May 2012, Lot 32
Private collection, by whom acquired at the above sale
Literature
J. Hedgecoe (ed.), Henry Moore, London, 1968, pp. 442 and 504 (another cast illustrated.)
J. Russell, Henry Moore, London, 1968, p. 193, pl. 198 (another cast illustrated.)
I. Jianou, Henry Moore, Paris, 1968, no. 521, pl. 33 (another cast illustrated.)
Exhibition catalogue, Henry Moore, Otterlo, Rijksmuseum Kröller-Müller, 1968, n.p., no. 118 (another cast illustrated.)
D. Sylvester, exhibition catalogue, Henry Moore, London, Tate Gallery, 1968, pp. 38 and 141, no. 136, pls. 29, 133 (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, Knoedler & Company, 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, p. 208, no. 141 (another cast illustrated.)
H.J. Seldis, Henry Moore in America, New York, 1973, p. 239 (another cast illustrated.)
J. Russell, Henry Moore, London, 1973, pl. 126 (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.)
Exhibition catalogue, The Henry Moore Gift, London, Tate Gallery, 1978, p. 58, n.p. (another cast illustrated.)
The Tate Gallery 1978–80: Illustrated Catalogue of Acquisitions, London, 1981, pp. 139-140 (another cast illustrated.)
Exhibition catalogue, Henry Moore: Sculptures, Drawings, Graphics 1921-1981, Madrid, British Council, Palacio de Velázquez, Palacio de Cristal del Parque del Retiro de Madrid, 1981, pp. 189 and 313, no. 70, pls. 407-408 (another cast illustrated.)
F. Russoli and D. Mitchinson, Henry Moore, Sculpture, London, 1981, p. 189, figs. 407-408 (another cast illustrated.)
Exhibition catalogue, Henry Moore: Esculturas, Dibujos, Grabados – Obras de 1921 a 1982, Caracas, Museum of Contemporary Art, 1983, p. 110, no. 112 (another cast illustrated.)
Exhibited
Otterlo, Rijksmuseum Kröller-Müller, Henry Moore, May - June 1968, no. 118 (another cast exhibited): this exhibition travelled to Düsseldorf, Kunsthalle Düsseldorf, July - September 1968; Rotterdam, Museum Boijmans van Beuningen, September - November 1968; and Baden-Baden, Kunsthalle Baden-Baden, November 1968 - January 1969.
London, Tate Gallery, Henry Moore, July - September 1968, no. 136 (another cast exhibited.)
New York, Knoedler & Company, Henry Moore, Carvings, Bronzes, April - May 1970, no. 25 (another cast exhibited.)
Paris, Musée Rodin, Henry Moore, 1971, no. 49 (another cast exhibited.)
Munich, Staatsgalerie Moderner Kunst, Henry Moore 1961–1971, October - November 1971, no. 25 (another cast exhibited.)
Florence, Forte di Belvedere, Henry Moore, May - September 1972, no. 141 (another cast exhibited.)
Zurich, Zurcher Forum, The Work of the British Sculptor Henry Moore, June - August 1976, no. 82 (another cast exhibited.)
Paris, Orangerie des Tuileries, Henry Moore Sculptures et dessins, May - August 1977, no. 108 (another cast exhibited.)
London, Tate Gallery, The Henry Moore Gift, June - August 1978 (exhibition not numbered.)
Madrid, British Council, Palacio de Velázquez, Palacio de Cristal del Parque del Retiro de Madrid, Henry Moore: sculptures, drawings and graphics 1921-1981, May - August 1981, no. 70 (another cast exhibited.)
Lisbon, Fundação Calouste Gulbenkian, Henry Moore, September - November 1981, lot 106 (another cast exhibited.)
Mexico City, Museo de Arte Moderno, Henry Moore en México: Escultura, Dibujo, Grafica de 1921 a 1982, November 1982 - January 1983, no. 45 (another cast exhibited.)
Caracas, Museum of Contemporary Art, Henry Moore: Esculturas, Dibujos, Grabados – Obras de 1921 a 1982, March 1983, no. 112.

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Lot Essay

‘Sculpture should always at first sight have some obscurities, and further meanings. People should want to go on looking and thinking; it should never tell all about itself immediately … In fact all art should have some more mystery and meaning to it than is apparent to a quick observer’
– Henry Moore

Conceived and cast in 1966, Henry Moore’s Two Piece Sculpture No. 7: Pipe is the seventh work in the landmark series of Two Piece figures that the sculptor had begun in 1959. With this group of works, Moore took the radical step of dividing the form of the reclining figure into two separate parts. In so doing, he opened up the aesthetic potential of this motif, expanding the range of visual allusions that these forms engendered, as well as pioneering a new approach to modern sculpture by integrating empty space into the composition itself. The two pieces, both angular and organic and cast in smooth, reflective polished bronze, work in dialogue with one another, the protrusions and depressions creating fascinating dynamics of space, balance and volume between these forms. As Moore wrote of this work, ‘I call this sculpture Two-piece: Pipe. It is 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, quoted in H. Moore & J. Hedgecoe, Henry Moore, New York, 1968, p. 501).

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’ (H. Moore, 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. 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.

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