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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HENRY MOORE, O.M., C.H. (1898-1986)

Reclining Figure

HENRY MOORE, O.M., C.H. (1898-1986)
Moore, H.
Reclining Figure
bronze with a dark brown patina, on a wooden base
5 5/8 in. (14.3 cm.) long, excluding base
Conceived in terracotta in 1945 and cast in bronze in 1945 in an edition of 7.
with Brook Street Gallery, London, where purchased by Ralph Ehrmann.
Acquired from the above by the present owner.
D. Sylvester (ed.), Henry Moore Complete Sculpture 1921-48, Vol. 1, London, 1988, p. 15, no. 247, another cast illustrated.
Exhibition catalogue, Focus on the Collection: Henry Moore, Jerusalem, The Israel Museum, 2004, p. 52, no. 64, another cast illustrated, catalogue not traced.
San Diego, Art Center in La Jolla, Henry Moore, August - September 1963, no. 2, another cast exhibited: this exhibition travelled to Santa Barbara, Santa Barbara Museum of Art, September - October 1963; and Los Angeles, Municipal Art Galleries, Barnsdall Park, November - December 1963.
Jerusalem, The Israel Museum, Focus on the Collection: Henry Moore, July 2004 - March 2005, no. 64, another cast exhibited.

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Pippa Jacomb
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Lot Essay

With its intricate shape, and signature amalgamation of figurative forms and abstract elements in bronze, Henry Moore’s Reclining Figure from 1945 perfectly exemplifies his preoccupation with the recumbent female form. ‘From the very beginning, the reclining figure has been my main theme. The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures’ (the artist, quoted in A.G. Wilkinson (ed.), Henry Moore: Writings and Conversations, Los Angeles, 2002, p. 212).

Moore’s mastery of this form is patently evident in the rhythmic rising and falling curves seen in Reclining Figure. The remarkable interplay of three-dimensional forms and empty space is produced by meandering and undulating lines that create the ‘tension, force, and vitality’, as well as the harmony, that Moore sought to convey (see C. Lichtenstern, Henry Moore: Work, Theory, Impact, London, 2008, p. 101).

The manner in which the female form is propped up on one elbow, with her twisting elongated torso and her knee raised up, is compositionally similar to other important examples of Moore’s reclining figures such as Recumbent Figure (1935), in the collection of Tate, London.

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