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Lot Essay
Carved from a single piece of pale Hopton Wood stone, Sculpture with Colour (Eos) is a pivotal masterwork of Barbara Hepworth’s oeuvre. Rising from its base as an organic ovoid form, it balances delicately on its narrowest point, while across the surface, three hollows gather colour, shadow and light. On one side, a rich blue evokes the depths of the ocean, the boundless sky and infinite reaches of the cosmos, while elsewhere, the ovals are coloured by white and soft grey tones, suggesting the luminous and pure atmosphere of daybreak. In this way, the sculpture illustrates the exciting new avenue of artistic enquiry Hepworth was exploring at this time, which would become an integral part of her sculptural language – the dynamic addition of coloured pigment to her carvings, creating an intriguing visual and textural contrast between the smooth, unpolished surface of the stone or wood, and the sensuous passages of paint. One of only three known stone carvings from 1946 to include hand painted colour elements, Sculpture with Colour (Eos) is a powerful testament to the extraordinary inventiveness and dynamism of Hepworth’s vision at this time.
1946 marked an important turning point in Hepworth’s art. Seven years prior, the encroaching threat of war in Europe had prompted the artist to flee London with her family, leaving her home and studio behind, in order to settle in the Cornish fishing village of St Ives in the far south-west of England. During the early years of the War, Hepworth found little time to devote herself to her artistic pursuits – as well as caring for her children, she ran a small nursery school in the village, and diligently tended to a kitchen garden, determined to keep her family fed through the stark restrictions of rationing.
In 1942, the family settled into a larger house on a cliff overlooking Carbis Bay, which included a space that Hepworth could adapt into a studio. Almost immediately, she recalled, this move signalled the beginning of ‘a new era … There was a sudden release from what had seemed to be an almost unbearable diminution of space and now I had a studio workroom looking straight towards the horizon of the sea and enfolded (but with always the escape for the eye straight out to the Atlantic) by the arms of land to the left and the right of me’ (‘The War, Cornwall and the Artist in Landscape’, 1952; reproduced in S. Bowness, ed., Barbara Hepworth: Writings and Conversations, London, 2015, p. 67). She quickly began carving again, adapting her process so that she could work in short bursts between other domestic tasks, and later described this period as the ‘most vital’ time of her life (quoted in P. Curtis, Barbara Hepworth, London, 1998, p. 53).
The dynamic coastal landscapes of Cornwall left an indelible impression on Hepworth’s imagination, from the play of light across the water, to the natural, organic forms of cliffs, sea arches and ancient monuments that she discovered scattered across the countryside. She was equally fascinated by the formal qualities of the stones she discovered and collected on her beach walks, especially their unexpected shapes and smooth rounded surfaces, their edges softened as a result of gradual erosion by the elements. The milder climate in this part of the world allowed her to take her work outdoors, carving and shaping her sculptures in the open air, bringing her closer to the essential power and force of the natural world. These diverse visual stimuli played an important role in Hepworth’s sculptural language through the ensuing years, her memories and experiences of the atmospheric phenomena and ancient geological landscape reshaping her sculptural idiom.
These different inspirations find elegant expression in Sculpture with Colour (Eos) – here, Hepworth presents a simplified, geometric ovoid shape, its rounded, bourgeoning form invoking both the smooth contours of naturally weathered stone or a seed-pod, and more symbolic, elemental ideas of generative power and birth. As such, the work contains a rich sense of energy, renewal and optimism for the future, themes that held a powerful resonance for Hepworth at this time. With the world gradually emerging from the dark days of the War and embracing a vital spirit of regeneration, the artist too began to look to the future. Leaving behind the relative isolation of recent years, she fully immersed herself in creating new works and began to reengage with the international avant-garde once more, taking her place among the best known and most celebrated modern British artists of the period. Her sculptures from 1946 are imbued with this powerful sense of evolution and reawakening, their forms driven by the intense creative energy that absorbed and captivated Hepworth.
The smooth, curving contours of the present work are achieved by direct carving, Hepworth shaping the stone with focus and intent, using tools wielded by her own two hands, as she searched for the form she envisioned. From the earliest stages of her career, Hepworth held a deeply rooted passion for the process, which she first discovered during an extended sojourn to Italy as a young student in the 1920s. Revelling in the physicality of the technique, she appreciated the rhythms and motions that occurred in the act of cutting into and shaping the material, even the sounds of the stone or wood as it yielded to her tools. ‘Carving to me is more interesting than modelling,’ Hepworth explained, ‘because there is an unlimited variety of materials from which to draw inspiration. Each material demands a particular treatment and there are an infinite number of subjects in life each to be recreated in a particular material. In fact, it would be possible to carve the same subject in a different stone each time, throughout life, without a repetition of form’ (quoted in ‘Contemporary English Sculptors’ in The Architectural Association Journal, London, vol. XLV, no. 518, April 1930, p. 14). For Hepworth, working directly with the raw material in this way allowed her to achieve a deeper understanding of the unique character of each work, responding to the material’s idiosyncrasies as she carved.
In Sculpture with Colour (Eos), the simplified geometry of the ovoid shape appears at once strikingly familiar, yet enigmatic and universal. Writing in 1946, around the same time she was working on the sculpture, Hepworth explained that this was a form that had long fascinated her: ‘The first carvings were simple realistic oval forms of the human head or of a bird. Gradually my interest grew in more abstract values – the weight, poise, and curvature of the ovoid as a basic form. The carving and piercing of such a form seems to open up an infinite variety of continuous curves in the third dimension, changing in accordance with the contours of the original ovoid and with the degree of penetration of the material. Here is sufficient field for exploration to last a lifetime…’ (‘Approach to Sculpture’ in Studio, London, October 1946, vol. 132, no. 643; reproduced in S. Bowness, op. cit., 2015, pp. 32-33). In a way, the present work appears to echo Constantin Brancusi’s dynamic approach to the oval – like Hepworth, he found this form perfectly suited to his symbolic interpretations of birth and regeneration, as seen in works such as Nouveau-né I (1915; Philadelphia Museum of Art). Here, Hepworth further accentuates the impact of the form by carving a series of secondary ovals into the surface, the subtle concave hollows echoing the overall shape of the work and creating an intriguing sense of rhythm and repetition.
The most striking and perhaps defining element of Sculpture with Colour (Eos), however, lies in its rich passages of painted colour, applied directly to the stone surface. Colour had played an important part in Hepworth’s oeuvre since her earliest sculptural works, her choice of natural materials often leaning towards those that were naturally variegated and richly hued, from pink, black and white alabasters to blue Armenian marble and onyx, as well as pieces of ebony, mahogany and teak wood. However, towards the end of the 1930s this fascination took a new direction in her work, as her ‘obsession about colour in the concavities of forms’ took hold (Hepworth, Barbara Hepworth: A Pictorial Autobiography, London, 1998, p. 41). In Sculpture with Colour, White, Blue and Red Strings (BH 113; original destroyed during a later bronze casting), created in 1939, Hepworth painted a small plaster piece bright white, filling its interior hollows with a contrasting cool blue paint, and picking out the stringed elements that cross from one end to the other in a red hue. This was the only sculpture Hepworth brought with her from London in the move to Cornwall, a sign of its importance and the creative potential she felt the idea held.
This bold, confident step opened up a new direction of thought for Hepworth, though the outbreak of the War stalled her plans to pursue the idea further, as the limitations of time and space restricted her sculptural creations. It was only in 1943, when she was finally able to return to carving, that Hepworth began adding painted passages to her works in both wood and stone, accentuating cavities and hollows, and emphasising the dynamic relationship between internal and external space. During the 1930s, Hepworth and her husband Ben Nicholson had developed a shared, interconnected approach to colour, form, and spatial relationships that transformed how sculpture and painting interacted. Exposure to the wider European avant-garde and visits to Piet Mondrian's Paris studio introduced them to the architectural use of primary, isolated hues to create optical and spatial depth. In the mid-1940s, Hepworth’s approach to and understanding of colour expanded further – using largely synthetic pigments, many of which were only recently available on the market, she explored a range of tones in her sculptures, from pale, silvery hues, and bright whites, to soft ice blues and deep ultramarines, many of which took inspiration from her observations of the natural world, and the unique colours and play of light in Cornwall.
Writing about this new direction in her work, Hepworth explained: ‘I have applied oil colour – white, grey and blues of different degrees of tone. Except in two instances, I have always used colour in concave forms. When applied to convex forms I have felt that the colour appeared to be “applied” instead of becoming inherent in the formal idea. I have been very influenced by the natural colour and luminosity in stones and woods, and the change in colour as light travels over the surface contours. When I pierced the material right through a great change seemed to take place in the concavities from which direct light was excluded. From this experience, my use of colour developed. One can experience the colour change in nature in a cave, a forest or a pool and sense similar change in the emotional effect of all forms when the quantity and quality of light playing upon it changes’ (‘Approach to Sculpture’; reproduced in S. Bowness, op. cit., 2015, p. 34).
Sculpture with Colour (Eos) is among the most complex and inventive works Hepworth created in this vein. The three delicately shaped hollows are filled with a vibrant, rich blue, a subtle pale grey and an off-white, each tone illuminating the shape and concavity of the oval indentations diligently carved into the surface. Though it is impossible to view all three at the same time from a single angle, together they suggest an abstract vision of the progression of light at daybreak, as the sky is transformed from deep midnight blue, to the soft, luminous white just before the sun rises. These pockets of pigment lend an intriguing sense of depth to the piece, the paint playing a constructive role in the work, rather than appearing as merely decorative touches. In each, the colour shifts as light pours into the cavities, the shadows cast by the gentle recession creating a more variegated and dynamic play of hues within the space.
In a letter to her close friend and confidante, the art historian and writer E.H. Ramsden, discussing her upcoming exhibition at Lefevre Gallery in London in October 1946, Hepworth wrote that she had several ideas in mind for the title of the present work, each of which sought to expand the symbolism of the sculptural form. ‘I’ve been sitting up late at night trying to fix my catalogues & titles…,’ she wrote. ‘I’m more than ever convinced that the right title is absolutely necessary to me…’ (letter to E.H. Ramsden, 1946; quoted in S. Feeke and A. Gerstein, eds., Hepworth in Colour, exh. cat., The Courtauld Gallery, London, 2026, p. 100). Referring to the present work, she explained: ‘Large stone with colour. Feeling is Genesis – (obviously impossible). I had thought of “Arkhe” but didn’t feel satisfied – though “the beginning” would be the right idea… “Origin”? “Source”? … “Eirene”?’ (quoted in ibid., p. 102).
While several works from 1946 reference the landscape around Cornwall, for the present sculpture Hepworth delved into Greek mythology – Arkhe referred to the ancient goddess of peace, while Eirene was the twin of the rainbow goddess Iris, who served as a messenger to Titans. After ruminating on it further, Hepworth settled on Eos, a reference to the Greek goddess of the dawn who, together with her brother Helion (the sun) and sister Selene (the moon), ruled the changing sky, tracking the passage of time through the day. Rising from the east, at the edge of the world, she parted the gates of heaven with ‘rosy fingers’, according to Homer, her rays of light dispersing the mists of night and allowing Helion to sail across the sky. Symbolising the start of a new day, Eos was intrinsically associated with light and rebirth, attributes that closely aligned to the rich sense of energy, renewal and generative power Hepworth felt radiated from the present work.
Sculpture with Colour (Eos) was a centre-piece of Hepworth’s exhibition at Lefevre Gallery that autumn, the artist’s first solo-show following the War, which unveiled the latest developments that had taken hold in her work, ‘the threads of stone and colour,’ as she explained to Ramsden (quoted in ibid., p. 28). When the Queen visited the exhibition she was guided through the show by art historian and legendary curator, Margot Eates, who later reported in a letter to Hepworth that ‘Carving with Yellow and Eos were much admired’ by the royal party (quoted in ibid., p. 98).
Hepworth clearly felt that work was a particularly important and successful example of her recent sculptural explorations – when she sat for a photographic portrait by Lee Miller in 1948, as part of an article for Vogue announcing the artist’s first solo-show in America, Hepworth positioned herself at the heart of her studio. Prominently displayed on a table beside her is Sculpture with Colour (Eos), presented as the key example of the most recent evolutions of her work. The sculpture was subsequently included in Dudley Shaw Ashton’s experimental documentary film on the artist, Figures in a Landscape (1953), as well as a number of key exhibitions dedicated to Hepworth’s celebrated oeuvre, from her important retrospectives at the Whitechapel Gallery in 1954 and the Tate Gallery in 1968, to the most recent show ‘Hepworth and Colour’ at The Courtauld Gallery, London, this summer.
Sculpture with Colour (Eos) was acquired from the Martha Jackson Gallery in New York in 1962 by David and Geraldine Pincus, renowned philanthropists from Philadelphia who were dedicated to both the arts and organisations supporting children in need around the globe. The work remained in their collection for over fifty years, before it was acquired by the present owner a decade ago, when it set an auction record for a unique carving by Hepworth. Other examples of Hepworth’s carvings that include painted colour can be found in the collections of the Tate, The Hepworth Wakefield, The National Gallery of Victoria in Melbourne, The Fine Arts Museums of San Francisco, and the Scottish National Gallery of Modern Art in Edinburgh.
1946 marked an important turning point in Hepworth’s art. Seven years prior, the encroaching threat of war in Europe had prompted the artist to flee London with her family, leaving her home and studio behind, in order to settle in the Cornish fishing village of St Ives in the far south-west of England. During the early years of the War, Hepworth found little time to devote herself to her artistic pursuits – as well as caring for her children, she ran a small nursery school in the village, and diligently tended to a kitchen garden, determined to keep her family fed through the stark restrictions of rationing.
In 1942, the family settled into a larger house on a cliff overlooking Carbis Bay, which included a space that Hepworth could adapt into a studio. Almost immediately, she recalled, this move signalled the beginning of ‘a new era … There was a sudden release from what had seemed to be an almost unbearable diminution of space and now I had a studio workroom looking straight towards the horizon of the sea and enfolded (but with always the escape for the eye straight out to the Atlantic) by the arms of land to the left and the right of me’ (‘The War, Cornwall and the Artist in Landscape’, 1952; reproduced in S. Bowness, ed., Barbara Hepworth: Writings and Conversations, London, 2015, p. 67). She quickly began carving again, adapting her process so that she could work in short bursts between other domestic tasks, and later described this period as the ‘most vital’ time of her life (quoted in P. Curtis, Barbara Hepworth, London, 1998, p. 53).
The dynamic coastal landscapes of Cornwall left an indelible impression on Hepworth’s imagination, from the play of light across the water, to the natural, organic forms of cliffs, sea arches and ancient monuments that she discovered scattered across the countryside. She was equally fascinated by the formal qualities of the stones she discovered and collected on her beach walks, especially their unexpected shapes and smooth rounded surfaces, their edges softened as a result of gradual erosion by the elements. The milder climate in this part of the world allowed her to take her work outdoors, carving and shaping her sculptures in the open air, bringing her closer to the essential power and force of the natural world. These diverse visual stimuli played an important role in Hepworth’s sculptural language through the ensuing years, her memories and experiences of the atmospheric phenomena and ancient geological landscape reshaping her sculptural idiom.
These different inspirations find elegant expression in Sculpture with Colour (Eos) – here, Hepworth presents a simplified, geometric ovoid shape, its rounded, bourgeoning form invoking both the smooth contours of naturally weathered stone or a seed-pod, and more symbolic, elemental ideas of generative power and birth. As such, the work contains a rich sense of energy, renewal and optimism for the future, themes that held a powerful resonance for Hepworth at this time. With the world gradually emerging from the dark days of the War and embracing a vital spirit of regeneration, the artist too began to look to the future. Leaving behind the relative isolation of recent years, she fully immersed herself in creating new works and began to reengage with the international avant-garde once more, taking her place among the best known and most celebrated modern British artists of the period. Her sculptures from 1946 are imbued with this powerful sense of evolution and reawakening, their forms driven by the intense creative energy that absorbed and captivated Hepworth.
The smooth, curving contours of the present work are achieved by direct carving, Hepworth shaping the stone with focus and intent, using tools wielded by her own two hands, as she searched for the form she envisioned. From the earliest stages of her career, Hepworth held a deeply rooted passion for the process, which she first discovered during an extended sojourn to Italy as a young student in the 1920s. Revelling in the physicality of the technique, she appreciated the rhythms and motions that occurred in the act of cutting into and shaping the material, even the sounds of the stone or wood as it yielded to her tools. ‘Carving to me is more interesting than modelling,’ Hepworth explained, ‘because there is an unlimited variety of materials from which to draw inspiration. Each material demands a particular treatment and there are an infinite number of subjects in life each to be recreated in a particular material. In fact, it would be possible to carve the same subject in a different stone each time, throughout life, without a repetition of form’ (quoted in ‘Contemporary English Sculptors’ in The Architectural Association Journal, London, vol. XLV, no. 518, April 1930, p. 14). For Hepworth, working directly with the raw material in this way allowed her to achieve a deeper understanding of the unique character of each work, responding to the material’s idiosyncrasies as she carved.
In Sculpture with Colour (Eos), the simplified geometry of the ovoid shape appears at once strikingly familiar, yet enigmatic and universal. Writing in 1946, around the same time she was working on the sculpture, Hepworth explained that this was a form that had long fascinated her: ‘The first carvings were simple realistic oval forms of the human head or of a bird. Gradually my interest grew in more abstract values – the weight, poise, and curvature of the ovoid as a basic form. The carving and piercing of such a form seems to open up an infinite variety of continuous curves in the third dimension, changing in accordance with the contours of the original ovoid and with the degree of penetration of the material. Here is sufficient field for exploration to last a lifetime…’ (‘Approach to Sculpture’ in Studio, London, October 1946, vol. 132, no. 643; reproduced in S. Bowness, op. cit., 2015, pp. 32-33). In a way, the present work appears to echo Constantin Brancusi’s dynamic approach to the oval – like Hepworth, he found this form perfectly suited to his symbolic interpretations of birth and regeneration, as seen in works such as Nouveau-né I (1915; Philadelphia Museum of Art). Here, Hepworth further accentuates the impact of the form by carving a series of secondary ovals into the surface, the subtle concave hollows echoing the overall shape of the work and creating an intriguing sense of rhythm and repetition.
The most striking and perhaps defining element of Sculpture with Colour (Eos), however, lies in its rich passages of painted colour, applied directly to the stone surface. Colour had played an important part in Hepworth’s oeuvre since her earliest sculptural works, her choice of natural materials often leaning towards those that were naturally variegated and richly hued, from pink, black and white alabasters to blue Armenian marble and onyx, as well as pieces of ebony, mahogany and teak wood. However, towards the end of the 1930s this fascination took a new direction in her work, as her ‘obsession about colour in the concavities of forms’ took hold (Hepworth, Barbara Hepworth: A Pictorial Autobiography, London, 1998, p. 41). In Sculpture with Colour, White, Blue and Red Strings (BH 113; original destroyed during a later bronze casting), created in 1939, Hepworth painted a small plaster piece bright white, filling its interior hollows with a contrasting cool blue paint, and picking out the stringed elements that cross from one end to the other in a red hue. This was the only sculpture Hepworth brought with her from London in the move to Cornwall, a sign of its importance and the creative potential she felt the idea held.
This bold, confident step opened up a new direction of thought for Hepworth, though the outbreak of the War stalled her plans to pursue the idea further, as the limitations of time and space restricted her sculptural creations. It was only in 1943, when she was finally able to return to carving, that Hepworth began adding painted passages to her works in both wood and stone, accentuating cavities and hollows, and emphasising the dynamic relationship between internal and external space. During the 1930s, Hepworth and her husband Ben Nicholson had developed a shared, interconnected approach to colour, form, and spatial relationships that transformed how sculpture and painting interacted. Exposure to the wider European avant-garde and visits to Piet Mondrian's Paris studio introduced them to the architectural use of primary, isolated hues to create optical and spatial depth. In the mid-1940s, Hepworth’s approach to and understanding of colour expanded further – using largely synthetic pigments, many of which were only recently available on the market, she explored a range of tones in her sculptures, from pale, silvery hues, and bright whites, to soft ice blues and deep ultramarines, many of which took inspiration from her observations of the natural world, and the unique colours and play of light in Cornwall.
Writing about this new direction in her work, Hepworth explained: ‘I have applied oil colour – white, grey and blues of different degrees of tone. Except in two instances, I have always used colour in concave forms. When applied to convex forms I have felt that the colour appeared to be “applied” instead of becoming inherent in the formal idea. I have been very influenced by the natural colour and luminosity in stones and woods, and the change in colour as light travels over the surface contours. When I pierced the material right through a great change seemed to take place in the concavities from which direct light was excluded. From this experience, my use of colour developed. One can experience the colour change in nature in a cave, a forest or a pool and sense similar change in the emotional effect of all forms when the quantity and quality of light playing upon it changes’ (‘Approach to Sculpture’; reproduced in S. Bowness, op. cit., 2015, p. 34).
Sculpture with Colour (Eos) is among the most complex and inventive works Hepworth created in this vein. The three delicately shaped hollows are filled with a vibrant, rich blue, a subtle pale grey and an off-white, each tone illuminating the shape and concavity of the oval indentations diligently carved into the surface. Though it is impossible to view all three at the same time from a single angle, together they suggest an abstract vision of the progression of light at daybreak, as the sky is transformed from deep midnight blue, to the soft, luminous white just before the sun rises. These pockets of pigment lend an intriguing sense of depth to the piece, the paint playing a constructive role in the work, rather than appearing as merely decorative touches. In each, the colour shifts as light pours into the cavities, the shadows cast by the gentle recession creating a more variegated and dynamic play of hues within the space.
In a letter to her close friend and confidante, the art historian and writer E.H. Ramsden, discussing her upcoming exhibition at Lefevre Gallery in London in October 1946, Hepworth wrote that she had several ideas in mind for the title of the present work, each of which sought to expand the symbolism of the sculptural form. ‘I’ve been sitting up late at night trying to fix my catalogues & titles…,’ she wrote. ‘I’m more than ever convinced that the right title is absolutely necessary to me…’ (letter to E.H. Ramsden, 1946; quoted in S. Feeke and A. Gerstein, eds., Hepworth in Colour, exh. cat., The Courtauld Gallery, London, 2026, p. 100). Referring to the present work, she explained: ‘Large stone with colour. Feeling is Genesis – (obviously impossible). I had thought of “Arkhe” but didn’t feel satisfied – though “the beginning” would be the right idea… “Origin”? “Source”? … “Eirene”?’ (quoted in ibid., p. 102).
While several works from 1946 reference the landscape around Cornwall, for the present sculpture Hepworth delved into Greek mythology – Arkhe referred to the ancient goddess of peace, while Eirene was the twin of the rainbow goddess Iris, who served as a messenger to Titans. After ruminating on it further, Hepworth settled on Eos, a reference to the Greek goddess of the dawn who, together with her brother Helion (the sun) and sister Selene (the moon), ruled the changing sky, tracking the passage of time through the day. Rising from the east, at the edge of the world, she parted the gates of heaven with ‘rosy fingers’, according to Homer, her rays of light dispersing the mists of night and allowing Helion to sail across the sky. Symbolising the start of a new day, Eos was intrinsically associated with light and rebirth, attributes that closely aligned to the rich sense of energy, renewal and generative power Hepworth felt radiated from the present work.
Sculpture with Colour (Eos) was a centre-piece of Hepworth’s exhibition at Lefevre Gallery that autumn, the artist’s first solo-show following the War, which unveiled the latest developments that had taken hold in her work, ‘the threads of stone and colour,’ as she explained to Ramsden (quoted in ibid., p. 28). When the Queen visited the exhibition she was guided through the show by art historian and legendary curator, Margot Eates, who later reported in a letter to Hepworth that ‘Carving with Yellow and Eos were much admired’ by the royal party (quoted in ibid., p. 98).
Hepworth clearly felt that work was a particularly important and successful example of her recent sculptural explorations – when she sat for a photographic portrait by Lee Miller in 1948, as part of an article for Vogue announcing the artist’s first solo-show in America, Hepworth positioned herself at the heart of her studio. Prominently displayed on a table beside her is Sculpture with Colour (Eos), presented as the key example of the most recent evolutions of her work. The sculpture was subsequently included in Dudley Shaw Ashton’s experimental documentary film on the artist, Figures in a Landscape (1953), as well as a number of key exhibitions dedicated to Hepworth’s celebrated oeuvre, from her important retrospectives at the Whitechapel Gallery in 1954 and the Tate Gallery in 1968, to the most recent show ‘Hepworth and Colour’ at The Courtauld Gallery, London, this summer.
Sculpture with Colour (Eos) was acquired from the Martha Jackson Gallery in New York in 1962 by David and Geraldine Pincus, renowned philanthropists from Philadelphia who were dedicated to both the arts and organisations supporting children in need around the globe. The work remained in their collection for over fifty years, before it was acquired by the present owner a decade ago, when it set an auction record for a unique carving by Hepworth. Other examples of Hepworth’s carvings that include painted colour can be found in the collections of the Tate, The Hepworth Wakefield, The National Gallery of Victoria in Melbourne, The Fine Arts Museums of San Francisco, and the Scottish National Gallery of Modern Art in Edinburgh.