.jpg?w=1)
Lot Essay
Deceptively simple in appearance, Maquette for Divided Circle exemplifies Barbara Hepworth's ability to distil complex sculptural relationships into forms of great clarity and elegance. Two upright semi-circular forms stand in delicate equilibrium, separated by a narrow interval of space and animated by two carefully positioned piercings. The apparent austerity of the composition, however, quickly gives way to a remarkable complexity. As the viewer moves around the work, the relationship between the two elements continually shifts, revealing a carefully orchestrated interplay of mass, space and light. The pierced openings, their interiors patinated in a rich blue that contrasts beautifully with the polished bronze surface, gradually reveals the intricacy, exposing a series of subtle variations in form, depth and contour. As Chris Stephens observes of Two Forms (Divided Circle), the larger sculpture to which the present work relates, it is 'an unexpectedly asymmetrical work', its individual elements set at subtle angles to one another and distinguished by differing apertures and contours (C. Stephens, Barbara Hepworth Works in the Tate Collection and the Barbara Hepworth Museum St Ives, London, 1999, p. 252).
Maquette for Divided Circle reflects Hepworth's highly personal approach to bronze during the final decades of her career. Rather than employing the medium simply as a means of translating her sculptures to a larger scale or producing them in multiple casts, she embraced the unique possibilities of bronze whilst remaining faithful to the principles of direct carving that had shaped her practice. In bronze, surface, texture and colour remained central concerns. Here, the sculpture's warmly polished exterior contrasts beautifully with the richly coloured blue patination that animates the interior recesses and piercings, drawing attention to the relationship between exterior and interior, solidity and space. These subtle variations of surface encourage a close and tactile engagement with the work, revealing Hepworth's continuing sensitivity to the expressive qualities of her materials.
The intimate scale of the present work further enhances this sense of physical connection. In a letter to Michael Eastman, Hepworth described Maquette for Divided Circle as 'for the hands', an observation that perfectly captures its jewel-like character and inviting presence (B. Hepworth, letter to M. Eastman, 4 June 1970, quoted in S. Bowness (ed.), Barbara Hepworth: The Plasters, Farnham, 2011, p. 58). Whilst conceived in relation to a monumental sculpture, the maquette possesses qualities entirely its own. Held within the viewer's field of vision, its shifting surfaces, coloured patination and complex piercings can be appreciated at close quarters, creating an immediacy and intimacy that distinguish it from its larger counterpart. Through its harmonious combination of colour, texture and form, the work demonstrates the sophistication with which Hepworth continued to explore the possibilities of bronze as a sculptural medium.
The present cast was acquired from Marlborough in November 1973, shortly after the work was cast, and has remained in the same family collection since.
Maquette for Divided Circle reflects Hepworth's highly personal approach to bronze during the final decades of her career. Rather than employing the medium simply as a means of translating her sculptures to a larger scale or producing them in multiple casts, she embraced the unique possibilities of bronze whilst remaining faithful to the principles of direct carving that had shaped her practice. In bronze, surface, texture and colour remained central concerns. Here, the sculpture's warmly polished exterior contrasts beautifully with the richly coloured blue patination that animates the interior recesses and piercings, drawing attention to the relationship between exterior and interior, solidity and space. These subtle variations of surface encourage a close and tactile engagement with the work, revealing Hepworth's continuing sensitivity to the expressive qualities of her materials.
The intimate scale of the present work further enhances this sense of physical connection. In a letter to Michael Eastman, Hepworth described Maquette for Divided Circle as 'for the hands', an observation that perfectly captures its jewel-like character and inviting presence (B. Hepworth, letter to M. Eastman, 4 June 1970, quoted in S. Bowness (ed.), Barbara Hepworth: The Plasters, Farnham, 2011, p. 58). Whilst conceived in relation to a monumental sculpture, the maquette possesses qualities entirely its own. Held within the viewer's field of vision, its shifting surfaces, coloured patination and complex piercings can be appreciated at close quarters, creating an immediacy and intimacy that distinguish it from its larger counterpart. Through its harmonious combination of colour, texture and form, the work demonstrates the sophistication with which Hepworth continued to explore the possibilities of bronze as a sculptural medium.
The present cast was acquired from Marlborough in November 1973, shortly after the work was cast, and has remained in the same family collection since.