拍品專文
Moore was already working on his Draped Reclining Figure (ed. A. Bowness, op. cit., no. 336) for the Time-Life Building on New Bond Street in London when architect Michael Rosenauer suggested that the sculptor also design a screening wall for the terrace at the Bond Street entrance.
With the perspective sketch of the building beside me I
made four maquettes and my aim was to give a rhythm to
the spacing and sizes of the sculptural motives which should
be in harmony with the architecture, I rejected the idea of
a portrayal of some pictorial scene, for that would only be
like hanging up a stone picture, like using the position only
as a hoarding for sticking on a stone poster. (Henry Moore, in ed. A. Bowness, op. cit., p. xv)
The present sculpture is the fourth and definitive maquette. Moore did much of the work on the 10 x 26 feet screen outdoors at his studio in Much Hadham. It was carved in Portland stone and completed in 1953.
With the perspective sketch of the building beside me I
made four maquettes and my aim was to give a rhythm to
the spacing and sizes of the sculptural motives which should
be in harmony with the architecture, I rejected the idea of
a portrayal of some pictorial scene, for that would only be
like hanging up a stone picture, like using the position only
as a hoarding for sticking on a stone poster. (Henry Moore, in ed. A. Bowness, op. cit., p. xv)
The present sculpture is the fourth and definitive maquette. Moore did much of the work on the 10 x 26 feet screen outdoors at his studio in Much Hadham. It was carved in Portland stone and completed in 1953.