Henry Moore, O.M., C.H. (1898-1986)
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Henry Moore, O.M., C.H. (1898-1986)

Drawing for Metal Sculpture

細節
Henry Moore, O.M., C.H. (1898-1986)
Drawing for Metal Sculpture
signed and dated 'Moore/37' (lower right)
watercolour, coloured chalk and ink
15¾ x 21¾ in. (40 x 55.3 cm.)
來源
Sir Herbert Read.
Lady Read, Stonegrave, Yorkshire, and by descent.
Private collection.
出版
D. Sylvester (ed.), Henry Moore, Sculpture and Drawings: 1921-1948, Vol. 1, London, 1957, p. 204, illustrated.
H. Read, Henry Moore: A Study of his Life and Work, London, 1965, pl. 122.
A. Garrould (ed.), Henry Moore, Complete Drawings: 1930-1939, Vol. 2 London, 1998, p. 190, no. AG37.41, HMF1313, illustrated.
展覽
Brussels, Palais des Beaux-Arts, Henry Moore, October 1949, no. 62: this exhibition travelled to Paris, Musée d'Art Moderne, 1949; Amsterdam, Stedelijk Museum, 1950; Hamburg, Kunsthalle, 1950; Dusseldorf, Stadtischen Kunstsammlungen, 1950; Berne, Kunsthalle, 1950; and Athens, Zappeion Gallery, 1951.
London, Arts Council of Great Britain, Tate Gallery, Henry Moore, July - September 1968, no. 181.
注意事項
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

拍品專文

Sir Herbert Read, the owner of this work until his death, wrote the first monograph on Moore's work in 1934, and was a near neighbour when Moore lived at Parkhill Road in Hampstead during the 1930s. This area had become a breeding ground of artistic activity, and here Moore lived amongst Ben Nicholson, Barbara Hepworth, Naum Gabo and Ivon Hitchens, as well as the poets, Stephen Spender, W.H. Auden, and T.S. Eliot. The painter and collector, Roland Penrose, introduced him to the works of European Surrealists, Salvidor Dalí, Giorgio de Chirico, Max Ernst and Joan Miró.

Please see lot 120 for a work by Ben Nicholson, which is being sold from the collection of Sir Herbert and Lady Read.

Moore became involved with this movement for a short time in the middle years of the decade, moving away from the human form and nature towards 'abstractions'. 'Although Moore never seemed completely at ease in sculptural terms either with the Surrealism of Ernst and Dalí or with the dehumanised cerebral mathematical concepts, many large carefully worked drawings exist as a record of his contemporary interests' (see A. Garrould, op. cit., p. ix).

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