Henry Moore, O.M., C.H.

Marlborough Fine Art, London
Marina & Willy Staehelin-Peyer, Zürich
Acquired from the family of the above by the present owner in 1998

London, Marlborough Fine Art, Henry Moore Carvings, 1923-1966, 1967, no. 23, illustrated in the catalogue
New York, The Metropolitan Museum of Art, Henry Moore, 60 Years of his Art, 1983, illustrated in the catalogue

Robert Melville, Henry Moore Sculpture & Drawings, 1921-1969, London, 1970, no. 702, illustrated pp. 30 & 307
Alan Bowness (ed.), Henry Moore, Complete Sculpture: Sculpture 1964-73, London, 1977, vol. 4, no. 554, illustrated p. 46 & pls. 46 & 47
Henry Moore, Sculptures, Drawings, Graphics (exhibition catalogue), The British Council, London, 1981, no. 392, illustrated in colour p. 184

There are several small infills, mainly to the rear of the sculpture and inherent to the artist's process. Apart from some faint streaks to the surface with light associated abrasions, primarily to the left side, and some minor handling marks, this work is in very good condition. Colours: Overall fairly accurate although much brighter in the original and the natural details of the marble are more visible in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Moore's art was a consistent interplay between the material and the subject depicted. His truth to materials' aesthetic could only be brought about by a profound knowledge of the marble, bronze or stone in which he worked. The marble chosen was always the very best available, making each piece like the polished gems described by Robert Melville: "[Moore] is the master of his materials, but not a cruel one, and he has allowed the marble to assume an incredible sumptuousness. It transforms the gallery into the treasure-house of huge gems, their beauty emphasised by the sleek muscularity of the forms, sometimes by a blade-sharp cutting of the planes..." (R. Melville, "On Henry Moore's doctrine of truth to material", in Henry Moore Carvings, 1923-1966 (exhibition catalogue), London, 1967, n.p)

In the present work the artist represents the human torso without referring to the classical template of an upper-body. Here the interplay between sculptor and sculpted is the most important aspect of the work. 'Less is more' encapsulates the artist's vision in the present work where the hammer and chisel is less a creator of void than an adaptor of form.