Henry Moore

(Probably) Daniel-Henry Kahnweiler (acquired directly from the artist; sale: Christie's, London, 30th November 1987, lot 77)
Waddington Gallery, London (purchased at the above sale)
Annely Juda Fine Art, London (acquired from the above)
Veranneman Fondation, Belgium (acquired from the above)
Acquired from the above by the present owner in 1989

London, Annely Juda Fine Art, From Picasso to Abstraction, 1989, no. 65, illustrated in the catalogue

Henry Moore Carvings and Bronzes 1961-70 (exhibition catalogue), Marlborough Gallery Inc. & Knoedler & Co. Inc., New York, 1970, no. 36
Robert Melville, Henry Moore, Sculpture and Drawings 1921-1969, New York, 1971, no. 74, illustration of another cast p. 367
Alan Bowness, (ed.), Henry Moore, Sculpture and Drawings, 1964-73, London, 1977, vol. 4, no. 592, illustrations of another cast p. 54 & pls. 108-109
Henry Moore at the Serpentine (exhibition catalogue), Serpentine Gallery and Kensington Gardens, London, 1978, illustration of the larger version pls. 18-19
Henry Moore Sculptures, Drawings, Graphics 1921-1981 (exhibition catalogue), Palacio de Velázquez, Palacio de Cristal and Parque de El Retiro, Madrid, 1981, illustration of the larger version p. 215
Franco Russoli, Henry Moore: Sculpture, New York, 1981, illustration of the larger version p. 453
William S. Lieberman, Henry Moore: 60 Years of His Art, New York, 1983, illustration of another cast p. 102

Attractive gold/brown patina. There is some patina wear to the top of the sculpture and some small spots of oxidisation in places. There are a few fine surface scratches, consistent with age and handling. Otherwise, this work is in overall good condition.
"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."

Spindle Piece is a variation of a 1939 piece entitled Three Points. Moore described the present work as follows, 'Here again the points are used to give action: inwards in the case of the Three Points, but here to give action outwards' (Alan Bowness, op. cit., p. 214). It is indeed this sense of action that makes Spindle Piece so compelling. It is a wonderful example of Moore’s creative experimentation:  he has taken something from the everyday domestic life – a spindle – and explored its sculptural potential. It is an absorbing mixture of organic round forms and articulated sharper angles; the wonderful sense of fluidity that this creates, masterfully evokes the action of a spindle as it continually twists its fibres. The artist is inviting the viewer to join him in looking at something familiar, that when presented in an unfamiliar context and scale at once becomes an object of arresting sculptural and artistic beauty.