Henry Moore, ‘Animal Head’, 1951, Phillips

The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

Sculpture 8 x 8 x 11 in. (20.3 x 20.3 x 27.9 cm.)
Base 1 3/4 x 7 7/8 x 9 3/8 in. (4.4 x 20 x 23.8 cm.)
Overall 9 3/4 x 8 x 11 in. (24.8 x 20.3 x 27.9 cm.)

This work is recorded in the archives of the Henry Moore Foundation.

London, The Arts Council Gallery of Great Britain, Three Young Collectors, November - December 1952, no. 37 (another example exhibited)
London, Whitechapel Art Gallery, Henry Moore: an exhibition of sculpture from 1950–1960, November - December 1960, no. 5, n.p. (another example exhibited and illustrated)
San Diego, Art Center in La Jolla; Santa Barbara Museum of Art; Los Angeles Municipal Art Galleries, Barnsdall Park, Henry Moore Exhibition, August 4 - December 1, 1963, no. 49 (present lot exhibited)
Los Angeles County Museum of Art, Henry Moore in Southern California, October 2 - November 18, 1973, no. 31 (another example exhibited)
New York, The Metropolitan Museum of Art, Henry Moore: 60 Years of His Art, 1983, p. 123 (another example exhibited)

Will Grohmann, The Art of Henry Moore, London, 1960, no. 102 (another example illustrated)
Alan Bowness, ed., Henry Moore Complete Sculpture 1949 - 1954, vol. 2, London, 1965, no. 301 (another example illustrated)
John Hedgecoe, Henry Moore, New York, 1968, no. 5, p. 201 (another example illustrated)
Robert Melville, Henry Moore: Sculpture and Drawings 1921-1969, London, 1970, no. 413 (another example illustrated)
Herbert Read, Henry Moore: A study of his life and work, New York, 1965, no. 170, n.p. (another example illustrated)
Giulio Carlo Argan, Henry Moore, Milan, 1971, no. 101, n.p. (another example illustrated)
G. di San Lazzaro, ed., Hommage à Henry Moore, Paris, 1972, n.p. (another example illustrated)
Henry J. Seldis, Henry Moore in America, New York, 1973, no. 31, p. 94 (another example illustrated)
David Mitchinson, ed., Henry Moore Sculpture with Comments by the Artist, New York, 1988, no. 215, p. 112 (another example illustrated)
Henry Moore and John Hedgecoe, Henry Moore, My Ideas, Inspiration and Life as an Artist, London, 1986, p. 98 (another example illustrated)
John Hedgecoe, Henry Moore: A Monumental Vision, London, 2005, no. 280, p. 214 (another example illustrated)

Eric Estorick, London
Acquired from the above by the family of the present owner in 1960

About Henry Moore

Often regarded as the father of modern British sculpture, Henry Moore’s large-scale bronze and marble sculptures can be found in public parks and plazas around the world. Working in various styles and mediums, Moore is perhaps best known for his highly abstract and interpretive renditions of the human figure, often portrayed in the reclining position. He was influenced by Classical, Pre-Columbian, and African art, and by Surrealism; his biomorphic style has been compared that of Salvador Dalí and Jean Arp. Moore was a longtime friend and colleague of fellow sculptor Barabara Hepworth, having met at the Leeds School of Art around 1919. He also admired the work of Constantin Brancusi, whose organic abstract style resonated with Moore’s belief that observation of nature is essential to artistic creation. Moore himself inspired many artists including his former studio assistants Anthony Caro and Richard Wentworth.

British, 1898-1986, Castleford, United Kingdom, based in Much Hadham, United Kingdom