Henry Moore, ‘Leaf Figure No. 4’, 1952, Phillips

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

Sculpture 18 7/8 x 5 x 4 in. (47.9 x 12.7 x 10.2 cm.)
Base 3/4 x 6 x 4 3/4 in. (1.9 x 15.2 x 12.1 cm.)
Overall 19 1/2 x 6 x 4 3/4 in. (49.5 x 15.2 x 12.1 cm.)

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

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. 51, n.p. (present lot exhibited and illustrated, erroneously titled as Leaf Figure No. 1)
Los Angeles County Museum of Art, Henry Moore in Southern California, October 2 - November 18, 1973, no. 35 (another example exhibited)
New York, Weintraub Gallery, Henry Moore, April 28 - June 5, 1982, no. 8, n.p. (another example exhibited and illustrated)

Giulio Carlo Argan, Henry Moore, Milan, 1971, no. 107, n.p. (another example illustrated, titled as Figure No. 4)
Henry J. Seldis, Henry Moore in America, New York, 1973, no. 35, p. 95 (another example illustrated)
David Mitchinson, ed., Henry Moore Sculpture with comments by the artist, New York, 1981, no. 221, p. 113 (another example illustrated)
Alan Bowness, ed., Henry Moore: Complete Sculpture, 1949-54, vol. 2, London, 1986, no. 326, pl. 93, pp. 42-43 (another example illustrated, pp. 42, n.p.)

Eric Estorick, London
Acquired from the above by the family of the present owner in 1959

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