Henry Moore, ‘Maquette for Reclining Figure No. 2’, 1952, Phillips

The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum
Guaranteed Property (see Conditions of Sale for further information)

Sculpture 3 7/8 x 9 3/4 x 3 3/8 in. (9.8 x 24.8 x 8.6 cm.)
Base 3/4 x 10 1/2 x 4 in. (1.9 x 26.7 x 10.2 cm.)
Overall 4 5/8 x 10 1/2 x 4 in. (11.7 x 26.7 x 10.2 cm.)

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

Orange, Chapman College, Henry Moore, January 31 - February 14, 1964 (present lot exhibited)
Los Angeles County Museum of Art, Henry Moore in Southern California, October 2 - November 18, 1973, no. 37 (present lot exhibited)

Will Grohmann, The Art of Henry Moore, London, 1960, no. 56, n.p. (another example illustrated)
Alan Bowness, ed., Henry Moore, Complete Sculpture 1949-54, vol. 2, London, 1965, no. 328, pp. 42-43 (another example illustrated, p. 42)

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