Acquired directly from the artist by the present owner in January 1983

Alan Bowness, Henry Moore, Complete Sculpture, 1980-86, London, 1988, vol. VI, no. 853, illustrated p. 48 & pls. 90-91

Attractive mottled green-brown patina. There are some small old losses to the surface patina in places to the back of the figures. There is some dust in the crevices and some light handling wear in places, consistent with age. Otherwise this work is in very good overall 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."

Imbued with a brooding psychological intensity, Three Figures dates from the height of Henry Moore’s mature corpus, when he had mastered the most technically complex expressions of sculptural form. Moore had repeatedly attempted to push the boundaries of conventional sculptural form throughout his career, seeking to transcend traditional presentations of the human body. Moore himself described the progression of his sculpture as ‘becoming less representational, less outwardly a visual copy, and so what some people would call more abstract; but only because in this way I can present the human psychological context of my work with the greatest clearness and intensity’ (quoted in: F. S. Wight, ed., Henry Moore: The Reclining Figure, The Columbus Museum (exhibition catalogue), 1984, p. 131). In its total simplification of fundamental form, Three Figures re-affirms the truly pioneering nature of Moore’s sculpture. All extraneous distraction has been eliminated, enabling the three personages to confront the viewer, exuding a powerful sense of presence.

A colossus of twentieth century sculpture, Moore’s influence was felt not only by his contemporaries, such as Barbara Hepworth, but also by the next generation of sculptors. Dorothy Kosinski argues that Moore’s influence on his fellow sculptors was of profound importance: ‘His impact on the history of modern and contemporary sculpture in Britain – witness the examples of Caro, Kapoor and Deacon – is multifaceted and sustained. This impact is evident in innovative explorations of form and void; in the respectful manipulation of materials; in the enduring importance of art in dialogue with nature; and in the robust interaction of art and audience that occurs in the public realm’ (quoted in: Henry Moore, Sculpting the 20^th Century (exhibitಌion ca▨talogue), Dallas Museum of Art, 2001, p. 29).

Another cast of Three Figures is located in the collection of the Nelson-Atki🎃ns Museum of Art in Kans🔯as City.