Lew & Edie Wasserman, Los Angeles (acquired after 1966 and sold: Christie's, New York, November 2, 2011, lot 233)
Michelle Rosenfeld Gallery, New York (acquired at the above sale)
Acquired from the above

New York, Michelle Rosenfeld Gallery, Contemporary & Modern Masters, 2014, n.n.

Herbert Read & Alan Bowness, eds., Henry Moore: Sculptures and Drawings, 1955-65, vol. 3, London, 1965, no. 400b, illustration of another cast p. 26
Alan Bowness, ed., Henry Moore, Sculpture and Drawings 1955-64, vol. 3, London, 1986, no. 400b, illustrations of another cast p. 26 & pl. 22

This work is in excellent condition. Rich brown patina. The bronze is attached to a marble base with two screws. The sculpture is slightly dirty and there is some surface dirt in the deeper crevices.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Early in his career, Moore worked primarily in stone and often conceived his ideas two-dimensionally via preparatory drawings. By the early 1950s, Moore shifted away from using drawings as sculptural studies and began to cast initial iterations of his artistic vision in the form of clay and bronze maquettes. In 1968, Moore noted: "I prefer to work out my ideas in the form of small maquettes which I can hold in my hand and look at from every point of view" (quoted in Alan Wilkinson, ed., Henry Moore: Writings and Conversations, Aldershot, 2002, p. 239). Sotheby's has the privilege of presenting the following collection of seven of Moore's bronze maquettes. Conceived at various points from the mid-thirties to the early-eighties, the following lots contain some of Moore's most defining and influential sculptural themes—reclining figures, mothers and children and the relationship of human figures to their surroundings. Although small in scale, these works exude the same powerful physical presence that characterize Moore's monumental works. Through the texture of the metal and their importance in Moore's method, these maquettes embody the artist's creative process. In Moore's own words, looking at his sculptures is "like going on a journey, each time you return you see something different, something new. Sculpture doesn’t have just a front view and a back view - there are countless in-between views which are just as important and just as impressive" (Henry Moore & John Hedgecoe, Henry Moore, My Ideas, Inspiration and Life as an Artist, San Francisco, 1986, p. 79).



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