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Henry Moore

(British, 1898-1986)

Mother and Child: Petal Skirt

conceived in 1955; cast in 1955
bronze; edition 4 of 6 plus 1 artist’s proof by the Fiorini foundry, London
19 x 9 x 15.5 cm (inc. marble base)
signed and numbered ‘Moore 4/6’

Lew & Edie Wasserman, Los Angeles (acquired from the artist after 1966)
Sale: Christie’s New York, 2 November 2011, lot 233
Michelle Rosenfeld Gallery, New York (acquired at the above sale)
Private collection, New Jersey (acquired from the above)

H. Read & A. Bowness (ed.), Henry Moore: Sculpures and Drawings, 1955-65, vol. 3, London, 1965, p. 26, no. 400b (another cast illustrated)
A. Bowness (ed.), Henry Moore, Sculpture and Drawings 1955-64, vol. 3, London, 1986, p. 26, no. 400b, pl. 22 (another cast illustrated)

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

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 A. Wilkinson, Henry Moore: Writings and Conversations, Aldershot, 2002, p. 239).

Through the texture of the metal and their importance in Moore's method, maquettes including the present work 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" (H. Moore & J. Hedgecoe, Henry Moore, My Ideas, Inspiration and Life as an Artist, San Francisco, 1986, p. 79).

$98,000 (+5% UK import VAT)

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