Footnotes

Provenance
With Gimpel Fils, London, December 1964, where acquired by
Mr. & Mrs. James H. Clark, Dallas
With Gimpel Fils, London, 29 May 1973, where acquired by the family of the present owner
Private Collection, U.S.A

Exhibited
London, Gimpel Fils, June 1964, cat.no.35 (another cast)
Otterlo, The Netherlands, Rijksmuseum Kröller-Müller (Rietveld Pavilion), Beeldhouwwerken en tekeningen van Barbara Hepworth, 8 May-18 July 1965, cat.no.39 (another cast)
Turin, Galleria Civica d'Arte Moderna, Barbara Hepworth, October-November 1965, cat.no.38 (ill. p.93, another cast)
Basel, Kunsthalle, Barbara Hepworth, 14 September-10 October 1965, cat.no.30 (another cast); this exhibition travelled to Karlsruhe, Badischer Kunstverein, 6 February-27 March 1966 and Essen, Museum Folkwang, 30 April-26 June
London, Tate Gallery, Barbara Hepworth, 3 April-19 May 1968, cat.138 (ill., another cast)
London, Gimpel Fils, Barbara Hepworth, October-November 1972 (this cast)
London, Gimpel Fils, Barbara Hepworth: 50 Sculptures from 1935-1970, 7 October-15 November 1975, cat.no.41 (ill., another cast)
London, Gimpel Fils, Barbara Hepworth, October-November 1994
Santiago de Compostela, Auditorio de Galicia, Contemporary British Sculpture: From Henry Moore to the 90s, June-November 1995 (ill. p.103, another cast); this exhibition travelled to Porto, Fundação de Serralves

Literature
Alan Bowness, The Complete Sculpture of Barbara Hepworth, Lund Humphries, London, 1971, cat.no.349, p.36-37 (ill.b&w, another cast)
Sophie Bowness, Barbara Hepworth: The Plasters. The Gift to Wakefield, Lund Humphries in association with The Hepworth Wakefield, Farnham, 2011, cat.no.22, p.138 & p.186 (ill.b&w & col.ill., the plaster)

The initial owners of this cast, Mr & Mrs James H. Clark, were important collectors who visited Hepworth in St Ives. They donated a cast of Hepworth's Sea Form (Atlantic) to the Dallas Museum of Art in 1965.

Maquette for Monolith is related to the monumental Squares with Two Circles (1963), which stands at over three metres high and is one of Hepworth's largest monolithic bronzes. A hierarchy of zones has been established which is accentuated by the patination; on one face light green above and dark green below and the other brown and green in similar dark tones. Whilst the former is made up of the simple disposition of two horizontal quadrilaterals, the latter incorporates the column which allows for the layering of vertical planes, one sliding into the other with an additional step at the left. As has been noted by Matthew Gale and Chris Stephens, the simplicity of the sculpture recalls the purity of the artist's works from the 1930s with the conical holes providing continuity between the horizontal and vertical formats.

We are grateful to Dr. Sophie Bowness for her assistance in cataloguing this work.