HENRY MOORE (1898-1986)<I> Two Piece Sculpture No. 7: Pipe </I>37 in (94 cm) (length) (Conceived in 1966)

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Lot 22
HENRY MOORE
(1898-1986)
Two Piece Sculpture No. 7: Pipe
Conceived in 1966

US$ 550,000 - 800,000
£ 420,000 - 620,000
HENRY MOORE (1898-1986)
Two Piece Sculpture No. 7: Pipe
inscribed 'Moore 6/9' (on the base)
bronze
37 in (94 cm) (length)
Conceived in 1966

Footnotes

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

    Provenance
    Marlborough Gallery, London (acquired from the artist in March 1968).
    Private collection, Germany.
    Unknown gallery, Zurich.
    Marlborough Gallery, New York.
    Lou Caplin, Joseph Wolpe, Cape Town, South Africa.
    Private collection, Cape Town, South Africa.
    Achim Moeller Fine Art, New York.
    Private collection, Japan.
    Edward Tyler Nahem Fine Art, New York.
    Private collection, United States.
    Acquired from the above by the present owner.

    Exhibited
    Otterlo, Rijksmuseum Kroller-Muller, Henry Moore, May-June 1968; Kunsthalle Düsseldorf; Rotterdam, July-September 1968; Museum Boymans van Beuningen, September-November 1968; and Kunsthalle Baden-Baden, November 1968-January 1969, no. 118 (another cast exhibited).
    New York, Marlborough Gallery, Henry Moore, Carvings, Bronzes, April-May 1970, no. 25 (another cast exhibited).
    Florence, Forte di Belvedere, Henry Moore, May-September 1972, no. 141 (another cast exhibited).
    Paris, Orangerie des Tuileries, Henry Moore Sculptures et dessins, May-August 1977, no. 108 (another cast exhibited).
    Madrid, Palacio de Velázquez, Palacio de Cristal del Parque del Retiro de Madrid, British Council, Henry Moore: sculptures, drawings and graphics 1921-1981, May-August 1981, no. 70 (another cast exhibited).

    Literature
    I. Jianou, Henry Moore, Paris, 1968, no. 521 (illustration of another cast pl. 33).
    R. Melville, Henry Moore, Sculpture and Drawings, 1921-1969, London, 1970, no. 700 (illustration of another cast p. 366).
    Henry Moore, Carvings, Bronzes (exhibition catalogue), Marlborough Gallery, New York, 1970, no. 25 (illustration of another cast pp. 62-63).
    G.C. Argan, Henry Moore, New York, 1971 (illustration of another cast pl. 197).
    Henry Moore (exhibition catalogue), Forte di Belvedere, Florence, 1972, no. 141 (illustration of another cast).
    A. Bowness (ed.), Henry Moore, Sculpture and Drawings 1964-73, Vol. 4, London, 1977, p. 44, no. 543 (illustration of another cast pls. 38-39).
    Henry Moore Sculptures et dessins (exhibition catalogue), Orangerie des Tuileries, Paris, 1977, no. 108 (illustration of another cast p. 178).
    F. Russoli & D. Mitchinson, Henry Moore, Sculpture, London, 1981, figs. 407-408 (illustration another cast p. 189).
    Henry Moore in association with Henry Moore: sculptures, drawings and graphics 1921-1981 (exhibition catalogue), Palacio de Velázquez, Palacio de Cristal del Parque del Retiro de Madrid, British Council, May 20, 1981, no. 70 (illustration of another cast).

    Two Piece Sculpture No. 7: Pipe dates from the mature period of Moore's career, when he had mastered technically complex expressions of human form and had moved towards a more purist, stylized artistic idiom. Moore himself described 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.), The Columbus Museum Exhibition Catalogue, 1984, p. 131).

    Moore said of Two Piece Sculpture No. 7: Pipe that the work represented "an attempt to make a sculpture which is varied in all its views and forms... One piece is very different from the other, and by combining the two I obtain many permutations and combinations. By adding two pieces together the differences are not simply doubled. As in mathematics, they are geometrically multiplied, producing an infinite variety of viewpoints" (H. Moore & J. Hedgecoe, Henry Moore, New York, 1968, p. 501).

    In the mid 1960s Moore created several compositions, including the present work, which used the pointed, almost piercing element that stands in sharp contrast to the soft curved forms that characterized most of his sculptural oeuvre. Two Piece Sculpture No. 7: Pipe employs the elements of sculptural separation and the creation of negative space. The artist began to create sculptures consisting of more than one piece in the 1930s when, according to his own account, he "realized what an advantage a separate two-piece composition could have in relating figures to landscape. Knees and breasts are mountains. Once these two parts become separated you don't expect it to be a naturalistic figure; therefore you can more justifiably make it like a landscape or a rock. If it is a single figure you can guess what it's going to be like. If it is in two pieces, there's a bigger surprise, you have more unexpected views; therefore the special advantage over painting - of having the possibility of many different views - is more fully exploited" (quoted in Carlton Lake, Atlantic Monthly, vol. 209, no. 1, Boston, January 1962, p. 44).

    With its nuanced surface and a near-abstract manner, Two Piece Sculpture No. 7: Pipe brilliantly exemplifies this shift in the artist's development and reflects the influence of Constantin Brancusi on his work. Giulio Carlo Argan wrote: "Brancusi considered form to be an object endowed with its own absolute spatiality, which resolves in itself the ambient space, creating the void. Moore's contact with Brancusi was decisive. He credits Brancusi (and not the sculptors converted to Cubism) with eliminating the painterly or impressionistic modeling of the surface, the aura of sensitized and vibrant light and atmosphere forming the ambient space" (G. C. Argan, op. cit., n.p.).

    Steven A. Nash has noted the influence of the Surrealists on Moore's multi-piece works, commenting: "The idea of spreading a sculptural composition across a flat base, so antithetical to the ancient tradition of the vertical statue, was very much in the air at the time. Moore would have seen examples in work by [Jean] Arp, and certainly was aware of Giacometti's repeated and highly inventive use of the device" (Henry Moore, Sculpting the 20th Century (exhibition catalogue), Dallas Museum of Art, 2001, pp. 46-47). The act of cutting the figure into sections might initially appear as an act of surrealist violence. Rather than the pervading psycho-sexual attitudes that normally informed surrealist imagery, especially those of Giacometti's sculptures, Moore's composite figures "are serene, psychologically neutral studies in formal balance and rhythmic variation" (ibid., p. 47).

    Two Piece Sculpture No. 7: Pipe was cast in bronze in a numbered edition of nine plus one artist's proof. Other bronze casts are in the collections of the Tate Gallery, London and The Whitworth Gallery at the University of Manchester. The original plaster from which the bronzes were cast is in the Henry Moore Sculpture Centre at the Art Gallery of Ontario, Toronto.
Contacts
HENRY MOORE (1898-1986)<I> Two Piece Sculpture No. 7: Pipe </I>37 in (94 cm) (length) (Conceived in 1966)
HENRY MOORE (1898-1986)<I> Two Piece Sculpture No. 7: Pipe </I>37 in (94 cm) (length) (Conceived in 1966)
HENRY MOORE (1898-1986)<I> Two Piece Sculpture No. 7: Pipe </I>37 in (94 cm) (length) (Conceived in 1966)
HENRY MOORE (1898-1986)<I> Two Piece Sculpture No. 7: Pipe </I>37 in (94 cm) (length) (Conceived in 1966)
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