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HENRY MOORE (1898-1986)

 
"...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
<br>
<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art. "...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
<br>
<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art. "...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
<br>
<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art. "...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
<br>
<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art. "...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
<br>
<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art. "...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
<br>
<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art. "...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
<br>
<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art. "...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
<br>
<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art. "...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
<br>
<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art. "...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
<br>
<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art.
Reclining Figure: Circle198317 x 35 x 13 in.(89 x 33 x 43.5 cm) bronze
Provenance
Marlborough Fine Art, Ltd., London
Private Collection, California
Scott White Contemporary, San Diego
Private Collection
Sale, Sotheby's London, Surrealist Art Evening Sale, 3 February 2015, lot 53
Private Collection, California
Literature
Alan Bowness (ed.), Henry Moore, Complete Sculpture, 1980-86, London, 1988, vol. VI, no. 903, illustrations of another cast p. 60 & pls. 128-130
"...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
-Henry Moore

"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art.
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“A sculptor is a person who is interested in the shape of things, a poet in words, a musician by sounds.” – Henry Moore

MARKET INSIGHTS

  • Moore AMR 1976
  • Henry Moore’s market for top sculptural works has seen significant activity since 2016 when Reclining Figure: Festival (1951) set the world record price for a work at auction, selling for $32,766,700.

  • Although Henry Moore was a prolific artist in a variety of media, his sculptures are the most desirable and will likely continue to see a rise in value as the supply of important bronzes continues to decrease. 

  • The graph by Art Market Research shows that since 1976, Henry Moore sculptures have increased at a 4.9% annual rate of return.

Top Moore Sculptures at Auction

"Reclining Figure: Festival" (1951), bronze with a brown patina, length 90 in. Sold at Christie’s London: 30 June 2016 for $32,766,700 USD
“Reclining Figure: Festival” (1951), bronze with a brown patina, length 90 in. Sold at Christie’s London: 30 June 2016 for $32,766,700 USD
"Reclining Figure: Festival" (1951), bronze with a brown patina, length 96 1/4 in. Sold at Christie’s London: 07 February 2012 for $30,316,600 USD
“Reclining Figure: Festival” (1951), bronze with a brown patina, length 96 1/4 in. Sold at Christie’s London: 07 February 2012 for $30,316,600 USD
"Reclining Figure" (1982), bronze with a dark brown patina, 97 x 47 in. Sold at Christie’s New York: 13 November 2017 for $11,000,000 USD
“Reclining Figure” (1982), bronze with a dark brown patina, 97 x 47 in. Sold at Christie’s New York: 13 November 2017 for $11,000,000 USD

Other Notable Auction Records

"Mother and Child with Apple" (1956), bronze with a brown and green patina, 28 ½ x 19 ¾ x 17 3/4 in. Sold at Christie’s London: 04 February 2014 for $8,168,500 USD
“Mother and Child with Apple” (1956), bronze with a brown and green patina, 28 ½ x 19 ¾ x 17 3/4 in. Sold at Christie’s London: 04 February 2014 for $8,168,500 USD
"Working Model for Three Piece No. 3: Vertebrae" (1968), bronze with a brown patina, length 92 ¾ in. Sold at Christie’s London: 07 February 2012 for $8,073,500 USD
“Working Model for Three Piece No. 3: Vertebrae” (1968), bronze with a brown patina, length 92 ¾ in. Sold at Christie’s London: 07 February 2012 for $8,073,500 USD
"Two Piece Reclining Figure: Points" (1969-1970), bronze with a dark brown patina, 92 x 144 x 72 in. Sold at Christie’s New York: 12 November 2015 for $7,669,000 USD
“Two Piece Reclining Figure: Points” (1969-1970), bronze with a dark brown patina, 92 x 144 x 72 in. Sold at Christie’s New York: 12 November 2015 for $7,669,000 USD
"Family Group" (1946), bronze with a green patina, height 17 ½ in. Sold at Christie’s London: 26 June 2017 for $4,915,000 USD
“Family Group” (1946), bronze with a green patina, height 17 ½ in. Sold at Christie’s London: 26 June 2017 for $4,915,000 USD

Sculptures in Museum Collections

"Reclining Figure: Circle" (1983), Bronze, cast number 1/9, 17 × 35 in. Los Angeles County Museum of Art
“Reclining Figure: Circle” (1983), Bronze, cast number 1/9, 17 × 35 in. Los Angeles County Museum of Art
"Girl Seated Against a Square Wall" (1957-1958), Bronze, 42 x 33-5/8 x 28-1/8 in. The Norton Simon Museum, Pasadena
“Girl Seated Against a Square Wall” (1957-1958), Bronze, 42 x 33-5/8 x 28-1/8 in. The Norton Simon Museum, Pasadena
"Family Group" (1944), Bronze, 5 7/8 × 5 × 2 3/4 in. The Metropolitan Museum of Art, New York
“Family Group” (1944), Bronze, 5 7/8 × 5 × 2 3/4 in. The Metropolitan Museum of Art, New York
"Family Group" (1945), bronze, 7 × 4 × 2 1/2 in. The Tate, London
“Family Group” (1945), bronze, 7 × 4 × 2 1/2 in. The Tate, London
“I have always paid great attention to natural forms, such as bones, shells, and pebbles… Pebbles show Nature’s way of working stone.” – Henry Moore

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