λ Henry Moore (British 1898-1986) Reclining Nude: Crossed Feet Bronze with a green patina, mounted on a wooden base Signed and numbered 5/9 (on the base) 11 x 16.5cm (4¼ x 6¼ in.) Conceived in 1980. Provenance: The Goodman Gallery, South Africa Private Collection, London (acquired from the above in 1981) Thence by descent to the present owners Literature: Alan Bowness (ed.), Henry Moore, Complete Sculpture: 1980-86, Vol. 5, London, 1988, no. 788, another cast illustrated, p. 36-37 Along with the theme of the mother and child, the reclining female figure is a form that dominated Moore's artistic output across his career. He loved the composition both for the essence of the idea as well as the freedom of expression that it afforded him. Unlike a seated figure that required a pedestal or support, or a standing figure which often lacked structural stability, the reclining figure could be presented in any manner and in any position without the incumbrance of other distracting elements. "One is standing, the other is seated and the third is lying down... of the three poses, the reclining figure gives the most freedom, compositionally and spatially... A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for eternity." Henry Moore, cited in the Art Gallery Handbook, Art Gallery, New South Wales, Australia, 1994 In contrast to many depictions of the female nude, Moore's work is never overtly erotic or sexualised. Indeed it has more in common with the very early pictorial language of the Neolithic period in Europe or the art of some early central American cultures in which the simplified form is a symbol of fertility. Moore was naturally drawn to these images and whilst his figures are far more than simply maternal depictions, enduring memories of his mother - a tremendously strong woman who raised eight children and who represented a rock of stability for Moore - left a lasting impact on how he viewed the female figure. The present work is typical of Moore's small scale bronzes. The smooth curves of the body dominate the form whilst the more diminutive head, with its lack of naturalistic facial characteristics alludes to a generic stylised form rather than a personalised image. Propped up on both arms, the body creates a contrasting mix of soft curves and sharper angles at the joints, interrupted by the lack of hands and feet. In spite of the simplification of the form the work remains more naturalistic than his earlier abstract sculptures. Similarities can be drawn between some of Moore's pen and ink studies during the 1980s for example reference HMF 80(117), Reclining Nude and HMF 80(115) titled Idea for Sculpture: Reclining Nude. Other sculptures during this period include Reclining Figure: Pointed Legs LH 777 dated to 1979 and moving into 1982 where Moore explored a more upright figure with a fuller chest Reclining Figure: Pointed Head LH827. Quote: "From the very beginning the reclining figure has been my main theme.....The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures." Henry Moore, quoted in J. Hedgecoe, Henry Moore, New York, 1968, p. 151