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拍品专文
Three Forms, BH 66, was originally carved in grey alabaster in 1935 and is in the collection of Tate Gallery, London. The geometrical arrangement of the original was of determining importance for the relationship of solid and void and was one of the earliest examples of such an arrangement. The shapes and locations of the forms have been seen as holding some general proportional sequence, however, it is likely that such relationships were worked out by eye (see M. Gale and C. Stephens, Barbara Hepworth Works in the Tate Gallery Collection and the Barbara Hepworth Museum St Ives, London, 1999, pp. 49-50).
Herbert Read comments, 'Although Hepworth had been arranging organic elements on bases during 1933-4, the geometric forms seem to date from 1935. She would later associate the move to abstraction with the birth of her triplets on 3 October 1934. "When I started carving again in November 1934," she wrote, "my work seemed to have changed direction although the only fresh influence had been the arrival of the children. The work was more formal and all traces of naturalism had disappeared, and for some years I was absorbed in the relationships in space, in size and texture and weight, as well as in the tensions between the forms"' (H. Read, Barbara Hepworth: Carvings and Drawings, 1952, section 3).
The present lot was gifted to the guitarist John Williams when he performed at Hepworth's 70th birthday. He recalls, 'The party was organised by Gilbert Lloyd of Marlborough Fine Art, and was held at a large hotel just outside St Ives. Barbara loved Greek music. At that time I was playing and recording with the great Greek singer Maria Farantouri and so we were both invited. A traditional Bouzouki group played well into the night after Maria and I performed songs by Theodorakis. Barbara was happy but tired towards the end and so missed the traditional Greek plate smashing; however, when I told her about it the next day she said 'how wonderful!' The whole occasion was such an honour and pleasure and the gift of this sculpture was an extraordinary surprise; it has been by my music stand ever since'.
We are grateful to Dr Sophie Bowness for her assistance with the cataloguing apparatus for this work. Dr Sophie Bowness is preparing the revised catalogue raisonné of Hepworth’s sculpture.
Herbert Read comments, 'Although Hepworth had been arranging organic elements on bases during 1933-4, the geometric forms seem to date from 1935. She would later associate the move to abstraction with the birth of her triplets on 3 October 1934. "When I started carving again in November 1934," she wrote, "my work seemed to have changed direction although the only fresh influence had been the arrival of the children. The work was more formal and all traces of naturalism had disappeared, and for some years I was absorbed in the relationships in space, in size and texture and weight, as well as in the tensions between the forms"' (H. Read, Barbara Hepworth: Carvings and Drawings, 1952, section 3).
The present lot was gifted to the guitarist John Williams when he performed at Hepworth's 70th birthday. He recalls, 'The party was organised by Gilbert Lloyd of Marlborough Fine Art, and was held at a large hotel just outside St Ives. Barbara loved Greek music. At that time I was playing and recording with the great Greek singer Maria Farantouri and so we were both invited. A traditional Bouzouki group played well into the night after Maria and I performed songs by Theodorakis. Barbara was happy but tired towards the end and so missed the traditional Greek plate smashing; however, when I told her about it the next day she said 'how wonderful!' The whole occasion was such an honour and pleasure and the gift of this sculpture was an extraordinary surprise; it has been by my music stand ever since'.
We are grateful to Dr Sophie Bowness for her assistance with the cataloguing apparatus for this work. Dr Sophie Bowness is preparing the revised catalogue raisonné of Hepworth’s sculpture.