Henry Moore OM, CH

Two Piece Reclining Figure No.9

1968, cast c.1968–70

Medium
Bronze
Dimensions
Object: 1435 x 2438 x 1349 mm
Collection
Tate
Acquisition
Presented by the artist 1978
Reference
T02301

Catalogue entry

Entry

Two Piece Reclining Figure No.9 was made in 1968 and comprises two bronze forms positioned on a bronze base that together may be understood to represent a reclining human figure (fig.1). The tallest section appears to represent the head and torso, while the longer, horizontal piece denotes the legs. Although the gender of the figure is unspecified, Moore’s large-scale reclining figures are usually regarded as female.
Henry Moore 'Two Piece Reclining Figure No.9' 1968, cast c.1968–70
Fig.1
Henry Moore
Two Piece Reclining Figure No.9 1968, cast c.1968–70
Tate T02301
© The Henry Moore Foundation. All Rights Reserved
Henry Moore
Fig.2
Henry Moore
Two Piece Reclining Figure No.9 1968, cast c.1968–70 (side view of torso)
Tate T02301
© The Henry Moore Foundation. All Rights Reserved

The head of the figure does not possess any naturalistic facial features but can be recognised due to its position within the composition. Block-like protrusions with defined edges project out from the front of the neck and chest, while two deep grooves running vertically from the crown of the head and down the back of the figure’s neck are suggestive of flowing hair (fig.2). The main body of the figure curves down from the figure’s left shoulder towards the base, where it bends into a voluminous slab of bronze that may be understood either as an arm or the lower abdomen. From the figure’s right shoulder extends a tubular form that projects outwards horizontally and more closely resembles an arm. This terminates at a large rounded form similar to a hip bone that rises up from the lower abdomen below. The meeting of these two end points creates an enclosed hollow in the centre of the body.
The leg piece is made up of two differently sized vertical trunks, which stand side by side separated by a shallow arch (fig.3), and a longer almost horizontal appendage that bridges the gap between the legs and the body, to which it connects at its tip (fig.4). The two vertical legs of this section both narrow towards the base, while its smooth upper edge slants diagonally.

From plaster to bronze

Origins and development

The Henry Moore Gift

Alice Correia
February 2014

Notes

1
Henry Moore cited in Gemma Levine, With Henry Moore: The Artist at Work, London 1978, p.123.
2
Henry Moore in ‘Henry Moore Talking to David Sylvester’, 7 June 1963, transcript of Third Programme, BBC Radio, broadcast 14 July 1963, p.18, Tate Archive TGA 200816. (An edited version of this interview was published in the Listener, 29 August 1963, pp.305–7.)
3
Ibid., p.21.
4
Moore cited in Levine 1978, p.57.
5
Henry Moore cited in Albert Elsen, ‘Henry Moore’s Reflections on Sculpture’, Art Journal, vol.26, no.4, Summer 1967, p.355.
6
Henry Moore cited in Donald Hall, ‘Henry Moore: An Interview by Donald Hall’, Horizon, November 1960, reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations, Aldershot 2002, p.226.
7
Henry Moore cited in John Hedgecoe (ed.), Henry Moore, London 1968, p.300.
8
Henry Moore in ‘Henry Moore Talking to David Sylvester’, 1963, p.10.
9
See Roger Berthoud, The Life of Henry Moore, 1987, 2nd edn, London 2003, pp.323–4.
10
Henry Moore, letter to Heinz Ohff, 8 March 1967, The Henry Moore Foundation Archive.
11
Henry Moore sales log book, The Henry Moore Foundation.
12
Henry Moore cited in Carlton Lake, ‘Henry Moore’s World’, Atlantic Monthly, vol.209, no.1, January 1962, p.44.
13
Alan Bowness (ed.), Henry Moore. Volume 4: Complete Sculpture 1964–73, London 1977, p.8.
14
Moore cited in Hedgecoe 1968, p.75.
15
Richard Morphet, ‘T.2287 Two-Piece Reclining Figure No.3’, in The Tate Gallery 1978–80: Illustrated Catalogue of Acquisitions, London 1981, p.130.
16
Henry Moore cited in John Hedgecoe (ed.), Henry Moore: My Ideas, Inspirtation and Life as an Artist, London 1986, p.87.
17
Alan G. Wilkinson, Henry Moore Remembered: The Collection at the Art Gallery of Ontario in Toronto, Toronto 1987, p.230.
18
David Sylvester, Henry Moore, exhibition catalogue, Tate Gallery, London 1968, p.141.
19
Bowness 1977, p.9.
20
Ibid.
21
See ‘Note on the Henry Moore Gift’, 1978, Tate Public Records TG 4/6/10/4.
22
These figures are based on those listed in a memo in the exhibition’s records. See Tate Public Records TG 92/344/2.
23
Norman Reid, letter to Mary Danowski, 31 August 1978, Tate Public Records TG 4/6/10/4.

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