DAME BARBARA HEPWORTH (BRITISH, 1903-1975)
Five early designs for bronzes

1. Figure (Oread) (1958)
signed ‘Barbara Hepworth' (lower left) and annotated extensively (recto)
pencil and white chalk
23 x 10.3 cm. (9 1/4 x 8 in.)

2. Ascending Form (Gloria) (1958)
signed, titled and inscribed 'Suggestion for/Ascending form/by Barbara/Hepworth/To be discussed/by telephone' (upper left); further inscribed extensively (recto)
pencil and pen
30.5 x 21 cm. (12 x 8 1/2 in.)

3. Sphere with Inner Form (1963) and Bronze Form (Patmos) (1963)
annotated extensively (recto)
pencil
17 x 20 cm. (6 5/8 x 7 7/8 in.)

4. Curved Form with Inner Form (Anima) (1959), Reclining Form (Trewyn) (1959) and Coré (1955–6)
signed 'Barbra Hepworth' (upper right); further signed with initials 'BH' (lower right); and inscribed extensively (recto and verso)
pen
25 x 20 cm. (9 7/8 x 7 7/8 in.)

5. Two Forms in Echelon (1961) and Curved Form (Bryher II) (1961)
inscribed extensively (recto)
pen
20 x 12.5 cm. (7 7/8 x 4 7/8 in.)
(all unframed) (5)

Please note this work is accompanied with 39 letters signed by Barbara Hepworth, 31 from her secretary, and 24 carbon copy letters from the Foundry to Barbara Hepworth. This work is additionally accompanied by 4 small photographs of her work labelled from her own archive. The collection is dated between 1960 and 1971.

Provenance
The artist, from whom acquired by
Art Bronze Foundry Limited, where acquired by the present owner

We are grateful to Dr. Sophie Bowness for her assistance cataloguing this lot

"I was born with the ideas of certain shapes in my mind. At least I remember as far back as seven. The whole time one's been working at it and working, trying to simplify and make more mature, get the right scale, and develop it according to the development of society" - Barbara Hepworth

Michael Gaskin was a talented bronze caster who became closely associated with Hepworth during the 1950s. His skill in metal casting was instrumental in helping Hepworth realize some of her most important sculptures in bronze. He and his team at the Art Bronze Foundry worked with Hepworth to cast some of her key pieces, which expanded her sculptural vocabulary and allowed her to experiment with the material in new ways. Gaskin’s expertise was crucial in achieving the fine details and smooth surfaces that Hepworth sought in her bronze works.

Hepworth’s relationship with Gaskin was not just professional but also personal, as they worked closely together on several major projects. Their collaboration was built on mutual respect, with Gaskin deeply understanding Hepworth's vision for her sculptures and her need for a high level of precision and craftsmanship. Hepworth trusted Gaskin to maintain the integrity of her designs throughout the casting process, which could sometimes involve multiple iterations to achieve the perfect result.

The Art Bronze Foundry, located in London, was a key collaborator in Hepworth’s later works, particularly in casting her sculptures in bronze. The foundry was known for its high-quality work, and Hepworth’s relationship with the foundry was a turning point in her ability to create large-scale sculptures in metal.

Before working with Gaskin and the Art Bronze Foundry, Hepworth had primarily worked with materials like wood, stone, and plaster. The decision to move into bronze casting marked an important shift in her practice. She was able to expand the scale of her work and explore the fluidity and versatility that bronze offered. The foundry played a pivotal role in transforming her small maquettes and models into finished sculptures, often with complex casting processes, including lost-wax casting, to preserve the details of Hepworth’s original designs.