Time-Life Screen: Working Model 1952 (LH 343)


length 101cm

I think Architecture is the poorer for the absence of sculpture and I also think that the sculptor, by not collaborating with the architect, misses opportunities of his work being used socially and being seen by a wider public. And it was feeling that the time is coming for architects and sculptors to work together again, that brought me to do the double commission for the Time-Life building in Bond Street, of both the Bronze Draped Reclining Figure for the terrace. I was first asked to do only the Reclining Figure, and was glad to, as that fitted in with the idea of free standing sculpture in relation to architecture. It was at a later stage that the architect of the building approached me about the sculptural screen and I accepted the chance of working simultaneously upon two such entirely different sculptural problems.

It seemed to me that the screen must be made to look as though it was part of the architecture, for it is a continuation of the surface of the building – and is an obvious part of the building.

The fact that it is only a screen, a kind of balustrade to the Terrace with space behind it, led me to carve it with a back as well as a front, and to pierce it, which gives an interesting penetration of light, and also from Bond Street makes it obvious that it is a screen and not a solid part of the building.

Henry Moore quoted in Sculpture in the Open Air: A Talk by Henry Moore on his Sculpture and its Placing in Open-Air Sites, edited by Robert Melville and recorded by the British Council 1955: typescript; copy in HMF library