This work is recorded as LH 876

‘…the subject itself is eternal and unending, with so many sculptural possibilities in it – a small form in relation to a big form, the big form protecting the small one, and so on. It is such a rich subject, both humanly and compositionally, that I will always go on using it.’ - H. Moore quoted in A. Wilkinson (ed.), Henry Moore: Writings and Conversations, Berkeley, 2002, p. 213.

Henry Moore explored and reimagined the mother and child theme time and again throughout his practice. During his studies at the Royal College of Art in the 1920s, Moore frequently visited the British Museum, where he first discovered statues from Neolithic, Mexican and other non-Western cultures held in the collection, many of which depicted embracing mothers and children and figures reclining. Moore became fascinated by these works and his early sculpture, comprising of simplified figurative shapes carved directly into stone and marble are heavily reminiscent of these, reimagining the universal and timeless symbolism of subject and sculptural technique. While mostly agnostic in its symbolism, Moore’s mother and child motif later triggered his first major public commission in 1943, where he was invited by the vicar of St Matthew’s Church, Northampton to create a sculpture with religious connotations, centred around the Madonna and child.

The Second World War and the birth of Moore’s daughter had tremendous impact on the artist, bringing a further emotional significance to this theme. During the devastating German air-raids on the city, Moore followed the thousands of men, women and children seeking refuge into the London underground, where he discovered intimate scenes of resilience and humanity. For two years, Moore dedicated his practice towards poignant ‘Shelter Drawing’ series, recording tender scenes of mothers shielding their children from the conflict above, while strangers are seen huddled together, supporting one another as if lifelong friends. The arrival of Mary (Moore’s only child) in 1946 additionally allowed him to view and experience parenthood with renewed perspective: the mother and child consequently taking on symbols of optimism and the importance of new life.

Conceived in 1982 Seated Woman Holding Child show’s Moore’s dedication and continuous exploration towards the figurative motif well into his established career. In this work, the small-scale bronze illustrates the deep connection Moore experienced between the two figures, as a mother lovingly supports her child on her lap, arms wrapped attentively around them. This gesture forms a safe hollow for the child, simultaneously anticipating her child’s movements and guarding them from any harm. The artist’s renowned use of smooth curves, carved textures and open and pierced form allows for both light and shadow to play brilliantly across and through the sculpture from multiple angles, further emphasising its sculptural quality. A cast from this edition is also held in the Yale Center for British Art, New Haven.