This is a list of works by Barbara Hepworth, the British artist and sculptor. Hepworth was an important modernist and abstract artist.
Drawings and paintings edit
Work | Year | Size | Medium | Notes and References |
---|---|---|---|---|
The Shadow Dance | 1919 | 13 by 8 centimetres (5.1 in × 3.1 in) | Watercolour and ink on paper | [1]: 19 |
Robin Hood's Bay | 1920 | 19 by 28 centimetres (7.5 in × 11.0 in) | Watercolour on paper | [1]: 15 |
Study of Robin Hood's Bay | 1920 | 14 by 21 centimetres (5.5 in × 8.3 in) | Watercolour on paper | [1]: 21 |
Portrait of George Henry Butler | 1922 | 23 by 18 centimetres (9.1 in × 7.1 in) | Pencil on paper | [1]: 26 |
Portrait of a Man in Profile (John Skeaping) | 1925 | 33.5 by 23.5 centimetres (13.2 in × 9.3 in) | Crayon on paper | [1]: 33 |
Seated Girl | 1928 | Ink, crayon and charcoal | As of 1952[update], in the collection of Solly Zuckerman.[2]: fig. 6a Zuckerman was a collector of Hepworth, Ben Nicholson and John Armstrong.[3] | |
Standing Girl | 1928 | Ink, crayon and charcoal | As of 1952[update], in a private collection.[2]: fig. 6b | |
Figure Study of a Crouching Nude Woman | 1929 | 43.8 by 25.4 centimetres (17.2 in × 10.0 in) | Charcoal and wash | [1]: 38 |
Figure | 1929-30 | 30.5 by 26 centimetres (12.0 in × 10.2 in) | Oil and pencil on board | [1]: 45 |
Kneeling Woman in Armchair | 1949 | 37 by 25 centimetres (14.6 in × 9.8 in) | Ink on paper | [1]: 148 |
Hospital works edit
Between 1947 and 1949, Hepworth's daughter was being treated at the Princess Elizabeth Orthopaedic Hospital (now part of the Royal Devon and Exeter Hospital) in Exeter.[4] Norman Capener, the surgeon, was an artist and a friend of Hepworth's, and invited her to draw in the operating theatre; Capener also probably introduced Hepworth to Garnett Passe, an ENT surgeon working in London, whose operations she also drew. Hepworth ended up creating around 80 works of nurses and surgeons at work.[4][5] These works have been noted for their particular focus on the hands of the health workers.[4][6]
Works are listed in date order; if only the year or month is known, the work is listed at the end of that period and ordered by catalog number.
Work | Date | Size | Medium | Notes and References |
---|---|---|---|---|
Study for Hospital Theatre | 14 November 1947 | Ink on paper | Catalog number: BH D 121a. Part of a private collection.[7]: 124 | |
Two Figures | 23 November 1947 | 38.1 by 26.7 centimetres (15.0 in × 10.5 in) | Ink, crayon and pencil | Catalog number: BH D 131. Part of the Ingram Collection, on loan to The Lightbox, Woking.[7]: 124 |
Study for Group | 23 November 1947 | 40.6 by 24.8 centimetres (16.0 in × 9.8 in) | Oil and pencil | Catalog number: BH D 132. Part of a private collection.[7]: 124 |
Study of Hands and Heads | 1 December 1947 | 25 by 35 centimetres (9.8 in × 13.8 in) | Ink on paper | Catalog number: BH D 113. Gifted to the Art Gallery of Hamilton by the Ontario Heritage Foundation in 1988, donated by M. F. Feheley in 1970.[7]: 124 |
Surgical Operation | 2 December 1947 | 24 by 34 centimetres (9.4 in × 13.4 in) | Ink on paper | Catalog number: BH D 115a. Part of the National Trust art collection at Mottisfont Abbey.[7]: 124 |
Hospital Operating Theatre | c.1947 | 22.8 by 29.2 centimetres (9.0 in × 11.5 in) | Ink on paper | Catalog number: BH D 115b. Part of a private collection.[7]: 124 |
Clinic I | 2 December 1947 | 29.2 by 39.4 centimetres (11.5 in × 15.5 in) | Pencil on oil ground | Catalog number: BH D 123. Whereabouts unknown.[7]: 124 |
Study of Surgeon's Hands | 2 December 1947 | 27.5 by 37.6 centimetres (10.8 in × 14.8 in) | Pencil and gesso on strawboard | Catalog number: BH D 116. Part of The Fitzwilliam Museum, University of Cambridge.[7]: 124 Bequeathed by Claude William Guillebaud in 1971.[8] |
Hands in Movement | 5 December 1947 | Dimensions unknown | Ink on paper | Catalog number: BH D 133. Whereabouts unknown.[7]: 124 |
Operation Subject II | c.1947 | 24.2 by 35.6 centimetres (9.5 in × 14.0 in) | Pencil, pastel and watercolour on paper | Catalog number: BH D 115c. Part of a private collection.[7]: 124 |
Median | 5 December 1947 | 29 by 47 centimetres (11 in × 19 in) | Oil and pencil | Catalog number: BH D 115. Part of a private collection.[7]: 124 |
Clinic II | December 1947 | 29 by 39.5 centimetres (11.4 in × 15.6 in) | Pencil on oil ground on wood | Catalog number: BH D 139. Part of the Art Gallery of New South Wales collection.[7]: 124 Purchased by the Gallery in 1958.[9] |
Clinic III | 8 December 1947 | 35 by 45 centimetres (14 in × 18 in) | Pencil on oil ground on wood | Catalog number: BH D 140. Whereabouts unknown.[7]: 124 |
Radial | 8 December 1947 | 30.5 by 38 centimetres (12.0 in × 15.0 in) | Oil and pencil on board | Catalog number: BH D 140. Part of a private collection.[7]: 124 [4] |
Reconstruction | 9 December 1947 | 34.3 by 46.4 centimetres (13.5 in × 18.3 in) | Oil and pencil on board | Catalog number: BH D 135. Part of the Arts Council Collection at the Southbank Centre.[7]: 124 [10] |
Concentration of Hands I | 1948 | 53.5 by 40 centimetres (21.1 in × 15.7 in) | Oil and pencil on plywood | [4] |
Concentration of Hands II | 1948 | 26.7 by 34.3 centimetres (10.5 in × 13.5 in) | Oil and pencil on board | [4] |
Study of Surgeon's Hand | 1948 | 27.5 by 37.6 centimetres (10.8 in × 14.8 in) | Pencil and gesso on strawboard | [4] |
Hands Operating | 1949 | 26 by 52.7 centimetres (10.2 in × 20.7 in) | Oil and pencil on board | [4] |
Collages edit
Work | Year | Size | Medium | Notes and References |
---|---|---|---|---|
Composition | 1933 | 28.5 by 44.5 centimetres (11.2 in × 17.5 in) | Pencil and collage on wood | [1]: 58 |
St Rémy | 1933 | 25 by 35.5 centimetres (9.8 in × 14.0 in) | Collage on oil ground | [1]: 58 |
Sculptures edit
Work | Year | Catalog Number[11] | Size | Medium | Notes and References |
---|---|---|---|---|---|
The Pond (Two Figures) | c. 1922 | 18 by 6.5 by 8.5 centimetres (7.1 in × 2.6 in × 3.3 in) | Glazed porcelain | [1]: 19 | |
Venus (Figure II) | c. 1922-23 (cast 1925) | Height 52.7 centimetres (20.7 in) | Bronze | [1]: 28 | |
Jill and Peggy | 1923 | 28.8 by 33.2 centimetres (11.3 in × 13.1 in) | Plaster relief | [1]: 27 | |
Dove | 1925 | BH 1 | 13 inches (33 cm) | Carrara marble | Destroyed.[2]: fig. 1 |
Fantail Pigeons | 1926 | BH 2 | 9.5 by 15 inches (24 cm × 38 cm) | Carrara marble | [12] |
Doves (Group) | 1927 | BH 3 | 19 inches (48 cm) | Parian marble | Hepworth's earliest surviving stone carving, made during her time in Italy.[13] As of 1952[update], in the collection of the Manchester City Art Gallery.[2]: fig. 2 |
Bust of a dancer | 1927 | BH 4 | Height 45.7 centimetres (18.0 in) | Bronze | Whereabouts unknown.[14] |
Seated Figure | 1927 | BH 5 | Height 24 inches (61 cm) | Marble | As of 1952[update], in the collection of the late George Eumorfopoulos.[2]: fig. 5 |
Torso | 1927 | BH 8 | Height 14.5 inches (37 cm) | Irish fossil marble | As of 1952[update], in the collection of the Earl of Sandwich.[2]: fig. 3a-3b |
Mask | 1928 | BH 14A | 22 by 17 by 7 centimetres (8.7 in × 6.7 in × 2.8 in) | Pentelicon marble | [1]: 37 |
Torso | 1928 | BH 14C | Height c.14 inches (36 cm) | Hopton Wood stone | As of 1952[update], in the collection of A.J. McNeill Reid.[2]: fig. 8 |
Contemplative figure | 1928 | BH 15 | Height 17.25 inches (43.8 cm) | Polyphant stone | Recorded in 1952 as being owned by Mr and Mrs H.R. Hepworth.[2]: fig. 4 Last recorded as being in a private collection in Los Angeles.[14] |
Female nude, half-figure | 1929 | Uncatalogued | Whereabouts unknown.[14] | ||
Mother and child | 1929 | BH 18 | Height 35.6 centimetres (14.0 in) | Brown hornton stone | Whereabouts unknown.[14] |
Torso | 1929 | BH 22 | Height 36.5 centimetres (14.4 in) | Pinkardo wood | [1]: 42 |
Infant | 1929 | BH 24 | 43.8 by 27.3 by 25.4 centimetres (17.2 in × 10.7 in × 10.0 in)[15] | Burmese wood | [2]: fig. 10 Bought by Sir George Hill in 1930 through Arthur Tooth & Sons; in the collection of Dr H.P. Widdup by 1954; in the collection of Jill Horne by 1968; reacquired by Hepworth in April 1970 through Gimpel Fils; donated to Tate by Hepworth's estate in 1980.[15] |
Torso | 1929 | BH 25 | 42 by 11.5 by 10 centimetres (16.5 in × 4.5 in × 3.9 in) | African ivory wood | [1]: 43 As of 1952[update], in the collection of Sir Colin Anderson.[2]: fig. 9 |
Figure | 1930 | BH 26 | Height 22.25 inches (56.5 cm) | Teak wood | As of 1952[update], in the collection of Solly Zuckerman.[2]: fig. 11 |
Recumbent figure | 1930 | BH 29 | Length 30.5 centimetres (12.0 in) | Hopton Wood stone | Destroyed.[14] |
Figure in Sycamore | 1931 | BH 34 | 118 by 33 by 33 centimetres (46 in × 13 in × 13 in) | Sycamore wood | [1]: 44 |
Woman with folded hands | 1932 | BH 39 | Doulting stone | Presumed destroyed.[14] | |
Torso | 1932 | BH 41 | African blackwood | [1]: 51 | |
Kneeling Figure | 1932 | BH 42 | 67.5 by 32 by 28.8 centimetres (26.6 in × 12.6 in × 11.3 in) | Rosewood | [1]: 53 |
Head | 1932 | Uncatalogued | Acacia wood | Whereabouts unknown.[14] | |
Seated Figure | 1932-33 | BH 46 | [1]: 57 | ||
Two forms | 1933 | BH 54 | Blue Armenian marble | Whereabouts unknown.[14] | |
Group I (Concourse) | 1951 | BH 171 | 24.8 by 50.5 by 29.5 centimetres (9.8 in × 19.9 in × 11.6 in) | Serravezza marble | Hepworth said the piece was inspired by the interaction of architecture and people in Venice's Piazza San Marco. The base and figures were all created using an unwanted mantelpiece from a neighbour's house. The piece was gifted to Tate in 1977.[16] |
Group II (People Waiting) | 1952 | BH 181 | 25.5 by 50.7 by 29.0 centimetres (10.0 in × 20.0 in × 11.4 in) | Serravezza marble | Part of a private collection on long term loan to Tate since 2005.[17] |
Two Forms (Divided Circle) | 1969 | BH 477 | 217.5 by 235.5 by 54.6 centimetres (85.6 in × 92.7 in × 21.5 in) | Bronze | [18] |
Works possibly by Hepworth edit
Work | Year | Size | Medium | Notes and References |
---|---|---|---|---|
Head | 28.5 by 44.5 centimetres (11.2 in × 17.5 in) | Pencil and collage on wood | [1]: 58 | |
St Rémy | 1933 | 25 by 35.5 centimetres (9.8 in × 14.0 in) | Collage on oil ground | [1]: 58 |
References edit
- ^ a b c d e f g h i j k l m n o p q r s t u v Eleanor Clayton (2021). Barbara Hepworth: Art & Life. Thames & Hudson. ISBN 9780500094259.
- ^ a b c d e f g h i j k Barbara Hepworth (1952). Barbara Hepworth: Carvings and Drawings (1st ed.). Lund Humphries. NB: This monograph does not have numbered pages, and so references are made to the numbered images instead.
- ^ Tim Radford (20 September 2001). "Tell us, Solly". London Review of Books. 23 (18). Retrieved 3 April 2023.
- ^ a b c d e f g h Ahmadreza Afshar; Neda Afshar (July 2014). "The Hand in Art: Barbara Hepworth— The Hospital Drawings". Journal of Hand Surgery. 39: 1396–1398. doi:10.1016/j.jhsa.2014.04.012.
- ^ "Barbara Hepworth: The Hospital Drawings". The Hepworth Wakefield. Retrieved 30 March 2023.
- ^ A.M. Hammacher (1968). Barbara Hepworth. Thames & Hudson.
- ^ a b c d e f g h i j k l m n o Nathaniel Hepburn (2012). Barbara Hepworth: The Hospital Drawings. Tate Publishing. ISBN 9781849761659.
- ^ "Study of surgeon's hands: PD.53-1973". The Fitzwilliam Museum. Retrieved 19 August 2023.
- ^ "The clinic no.2". Art Gallery of New South Wales. Retrieved 1 September 2023.
- ^ "Reconstruction 1947". Arts Council Collection. Retrieved 1 September 2023.
- ^ "Catalogue". Barbara Hepworth Sculpture. Retrieved 3 April 2023.
- ^ "Volume of sculpture records 1925–8 Page 4". Tate. Retrieved 3 April 2023.
- ^ Tim Adams (7 June 2015). "Barbara Hepworth: a life told in six works". The Guardian. Retrieved 3 April 2023.
- ^ a b c d e f g h Penelope Curtis (December 1995). "Early Hepworth: New Images for Old". The Burlington Magazine. 137 (1113): 846–849. Retrieved 30 March 2023.
- ^ a b "Infant". Tate. Retrieved 3 April 2023.
- ^ "Group I (Concourse) February 4 1951". Tate. Retrieved 30 March 2023.
- ^ "Group II (People Waiting)". Tate. Retrieved 30 March 2023.
- ^ "Two Forms (Divided Circle)". Tate. Retrieved 3 April 2023.