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Exhibition catalog. 23 reproductions, many in full color. Artists: Barbara Hepworth, Jacques Lipchitz and Henry Moore. Provenance of all pieces. Exhibition checklist.

Add warmth and dimension to your interiors with this timeless textural design. Sponged layers of soft pink, taupe, and muted gold are then veined with white and finished with a sponged layer of metallic rose gold. Hepworth is an unpasted, non woven wallpaper.

For a textural design that will stand the test of time, choose this distressed design. The blend of white and grey hues is given the rough look of concrete, with a finishing layer of sponged metallic gold adding a subtle shine. Hepworth is an unpasted, non woven wallpaper. Color: Light Grey.

A beautiful print with roots from the archives, Hepworth wallpaper has been modernized to suit a timeless and elegant home. Featuring large scale feathery chrysanthemum flowers, this beautiful floral design is given a contemporary twist and stylish color palette. Dress up your interior with this vibrant purple wallpaper. Color: Grape.

Add a layer of rich color and dimension to your interiors with this textural wallpaper. Light blue, moss green, and bright teal are layered together, white veins and a sponged layer of metallic silver finishing this dynamic and timeless backdrop. Hepworth is an unpasted, non woven wallpaper.

Flowing in abstract sculptural forms, our Hepworth square silk scarf in black and white is the perfect accessory to elevate your look for daytime or evening. Made in England, from pure silk twill, it is finished with hand rolled hems. Hand rolled finishing. Handmade in England. 100% silk twill printed. Dry clean only.

Flowing in abstract sculptural forms, our Hepworth square silk scarf in luminous turquoise and vivid green is the perfect accessory to elevate your look for daytime or evening. Made in England, from pure silk twill, it is finished with hand rolled hems. Hand rolled finishing. Handmade in England. 100% silk twill printed. Dry clean only.

Flowing in abstract sculptural forms, our Hepworth square silk scarf in glowing pink and orange is the perfect accessory to elevate your look for daytime or evening. Made in England, from pure silk twill, it is finished with hand rolled hems. Hand rolled finishing. Handmade in England. 100% silk twill printed. Dry clean only.

Line and space are ordered harmoniously, flowing in sculptural forms, abstract, mesmerising and thought provoking. A limited edition print of 100, numbered and signed on museum etching paper, embossed with the Richard Allan London company seal. This design is a 1960s-70s original archive design from Richard Allan London and is made in England. Unframed Archival paper. Limited edition print out of 100. Handle very carefully. We advise your print is unrolled by your framer, as the museum grade paper is extremely fragile. Prints are checked carefully in the studio before shipping; we cannot accept returns. Once framed hang away from direct sunlight.

Line and space are ordered harmoniously, flowing in sculptural forms, abstract, mesmerising and thought provoking. A limited edition print of 100, numbered and signed on museum etching paper, embossed with the Richard Allan London company seal. This design is a 1960s-70s original archive design from Richard Allan London and is made in England. Unframed Archival paper. Limited edition print out of 100. Handle very carefully. We advise your print is unrolled by your framer, as the museum grade paper is extremely fragile. Prints are checked carefully in the studio before shipping; we cannot accept returns. Once framed hang away from direct sunlight.

Line and space are ordered harmoniously, flowing in sculptural forms, abstract, mesmerising and thought provoking. A limited edition print of 100, numbered and signed on museum etching paper, embossed with the Richard Allan London company seal. This design is a 1960s-70s original archive design from Richard Allan London and is made in England. Unframed Archival paper. Limited edition print out of 100. Handle very carefully. We advise your print is unrolled by your framer, as the museum grade paper is extremely fragile. Prints are checked carefully in the studio before shipping; we cannot accept returns. Once framed hang away from direct sunlight.

Barbara Hepworth (1903-1975) is internationally acclaimed as one of the major sculptors of the mid-20th century. Initially a carver of hard woods and stones, she diversified her work to include plasters and bronzes, as well as paintings, drawings, and prints. Examples of all these art forms are included in this unrivaled collection of Hepworth's works, providing an overview of the whole of her 50-year career. New research and current assessments combine to throw light on the making, history, and contemporary reception of 83 pieces. This is the most extensive and detailed reassessment of Hepworth's work to have been undertaken to date.

Newly published in paperback to coincide with the Barbara Hepworth retrospective exhibition at Tate Britain in 2015, this fascinating book combines a fully illustrated catalogue of the sculptor's surviving prototypes in plaster (and a number also in aluminium and wood), generously gifted to The Hepworth Wakefield by the Hepworth Estate, with a detailed analysis of her working methods and a comprehensive history of her work in bronze. The Hepworth's collection of over forty unique, unknown sculptures are the surviving working models from which editions of bronzes were cast. They range in size from works that can be held in the hand to monumental sculptures, including the Winged Figure for John Lewis's Oxford Street headquarters. The majority are original plasters on which the artist worked with her own hands and to scale. It was in plaster that Hepworth experimented most as she made the transition from stone and wood to bronze, testing the potential of her new material as she went. Sophie Bowness's illuminating text describes the different means by which this increasingly important artist made her plaster works, and why. Drawing extensively on archival records and photographs, this publication is an important source of information about a significant collection of work, the gallery which houses it and Hepworth in general. The catalogue illuminates the histories of Hepworth's sculptures through fascinating archival photographs, which demonstrate everything from the varied tools used by Hepworth to the logistical problems of transporting her monumental pieces through the narrow streets of St Ives. The book provides a much-needed account of Hepworth's studio practice, her relations with foundries, and the evolution of her public commissions.

At Trewyn in St Ives, Barbara Hepworth created a unique combination of sub-tropical garden and sculpture park. This book is a record of the plants and sculptures at Trewyn throughout the seasons, exploring the botanical evolution of the garden and the relationships betweens Hepworth's characteristically organic sculptures and the natural forms that surround them. Specially commissioned photographs follow the changes in the garden across the seasons while the text makes comment on Hepworth's work at Trewyn.

One of England’s best-loved sculptors, Barbara Hepworth (1903–1975) was an important figure in the development of international abstract art. This book explores a two-year period of Hepworth’s life when she created nearly 80 figurative drawings of surgeons at work in hospital operating rooms.Numerous never-before-seen drawings are featured here alongside images from Hepworth’s only surviving hospital sketchbook. A 1950 lecture in which Hepworth explains the importance of the drawings to her sculptural practice accompanies the illustrations, along with an essay that traces their development and examines the deep and lasting friendship of Hepworth and the surgeons she painted.

Barbara Hepworth (1903-1975) is internationally acclaimed as one of the major sculptors of the mid-20th century. Initially a carver of hard woods and stones, she diversified her work to include plasters and bronzes, as well as paintings, drawings, and prints. Examples of all these art forms are included in this unrivaled collection of Hepworth's works, providing an overview of the whole of her 50-year career. New research and current assessments combine to throw light on the making, history, and contemporary reception of 83 pieces. This is the most extensive and detailed reassessment of Hepworth's work to have been undertaken to date.

Yorkshire by birth, resident of St Ives, Cornwall, for more than 30 years, scholarship student at the Royal College of Art at the age of 16, mother of triplets, Honorary Doctor of Letters of five universities, Cornish bard, Dame Commander of the Order of the British Empire, and world-famous sculptor: such was Barbara Hepworth, whose life always revolved around the demands of her creative work. This book presents a pictorial record of her life, work and writings over 40 years, from her childhood years to her first marriage to the sculptor John Skeaping and her second marriage to Ben Nicholson; and from figuration through geometric and organic abstraction to the internationally acclaimed grandeur of her large-scale, post-war work.

Newly published in paperback to coincide with the Barbara Hepworth retrospective exhibition at Tate Britain in 2015, this fascinating book combines a fully illustrated catalogue of the sculptor's surviving prototypes in plaster (and a number also in aluminium and wood), generously gifted to The Hepworth Wakefield by the Hepworth Estate, with a detailed analysis of her working methods and a comprehensive history of her work in bronze. The Hepworth's collection of over forty unique, unknown sculptures are the surviving working models from which editions of bronzes were cast. They range in size from works that can be held in the hand to monumental sculptures, including the Winged Figure for John Lewis's Oxford Street headquarters. The majority are original plasters on which the artist worked with her own hands and to scale. It was in plaster that Hepworth experimented most as she made the transition from stone and wood to bronze, testing the potential of her new material as she went. Sophie Bowness's illuminating text describes the different means by which this increasingly important artist made her plaster works, and why. Drawing extensively on archival records and photographs, this publication is an important source of information about a significant collection of work, the gallery which houses it and Hepworth in general. The catalogue illuminates the histories of Hepworth's sculptures through fascinating archival photographs, which demonstrate everything from the varied tools used by Hepworth to the logistical problems of transporting her monumental pieces through the narrow streets of St Ives. The book provides a much-needed account of Hepworth's studio practice, her relations with foundries, and the evolution of her public commissions.

This book presents an intimate story of English sculptor Barbara Hepworth (1903–1975) at work. Hepworth’s granddaughter, Sophie Bowness, draws on Hepworth’s correspondence and family memories and records to offer the first study devoted to Hepworth’s studio in the English seaside town of St. Ives in Cornwall. The book illuminates the ways in which the place and Hepworth’s work were bound together; the studio, and especially the garden that Hepworth shaped, was the ideal context in which her sculptures were viewed. Following Hepworth’s death in 1975, the studio became the Barbara Hepworth Museum and Sculpture Garden, which was then given to the Tate Gallery, laying the foundation for Tate’s current St. Ives location. It contains the largest group of Hepworth’s works, permanently on display in the place in which they were created.

Barbara Hepworth's career spanned five decades, from 1925 to 1975. Her style moved from figuration, through geometric and organic abstraction, to the internationally acclaimed grandeur of her large-scale, post-war work. Her best known sculpture is associated with the landscape around St. Ives in Cornwall: 'I used colour and strings in many of the carvings ... The colour plunged me into the depths of water, caves or shadows deeper than the carved concavities themselves. The strings were the tension I felt between myself and the sea, the wind or the hills.'This publication focuses on Hepworth's unique carvings. It reassesses her reputation in the light of attention recently paid to her contemporaries, Ben Nicholson and Henry Moore and offers the opportunity to look afresh at a major British artist.