Conceived in 1940 and cast in 1968.
This work is recorded as BH 459.
Hammacher associated Hepworth's use of colour and strings with her growing consciousness of the landscape (Hammacher 1987, p.92), quoting from her retrospective statement: 'The colour in the concavities plunged me into the depth of water, caves, of shadows deeper than the carved concavities themselves. The strings were the tension I felt between myself and the sea, the wind or the hills' (Read 1952, section 4).
Acquired directly from the artist by Derek Fairhead, 1969, and by descent.
London, Gimpel Fils, Barbara Hepworth, October 1972, no. 2, another cast exhibited.
London, Annely Juda Fine Art, The Non-Objective World 1914-1955, July - September 1973, no. 53, another cast exhibited: this exhibition travelled to Texas, Austin, University Art Museum, October - December 1973.
London, Gimpel Fils, Barbara Hepworth, 1903-1975: 50 sculptures from 1935 to 1970, October - November 1975, no. 6, another cast exhibited.
New York, Gimpel & Weitzenhoffer, Hepworth, March - April 1977, no. 14, another cast exhibited.
Wakefield, City Art Gallery, BH: Polished Bronzes, May - June 2003, exhibition not numbered: this exhibition travelled to The Netherlands, Gouda, Museum Het Catharina Gasthuis, July - September 2003.
A. Bowness, The Complete Sculpture of Barbara Hepworth 1960-69, London, 1971, p. 46, no. 459.
Exhibition catalogue, The Non-Objective World 1914-1955, London, Annely Juda Fine Art, 1973, p. 89, no. 53, another cast illustrated.
Exhibition catalogue, Barbara Hepworth, 1903-1975: 50 sculptures from 1935 to 1970, London, Gimpel Fils, 1975, n.p., no. 6, another cast illustrated.
S. Bowness (ed.), Barbara Hepworth The Plasters: The Gift to Wakefield, Farnham, 2011, pp. 36, 47, 104, no. 2, plaster cast and another cast illustrated.