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8/10/2019 Henry Moore - Sculpture and Drawings 1949-1954 (Art eBook)
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HflRIN COUNTY FREE LIBRARY
Volume 2 ture &Drawings 19 49 -195
s&
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This volume is a superb illustrated record
of Henry Moore's work from the beginning
of 1 949 to the end of 1 954. This was a period
in the artist's development notable for
large sculptures on a monumental scale and
with a public theme. They helped establish
Moore as the unrivalled international figure
that he is today. These major works are
comprehensively illustrated, with a profusion
of views and details and in certain cases
photographs of earlier stages in their making.
Over 160 illustrations are reproduced, and
they include a section devoted to the
sculptor's drawings which in many instancesshow his original conceptions for the
sculptures.
This is a second edition, revised, of the
volume originally published in 1 955. Whilst
the text and plate sections of the original
edition are preserved virtually intact, an
important addition is the catalogue of all the
sculpture of the period, compiled by Alan
Bowness. This follows on from the catalogue
in Volume 1 and will be continued by the
catalogue in Volume 3. It is an addition thatwill enhance the value of the series as a
complete record of the work of Henry Moore.
Apart from the catalogue, the text includes
an introduction by Sir Herbert Read, a
biographical note, lists of exhibitions,
bibliography, and some of the more
important of the artist's own writing aboutsculpture.
:
Lund Humphries 3 10s
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\ i_ i i \ i m i \j v i n
carnai
JUN 2 'If
MAY 6 'fT
EB 24 1988
AR 2 1 1988
I
Cai No 23-22)
730-9^2 MooreHenry Moore:
sculpture and drawingsv.2. 2d ed.
Library
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HENRY MOOREVOLUME TWO
SCULPTURE AND DRAWINGS1949-1954
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HENRY MOOREVOLUME TWO
SCULPTUREAND DRAWINGS
1949-1954
WITH AN INTRODUCTION BY HERBERT READ
LONDON
PERCY LUND, HUMPHRIES & COMPANY LTD
A. ZWEMMERAmerican Distributor-.
Wittenborn and Company
1018 Mad-son Ave.,New York 21 N. T.
Mcrin County Tree Library
Civfc Center Administration Building
San Rafael, California
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ALL RIGHTS RESERVED
COPYRIGHT [965 BY PERCY LUND, HUMPHRIES & CO. LTD
12 BEDFORD SQUARE, LONDON \V < : I
First Edition 1955
Second Edition, revised 1965
143739
MADE AND PRINTED IN GREAT BRITAIN BY
PERCY LUND, HUMPHRIES & COMPANY LIMITED
LONDON AND BRADFORD
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PUBLISHERS' NOTE
This is a second edition, revised, of the volume originally
published in 1955. It illustrates Henry Moore's sculpture
and drawing from the beginning of 1040 to the end of
'954-
Mr David Sylvester and the artist were responsible forthe arrangement of the plates in the original edition, and
the documentation was compiled with the help of Miss
Margaret Maclcod, of The British Council, and of Miss
Tamora Miller. The second edition, which has been seenthrough the press by Mr Alan Bowness, preserves a verylarge proportion of the original volume intact. The intro-
duction by Sir Herbert Read has been amended slightly to
take account of the passage of time; the chronology has been
shortened to cover only the period reviewed in the volume,
since earlier. events are listed in Volume 1 and later eventsin Volume 3, which is published simultaneously with this
edition. This revision also applies to the list of one-man
exhibitions, and a short list of mixed exhibitions from the
period has been added. The bibliography has been retained
in its original form, but the publishers have felt compell
with some reluctance to omit the list ol owners since
somewhat misleading to give permanent form to inform
tion which must of necessity change with the passage of
The plates retain their original sequence. Occasionally
new block has been made to give a better view of a
ticular subject or to show the bronze cast rather than
plaster model. The original plates 12, 13 and 84 have
withdrawn into the illustrated catalogue section, and
last is replaced by a four-page section showing the Har
Family Group which stylistically belongs to this period.
The major addition to the volume is the complete
logue of Henry Moore's sculpture of the period, compiled
Mr Alan Bowness with the help of Mrs Betty Tinsley.continues the catalogue included in Volume 1. Each
now carries not only its plate number but also (in parentheses)
a catalogue number, and in the catalogue are to be f
small illustrations of every subject not reproduced in
plate section.
ACKNOWLEDGEMENTSThe photographs of the sculptures are by the artist, with
the exceptions of No. 26 (by Lidbrooke), No.28a (by Felix
H. Man), N0.74 (by Mrs V. C. Wilson), N0.53 (by JohnUnderwood), No.80 (by Simon Reid) (of King and Queen
in situ), and No. 28 (by Elspethjuda).
The portrait of the artist is reproduced by courtesy of
Roger Wood.
Vlll
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Page from a notebook 1951
this point of view, has been made by Dr Erich Neumann.
The very limitation of Moore's subject-matter- the reclining
female figure, the mother and child, the family group, forms
that might be foetal, blind vermicular heads - indicates a
canalized strength, reaching deep into the unconscious,
rather than an attention dispersed among superficial
phenomena. This strength-by-limitation (characteristic of
so many of the greatest artists) does not come by consciouschoice: it is an imperious and almost impersonal impulse
that uses the artist as its medium.
In the questioning days at the end of the war, there was
some talk of a return to humanism', and some words of
Moore's may have flattered a widespread nostalgia for
naturalism. In the evenl there has been little evidence of
such a reaction in Moore's case, and some of t lie works of
this period, such as the lead helmets of [95O I Plates 10 and 1 1
and the frieze for the Time-Life building (Plates 64 71 1 are
as intransigeantly super-real or even 'abstract' as anything
in his past work. Indeed, apart from the special ) com-
missioned Madonna and Child for Claydon Church Plauandthe reclining figure on die terrace of the Time-Li
building I'huc 62 , which is equally a special case, there
no sign anywhere in this period of a return to any sale
bour of acceptability, hut rather a folly maintained ene
of exploration and invention. The fine reclining figure
K| ,i PI. He '22 is ill line with the s^rcai setirs o[ reclinin
figures illustrated in die previous volume; hut even here,
the web-like striations left in relief, there is a newexpressive invention.
The most considerable achievement of this periodprobably the scries of sealed figures in bronze culminating
in the King and Queen group Plate 80). Here there i
obvious link with the various family groups beginning
1944 and continued in this volume with the Stevenag
group (Plate l). But there is an equally obvious bre
and it is a break with humanism and an advance into
superhuman realm of myth. This king and queen n
reigned in our wor ld they were crowned in Erebus,
perhaps in some Olympian grove. They arc figures
mysteryor
fate: theylook
calmlyinto futurity.
they are not agitated even the Oucen's hands
preliminary sketch for them is seen in Plate 78) rest
her lap in a relaxed gesture of acceptance.
This group marks a climax in Henry Moore's achiev
ment, but another and a different tendency must be noted
that represented by the Time-Life reclining figure alrea
mentioned (Plate 62) and by the torso which was a st
lor it (Plate 63), and also by the recent Warrior with Sh
(Plate 83). Here is a distinct Hellenic note, and it is
direct result of a visit to Greece which the sculptor made
Page from a notebook
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Page from a notebook 1 95
'
1 951. Moore was never lacking in admiration of the 'great'
period of Greek sculpture - in one of His rare writings lie
speaks of the Archaic Greek gallery in the British Museum'with its life-size female figures, seated in easy, still natural-
ness, grand and full like Handel's music . But magnificent
as are the Parthenon fragments in the British Museum anda few other isolated pieces there, it is necessary, as has
frequently been said, to sec Greek sculpture in the Attic-
landscape to see it come to life. This visit to Greece was afundamental experience for Henry Moore, and a new
understanding of some aspects of the C ircck genius is evident
in the pieces I am now referring to evident in a new con-ception of drapery, now no longer a secondary rhythm, huta nervous integument, a veil made tense and contrapuntalby the hard outward thrust of the underlying volumes. TheWarrior is reminiscent of the archaic bronzes of the eight
and seventh centuries B.C., but the mythical head is poised
on a body that is sensuously modelled and poignantly
human. This is not an imitation of its Greek prototype: it is
a new icon expressing a modern consciousness of the (berk
mystery, of the human tooted in the chthonic, of thesublime Struggling to expression in a pagan death.
It will be observed that there are proportionately fewer
drawings in this volume, but as I explained in the Intro-
duction to the previous volume, drawings done for their
own sake, and not solely as preliminary studies for sculpture,were a war-time measure. Willi a return to normal supplies
of the sculptor's raw materials, Moore has had less lime or
opportunity lor drawing. Anothe^ dirFerence is the now
proportionately greater number ol bronzes. This may bepartly explained by the economic laws of supply and
demand several bronze replicas of the same model can
be cast ; but it is also due to the sculptor's increasing interest
in the technical resources and aesthetic qualities of this
medium. This is not the place for an academic discussion ol
the relative merits of modelling and direct carving; and in
the past Moore has given sufficient evidence of his belief in
the unique virtues of direct carving. But modelling has its
own distinctive qualities, and if they are not abused (and
there are more temptations to abuse in this medium than in
XI
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carving), then its expressive freedom is an advantage to a
fertile imagination. Thus the small bronzes to some extent
replace the independent drawings, as quick records of a
mood or an intuition; but they have far greater plastic
significance.
Final ly, a word of explanation should be devoted to the
frieze on the Time-Life building. Here the artist had to
solve a problem in direct consultation with the architect
Kosenhauer). The frieze is functional in that it provides a
screen for the terrace behind it - a terrace necessitated by
the plan of the building. Moore's original intention was to
make the four sculptural elements movable within their
frames, so that the pattern presented to the spectator could
occasionally be changed, and a sense of openness be given
to the screen (see Plate 68). But official regulations would not
countenance such an innovation, so they are fixed. Never-
theless, a modern building in the heart of London has been
decorated with a series of modern sculptures, and this is
even a more significant development than the placing of a
group outside a County Council school (Plate i). In the
case of the school the sculpture is additional it c
be removed without a Heeling the architecture behind
In the Time-Life building the sculpture is merged into
structure. This was the first I Moore's commissions t
executed which shows the possibilities of an integration
architecture and sculpture.
Another interesting possibility is illustrated in Plates [8
the integration of landscape and sculpture. The gbronze figure (Plate 18) - one of Moore's most successfu
creations during these last five years - emerges from
moorland like some genius loci, giving form and definition
the prevailing atmosphere. We normally associate mmental sculpture with crowded cities, but if we watchpeople passing King Charles in Trafalgar Square, or G
malala in Padua, how few glance up to the familiar figuA great work of art, however, only yields its essence tact of contemplation an a ct that is impossible in a
thoroughfare. It has some chance of recognition in a
or garden: but attention is best induced when it stadramatically isolated in a landscape.
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Photograph of the artist, it,-'Roga Wood
Mil
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OBSERVATIONS BY HENRY MOORE
I Notes on Sculpture
When I began to make sculptures thirty years ago. it wasvery necessary to fight for the doctrine of truth to material
the need for direct carving, for respecting the particular
character of each material, and so on). So at that time manyof us tended to make a fetish of it. I still think it is important,
but it should not be a criterion of the value of a work -
otherwise a snowman made by a child would have to bepraised at the expense of a Rodin or a Bernini. Rigid
adherence to the doctrine results in domination of the
sculptor by the material. The sculptor ought to be the
master of his material. Only, not a cruel master.
In my opinion, long and intense study of the human figureis the necessary foundation for a sculptor. The human figureis most complex and subtle and difficult to grasp in form
and construction, and so it makes the most exacting form
for study and comprehension. A moderate ability to 'draw'will pass muster in a landscape or a tree, but even the un-
trained eye is more critical of the human figure becait is ourselves.
I think that the most 'alive' painting and sculpture
now on will go more 'humanist', though at present thereare more 'abstract 1 artists than ever there is a natur
time-lag in the work of the majority, who arc followingexperimental artistsj.
Sculpture is an art of the open-air. Daylight, sunlight
necessary to it. and for me its best setting and complemenis nature. I would rather have a piece of my sculpture
in a landscape, almost any landscape, than in. or on,most beautiful building I know
.
Reprinted from the catalogue of the exhibition
Henry Mm, >e at the Tate Gallery, published
the Arts Council of Great Britain, ujji.
II Some Notes on Space and Form in Sculpture
One distorts the forms in order to create space . . .
If space is a willed, a wished-for element in the sculpture.
then some distortion of the form to ally itself to the space -
is necessary.
At one time the holes in my sculpture were made for theirown sakes. Because I was trying to become conscious of
spaces in the sculpture, I made the hole have a shape in its
own right, the solid body was encroached upon, eaten into,
and sometimes the form was only the shell holding the hole.
Recently I have attempted to make the forms and the
spaces (not holes) inseparable, neither being more in-
portant than the other. In the last bronze Reclining
Figure I think I have in some measure succeeded in this
aim. What I mean is perhaps most obvious if this figure is
looked at lengthwise from the head end through to the foot
end. and the arms. body. legs, elbows, etc. arc seen as forms
in recession inhabiting a tunnel. Seen in plan the figure
'pools' of space.
FORM FROM THF I. \ S IDF OUTWARDSTension and inner force of forms
Force, Power, is made by forms straining or pressinginside. Knees, elbows, forehead, knuckles, all seek to
outwards. Hardness, projection outwards, gives tensio
force, and vitality. ( ilenehcd fist, symbol of Power of Fo
Although carved sculpture is approached from the outsi
if it ends by seeming to be sliced or scooped into its s
out of a larger mass, it will not have its maximum sensebigness.
SCI LP 1 1 RF / V ////; OPEN AIR looks smaller than wseen in the enclosed spaces of indoors. Landscapes, clouds,
XIV
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sky, impinge on the sculpture and red nee its hulk thin linear
forms tend t net lust. Ii seems thai in the open air a certain
minimum bulk is needed, to contrasl with the greal spaces
of the sk) and large distances.
s/'. I< I-, in sculpture should imi become such .1 fetish thai the
form is weak and impoverished.
v ULPTORS' DRAWINGSThere is a general idea thai sculptors
1 drawings should be
diagrammatic studies, withoul any sense of a background
behind the object or of any atmosphere around it. That is,
the object is stuck on the flat surface of the paper with no
attempt to set it in space - and often nol even to connect it
with the ground, with gravity.
And \ei the sculptor is as much concerned with space asthe painter.
He must make the object he draws capable of having ,1far side to it, thai is, make it an object in space, not an
object in relief (only half an object stuck on the paper, and
slopping at ils edges). It is necessary to give it the possibility
ol an existence beyond the surface of the paper.
Any wash, smudge, shading, anything breakingthe
tyranny of the flat plane of the paper, opens up a suggestion,
a possibility of SPACE.
Reprinted from Eight European Artists, by Felix
H. Man -published by II*. Heinemann Ltd., London- Melbourne - Toronto. August 1953.
Ill Notes on the Sculptures made for the Time-Life Building,
London
I was asked to make a free standing piece of sculpture for
the terrace of the Time-Life building in Bond Street,
London, and a reclining figure was decided upon, as being
more suitable to the proportions of the terrace.
It was a good opportunity for me to do a draped recliningfigure, as ever since doing my shelter drawings during thewar I had it in my mind to use drapery on sculpture in amore realistic way than I had used it in my stone sculpture.
Because this figure is placed on the terrace and stands
free from the building, it could therefore, in my opinion, bemore an individual and complete work in its own right.In fact, being a more human and realistic work it would
have a value as a contrast to the architecture of the building.It was while thinking about this 'Reclining Figure'
that the archi tect approached me about the sculptured'S( reen', at the Bond Street end of the terrace, and I
welcomed the chance of working simultaneous )' upon two
such entirely different sculptural problems.
It seemed to me that the 'Screen' should look as thoughit was part of the architecture, for it is a continuation of the
surface of the building - and is an obvious part of Un-
building.
The fad thai it is only a screen with space behind it. ledme 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 BondSireei
makesit
obvious that it is a screen andnot a solid pari ol the building.
With the perspective sketch of the building beside me Imade four maquettes and my aim was to give a rhythm tothe spacing and sizes of the sculptural motives which should
be in harmony with the architecture. I rejected the idea
a portrayal of some pictorial scene, for that would only be
like hanging up a stone picture, like using the position only
as a hoarding for sticking on a stone poster.
The first of the four maquettes I rejected because Ithought it too obvious and regular a repetition of the
fenestration of the building.
In the second maquette I tried to vary this and make itless symmetrical but in doing so the rhythms became too
vertical.
In the third maquette I tried to introduce a morehorizontal rhythm but was dissatisfied with the monotonyof the size of the forms.
The fourth maquette I thought was better and morevaried and so this became the definitive maquette, although
a further working model- produced other changes.
In working on the four separate sculptural elements in
the 'Screen', here outside my studio, preparatory to the'Screen' being erected on the building, there were other
changes - for example, I made the openings larger to givethe four sculptural units more individual power and
importance.
I conceived the idea that if each of the lour motives could,on occasions, be turned, i.e., put at an angle to the surface of
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the building instead of continuous with it, thai also would
give them mure sculptural interest. I don't mean thai they
should turn continually 1 > 1 1 1 that m have been able to turneach at different angles, say once every two or three
months, perhaps at different seasons of the year, would
have created a new- interest for people and .1 new relationship.
However, this was found too difficult and expensive to do at
that late stage. Hut I hope that at some future date I ma
a 1 )](o use this idea in sculpture connei ted with an liiti
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BIOGRAPHICAL SUMMARY
Httiry Moore was born at Castleford, Yorkshire, ill
1898. lie studied at the Leeds School of Art, 19192i, and at the Royal College of Art, London, [921
25. In [926 he spent six months in Italy, and from
ici-'5 until 1939 made more or less annual visits toParis, lie taught pan-time at the Royal College of
Art, 1925-32, and then at Chelsea School of Art,
1932 9. During this time he showed his work at six
one-man and many group exhibitions. In 1940 whenhis London studio was damaged by bombing, hemoved to the house at Much Hadham. Hertford-shire, where he still lives. He married Irina Radetzkyin [929; their daughter Mary was born in K)4. Afull biography of the period up to 194H will be found
in VolumeI.
m I 7 Commissioned to carve a Madonna anil Child for StPeter's Church, Claydon. Suffolk: executed 1948-9,
after a model (no. 222) made in 1943 (no. 270, plate2).
1 (148 Commissioned to make a bronze Family Group for theBarclay School, Stevenage, Hertfordshire: executed
1948 9, after a model (no. 239) made in 1945 (no.
269, plate 1).
Served on the committee of the first London County
Council Open Air Exhibition of Sculpture, held atHattersea Park. Appointed a member of the RoyalFine Art Commission. Elected Honorary Associate
of the Royal Institute of British Architects. Elected
Foreign Corresponding Member of the AcademieRoyale Flamande des Sciences, Lettres et Beaux-
Arts de Belgique.
Awarded the International Prize for sculpture at the
24th Venice Biennale. Visited Florence, Pisa,
Venii e.
1
drawings.
London. Leicester Galleries. 17 sculptures and 40
drawings.
Berlin. Hans am Waldsce. 10 sculptures and 67drawings.
New York. Buchholz Gallery. 34 sculptures and 31
drawings.Vienna. Albertina. Drawings.
1952 Cape Town. National Gallery of South Africa
Van Ricbeeck Tercentenary Celebrations). 23sculptures and 36 drawings.
Stockholm. Akademien. Under the auspices of the
Riksforhundet for Bildande Konst. 23 sculptures
and 30 drawings.
Norrkoping. Akademien. Under the auspices of
the Riksforhundet for Bildande Konst. 23
sculptures and 30 drawings.
Orebro. Akademien. Under the auspices of the
Riksforhundet lor Bildande Konst. 25 sculptures
and 30 drawings.
Gfiteborg. Kunstmuseum. Under the auspices
the Riksforhundet lor Bildande Konst. 23
sculptures and 30 drawings.
Austria. Neue Galeric der Siadt I. in/. ;i drawi
and 10 small bronzes.
Stockholm. Samlaren Gallery. 24 sculptures an
16 drawings.
1953 Copenhagen. Kunstforeningen. 23 sculptures
30 drawings.
Oslo. Kunstncrncs Hus. 23 sculptures and 30
drawings.
Trondheim. Kunstforeningen. 23 sculptures an
30 drawings.
Bergen. Kunstforeningen. 23 sculptures and 3
drawings.Rotterdam. Boymans Museum. 28 sculptures
43 drawings.
London. Institute of Contemporary Arts. 106
drawings.
Antwerp. Comite voor Arlistieke Werking. 15
sculptures and 24 drawings.
Hannover. Kcstner Gesellschafi. 24 sculptures
38 drawings.
Munich. Hans der Kunst. 24 sculptures and
38 drawings.
Frankfurt. Stadclschcs Kunstinstitut. 24 sculpture
and 38 drawings.
Stuttgart. Staatsgalerie. 24 sculptures and 38drawings.
Sao Paulo. British Section. II International Bi
nial of Sao Paulo. 2
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SOME MIXED EXHIBITIONS
(948 London. Battersea Park. First Internationa] Exhi-
bition of Sculpture in the Open Air. Organized by
the London County Council in association with
the Arts Council of Great Britain.
London. Institute of Contemporary Arts. Fort)
Years of Modern Art, 1907 47.
1948-9 London. Institute of Contemporary Arts. 40.000
Years of Modern Art.
1949 London. New Burlington Galleries. ContemporaryBritish Art: Collections of the Arts Council and
the British Council.
hi ) 1 London. Battersea Park. Second International
Exhibition of Sculpture in the Open Air. Organ-ized by the London County Council in association
with the Arts Council of Great Britain.
Antwerp. Middelheim Park. First International
Exhibition of Sculpture in the Open Air. Organ-ized by the City of Antwerp.
1952 Arnhem. Sonsbeek Park. International Sculpture
Lxhibition.
London. Tate Gallery. Twentieth Century Mas-
'953
954
tci pieces: exhibition organized by the Arts Coun-
cil.
Recklinghausen. Ruhr Miners' International Fes-
tival.
London. Whitechapel Art Gallery. Twentieth
Century Form.
Antwerp. Middelheim Park. Second Biennale of
Sculpture in the Open Air. Organized by the City
of Antwerp.
Varese. Villa Mirabello. Second International
Exhibition of Sculpture in the Open Air.
Hamburg. Alsterverland am Harvesterhuderweg.International Lxhibition of Sculpture in the OpenAir.
London. Holland Park. Third International Ex-
hibition of Sculpture in the Open Air. Organizedby the London County Council.
1955 Antwerp. Middelheim Park. Third Biennale of
Sculpture in the Open Air. Organized by the City
of Antwerp.
Arnhem. Sonsbeek Park. Third International Ex-
hibition of Sculpture in the Open Air.
Kassel. Documenta I. Art of the Twentieth Cen-
tury.
xix
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BIBLIOGRAPHYihis bibliography, re| rinted aa it stands from the firsi edition of ilns volume, is a supplement to the bibliography published in the third and fo
editions l Volume I. It pro* ides a selet tion of matei ial thai appeared between 1948 and 1955.
s / I / i:\ti \ Is 111 MOORE
1 was HI R BILDHAt IK ANSTREBT, I hcnui. Munich, No. , ,. lupi.])|>. 40 4 1 . illus.
2 message in 1 \ s( 1 LPTt re, XX* SiicU, Paris n.s. . No. 1. 1951pp. 59 70. illus.
'Par Adam. Pevsner, Arp, Moore, Marini.'
; 1 Ri 11.M. SCULPTURE, Man. Vol. 5 1, July 1 95 1, p p. 95 anil 96, areview of the exhibition at the Imperial Institute.
IrBMOiGNAGE: l'espace, XX* SiicU, Paris n.s. . No. 2, January 952, PP- 74-78, illus.
-, interview with ark magazine, Ark, London. No. 6, No-vember 1952, pp. IO13, illus.
6 THE SCULPTOR IN MODERN SOCIETY, Art NcWS, Xl'M York,Vol. 5, No. 6, November 1952, pp. 24-25, 64-65, illus.
Also published in The Artist in Modern Society, International Con-ference of Artists. Venice, September 22-28, 1952, Paris, Unesco,
1954, pp. 97-102. See bibl. 22.
7 notes on sculpture. In Ghiselin, Brewster. The Creative Process,Berkeley and Los Angeles, University of California Press, 1952,pp. 68-73.
Reprinted from M. Evans, The Painter's Object, London, 1937.Also in XX' Siecle (n.s.), No. 4. January 1954, pp. 44-45, illus.and elsewhere.
8 statement. Art, December 15, 1953, pp. 9 and 10.
9 notes on sculpture, January 1954. See bibl. 17,96.Brief notes on sculpture and the sculptor's aim 1 untitled in cata-logues) are mentioned in the final item in this section.
10 extract from letter to Canon Hussey, Northampton; TheCountry Churchman, May 1954. No. 2. No. 5. p. 3.
11 the sculptor in modern society, Arts ami Architecture,California (Unesco . September 1954. pp. 11 and 30-33.
See also 16, 67, 81.
HOOKS. ARTICLES. CATALOCl IS
15 AMSTERDAM, STEDELIJK MUSEUM, llemy MoOTt . . . 'e
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28 CAP rOWN, NATION Al GALLER1 Ol B AFRICA. I I K Mil\ \ s k 1 1 iu i i k 1 i k< i s i i nary festi\ \ i . 195a, The Mean-ing of Sculpture': Built round the Sculpturt and Drawings by HMoon lent by the British Council. Pari II of catalogue lists 71 exhibits.
Introduction l>\ Herbert Read. Statement In Moore, pp. 17 26,illus.
19 1 1 vKk. ki \\i 111, Henrj M 's Metal Sculpture', Magazine ofArt, New York, Vol. ||.M.i\ 1951, pp. 171 174, illus.
onrads, iikicii, 'Begegnung milI
lenry Moore', l>a\ Kunstwerk,Baden-Baden, Vol. 4. NO. 8 9, 1950, pp. 70 75, illus.
iPENHAGEN, KUNSTFORENINOEN, Henry Mooie, Skulplurer OgTegninger, January 1 ->;,. Copenhagen, 1953. Introduction byHerbert Read. Statements l>\ Moore. 16 pp. illus.. 53 exhibits.
JJ ins/. LOUIS, 'Dynamic Dissonance'. 1952. I ai nil Slraus andYoung, New York.
33 d'arcy, m. a., 'I. 'Art Religieux en Angleterre', L'Art d'Eglise,xxmc Annee Numero 1. pp. 5 7. illus.
;4 DEOAND, LEON, 'Henry Moore', Art d'Aujourd'hui, Paris, No. \.November 1949. pp. [1315], illus.
35 devree, Howard, 'Moore's Sculpture', The New York Times,November 7. 1954, p. 10.
Review ofBuchholz Gallery exhibition (212).
36 digby, georgf. WINCFIELD, 'Meaning and Symbol', 1955,Kaber & Faber. London, pp. 61-105, illus.
37 elter. anielka, 'Englands Grosser Bildhauer: Henry Moore',Europaische Illustrierte. No. 51, March 1950, pp. 16-17, illus.
38 fai ki nstein, claire, 'Work of Henry Moore , Arts and Archi-tecture, Los Angeles. Vol. 67. October 1950, pp. 24-26, illus.
39 FINNE, FERDINAND, 'Henry Moore'. Kunsten Ida ., Oslo, Vol. 1819. No. 2 3, [951, pp. [4-23], illus.
With English translation.
40 POURCADE, XAVIER, 'Henry Moore', Elements, Paris, No. I,January 1951.
41 franc, helen m.. 'Film Review: Henry Moore', Magazine ofArt, New York, Vol. 41 . March 1953, p. 138.
Produced by John Read : 3 reels. i(i mm, black and white, sound;distributed by British Information Services. A record of thebronze Reclining Figure
I 1950 , 1 from sketch to site; statementby the artist about his work.
42 FRANKFURT, MANNHEIM, MUNICH, STUTTGART, BERLIN,BREMEN, 061 riNGEN. British Council Exhibition, same cataloguefor each: Henry Moore: Ausstellung :2 exhibits.
li oassik. manuel 'Northampton und die Modeme Kirchen-kunst'. Werk, April 4. 1949. pp. 122 124, illus.
It georges, waldemar, 'l.es Silences d'Henrj Moore'. Art ,iIndustrie, Paris, January 1952, pp. 23 25, illus.
)-, gerstenberg, ki ki. 'Besuch bei Henry Moore'. Die Kunst unddas SchSne lleim. Munich, Vol. ,z. No. 6, March 1954, pp. 2 1 4 217,illus.
|i> 01 i< 1 /. 1 1 rich, Plastik dei Gtgenwart, Berlin, Rembrandt-Verlag,
1953, pp. 20 22, i'i i 203. 218, 222 223, illus.
47 oiedion-welcker, carola, Contemporary Sculpture, Revisededition, New York, Wittenbom, 1955.
48 HAMBURG, KUNSTHALLE and DUSSELDORF, STAdTISCHENm nstsammi ungen: Henry Moore: Austellung von Skulpturen undZeichnungen, 1950. Introduction by Herbert Read, statement byMoore; i l lus., i l lus. cover, '-' col. illus., 1 10 exhibits.
pi HANOVER, KESTNER-CESELLSCHAFT, I lenry Moore, Ausstellungvom 5. Juli his j. August, Hanover, i;. i pp. illus.. With aforeword by Alfred Hentzen. 68 exhibits.
50 HAUKELAND, ARNOLD, 'Omkring tre Billedliuggcres l.'tstilhugeri Oslo , Bonytt, Oslo. Vol. 13, No. 9, September 1953, pp. (> 171.illus.
51 HENDY, PHILIP, 'Henry Moore: His new exhibition . BritainToday, No. 158, June 1949. pp. 34 37. illus.
52 HENDY, Pint. II'. 'Henry Moore , Art d'Aujourd'hui, Pans. No. |.November 1949, pp. [8-12], illus.
53 henry' MOORE 1950, 51, 52, Domus, Milan, No. 279, F'ebruary>953j PP- 4 '-43- illus.
54 henrv moore purchase by cologne, Art News and Review,
London. Vol. 6, No. 12, July 1954, p. 3.
55 HODIN, J. i'.. 'Recent Fiends in Contemporary English Sculptureand their Origins', Aesthetics International Art Number, Bombay,
pp. 21-27, illus.
56 HODIN, JOSEF P., 'Henry Moore', Kroniek van Kunst en h'ultuur.Amsterdam. Vol. 11, No. 1, January 1950. pp. 1 -5, illus.
57 Hogarth, William, 'Flcm'y Moore, 1753', Architectural Review,London, Vol. 108, August 1950. p. 135, illus.
58 holden, ci. iff, 'Henry Moore: nagra kritiska Anteckningar',Paletten, Gdteborg, No. 3, 1953, pp. 78 80, illus.
59 HOPWOOD, GRAHAM, 'The History and Appreciation of Art',Supplement, Melbourne. 1953. pp. 78-79. illus.
60 INGRAM, E. W., 'Sculpture'. C.W.M., Spring 1933 iRownlree &Co. Ltd, York, England), pp. 13, illus.
61 LIMBOUR, GEORGES, 'Deux Sculpteurs I Henry Moore Adami',les Temps Modemes. Paris. Vol. 5, No. 51, January 1930. pp. 13241329. illus.
62 I ONDON, I.e. A., Retrospective Exhibition of Henry Moore Draw-ings, 1952. Introduction by Robert Melville.
63 i.ondon. Leicester galleries, Catalogue of an Exhibition ofnew Bronzes and Diau inns by I lent y Moore. London, 1 95 1 , 16 pp., illus.
Inhibition No. 962, April 28-May 26, listing 57 works; bio-graphical note.
64 London, Leicester galleries, New Bronzes by Henry Moore,February March 1954, 16 pp., illus.. with biographical note. Briefbibliography. Note on Retrospective Exhibitions, etc.
65 LONDON. ROLAND BROWSE AND DELBANCO, Henry Mont,Drawings. With Garbell paintings. April May 19JJ. pp. 5 8 ofcatalogue, exhibits 21 47 incl. (drawings of 1928 1950).
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66 majstorovic, ste\ \n. ' Icru \ Moon-'. Mozaik, Yugoslavia,95.> Pl>- 5' 54. lllus -
67 \i\n. Felix 11.. Eight European Artists Photographed and Edited byFtlix II. Mini, with Original Contributions by the Eight Artists, London.Hcincniann. 1954. [-'41). pp.. illus.
Text printed in three languages: English, French and German.Includes chapter [| on and l>\ Moore, with facsimiles ofMSS.titled: 'Sonic Notes on Space and Form in Sculpture', 'Formfrom the Inside Outwards', 'Sculptors' Drawings'.
ill MANCHESTER, CIT^ \ri GALLERY, Henry Mtinir: Sculpture andDrawings, igsg 1046, June 1 July 17. 1949. See Wakefield for cata-logue details.
il MARTINELLI, VALENTINO, 'Sculpture modcrne all'aperlo'. Com-tnentari, Rome. Vol. 4, No. 4, October December 1953, pp. 306-317. illus.
Footnotes refer to recent major European open air sculptureexhibitions in which Moore has usually been represented:Battersea Park 1 1948, 1951 1, Glasgow ( 1 949 1, Varese 1 1949. 1953),Antwerp (1950, 1 953), Sonsbeck (1952), Hamburg (19531.
70 MATHEWS, DENIS, Sculptures and Drawings by Henry Moore .Art News and Review, London. Vol. 3. No. 7. May 5, I95I, p. 3.Review of Leicester Gallery show. 232.
71 mcbride, henry, 'Lour transoceanic Reputations', Art News,
New York, Vol. 49, January 1951, pp. 26-29, 66, illus.
7-' MELVILLE, Robert. 'Henry Moore and the Siting of PublicSculpture . Architectural Review, London. Vol. 115, February 1954.
PP- 7-95-
7 ; MEXICO, GALERIA DE ARTE MEXICANO, Exposition de DibujOS deHenry Moore, organizada por el British Council, Mexico City, 1950.12 pp., illus., 41 exhibits, including photographs of sculpture.Preface by G. Grigson. biographical note; 97 exhibits.
7} MIDOLETON, MICHAEL, 'Brev fran London'. Konstrevy, Stockholm,No. 2, 1954. pp. 84-85. illus.
75 MIDDLETON, michaei., 'Henry Moore', VCEil, No. 3, March 15,95 ). PP- 4- . illu s.
76 moore, Current Biography, New York, Vol. 15, No. 2, February
'954. PP. 36-39. illus -
77 moore e ZADKINE ALL'APERTO, Le Biennale di Venezia, Venice,No. 16, October 1953. p. 7. illus.
78 MUNZ, LUDWIG, 'Henry Moore', liliik in Die Welt, Hamburg. No.5. PP- > >' illu ---
79 \it sgrave, b. i., 'The Reclining Figure', / eeds Arts Calendar, \ ol. 5,No. 17. Winter 1952, pp. 1 7. illus.
80 new vork. BUCHHOLZ GALLERY, CURT VALENTIN, HenryMoore, March 6-31. New York. 1951, 14 pp.. illus., 65 exhibits.
Jit NEW YORK. BUCHHOLZ GALLERY, CURT VALENTIN, HenryMnore, November i December 4. New York, 1954, i(> pp., illus.
32 works 1950 I9y;. plus drawings, pastels, water-colours. Text
by the artist: 'King and Queen . 'Notes on Sculpture'.
82 mew york. mi jEt m ni modern art, Masters Oj Modem Art,Edited by Alfred II. Ban. Jr, .Ness York, Museum of Modern Art.distributed by Simon and Schuster. I9 ,|. pp. 148 149. illus.
83 nbwton, eric, in Christmas Pie, 1947, pp. 97 100, illus.
84 ni w ion. eric, / My View, London. New Yoik. loionto. Lmans, Green, 1954, pp. |t 1 1.
Reprinted review of'Henrj Moon Sculpture and Drawings'.
85 nicol, in bear, 'The Metal Standing Figure', Qjust, No.Autumn 1 954, p. 19. illus.
86 osto. ki nsi ni i| pp.,illus.
Unpaged insert; bibliography.
113 wakefield, ciTV art GALLERY, Henry Moore : Sculptures andDrawings, igs3-ig^.8, April 2 May 21. i
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CATALOGUE
This catalogue continues that printed in the Fourth Edition of Henry Moore Volume One -
and Drawings 1921-1948. It includes all works of sculpture executed between 1948 and the
of 1955. The order is more or less chronological, but as with the arrangement of plates ce
related groups of works have been listed together for general convenience. In the numbering
maquettes and studies precede the definitive state of the work. Any casts taken from parts
f mshed sculpture follow that sculpture. Titles have in a few cases been modified, and shou
be regarded as definitive. Except in the case of reliefs, the measurement given is always th
largest dimension.
Where no collection is indicated, the work remains in the possession of the artist's family.
case of bronzes, an artist's copy generally exists, but this is not included in the size of editi
has been listed only in those exceptional cases where it has left the artist's hands. It has b
possible to name private owners of bronzes only in the case of important works, but up-to
information about ownership, and especially museum acquisitions, will always be welcome
editor, c/o Lund Humphries, 1 2 Bedford Square, London WC I
.
26?a
All the sculptures are illustrated, either in the main plate section, or in the pages of this
Alan Bowness
277
259 Family group (plates I, la-e)1948-9 H.60 in.
(Executed after a maquette of 1945, No. 239
cf. also the working model, No. 259)
Bronze (edition of 4)
Barclay School, Stevenage, Herts.; Museum ofModern Art, New Yor k; Tat e Gallery, London;Nelson D. Rockefeller, New York
269a Seated man (page xxiv)1949 H.6I in.
(Special cast of male figure of 269, with
modifications)
Bronze, cast 1964 (unique cast)Corpus Christi College, Cambridge
270 Clayc on Madonna and Child (plates 2, 2a)1948-9 H.48 in.
(Executed after a maquette of 1943, No. 222)
Hornton stone
St Peter's Church, Claydon, Suffolk
271 Seated figure (plate 3)1949 H.I7 in.
Bronze (edition of 5)
British Film Academy, London;
and Private Collections
272 Seated figure (plate 4)1949 H.9 in.
Bronze (edition of 7)
Private Collections
273 Reclining figure (plates 8, 8a)
1949 L.30 in.
(Executed af;er a maquette of 19
Hornton stone
R. Sturgis Ingersoll, Philadelphia
274 Rocking chair No. I (plate 6)1950 H.I3 in.
Bronze (edition of 6)
Private Collections
275 Rocking chair No. 2 (plate 7)
1950 H.II in.
Bronze (edition of 6)Private Collections
276 Rocking chair No. 3 (plate 5)1950 H.I2; in.
Bronze (edi t ion of 6)
Private Collections
277 Rocking chair No. 4 - miniature1950 H.5, m.
Bronze (edi tion of 9)
Private Collections
278 Maquette for Helmet head N1950 H. L
Lead
Airs A. Zwinger, Florida
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9 Helmet head No. I (plates 10. I Ob)1950 H. I3j in.
Lead
Bronze, cast I960 (edition of 9)
Tate Gallery, London; Cecil Higgins Museum,
Bedford; and Private Collections
0 Maquette for Helmet head No. 2 (plate I la)1950 H.6i in.
Lead. Destroyed
Helmet head No. 2 (plate I I)1950 H.I34 in.
Lead
Bronze, cast 1955 (edition of 9)
National Gallery of New South Wales, Sydney;St'adtische Kunstgalene, Bochum, Germany;
and Private Collections
Five figures
1950 H.5 in.
Lead
interiors for helmets (plate 9)
Small helmet head (plate 12 - second edition)1950 H.4 in.
Bronze (unique cast)
Ex Collection Curt Valentin, New York
Maquette for Openwork head No. t(plate 14)
1950 H.7 in.
Bronze (unique cast)
Private Collection
Openwork head No. I (plate 16)1950 H.I5 in.
Bronze (unique cast)
Private Collection
Maquette for Openwork head and shoulders(page xxv; also plate 13 - first edition)
1950 H.6 in.
Bronze (unique cast)Ex Collection R. Sturgis Ingersoll, Philadelphia
Openwork head and shoulders Cplate 15)1950 H.I7 in.
Bronze (unique cast)
Dr van der Wal, Amsterdam
Maquette for Openwork head No. 2(page xxv; also plate 12 - first edition)
1950 H.5f in.
Bronze (unique cast)
Mrs Louise Baker, Greenwich, Conn.
V Openwork head No 2. (plate 17a)1950 H.I5in.
Bronze (unique cast)
City Art Gallery, Wakefield. Yorkshire
290 Standing figure (plates 18, I8a-c)
1950 H.87 in.
Bronze (edi tion of 4)
W. J. Keswick, Shawhead, Dumfries;
Dr van der Wal, Amsterdam ; Bart Lytton,
Los Angeles
291 Double standing figure (plates 19, 19a)1950 H.87 in.
Bronze (edition of 2)
L. J. Salter, North Rose, New York; VassarCollege, Poughkeepsie, New York
292 Maquette for Reclining figure (plates 21 , 21a)1950 L. 17 in.
Bronze (edition of 6)Private Collections
292a Small maquette No. I for Reclining figure(page xxv)
1950 L.9i in.
Bronze (edition of 9)Private Collections
292b Small maquette No. 2 for Reclining figure(page xxv)
1950 L.81 in.
Bronze (edition of 9)Private Collections
293 Reclining figure (plates 22, 22a-e)
1951 L.90m.
Bronze (edition of 5)Arts Council of Great Britain; Musee d'art
moderne, Paris; Dr van der Wal, Amsterdam
Mrs H. Gates Lloyd, Haverford, Pa.
294 Maquette for Internal and external forms(plate 23)
1951 H.7 in.
Bronze (edition of 7)Private Collections
295 Working model for Internal and externalforms (plate 24)1951 H.241 in.
Bronze (edition of 7)Rhode Island School of Design, Providence;
Kunstmuseum, Basle; Art Gallery of Toronto;
and Private Collections
296 Internal and external forms fplates 25, 25a)1952-3 H.79 in.
Bronze, cast 1958 (edition of 3)
Kunsthalle, Hamburg; J. A. MacAuley, Winnipeg;Andrew Gagarin, Litchfield. Conn.
297 Internal and external forms
fplates 26, 26a-b)1953-4 H. 103 mElm woodAlbnght-Knox Art Gallery, Buffalo
xxv
286
288
292a
292b
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336a
298 Working model for Reclining figure(internal and external forrris) (plate 27)1951 L.2I in.
Bronze (edition of 8 I)
Museum of Fine Arts, Montreal; NiedersachsischeLandesgalene, Hanover; Kunslhalle, Mannheim;
Arts Council of Great Britain (extra cast): and
Private Collections
299 Reclining figure (external forms) (plates 28
28a-e)
1953-4 L.84 in.
Bronze, cast 1957 (edition of 6)
Art Institute of Chicago; Museum of Fine Arts,Toledo, Ohio; Museum of Fine Arts, Richmond,Virginia; University of Freiburg; Galleria
Nazionale d'Arte Moderna, Rome; Guido de Telia,
Buenos Aires
300 Interior piece for Reclining figure (plate 29)1953 H.84 in.
Plaster, unfinished.
Destroyed
301 Animal head (plates 30, 30a)1951 LI2in.
Bronze (edition of 8)Private Collections
302 Goat's head (plate 31)1952 H.8 in.
Bronze (edition of 10)
Private Collections
303 Bar helmet head (plate 32)1952 H.4 in.
Bronze (unique cast)
G. David Thompson. Pittsburgh
304 Helmet head and shoulders (plate 33)1952 H.6Jr in.
Bronze (edition of 10)
Privcte Collections
305 Relief No. I (plate 34)1952 H.4f in. L.5 in.
Bronze (edition of 7)
Private Collections
306 Rel ie f No. 2 (plate 35)1952 H.4i in. L.4 in.
Bronze (edition of 7)
Private Collections
307 Mother and child: corner sculpture No. I(plate 36)
1952 H.7 in.
Bronze (edition of 9)Private Collections
308 Mother and child: corner scu(plate 37)
1952 H.7 in.
Bronze (edition of 9)
Private Collections
309 Mother and child: corner scu(plate 38)
1952 H.8.; m.
Plaster
310 Mother and child: corner scu(plate 39)
1952 H.9 in.
Plaster
31 Family: maquette for corner(page xxvi)
1952 H.5 in.
Bronze, cast 1957 (edition of 9)
Private Collections
312 Mother and child on ladderbackchair (plate 42)1952 H.8i in.
Bronze (edition of 9)
Private Collections
313 Mother and child on ladderback(plate 43)
1952 H.I6 in.
Bronze (edition of 7)Ferens Art Gallery, Hull (gift of C
Art Society); and Private Collections
314 Maquette for Mother and chi1952 H.8i in.
Bronze (edition of 9)Private Collections
315 Mother and child (plate 41)1953 H.20 in.
Bronze (edition of 7 I)
Tate Gallery, London (extra cast);
Hirshhorn, New York; and Private
316 Half figure (plate 45)1952 H.6J m.
Bronze (edition of 5)Private Co//ections
317 Standing figure No. I (plate 41952 H.9i in.
Bronze (edition of 9)Private Collections
318 Standing figure No. 2 (plate 41952 H.I I in.
Bronze (edition of 9)Private Collections
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9 Standing figure No. 3 (plate 44)1952 H.8
Bronze (edition of 10)
Private Collections
0 Standing figure No. 4 (plate 20)1952 H.9J m.
Bronze (edition of 9)
Private Collections
1 Maquette for Three standing figures(plate 48) 1952 H.IOm.
Bronze (edition of 7)
Private Collections
2 Three standing figures (plate 49)1953 H.28 in.
Bronze (edi tion of 8)
Blanden Memorial Gallery, Iowa; Kunsthalle,
Hamburg; and Private Collections
330 Reclining figure No. 3 (plate 53)1952 L.8.1 in.
Bronze (edit ion of 9)
Private Collections
331 Maquette for Reclining figure No. 4(plate 59) 1952 L.6.; in.
Bronze (edit ion of I I)
Private Collections
332 Reclining figure No. 4 (plate 60)1954 L.23 in.
Bronze (edi tion of 7)
Musee des Beaux-Arts, Brussels; Joseph H.
Hirshhorn, New York; G. David Thompson,Pittsburgh; and Private Collections
333 Reclining figure No. 5 (plate 54)1952 L.8i in.
Bronze (edition of 9)
Private Collections
337
3 Leaf figure No. I (plate 51)1952 H.IOin.
Bronze (edition of 9)
Private Collections
4 Leaf figure No. 2 (plate 50)1952 H.IOin.
Bronze (edition of 9)Private Collections
5 Leaf figure No. 3 (page xxvii)1952 H.I9iin.
Bronze (edition of I I)
Jesus College, Cambridge; Leicestershire
Education Committee; Museum of ContemporaryArt, Madrid; and Private Collections
6 Leaf figure No. 4 (page xxvn)1952 H.I9in.
Bronze (edition of I I)
Museum of ContemporaryArt,
Madrid; andPrivate Collections
7 Reclining figure No. I (plate 56)1952 L.8 in.
Bronze (edition of 9)Private Collections
8 Maquette for Reclining figure No. 2(plate 57) 1952 L.9i in.
Bronze (edi tion of 1 1)Private Collections
9 Reclining figure No. 2 (plate 58)1953 L.36 in.
Bronze (edition of 7)
Gallery of Modern Art, Dublin (gift of Friends ofthe National Collections of Ireland); Winnipeg
Art Gallery; and Private Collections
334 Thin reclining figure (plate 55)1953 L.6 in.
Bronze (edit ion of 9)
Private Collections
335 Maquette for Draped reclining figure(plate 61)
1952 L.6i in.
Bronze (edition of 10)
Private Collections
336 Draped reclining figure (plates 62, 62a-d)1952-3 L.62 in.
Bronze (edit ion of 3)T/me Life Building, London; City of Cologne;
Joseph H. Hirshhorn, New York
336a Head of Draped reclining figure (page xxvi)1952-3 H.I I m.
(Part of No. 336)
Bronze (unique cast)
337 Reclining figure No. 6 (pa ge xxvii)1954 L.8i in.
Bronze (edition of 12)
Private Collections
338 Draped torso (plates 63, 63a)1953 H.35 in.
Bronze (edi tion of 4)Ferens Art Gallery, Hull; Sir Robert and Lady
Abdy, Newton Ferrors, Cornwall; Stead H. Stead
Ellis, Sparkford, Somerset; A. K. Solomon,
Cambridge, Mass.
339 Time Life screen - maquette No. I
(plate 64)1952 H.7 in. L. 13 in.
Bronze (edition of 9)Private Collections
315
326
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340 Time Life screen - maquette No. 2(plate 65)
1952 H.7 m. L.I 3 in.
Bronze (edition of 9)
Private Collections
341 Time Life screen - maquette No. 3(plate 66)
1952 H.7 in. L. 13 in.
Bronze (edition of 9)
Private Collections
342 Time/Life screen - maquette No. 4(plate 67)
1952 H.7 m. L. 13 in.
Bronze (edition of 9)
Private Collections
343 Time/Life screen - working model(plates 68, 68a)
1952 H.I5 in. L.39| in.
Bronze (edition of 9 ) I)
Time Life Building, London; Time Life Building,
New York; Smith College Museum of Art,Northampton, Mass.; Arts Council of Great
Britain (extra cast); and Private Collections
344 Time/Life screen (plates 69-74)1952-3 overall size: H.I 20 in. L. 318 in.
Portland stone
Time Life Building, London
345 Seated figure (plate 76)1952 H.8 in.
Bronze (edition of 9)
Bishop Otter College, Chichester, Sussex;
and Private Collections
346 Seated woman on bench (plate1953 H.8} m.
Bronze (edition of 9)Private Collections
347 Seated figure (plates 77, 77a)1952-3 H.4I in.
Terra-cotta
Museum of Modern Art, New YorkG. David Thompson)
Bronze, cast 1963 (edition of 5)Private Collections
348 Maquette for King and Queen1952 H.9 in. (with frame H.IOi
Bronze (edition of 10)Private Collections
349 Study for hands of Queen (plat1952 H.5 in.
Bronze (edition of 10)
Private Collections
349a Study for head of Queen (page1952 H.82 in.
Bronze (edition of 4)Private Collections
350 King and Queen (plates 80, 80a1952-3 H.64i in.
Bronze (edition of 4 I)
Middelheim Park, Antwerp; Tate G
(extra cast); W. J. Keswick, Shav/he
David Astor, London; Joseph H. Hir
York
349a 3SI 356
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352
1 Head of King (page xxviii)(Part of No. 350)1952-3 22 in.
Bronze, cast 1962 (unique cast)
Arts Council of Great Britain
2 Hands of King (page xxix)(Part of No. 350)1952-3 9 in. and 10^ in.
Bronze (unique cast)
354 Hand relief No. I (page xxix)1952 H.I3 in. L.I3 in.
Bronze, cast 1956 (edition of 10)
Private Collections
355 Hand relief No. 2 (page xxix)1952 H.I2 in. L. 13 in.
Bronze, cast 1963 (edition of 6)
Private Collections
3 Hands of Queen (page xxix)(Part of No. 350)1952-3 8 in. each
Bronze (unique cast)
356 Small head (page xxviii)1953 H.3 in.
Bronze (edition of 10)
Private Collections
354 355
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I Family Group 269) bronze (60 in.) 1948-9
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la Back view of I
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lb In situ at Barclay School, Stevenage, Herts.
Ic In situ at Barclay School, Stevenage, Herts.
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Id Detail of I
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le Detai l of I
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2a Detail of 2
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2 Claydon Madonna and Child (270) Hornton stone (48 in.) 1948-9
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3 Seated Figure (271) bronze (17 in. 1949
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4 Seated Figure (272) bronze (9 in. 1949
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9 Five Figures (Interiors for helmets) (282) lead (5 in.) 1950
10a Maquette for Helmet Head No.l (278) lead (5J in.) 1950 I la Maquette for Helmet Head No.2 (280) lead (6i in.) 195
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II Helmet Head No.2 (281) lead (13* 1950
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10 Helmet Head No.l (279) lead (13$ in.)
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I Ob Back view of 10
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12 Small Helmet Head (283) bronze (4 in.)
Plates 12 and 13 from the first edition of this volume now appear in the catalogue section:Plate 12 in this edition did not appear in the first edition. There is no Plate 13 in this edition.
1950
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14 Maquette for Openwork Head No. I (284) bronze (7 in.) 1950
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15 Openwork Head and Shoulders (287) bronze (I7{ in.) 1
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16 Openwork Head No.l (285) bronze ( 15 in.) 1950
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18 Standing Figure (290) (in situ at Shawhead) bronze (87 in.) 1950
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18a Another view of 18
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19 Double Standing Figure (291) bronze (87 in.) 1950
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19a Detail of 19
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20 Standing Figure No.4 '320) bronze (9J in.) 1952
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21 Maquette for Reclining Figure (292) bronze (17 in.) 1950
21a Another view of 21
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22d Detail of 22
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22e Detail of 22
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23 Maquette for Internal and External Forms (294) bronze (7 in.) 1951
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24 Working Model for Internal and External Forms (295) bronze (24j in.) 1951
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25 Internal and External Forms (296) plaster (79 in.) 1952-3
25a
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26 Internal and External Forms (297) elm wood (103 in.) 1953-4 26a 26 in progress
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26b Detail of 26
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28e Det ai l o f 28 (in plaster)
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29 Unfinished Interior Piece for Reclining Figure (300) plaster (84 in.) 1953
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30 Animal Head (301) bronze (I 2 in.)
30a Another view of 30
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31 Goat's Head (302) bronze (8 in.) 1952
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32 Bar Helmet Head (303) bronze (4< s in. 1952
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33 Helmet Head and Shoulders (304) bronze (6^ in.) 19
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34 Relief No.l (305) bronze (4f 5 in.) 1952
35 Relief No.l (306) bronze (4* 4 in.) 1952
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36 Mother and Child: Corner Sculpture No.l (307) bronze (7 in.) 1952 37 Mother and Child: Corner Sculpture No.2 (308) bronze (71
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38 Mother and Child: Corner Sculpture No. 3 309) plaster (8i in.) 1952
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40 Maquette for Mother and Child (314) bronze (8^ in.) 1952
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41 Mother and Child (3 1 5) bronze (20 in.)1953
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42 Mother and Child on Ladderback Rocking Chair (312) bronze (8i in.) 1952
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43 Mother and Child on Ladder-back Chair '313) bronze (16 in.) 1952
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48 Maquette for Three Standing Figures (321) bronze (10 in.) 1952
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49 Three Standing Figures (322)bronze (3
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SO Leaf Figure No.2 (324) bronze (10 in.) 1952 51 Leaf Figure No. I (323) bronze (10 i
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52 Seated Torso (362) bronze (19; in.) 1954
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53 Reclining Figure No. 3 (330) bronze (8j in.)
54 Reclining Figure No. 5 G33) bronze (8^ in.)
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55 Thin Reclining Figure (334) bronze (6 in.) 1953
56 Reclining Figure No. I (327) bronze (8 in.) 1952
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63 Draped Torso (338) bronze (35 in.) 1953
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64 Time Life Screen-Maquette No.l (339) plaster (7x 13 in.)
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75 Seated Woman on Bench (346) bronze (8 9S3
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76 Seated Figure (345) bronze (8 in.) 1952
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77 Seated Figure (347) terra-cotta (41 in.) 1952-3
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77a Detail of 77
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78 Study for Hands of Queen (349) bronze (5 in.) 1952
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79 Maquette for King and Queen ( 348) bronze (9 in., with frame 10;, in | 1952
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80a Another view of 80
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80b
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80d
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80f Detail of 80
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80g Detail of 80
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81 Maquette for Warrior with Shield 'TiWI) bronze 7 1952-3
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82 Warrior's Head '359) bronze (10 in.) 1953
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84a
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84b Detail of 84
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85 Three Standing Figures (drawing for metal sculpture) watercolour and chalk (19 ICollection: Waller Haas. N.Y.C.
1951
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95 Seated Figures chalk and watercolour ( I \i 9i in.) Collection: David Popper, Rickmansworth, Herts. 1951
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96 Seated Figures chalk and watercolour (I I j
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97 Basket Heads and Figures chalk and wash (I I { 9 in.) Collection: Heritage Gallery, Los Angeles 1951
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98 Standing Figures chalk, crayon and wash (25 x 22 in.) Collection: Galleryof
20th Century Art, Berlin 1951
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99 Metal Standing Figures chalk and watercolour (I |i x 9+ in.) Private collection 1951
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100 Sketch for Reclining Figure pen and wash (I l /9 in.) Private collection 1950
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101 Leaf Figures 1951 102 Leaf Figures 1951pen, crayon and watercolour (1 1^x9^ in.) Private collection pen, crayon and watercolour (I Ix9 in.) Private collection
103 Helmet Head (Interior Exterior Forms) chalk and wash ( 1 5 j 22 4 in.) Private collection 1950
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104 Seated and Standing Figure chalk and wash ( in.) Collection: Felix Man 1951
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105 Helmet Heads chalk and wash (11^ -9' in.) Private collection 1951
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106 Head of Prometheus (drawing for lithograph) chalk, watercolour and pencil (I3| x I0 in.) Collection: Mrs Irina Moore 1951
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107 Sculpture in Landscape chalk, pen and watercolour (16 x 22 in.) Collection: Andrew Revai 1951
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108 Sculpture in Landscape chalk, pen and watercolour (23 - I9.| in.) Collection: Graham Greene
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109 Three Crows crayon (I lj 9^ in.) Collection: Andrew C. Ritchie, New York 1951
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1 14 Reclining Figures pen and wash (I I \ 9i in.) 1954
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115 Reclining Figures cont6 crayon ( I I } / 9\ in.) 1954
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HENRY MOORE:Sculpture and Drawings
Volume i (192 1 1948)Fourth revised edition
Edited by David SylvesterIntroduction by Sir Herbert R
Previous editions of this first volume of th
standard work on Britain's most eminent
sculptor have established for themselves
high and world-wide reputation. The foucompletely revised edition contains muchnew material and includes an illustrated
catalogue of all the sculpture of the period.
The 400 reproductions (among which is
frontispiece in colour collotype) include
than 140 new plates, many of themillustrating sculptures or drawings which
were previously unpublished.
l
Volume 3 (1955- 1 964)Edited by Alan BownessIntroduction by Sir Herbert R
This new third volume of the standard w
gives a full pictorial account of
Henry Moore's work during the last deca
It reveals, far from a slackening in style
output, a remarkable development and
an incredible richness and variety of
production. The volume will be eagerlysought by those who.already possess Volu
1 and 2. It contains 180 plates and the
essential apparatus that has become famil
in the previous volumes, including a com
catalogue of the sculpture, with illustrations
of every work. The book opens with a sudouble spread frontispiece produced by
colour offset.
Approximately 4. 10s
Published byLund Humphries
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