Henry Moore - Sculpture and Drawings 1949-1954 (Art eBook)

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

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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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JUN 2 'If

MAY 6 'fT

EB 24 1988

AR 2 1 1988

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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.

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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

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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

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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,

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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


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


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.

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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).

xxi


24/182

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


26/182

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.


British Film Academy, London;

and Private Collections

272 Seated figure (plate 4)1949 H.9 in.


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.


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

xxiv


27/182

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;


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.


Private Collection

Openwork head No. I (plate 16)1950 H.I5 in.


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.


Dr van der Wal, Amsterdam

Maquette for Openwork head No. 2(page xxv; also plate 12 - first edition)

1950 H.5f in.


Mrs Louise Baker, Greenwich, Conn.

V Openwork head No 2. (plate 17a)1950 H.I5in.


City Art Gallery, Wakefield. Yorkshire

290 Standing figure (plates 18, I8a-c)

1950 H.87 in.


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.


L. J. Salter, North Rose, New York; VassarCollege, Poughkeepsie, New York

292 Maquette for Reclining figure (plates 21 , 21a)1950 L. 17 in.


292a Small maquette No. I for Reclining figure(page xxv)

1950 L.9i in.


292b Small maquette No. 2 for Reclining figure(page xxv)

1950 L.81 in.


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.


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;


296 Internal and external forms fplates 25, 25a)1952-3 H.79 in.


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


28/182

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.


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.


302 Goat's head (plate 31)1952 H.8 in.


Private Collections

303 Bar helmet head (plate 32)1952 H.4 in.


G. David Thompson. Pittsburgh

304 Helmet head and shoulders (plate 33)1952 H.6Jr in.


Privcte Collections

305 Relief No. I (plate 34)1952 H.4f in. L.5 in.


Private Collections

306 Rel ie f No. 2 (plate 35)1952 H.4i in. L.4 in.


Private Collections

307 Mother and child: corner sculpture No. I(plate 36)

1952 H.7 in.


308 Mother and child: corner scu(plate 37)

1952 H.7 in.


Private Collections


1952 H.8.; m.

Plaster


1952 H.9 in.

Plaster

31 Family: maquette for corner(page xxvi)

1952 H.5 in.


Private Collections

312 Mother and child on ladderbackchair (plate 42)1952 H.8i in.


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.


315 Mother and child (plate 41)1953 H.20 in.


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.


318 Standing figure No. 2 (plate 41952 H.I I in.


XXVI


29/182

9 Standing figure No. 3 (plate 44)1952 H.8


Private Collections

0 Standing figure No. 4 (plate 20)1952 H.9J m.


Private Collections

1 Maquette for Three standing figures(plate 48) 1952 H.IOm.


Private Collections

2 Three standing figures (plate 49)1953 H.28 in.


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.


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.


Private Collections

337

3 Leaf figure No. I (plate 51)1952 H.IOin.


Private Collections

4 Leaf figure No. 2 (plate 50)1952 H.IOin.


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.


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.


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.


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)


337 Reclining figure No. 6 (pa ge xxvii)1954 L.8i in.


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.


315

326

XXVII


30/182

340 Time Life screen - maquette No. 2(plate 65)

1952 H.7 m. L.I 3 in.


Private Collections

341 Time Life screen - maquette No. 3(plate 66)

1952 H.7 in. L. 13 in.


Private Collections

342 Time/Life screen - maquette No. 4(plate 67)

1952 H.7 m. L. 13 in.


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.


Bishop Otter College, Chichester, Sussex;


346 Seated woman on bench (plate1953 H.8} m.


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


349 Study for hands of Queen (plat1952 H.5 in.


Private Collections

349a Study for head of Queen (page1952 H.82 in.


350 King and Queen (plates 80, 80a1952-3 H.64i in.


Middelheim Park, Antwerp; Tate G

(extra cast); W. J. Keswick, Shav/he

David Astor, London; Joseph H. Hir

York

349a 3SI 356


31/182

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.


354 Hand relief No. I (page xxix)1952 H.I3 in. L.I3 in.


Private Collections

355 Hand relief No. 2 (page xxix)1952 H.I2 in. L. 13 in.


Private Collections

3 Hands of Queen (page xxix)(Part of No. 350)1952-3 8 in. each


356 Small head (page xxviii)1953 H.3 in.


Private Collections

354 355


32/182


33/182


34/182


35/182

I Family Group 269) bronze (60 in.) 1948-9


36/182

la Back view of I


37/182

lb In situ at Barclay School, Stevenage, Herts.

Ic In situ at Barclay School, Stevenage, Herts.


38/182

Id Detail of I


39/182

le Detai l of I


40/182

2a Detail of 2


41/182

2 Claydon Madonna and Child (270) Hornton stone (48 in.) 1948-9


42/182

3 Seated Figure (271) bronze (17 in. 1949


43/182

4 Seated Figure (272) bronze (9 in. 1949


44/182

oin

Oz

L.

'ii

XUM

O

rsl

ozL

'

XVMc5uo

a.


45/182


46/182


47/182


48/182

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


49/182

II Helmet Head No.2 (281) lead (13* 1950


50/182

10 Helmet Head No.l (279) lead (13$ in.)


51/182

I Ob Back view of 10


52/182

I

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


53/182

14 Maquette for Openwork Head No. I (284) bronze (7 in.) 1950

I


54/182

15 Openwork Head and Shoulders (287) bronze (I7{ in.) 1


55/182

16 Openwork Head No.l (285) bronze ( 15 in.) 1950


56/182


57/182


58/182

18 Standing Figure (290) (in situ at Shawhead) bronze (87 in.) 1950


59/182

18a Another view of 18


60/182

^

.OCO


61/182

o-:

>

oc


62/182

19 Double Standing Figure (291) bronze (87 in.) 1950


63/182

19a Detail of 19


64/182

20 Standing Figure No.4 '320) bronze (9J in.) 1952


65/182

21 Maquette for Reclining Figure (292) bronze (17 in.) 1950



66/182


67/182


68/182


69/182

oc


70/182

22d Detail of 22


71/182

22e Detail of 22


72/182

23 Maquette for Internal and External Forms (294) bronze (7 in.) 1951


73/182

24 Working Model for Internal and External Forms (295) bronze (24j in.) 1951


74/182

25 Internal and External Forms (296) plaster (79 in.) 1952-3

25a


75/182

v;

ink

Ii t


76/182

26 Internal and External Forms (297) elm wood (103 in.) 1953-4 26a 26 in progress


77/182

26b Detail of 26


78/182


79/182


80/182


81/182


82/182


83/182

'

1/


84/182

28e Det ai l o f 28 (in plaster)


85/182

29 Unfinished Interior Piece for Reclining Figure (300) plaster (84 in.) 1953


86/182

30 Animal Head (301) bronze (I 2 in.)



87/182

31 Goat's Head (302) bronze (8 in.) 1952


88/182

32 Bar Helmet Head (303) bronze (4< s in. 1952


89/182

33 Helmet Head and Shoulders (304) bronze (6^ in.) 19


90/182

34 Relief No.l (305) bronze (4f 5 in.) 1952

35 Relief No.l (306) bronze (4* 4 in.) 1952


91/182

36 Mother and Child: Corner Sculpture No.l (307) bronze (7 in.) 1952 37 Mother and Child: Corner Sculpture No.2 (308) bronze (71


92/182

38 Mother and Child: Corner Sculpture No. 3 309) plaster (8i in.) 1952


93/182


94/182

40 Maquette for Mother and Child (314) bronze (8^ in.) 1952


95/182

41 Mother and Child (3 1 5) bronze (20 in.)1953


96/182

42 Mother and Child on Ladderback Rocking Chair (312) bronze (8i in.) 1952


97/182

43 Mother and Child on Ladder-back Chair '313) bronze (16 in.) 1952


98/182


99/182

4

^-*:

-jf-*

r. * J


100/182

48 Maquette for Three Standing Figures (321) bronze (10 in.) 1952


101/182

49 Three Standing Figures (322)bronze (3


102/182

SO Leaf Figure No.2 (324) bronze (10 in.) 1952 51 Leaf Figure No. I (323) bronze (10 i


103/182

1

52 Seated Torso (362) bronze (19; in.) 1954


104/182

53 Reclining Figure No. 3 (330) bronze (8j in.)

54 Reclining Figure No. 5 G33) bronze (8^ in.)


105/182

55 Thin Reclining Figure (334) bronze (6 in.) 1953

56 Reclining Figure No. I (327) bronze (8 in.) 1952


106/182

1/1

(S

6ZvL3BO

00

c

uE

ko

V*JV3VIt

z


107/182

Z41L.

3O

Mc

DC


108/182

rMin

z

360

asc

uv

tc

L

4)-ww41

aaI


109/182


110/182

CM

c

C

300

00C

yva.

oDa

4)


111/182

I


112/182


113/182


114/182

01

Qu


115/182

M


116/182

63 Draped Torso (338) bronze (35 in.) 1953


117/182


118/182

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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80b

80c Views of 80 m situ at Shawhead


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80d

80e /iews of 80 in situ at Shawhead


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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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85 Three Standing Figures (drawing for metal sculpture) watercolour and chalk (19 ICollection: Waller Haas. N.Y.C.

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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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Henry Moore - Sculpture and Drawings 1949-1954 (Art eBook)

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Transcript of Henry Moore - Sculpture and Drawings 1949-1954 (Art eBook)