Henry moore unpublished drawings

HARIN COUNTY FREE LIBRftRY

3111100257Q677

DAVID MITCHINSON

HENRY MOOREunpublished drawings

A B R A M S

J

In the work,great artist there is an area

that his public . dom sees—the notes, jottings,

and drawings that contain his finished creations

in embryo. These preparatory works are of the

utmost importance to the study of art history,

since they are often the key to the evolution of

a work of art, indicating how a particular artist's

vision is translated from germinal idea to final

form.

In the case of Henry Moore, one of the great

sculptors of our time, the discovery of more than

200 of his hitherto unpublished drawings is an

exciting event not only for its historical signif-

icance but for the aesthetic joy the drawings

evoke. Many of the sketches, taken from com-

prehensive notebooks and sketchbooks dating

from 1921 to 1970, will delight the viewer with

their independence as finished graphic statements,

for Moore experimented extensively with ink,

pencil, crayon, chalk, wash, and watercolor, alone

and in innovative combinations. But it is ulti-

mately Moore's purpose for these drawings that

both fascinates and overwhelms us; here are the

worksheets of his artistic vision, the raw material

from which evolved the Mother and Child sculp-

tures, the Reclining Figures, and the Family

Groups. Wherever possible, the sculptor's written

notations to the sketches have been included,

since they alTord a still deeper understanding of

Moore's intense involvement with his subjects.

David Mitchinson's text adds a historical frame-

work for the drawings, relating them to trends

in Moore's art and to specific finished sculptures,

thus extending the exploration of Moore's creative

process so provocatively invited by the drawings

themselves.

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212 illustrations printed in 3 tones

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741.942 Moore, tici..^ Spencer, 1898-

Henry Moore unpublished drawings. Textby David Mitchinson. N.Y., Abrams [1971]

212p. illus.

MARIN COUNTY LIBRARY

1. Moore, Henry Spencer, 1898-

I. Mitchinson, David II. TitleLW 11/72 76-164711


text by DAVID MITCHINSON

HARRY N. ABRAMS, INC., PUBLISHERS, NEW YORK

Standard Book Number: 8109-0330-X

Library of Congress Catalogue Card Number: 76-164711

All rights reserved. No part of the contents of this book may be

reproduced without the written permission of the publishers

Harry N. Abrams. Incorporated, New York

Printed and bound in Italy

by Pozzo Gros Monti S.p.A., Turin

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E. G.

INTRODUCTION

Much has been written—and published—by well-known and distinguished

scholars on the artistic creations of Henry Moore. I can add nothing to

what has already been said concerning the greatness and universal character

of his art, but these hitherto unknown drawings—constituting a ''private

journal " of the artist's ideas and inspirations—will certainly provide a

deeper understanding of Moore's creativity.

The opportunity to publish this extraordinary collection suddenly presented

itself one day last winter. I was visiting the sculptor at his house in MuchHadham in connection with a projected book, comprehensive in scope, that

was to cover his work in all its variety, range, and directions of development.

After many strenuous hours of visiting his '^workshops'' together, we were

enjoying a restful pause. It was for me a highly emotional experience to

be in his presence, although a handshake on meeting had been sufficient to

put me altogether at my ease. The living room, containing so many mar-

velous works of art and wonderful books, enveloped me in its singular, its

unique atmosphere. All that I saw around me roused my interest and

curiosity. While examining the books on the shelves, I unexpectedly came

upon several groups of notebook sheets covered with drawings—sketches

and ''notes." The discovery was a happy one indeed—/ realized at first

sight that these drawings filled in the gaps in my knowledge of the labors

through which the artist's greatest works had been conceived and carried

out. It was as if the artist himself here acknowledged and revealed the

various successive stages in his realization of an inspiration. With profound

excitement I perceived that the enormous vitality peculiar to Moore the

man was no less vividly expressed in the sketches I was now examining.

At once I asked Moore whether he had ever thought of publishing the

drawings, and suggested to him that this important material should be col-

lected and issued in the form of a book. Now the volume awaits the

reader's examination.

Turin, 1971 EziO Gribaudo

Since the early nineteen-fifties, Henry Moore has very seldom used drawings or

sketchbooks to formulate ideas for his sculptures. There are no pages of preliminary

studies for the King and Queen, the Warrior figures, the Locking Piece, or any of the

more recent monumental marble carvings. There have been a few sketches connected

with the UNESCO Sculpture and the Two-Piece Reclining Figures, but otherwise where

drawings have been made they have had little direct relationship to the sculptures, and

since 1961 have often been associated with ideas for lithographs and etchings.

Now his final sculpture is arrived at, not two-dimensionally by drawing the figure

on paper, but straightaway three-dimensionally, by making it in the hands and creating

a small maquette which can then, in the artist's mind, be any size he imagines, and which

he can hold, and study from all points of view. By this method of modelhng on a small

scale, using some pliable material such as clay, wax, or plaster, he can create and develop

a three-dimensional idea right from its conception, and thereby explain, in one maquette,

the shape or form of something which would probably be difficult to explain in twenty

or thirty drawings. This method of working has taken many years to evolve and the

illustrations in this book have been selected to show the progressions in Moore's art,

through his sketches, from 1921 to the present day.

In 1919, at the age of twenty-one, Moore was demobilised from the army and given

an educational grant which enabled him to study at the Leeds School of Art. Years earlier,

he had expressed a desire to become a sculptor; now he had been given a chance.

Quite quickly, though, he became dissatisfied with the limited outlook of the teaching.

Academic tuition in sculpture in those days meant copying classical and pseudoclassical

figures. Luckily, while at Leeds, Moore was invited to see the collection of Sir Michael

Sadler, the Vice-Chancellor of the university, which included Post-Impressionist paint-

ings and a few examples of African sculpture.

At an early stage Moore realised how important drawing was for a sculptor, and

that all the best sculptors of the past, such as Michelangelo, Bernini, and Rodin, were

as proficient in drawing as any of the great painters. He was aware that if one was

unable to draw form three-dimensionally, one would be unable to model it—if one

can't see form, one can't understand it; and if one can't understand it, one can't draw it.

After two years at Leeds, Moore came to London to study at the Royal College

of Art. The earliest extant notebook (1921/22) dates from this first year in London.

IX

From then until 1928 there remain five notebooks and also a small number of loose

pages, which are witness to there having been perhaps two others. All the books at this

period have hard covers and are roughly the same size; originally they each contained

about one hundred pages. Unfortunately, many pages have worn faint, or have been

torn out and destroyed. Others, through mishandling, have become separated from their

notebooks, and the sequences of many ideas have been lost. However, those that

survive are quite sufficient to make clear two important points. First, what Moore wasdoing under training at the Royal College of Art. Second, and more important, whatwas interesting and influencing him as an individual.

In those days the students at the Royal College were set sculpture projects to prepare

in their own time, and so in the first notebooks we see Moore attempting to solve these

projects by drawings which could afterwards be translated into sculpture, often in the

form of a relief. We also see small sketches, sometimes no bigger than half an inch

high, hidden on a page among many other images; these are the first drawings for

sculpture and include ideas for such carvings as Snake, 1922 (plate 10), and Mother and

Child, 1925 (plate 29).

The early notebooks, in contrast to those of a few years later, contain many drawings

not directly connected with sculpture. There is in them a great awareness of life in

general; a tremendous amount of what interested him seems to have been recorded.

Along with copies of figures from the paintings of old masters (Rubens in plate 3) are

little scenes involving animals (plates 1, 2, 14, 47), notes on sculpture (plate 17), and

friends at the college (plate 39).

Having read Roger Fry's book Vision and Design while at Leeds and through it

become aware of African and Mexican sculpture, it is not surprising that soon after

his arrival in London, Moore made the first of many visits to the British Museum

—

where he filled notebook pages with drawings of African, Cycladic, and Pre-Columbian

art (plates 19 and 20). He spent most weekends during his first year in London at the

British Museum copying, assimilating, modifying, and making notes of what he found

interesting. At this time he saw photographs of an Aztec idol, the Chacmool, a reclining

figure that has had enormous influence over his own reclining-figure compositions.

There was an immediate conflict between what he was being taught and what he

was finding out for himself at the British Museum. He would probably have left the

college if he had not had the encouragement of Sir William Rothenstein, the Principal.

In 1923 Moore made his first visit to Paris and saw the Cezanne paintings in the Pellerin

Collection; Les Grandes Baigneuses must have had a considerable impact, as we find

copies and adaptations of it in the No. 3 Notebook. Soon after this he won a travelling

scholarship from the college to Italy.

On his way to Italy, Moore spent a few days in Paris, and there survive drawings

made in the Musee Guimet and the Musee de I'Homme.

In Italy he was at once impressed by the masters of the early Renaissance—Giotto,

Giovanni Pisano, and Masaccio. No. 3 Notebook contains sketches after Giotto (plates

25-27), and he later made drawings from Mantegna and landscapes of the environs of

X

Florence. The deepest effect on him came from studying the frescoes by Masaccio in

the Brancacci Chapel of the Church of the Carmine in Florence. The monumentality,

simplicity, and solidity of these figures are echoed throughout Moore's own work.

On returning from Italy, Moore joined the teaching staff at the Royal College of

Art, where he encouraged the students to do more life drawing and where he introduced

direct carving of the wood or stone.

Moore's notes surrounding nearly all his sketches at this period are concerned with

sculptural problems. He writes, ".. . each work to live in its own atmosphere, each work

a creation not an invention," and ".. . effect to be gained by contrasts of masses and

planes, not by features."

It would be a mistake, of course, to assume that all his drawing at this time was

crammed onto the small pages of a notebook. Concurrently with these notebooks

Moore was developing his life drawing. He drew from life to observe and familiarize

himself with the human figure, to understand its construction and its emotional expression.

Also in his life drawing he was learning the actual science of drawing, that is, of showing

on a flat surface the three-dimensional shape of an object by means of hght and shade

(planes turned towards or against the source of light) and by linear perspective

(diminution by distance). Of all the influences on his work, the continuing study of the

human figure is the most important.

In 1928 comes the Underground Relief Sketchbook. This is the first book devoted

entirely to drawings for sculpture; there are ideas for wood carvings (plates 57 and 58),

pages of ideas for the North Wind Relief (plates 60 and 61). Most important are the

studies for the Reclining Figure, now at Leeds City Art Gallery (plates 55 and 56), which

show a clear influence of Chacmool and at the same time the beginnings of Moore's

process of "opening-up" and "opening-out" forms with holes, depressions, projections,

concavities, and tunnels. This opening-up process takes ten years to develop, and can

be followed in the illustrations to the Reclining Figures of 1935/36 (plate 121), and then

on through a drawing of the elmwood Reclining Figure of 1939 (plate 139) to the family

groups of the post-war years.

The first sketchbook of the nineteen-thirties contains many drawings of the

Composition, 1931, in green Hornton stone (plate 85). In 1930 comes the series of sketches

on Royal College of Art notepaper (plates 77-82); Moore says these were done while

marking his students' work in the staff-room, and it is interesting to note that they are

all drawn with pen and ink. In some of these doodle-like studies, the pen touches the

paper at one point and doesn't leave it again until the page is covered.

About 1930 he scatters out his ideas over the paper, in some cases so many on one

page that it is difficult for the eye to focus on each of them individually; for this reason

some of the illustrations shown in this book are details, to enable the viewer to see

particular things of interest more clearly. Moore says, "If you begin drawing in a sketch-

book with the idea of tapping yourself for ideas, sometimes they come so many and

so easily that to stop and judge them would be silly. One must let them happen and

judge them in a week, a month, or two months, and then pick out from that little set

XI

of suggestions those that still mean more than any of the others. '" This becomes clear

when one looks at a page of sketches. Quite often it is noticeable that one or two ideas

on a page have been re-worked or outlined in a different medium or, more simply, markedwith an asterisk or ticked. These are the ones singled out for elaboration, enlargement,

or possible development into sculpture (plates 73 and 129).

By 1931 Moore was in a more established position; he married Irina Radetzky in

1929, and she has been a constant support to him ever since. Also by 1931 he had held

two one-man exhibitions. In the same year he left his teaching post at the Royal College

of Art to teach two days a week at the Chelsea School of Art, where he started the sculp-

ture school and stayed until 1939.

The one major aspect of Moore's art not yet mentioned is his love of nature. This

includes an interest in and knowledge of rocks, shells, trees, clouds, landscape, pebbles,

and bones (plate 90), which after having been carefully drawn are transformed by the

artist into creations of his own. This process led directly to Composition, 1933, in lignum

vitae wood, which is based on a bone drawing of 1932 (plate 91), and to many later

works, such as Standing Figure: Knife-Edge and the 'Three-Piece Vertebrae" sculptures

of the nineteen-fifties and -sixties.

By the end of 1932 all the major threads of influence shown in the early sketches

had been drawn together: the observations from life drawing, the traditions of early

Renaissance art, the impact of non-European images on an occidental mind, and a love

and understanding of nature. For the next seven years the sketches show how these

influences are used and developed beyond themselves into works produced by a clear,

open, and original intellect.

The transformation drawings recur throughout the middle thirties. In the Sketch-

book B of 1935 we find bone forms freely translated into a Reclining Figure (plate 118),

or a Mother and Child (plate 112) juxtaposed with drawings of "Square Forms"" and

the beginnings of the "Internal/External"' ideas (plate 114).

In 1934 (plate 101) we see ideas for sculpture to be made in several pieces. The same

year Moore starts a process of making some sketches for pictorial drawings rather than

for sculpture. Sometimes an idea is taken from a page and used in a large drawing with

other ideas from different sources, sometimes it is carefully completed in the sketch and

a square grid drawn over it to give the artist proportions for enlargement. This process,

which reaches a climax during and immediately after the war, is taken a stage further

when Moore uses the sketch as a basis for both a finished drawing and a sculpture.

Between 1934 and 1936 come the sketches of "Square Forms" reminiscent of Stonehenge.

These are ideas for sculptures carved in stone, and are also used in the first drawings

of forms in pictorial settings.

Rather than have his ideas alone on a page Moore invents settings for them to exist

in, either interiors or landscapes. He wrote, "There is a general idea that sculptors'

drawings should be diagrammatic studies, without 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 not even to connect it with

XII

the ground, with gravity. And yet the sculptor is as much concerned with space as the

painter. Any wash, smudge, shading, anything breaking the tyranny of the flat plane

of the paper opens up a suggestion, a possibility of space."

As we move into the late thirties this development is taken up with each successive

set of new ideas. Square forms, surrealist abstract compositions, reclining figures, stringed

figures, ideas for sculpture in stone, metal, wood, lead, and string, each in turn is drawn

first on a sketchbook page, sometimes with a background already added (plates 131, 132,

and 139). Then the best is taken out and developed in full-scale drawings with spatial

settings, and finally worked out as a sculpture. This development in three stages through

sketch, drawing, and sculpture can be followed from the "Four-Piece Compositions" of

1934 to the "Internal/External" forms. The last pages before the outbreak of the Second

World War show sketches of Upright Internal!External Forms (plate 140), ideas which

were soon developed as pictorial drawings but did not materialise as sculpture until 1952.

Henry Moore's war sketches have been deliberately left out of this book. They are

too numerous and too inseparable to have been illustrated properly here, and have been

adequately covered elsewhere. However, the Coalmine and Shelter sketchbooks were to

have a major effect on what was to follow, and one page of notes made at the beginning

of the war is included, to remind the reader of their importance (plate 143).

The war drawings, especially the Shelter studies, caught the public imagination both

in the United Kingdom and the United States, where they were sent for exhibition.

One result of all this was that far larger numbers of people were made aware of Moore's

work in general. After the war drawings were finished Moore again started his sketch-

books of ideas for sculpture. There was now a demand from America for drawings and

many individual pages were taken out, used in exhibitions, and later sold. None of the

sketchbooks from the immediate post-war years seem to have survived intact.

The ideas put down in the pre-war sketchbooks had simply been the thoughts and

dreams of the artist; they were private, personal, and not for sale, but could be used

when needed to supply information for large drawings and sculpture.

Many of the sketches drawn after the war became highly finished works in themselves,

with more materials used giving greater variety on the page (plates 164, 169-172). This

is perhaps a result of the two years of war drawings, where most of the sketches were

pictorial conceptions before being developed as finished pictures. In the twenties and

thirties a sketch would have been drawn in pencil, chalk, or pen and wash, all mono-chromatic mediums; very seldom was any variety of colour used.

Since 1938 Moore had been developing a technique, in his large finished drawings,

of working with wax crayons in combination with watercolour and pen drawing. The

watercolour did not mix with the wax and only covered the paper that was wax free.

Moore used this technique in his war sketches. He would draw his subject generally

with light-coloured wax crayons, then cover the whole paper with watercolour to give

depth of background. This done, the forms and details could be defined by pen-and-ink

drawing. Moore continued using this technique after the war for most of his sketches

up to 1951, and has occasionally gone back to it since (plates 170, 171, 176, 194),

XIII

Almost no sketches for sculpture exist from 1940/41, but in 1942 a notebook full of

ideas for reclining figures appears. These include sketches for the elmwood Reclining

Figure of 1945, which is directly related to Moore's elmwood figures of the thirties.

But there is also a new element—studies for reclining figures with drapery, which find

immediate expression in the Dartington Memorial Figure of 1945, and ultimate fulfilment

in the draped reclining figures of the middle nineteen-fifties. Moore had made shght

use of drapery many years previously, mainly in life drawing, but never before with

such eff"ect in drawings for sculpture. The influence of the draped and clothed figures in

the Shelters becomes clear. In the sketches and then in the sculptures the drapery becomes

part of the object. One knows that if it were stripped away the forms underneath would

still remain, not shapeless and ill-defined, but real and solid. Somehow the drapery has

become a grafted, protective shield, covering a form, emphasizing and explaining, but

never disguising it.

The reclining figures were followed in 1943 by sketches of the Madonna and Child.

Within the year Moore had made numerous maquettes of these in terracotta. Most of

the reclining figures that preceded and the family groups that followed were likewise

developed as terracottas before the best of them were chosen for enlargement. From this

time begins the artist's preference for making and using maquettes rather than drawings

when working out ideas for sculpture. It is also the first time he uses drawings to devise

images for printed graphic work, the first of which are assorted abstract motifs (plates

148-150).

Moore developed the '"Family Group" from the Madonna and Child studies.

The idea of adding a male figure came from the Coalmine drawings where Moore had been

impressed by the power of the male torso, and the idea of making a group in sculpture

came from the huddles of people in the Shelters. While still working on these groups

Moore's daughter Mary was born and the theme of the family became an obsession.

After Mary's birth came the very tender sketches of the Mother and Child—Irina and

Mary—(plates 158-160). In these drawings, for the first time since the war, Moore did not

use his wax and watercolour technique.

After the sketchbook which contains the studies for the Helmet Heads (plate 163),

with one exception there are no more completed notebooks of ideas for sculpture for

the rest of the decade. The exception is the Heads, Figures, and Ideas Sketchbook of

1953/56. This and the drawings that are connected with it, done at the same time, seem

to have more in common with the sketchbook pages of the early twenties than with

the sculptures of their own period. There are pictorial studies of events that have

interested the artist, ideas for a Crucifixion sculpture, and most amusing records of

Mary's childhood. This sketchbook has since been broken up to provide material for

an illustrated book.

After 1950 Moore becomes completely involved with sculpture and does very little

drawing. The other sketches that exist from the nineteen-fifties are drawn on single

sheets of paper, like Standing Figures, 1952 (plate 176), and Seated Figures, 1957 (plates

185 and 186), rather than in sketchbooks.

XIV

In 1959 Moore makes a small series of chalk and watercolour drawings of stone

forms and seated figures that are related to the square forms of the nineteen-thirties.

Then between 1961 and 1970 come the reclining figures and sculptural motifs that

have been used as a source of ideas for lithographs and etchings. These are executed

in brightly coloured inks, watercolour, and ballpoint pen. Moore says, "When one is

young, one has lots of influences mixed up in one's mind so that drawing was a means

of generating ideas and also of sorting them out. Now I find that when what seems to

me a good idea comes, I recognise it a lot quicker than perhaps I used to do."

Drawing for Henry Moore has now become more of a pleasure than a necessity,

especially since he discovered how enjoyable it is to draw with an etching needle on

a copper plate. This latest development in his work, shown here in the pen exercises

and related drawings of 1970, has already produced one outstanding masterpiece, the

Elephant Skull Portfolio. This is the most important and original two-dimensional work

Moore has produced for two decades, and can be seen as a culmination and a contin-

uation of half a century of constant observation, the foundations of which can be

traced back to the pages of the very first notebooks.

David Mitchinson

XV

NOTE : The dimensions given in the captions refer to the sizes of the original sheets ordetails, and not to the reproductions in this book. Where known, the original source(notebook, sketchbook, or series) of each drawing has been included. The variation in

size of the pages from the same notebook or sketchbook is the result of pages beingtorn out years ago and the rough edges trimmed.

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1 Studies of Goats - 1921

Pen -63/4x8 3/4 ins.

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2 Studies of Goats - 1921

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3 Detail of page from No. 2 Notebook - Woman Playing with Her Child - 1921/22Pen -4x63/4 ins.

4 Detail of page 28 from No. 2 Notebook - Standing Figure, Back View - 1921/22

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5 Page 31 from No. 2 Notebook - 1921/22

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14 Page 91 from No. 2 Notebook - Sheep - 1921/22

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17 Detail of page 28 from No. 3 Notebook - Composition of Two Figures - 1922/24

Pen and pencil -23/8x3 114 ins.

18 Page 54 from No. 3 Notebook

Pen and pencil - 8 718 x 6 3/4 ins.

- Composition of Figures - 1922/24

19 Page 102 from No. 3 NotebookPencil and chalk - 8 718 x 6 3/4 ins.

Ideas from Negro Sculpture - 1922/24

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20 Page 105 from No. 3 Nbtebook - Negro Sculpture - 1922/24

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26 Page 185 from No. 3 Notebook - Heads Studies from Giotto - 1922/24

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28 Page 214 from No. 3 Notebook - Notes on Sculptural Subjects - 1922/24

Pencil - 8 718 X 6 3/4 ins.

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Pencil and wash -9x67/8 ins.

Mother with Child on Back - 1925

30 Page 37 from No. 4 Notebook - Figures - 1925

Pencil -9x67/8 ins.

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31 Page 59 from No. 4 Notebook - Standing Figures - 1925

/*e/7, pencil, and black ink -9x6 7/8 ins.

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32 Page 130 from No. 4 Notebook - Standing Figures - 1925

Pe/j a«rf pencil -9x67/8 ins.

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33 Detail of page 140 from No. 4 - Head, Bust, and Arms - 1925

Pencil - 3 118 X 3 112 ins.

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34 Detail of page 172 from No. 4 Notebook - Branches of Trees - 1925

Pencil - 7 X 6718 ins.

xV'/.v ft

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35 Detail of page 174 from No. 4 Notebook - View of the Arno - 1925

Pen - 4 118 X 6 7/8 ins.

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36 Page 175 from No. 4 NotebookPen and pencil -9x6 7/8 ins.

- Notes on Italian Painting - 1925

37 Detail of page from sketchbook - Mother with Child on Back - 1925

Pen and pencil - 6 Ijl X J 7/2 ins.

38 Detail of page from sketchbook - Standing Figure and Hand - 1925Pen, wash, and pencil - 7 718 X 5 ]/2 ins.

39 Detail of page from sketchbook - Head of Mrs. Raymond Coxon - 1925

Pen, wash, and pencil - 7 718 x 5 1/2 ins.

'-,\t<J-A^ - %i^tr-

40 Detail of page from sketchbook - Heads - 1925/26

Pen -41/4x6 3/4 ins.

0"''

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41 Detail of page from sketchbook - Heads - 1925/26

Pencil - 4 112 X 6 3j4 ins.

42 Page 43 from No. 5 Notebook - Reclining Figure - 1925/26

Pencil and chalk -63/4x8 3/4 ins.

^t^

43 Page 75 from No. 5 Notebook - Half Figure - X^l'bll^

Pencil, chal/c, and wash -83/4x6 3/4 ins.

44 Inside cover pages of No. 6 Notebook - 1926

Pen and pencil - 8 718 x 13 3j8 ins.

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45 Page 1 from No. 6 Notebook - Negro Sculpture - 1926


46 Detail of page 29 from No. 6 Notebook - Half Figure, Seated Woman - 1926

Blue ink - 7 x 5 1/2 ins.

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47 Detail of page 35 from No. 6 Notebook - The Dog Fight - 1926

Pen -51/2x6 ins. approx.

(S)

48 Page 51 from No. 6 Notebook - Reclining Figures - 1926


» ^uJU^—^ F^-Cv-^ - 4

49 Page 57 from No. 6 Notebook - Ideas for Sculpture (Reclining Figure) - 1926


50 Detail of page 72 from No. 6 Notebook - 1926

Pencil - 61/4 x 6 3j4 ins.

(^

51 from No. 6 Notebook - Female Figure - 1926

Pencil and wash -87/8x6 3/4 ins.

52 Detail of page from " Underground " Relief Sketchbook

Black ink and pencil ~ 2 1/2 x 8 112 ins.

Reclining Figure - 1928

pi/>/{fe* ivv^ ^^-f-^

53 Page from " Underground " Relief Sketchbook - Reclining Figures - 1928

Black ink -9x71/8 ins.

54 Detail of page from " Underground " Relief Skcichhook- Standing Figure, Relief- 1928

Pencil and wash - 7 1/2 x 5 ins.

\U'^yu/, j,7 (^o,''4_ t<[/j»4.-

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55 Page from " Underground " Relief Sketchbook - Subjects for Garden Reliefs - 1928

Pencil -9x71/8 ins.

^;;r;

56 Detail of page from " Underground " Relief Sketchbook - Reclining Figure - 1928

Pencil - 3 X 5 1/4 ins.

57 Detail of page from " Underground " Relief Sketchbook - Idea for Wood Relief- 1928

Black ink - 3 318 X 7 3/4 ins.

58 Page from " Underground" Relief Sketchbook - Ideas for Wood Reliefs - 1928

Black ink -71/8x9 ins.

> z

59 Page from " Underground " Relief Sketchbook - Three Reclining Figures - 1928

Green chalk and ink - 9 y. 7 ins.

\

60 Ideas for " North Wind " Relief - 1928

Pencil, chalk, and wash -9x6 ins.

61 Ideas for " North Wind " Relief

Pencil, chalk, and wash -9x6 ins.

1928

62 Reclining Figures - 1928

Pencil - 7 718 x 11 7/8 ins.

63 Reclining Figures - 1928

Pencil - 7 1/4 X II 3/4 ins.

64 Ideas for Sculpture - Reclining Figures - 1928

Pencil - H 314 x 7 1/4 ins.

65 Fragment from sketchbook - Reclining Figures - 1928

Pencil - 4 314 X 4 314 ins.

66 Idea for Sculpture - Half Figure - 1929

Black ink and pencil - 11 518 x 9 112 ins.

67 Ideas for Sculpture - Mother and Child - c. 1928/29

Red pencil and wash -5x8 1/8 ins.

68 Drawing for Sculpture - Seated Mother and Child - c. 1929

Wash and chalk - 10 1/8 X 8 ins.

69 Drawing for Sculpture - Mother and Child - c. 1929

Black ink and wash - 10 1/8 x 7 7/8 ins.

70 Drawing for Sculpture - Mother and Child - c. 1929

Black ink - 7 112 x 5 7/8 ins.

71 Drawing for Sculpture - Seated Figure - c. 1929

Black ink and wash - 10 118 x 7 7/5 ins.

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73 Ideas for Sculpture - Masks - c. 1929

Pencil - 5 JI4 X 5 1/2 ins.

M 72 Ideas for Sculpture - Seated and Reclining Figures - 1929

Indelible pencil -93/8x8 ins.

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74 Ideas for Sculpture - c. 1930

Pen, pencil, chalk, and wash - 4 118 x 10 314 ins.

1^0 /-^

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75 Ideas for Sculpture - Heads - c. 1929/30Pencil -77/8x6 J/4 ins.

VdA^.4

76 Detail of page from sketchbook - Heads - 1930

Crayon -5x4 ins.

ROYAL COLLKGE OF ART,

SOUTH KENSINGTON,

LONDON, S.W.7.

Telephone: WetUrn 6371.

77 Drawing for Sculpture - Three-Quarter Figure - 1930

Pen -71/8x4 3/8 ins.

HON AL ('OLLK(iK OF ART

S( )n H K ENS] NGT()N

,

LONDON, S.W.T.

TeUvhone: Western 6371

78 Ideas for Sculpture - Two Reclining Figures - 1930

Pen - 7 118 X 4 Ijl ins.

79 Ideas for Sculpture - c. 1929/30

Pen - 7 JI4 X 4 112 ins.

80 Ideas for Sculpture - 1930

Pen - 7 118 X 4 318 ins.


Pen - 7 118 X 4 1/2 ins.

I

82 Ideas for Sculpture - Three Reclining Figures - 1930

Pen - 6 112 X 4 112 ins.

•^V— ^4/ty7^^^^ luxn^^sttX^W^^

83 Ideas for Sculpture - Mother and Child - 1930

Pencil - 7 718 x6 1/4 ins.

84 Page from sketchbook - Two Reclining Figures - 1930/31

Pencil - 8 X 6318 ins.

3r

85 Page from sketchbook - Ideas for Sculpture - 1930

Pencil -63/8x8 ins.

86 Page from sketchbook - Ideas for Sculpture - 1930/31

Pencil - 6 318 X 8 ins.


Chalk, pencil, and wash -77/8x9 3/8 ins.

88 Idea for Sculpture - Reclining Figure - 1932

Pencil - 2 314 X 3 113 ins.

ihr

^'^ rPi"^32-

89 Study for Wood Carving and Bone Forms - 1932

Pencil - 7 1/16 x 5 3/8 ins.*

90 Transformation Drawing - Lobster Claw - 1932 ^Pen and pencil -11x7 ins.

Private Collection

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91 Ideas for Sculpture - Transformation Drawing - 1932

Pencil - 9 J/4 X 7 3/4 ins.

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92 Ideas for Sculpture - Transformation Drawing

Pencil - 9 114 X 6718 ins.

- 1932

hs

7 7


Pencil -9x77/8 ins.

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Pencil - 9118 X 7 7/8 ins.

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95 Ideas for Sculpture - Mother and Child - 1933

Pencil -4x61/2 ins.

96 Ideas for Abstract Compositions with Holes - 1933

Pencil - 6 118 X 4 7/8 ins.

i.|V(,wvjLwi/''tVw#*^-v l^JLA-j

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97 /^efl5 for Sculpture - 1933/34

Pe/iciV -83/4x7 ins.

^IxqX ^ u^"^*^

98 Ideas for Sculpture - Sheet of Wood Carvings - 1934

Pencil - 8 114 X 5 1/4 ins.

99 Page from Notebook - Ideas for Sculpture - 1933/35

Pen - 9 112 y.7 J/S ins.

100 Page from Notebook - Ideas for Sculpture - 1933/35

Pen - 9 112 X 7 1/8 ins.

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101 Page from sketchbook - Drawings for Wood Constructions - 1934Pencil - 10 718 x 7 318 ins.

102 Page from " Square Forms " Sketchbook - Ideas for Sculpture - 1934

Chalk and red wash - 10 5/8 x 7 118 ins.

/

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103 Detail of page from "Square Forms" Sketchbook - Ideas for Sculpture - 1934

Black chalk -53/8x7 IjS ins.

104 Ideas for Sculpture - Two Forms - 1934/35

Black chalk - 10 3/4 x 7 114 ins.

105 Detail of page from Sketchbook - Idea for Sculpture - 1934/35


106 Ideas for Stone Reclining Figures with Pedestals

Ink, crayon, and wash - 10 5/8 x 7 114 ins.

- 1935

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107 Page from Sketchbook B - Ideas for Sculpture - 1935Pencil -51/2x8 1/2 ins.

108 Page from Sketchbook B - Ideas for Sculpture - 1935

Pencil - 8 314 X 5 Ij2 ins.

109 Detail of page from Sketchbook B - Head - 1935


110 Detail of page from Sketchbook B - Transformation Drawing - 1935

Pencil -23/4x4 ins.

•

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111 Detail of page from Sketchbook B - Half Figure {Transformation Drawing) - 1935

Pencil - 5 112 X 2 3/4 ins.

112 Detail of page from Sketchbook B - Mother and Child - 1935

Pencil - 4 112 X 2 3/8 ins.

'•N^K

113 Detail of page from Sketchbook B - Draped Reclining Figure - 1935

Pencil and chalk - 5 1/2 x 6 3/4 ins.

.X\

114 Page from Sketchbook B - Forms Inside Forms - 1935

Pencil - 8 112 y. 5 1/2 ins.

V

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115 Detail of page from Sketchbook B - Transformation Drawing - 1935Pencil -31/4x4 ins.

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116 Detail of page from Sketchbook B - Ideas for Sculpture - 1935

Pencil - 5 114 X 5 ins.

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117 Detail of page from Sketchbook B - Ideas for Sculpture - 1935

Pencil -33/4x5 112 ins.

l^vviC._ './^'^-^yN

118 Page from Sketchbook B - Reclining Figure (from Bone) - 1935

Black chalk and pencil - 5 JI2 x 8 3/4 ins.

119 Detail of page from Sketchbook B - Square Forms - 1935

Chalk, pen, and wash - 3 1/2 X 4 1/4 ins.

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120 Page from sketchbook - Ideas for Sculpture - 1935/36

Pen and pencil - 10 3/4 x 7 7/5 ins.

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121 Ideas for Sculpture - Reclining Figures - 1935/36

Pencil - 9 JI8 X 7 J18 ins.

122 Detail of page from Sketchbook with " Square Forms " - Standing Figure - 1936

Black chalk and red wash - 5 JI4 X 3 5/8 ins.

123 Detail of page from Sketchbook with " Square Forms " - Idea for Sculpture- 1936

Black chalk -7x33/8 ins.

124 Page from Sketchbook with " Square Forms " - Three Forms - 1936

Black chalk and wash - 10 1/8 x 7 ins.

125 Page from Sketchbook with " Square Forms " - Four Reclining Figures - 1936

Chalk, pen, and wash - JO 1/8 x 7 ins.

f- .

126 Detail of page from Sketchbook with " Square Forms " - 1936

Black chalk and red wash - 4 718 y, 7 ins. detail

127 Detail of page from Sketchbook with " Square Forms " - 1936

Black chalk and red wash -51/4x3 3/8 ins.

128 Lyre Birds - 1936

Pen, pencil, and wash - 8 112 x 7 ins.

^^'^•j5^


Pencil - II 1/4 X 9 3/4 ins.

130 Sculptural Objects - 1937

Chalk - 10 15116 x 7 7/2 ins.

Private Collection

T^f t*-^

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Pencil - JO 1/4 x 5 1/8 ins.

i^'>l

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Pe«c// - 70 7/4 X S 7/S mj.

133 /^eat5 /or Sculpture - 1937

Pe« - 10 518 X 6i/^ //w.


Pen - 10 318 x 7 ins.

n135 Ideas for Stone Sculpture - 1937

Pen and black chalk - II l/S x 8 3/4 ins.

p4***V^,^ JLt^t i

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136 Studies for Sculpture - 1938

Chalk and wash - 7 1/8 x 10 1/4 ins.

Private Collection

i 1-

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r^c*-'

137 Ideas for Stringed Reclining Figures - 1938

Pencil - 77 x 7 7/4 ins.

i^\crx* - 3'x

138 Drawings for Stringed Figures - 1938

Coloured chalk, wash, pen, and pencil - 10 1/4 x 7 7/2 ins.

139 Page of studies with drawing for Reclining Figure - 1938

Pencil - 7 318 X 10 15/16 ins.

r ^ ^

140 Page from Sketchbook - Upright Internal/External Forms - 1938/39

Pencil - 10 7/8 x 7 7/2 //u.

i^\r^*C- 34.


Pen, chalk, and pencil - 7 114 X 11 ins.

^ 141 Projects for Sculpture - 1939

Pen and pencil - 11 X 7 lj4 ins.

Private Collection

H

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I

143 Notes about " Shelter" drawings - c. 1941

Pen and pencil -83/8x5 3/8 ins.

144 Inside cover of sketchbook - Sculptor Carving a Colossal Figure - c. 1941

Pen, chalk, and wash -87/8x6 314 ins.

fg^^^SU^

145 Page from sketchbook - Mother and Child - 1942

Coloured chalk and pencil - 7 i/4 X 5 1/2 ins.

•^ttTiiH^^..

146 Girl Playing Piano, Head, and Dog - 1942

Crayon, pencil, and wash - 8 3/4 x 6 J/2 ins.

147 Ideas for Sculpture - Reclining Figures

Chalk, pen, and wash - 9 y. 7 ins.

- 1942

148 Abstract Motifs - 1943

Pencil, crayon, and watercolour - 7 x 9718 ins.

Private Collection

a^.

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•; -^-.-^"*

/x-3

149 Seventeen Sculptural Motifs - 1943

Crayon and watercolour - 7 x JO ins.

Private Collection

150 Abstract Motifs - 1943

Pen, crayon, and watercolour - 10 x 7 ins. approx.

Private Collection

151 Sculptural Motifs - 1943

Pencil, crayon, and watercolour - 10 7/8 x 7 J/2 ins.

Private Collection

i((m'''152 Two Family Groups - 1943

Pen, crayon, and wash - 10 3/4 x 4 3/4 ins.

Private Collection

1

imv^^iy iwii

153 Two Family Groups - 1943

Pen, crayon, and wash - 10 x 4 5/8 ins.

Private Collection

154 Page from sketchbook - Family Groups - 1944

Crayon, pencil, and wash -9x63/4 ins.

Private Collection

155 Family Groups - 1944

Pen, pencil, and crayon - 8 J/4 x 2 1/2 ins.

Private Collection

156 Page from sketchbook - Reclining Figure (Holes) - c. 1945

Pen and wash -5x7 ins.

fi

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V57 Page firom sketchbook - Ideas for Rdief SaJptmr - 1945

5314 X 7 iBL

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158 Child Studies {Mary) - 1946

Pen - 8 X 6318 ins.

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159 Child Studies (Mary) - 1946

Pen - 8 X 6318 ins.

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160 Mother and Child {Irina Nursing Mary) - 1946

Pen and wash -8x6 318 ins.

162 Rocking Chairs - 1948

Pencil, ballpoint pen, white chalk, and blue wash - 7 y. 10 ins.

-^ 161 Ideas for Sculpture - Seated and Reclining Figures - 1947

Pen, chalk, and watercolour -9x7 ins.

Private Collection

163 Page from sketchbook - Helmet Heads - 1948

Pen, chalk, and watercolour -11 1/2 x 9 1/2 ins.

164 Ideas for Sculpture - Internal!External Forms

Chalk and wash - II 112 x 9 3/8 ins.

Collection Stephen Cardill Esq., London

- 1949

yv^irsf^4-1

165 Ideas for Sculpture - Reclining Figures - 1949

Pen and wash - 11 114 x 9 ins.

Private Collection

166 Ideas for Sculpture - Standing Figure and Reclining Figures - 1950

Pen, crayon, and wash - 11 112 x 9 1/2 ins.

Private Collection

167 Drawing for Sculpture - Reclining Figures

Pencil, crayon, and wash - N 1/2 x 9 J/2 ins.

Private Collection

1950

168 Detail of page from sketchbook - Reclining Figures on Music Lines - 1950

Pencil and ink - 2 x 11 ins. approx.

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169 Girl Smoking - 1950

Pencil, crayon, and wash - 5 IjS x 7 1/8 ins.

170 The Fortune Teller - 1950

Pen, pencil, crayon, and wash - II 112 x 9 J/2 ins.

171 Life Drawing - Three-Quarter Figure - 1950

Pen, crayon, and watercolour -11 1/2 x 8 ins.

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172 Head of Boy - 1950

Pen, pencil, crayon, and wash - 10 1/4 x 5 1/4 ins.

o

173 Drawing for Sculpture - Helmet Heads - 1950

Crayon and gouache -II 1/2 x 9 ins.

174 Drawing for Sculpture - Head - 1951

Chalk and wash - 9 112 x 5 3/4 ins.

Private Collection

175 Mother and Child - 1951

Chalk, crayon, pencil, and wash

Private Collection

11 112 -K 5 1/2 ins.

176 Standing Figures - 1952

Pen, crayon, and watercolour - 7 x 10 ins.

Private Collection

^-y^ 'H,

111 Drawing for " Crucifixion " Sculpture - 1954

Pencil and wash - 11 112 x 9 3/8 ins.

*

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178 Ideas for " Crucifixion " Sculpture - 1954

Pencil and wash - 10 J12 x 9 7/2 ins.

Private Collection

h f\/\(^

179 Man Holding Rabbit - 1954

Pen -61/2x5 J/4 ins.

180 Head of Woman - 1955

Pencil - 7 718 X 9 318 ins.

\c,vyV"^^>»<^-^ ^^.- <v- ^ U'J^f^

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181 Page 3 from " Heads, Figures, and Ideas " Sketchbook - Arthritic Hand- 1953/56

Pen and pencil - 8 314 x 6 7/8 ins.

182 Studies of Girl at Desk {Mary Doing Homework) - 1956

Pen - 11 112 X 9 114 ins.

183 Standing Figures - 1956

Pen - 10 114 X 8 1/2 ins.

184 Page 97 from " Heads, Figures, and Ideas " Sketchbook - Half-Figure Girl - 1956

Pen - 8 314 X 6 718 ins.

185 Seated Figures - 1957

Chalk and watercolour - 8 1/2 x 4 3/4 ins.

186 Seated Figures - 1957

Chalk and watercolour -81/2x4 3/4 ins.

"t

187 Half Figure - 1959

Coloured chalk and wash - 11 3/8 x 9 1/4 ins.

188 Idea for Sculpture - Square Form - 1959

Black and red chalk - 11 114 y. 9 1/2 ins.

189 Seated Figure - 1959

Chalk and wash - 11 318 x 9 1/4 ins.

190 Idea for Sculpture - Head with Hair-do - 1959

Black and red chalk and wash - 11 114 x 9 318 ins.

191 Ideas for Sculpture - Heads 1959

Pencil, black, red chalk, and wash - 11 112 y. 9 3/8 ins.

ir^

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192 Idea for Sculpture - Torso - 1959

Black chalk and wash - 11 114 x 9 3/8 ins.

193 Page IV from a sketchbook (1961/62) - Two Reclining Figures

Crayon and watercolour - 11 1/2 x 9 1/2 ins.

Private Collection

1961

194 Page VII from sketchbook (1961/62) - Sculptural Idea III

Ink, pencil, crayon, and watercolour - II 1/2 x 9 1/2 ins.

Private Collection

- 1961

195 Page VIII from sketchbook (1961/62) - Two Figures - 1961

Pencil, crayon and watercolour -11 1/2 x 9 1/2 ins.

Private Collection

196 Page IX from sketchbook (1961/62) - Animal Head - 1961

Pencil, crayon, and watercolour - 11 112 x 9 Ijl ins.

197 Page XIV from sketchbook (1961/62) - Three-Piece Reclining Figure - 1961

Pencil, crayon, and watercolour -11 1/2 X 9 1/2 ins.

Private Collection

198 Page XVI from Sketchbook 1961/62 - Two-Piece Reclining Figures - 1961Crayon and watercolour ~ 11 112 X 9 1/2 ins.

Private Collection

x^

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199 Gourd Women {Fruit Women) - 1964

Coloured inks and crayon -11 3/8 x 9 1/8 ins.

200 Pot Women - 1964

Watercolour, chalk, ink, and wash - 11 318 X 9 318 ins.

201 Seated Woman - 1966

Watercolour - ]J 1/2 x 9 1/2 ins.

202 Reclining Figures with Central Composition

Pen and watercolour - II 1/2 X 9 1/2 ins.

1966

203 Group of Standing Women - 1966

Watercolour - JJ ]/2 x 9 J/2 ins.

(4

204 Reclining Mother and Child - 1966

Watercolour - 11 lj2 ^ 91/2 ins.

a-

205 Half Figure - 1966

Coloured inks and ballpoint pen on tissue paper 11 112 X 9 114 ins.

206 Three Ideas for Sculpture - 1967

Pen and coloured inks - 11 112 y. 9 1/2 ins.

I

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207 Pen Exercise, No. XV - 1970

Pen {black, purple, and orange ink) - ]0 x 6 718 ins.

0/\^^^f^ 7<^

208 Storm at Sea - 1970

Pen - 6 314 X 10 ins.

209 Six Sculptural Motifs, No. VIII - 1970

Pen - 10 X 6 3/4 ins.

I>

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210 Pen Exercise, No. X - 1970

Pen - 10 X 6 314 ins.

7-

211 Two Standing Figures, No. XI - 1970

Pen - 10 X 6 7/8 ins.

r^.oi,- -y,

212 Two Standing Figures, No. XVPen and wash - 10 x 6 518 ins.

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Henry moore unpublished drawings

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Transcript of Henry moore unpublished drawings