HflRIN

COUNTY FREE LIBRARY

Volume 2

ture & Drawings 19 49 -1954

s&

-*Ka

This volume

is

a superb illustrated record

of Henry Moore's work from the beginning

of 949 to the end of 1 954. This was a period
1

in the artist's

development notable

large sculptures

on a monumental

They helped

with a public theme.

for

scale

and

establish

Moore

as the unrivalled international figure

that he

is

today. These major works are

comprehensively

with a profusion

illustrated,

of views and details and in certain cases

photographs of earlier stages

Over 160

illustrations are

in their

making.

reproduced, and

they include a section devoted to the

sculptor's drawings

show

his original

which

many instances

in

conceptions for the

sculptures.

This

is

a second edition, revised, of the

volume

originally published in

the text

and plate

955. Whilst

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

catalogue in
will

and

will

Volume

be continued by the
3. It is

an addition that

enhance the value of the

series as a

complete record of the work of Henry Moore.

Apart from the catalogue, the

an introduction by

Sir

biographical note,

lists

bibliography, and

important of the

text includes

Herbert Read, a
of exhibitions,

some of the more

artist's

own writing about

sculpture.

Lund Humphries

10s

i_

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v/lii

i\n

carnai

JUN

MAY 6

'If

'fT

FEB 24 1988
MAR

2 1 1988

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730-9^2

No

Moore
Henry Moore:
sculpture and drawings
v.2.
2d ed.

Library

23-22)

HENRY MOORE
VOLUME TWO

SCULPTURE AND DRAWINGS

1949-1954

HENRY MOORE
VOLUME TWO

SCULPTURE

AND DRAWINGS
1949-1954
WITH AN INTRODUCTION BY HERBERT READ

LONDON
PERCY LUND, HUMPHRIES & COMPANY LTD

ZWEMMER

A.
American

Distributor-.

Wittenborn and Company

Ave.,
1018 Mad-son

New

York 21 N.

T.

Mcrin County Tree Library

Civfc Center Administration

San Rafael,

Building

California

ALL RIGHTS RESERVED

COPYRIGHT [965 BY PERCY LUND, HUMPHRIES

12

BEDFORD SQUARE, LONDON

First Edition

\V

<

& CO.

1955

Second Edition, revised 1965

143739

MADE AND PRINTED

IN

GREAT BRITAIN BY

PERCY LUND, HUMPHRIES & COMPANY LIMITED

LONDON AND BRADFORD

LTD

CONTENTS
Frontispiece: 'him;

and Queen*

at

slum-head

Introduction by Herbert Read

Page

Observations by Henry Moore

Biographical

ix

xiv

Summary

xvii

Exhibitions

xviii

xx

Bibliography

Catalogue of Sculpture by Alan Bowness

xxiv

PLATES
Sculpture

Drawings

Plate JVos.

1-84

85-116

NOTE

PUBLISHERS'

This

is

a second edition, revised, of the volume originally

published in 1955.

It

illustrates

in

and drawing from the beginning of 1040

somewhat misleading

the end of

to

tion

'954-

Mr

David Sylvester and the

were responsible

artist

the arrangement of the plates in the original edition,

the documentation

Tamora

Miller.

The second

Mr

through the press by

British Council,

edition,

new

and

and of Miss

The

intact.

amended

duction by Sir Herbert Read has been

in

Volume

3,

which

is

and

and a short

period has been added.

list

felt

compelled

owners since

permanent form

it

is

to informa-

to give a better

view of a par-

the bronze cast rather than the

and 84 have been

catalogue section, and the

original plates 12, 13

illustrated

replaced by a four-page section showing the Harlow

The major

stylistically

belongs to this period.

addition to the volume

is

the complete cata-

logue of Henry Moore's sculpture of the period, compiled by

Mr Alan

Bowness with the help of Mrs Betty Tinsley. This

continues the catalogue included in

later events

Volume

1.

Each plate

this

now carries not only its plate number but also (in parentheses)

one-man

a catalogue number, and in the catalogue are to be found

of mixed exhibitions from the

small illustrations of every subject not reproduced in the

published simultaneously with

edition. This revision also applies to the

exhibitions,

is

made
show

Family Group which

intro-

slightly to

shortened to cover only the period reviewed in the volume,

Volume

The

withdrawn into the

last

take account of the passage of time; the chronology has been

since earlier. events are listed in

block has been

plaster model.

which has been seen

volume

ol

which must of necessity change with the passage of time.

ticular subject or to

Alan Bowness, preserves a very

large proportion of the original

to give

list

The plates retain their original sequence. Occasionally a

for

was compiled with the help of Miss

Margaret Maclcod, of The

original form, but the publishers have

its

with some reluctance to omit the

Henry Moore's sculpture

The bibliography

list

of

has been retained

plate section.

ACKNOWLEDGEMENTS
The 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 John

Underwood), No. 80 (by Simon Reid)

in situ),

The

(of

King and Queen

and No. 28 (by Elspethjuda).

portrait of the artist

is

Roger Wood.

Vlll

reproduced by courtesy of

INTRODUCTION
li

In

tliis

HERBER T

I)

second volume of Henry Moore: Sculpture and Draw-

work of only six further /ears is in question, bul

were fruitful and even decisive years, revealing the

ing, the
these

artist in his full

maturity.

They were also years that saw

the rapid extension of his fame, until he

head of the world's

now

stands at the

sculptors.

The consolidation of Henry Moore's reputation came

with the Venice Biennalc Exhibition of [948,

awarded the international prize

for sculpture.

when he was
The tributes

made it clear that there

was an almost unanimous agreement among the world's
leading art critics, not only that Moore was technically and
paid to his work on that occasion

aesthetically the

that he was

also

most considerable sculptor of our time, but

an

artist

peculiarly apt to express a specifically

consciousness.

would not

some manner
modern range of

whose images were

Anyone wary of

in

the deceits of the Zeitgeist

press this latter claim:

it

is

safer to base

our

Page from a notebook

Page from a notebook

95"

judgement on objective elements of form - on elements,

that

is

to say, that are

from any age.

common

to

enduring works of

art

not difficult to justify Moore's great

It is

reputation on grounds that are primarily aesthetic. Every

work of

this artist exhibits a perfect

mastery of the plastic

coherence as mass or volume,

its

balance and rhythm, the harmonic relationship of part

to

values of sculpture

part

its

and of each part

to the

whole.

Bul these formal elements arc always used for an expressive purpose,
effects that

the

make

and

in

for his

Moore's case

its

definition,

expressionist.

There

is

the expressive

his greatness. If

historical associations that

would be accurate

it

is

uniqueness and for

word were not plastered with

blur

it

throughout

his

to

work

call

him an

discursive

power, an implicit potency, that comes from some deep

level

of consciousness. Let us not, on such a brief occasion, invoke

archetypal images

IX

especially as a profound study. from

missioned Madonna and Child for Claydon Church

Plau

andthe reclining figure on die terrace of the Time-Life

building I'huc 62
which is equally a special case, there is
,

no sign anywhere

in this

period of a return to any sale har-

bour of acceptability, hut rather a

of exploration and invention.
K|",i

PI.

He

'22

is

ill

line

with the

left

in

fine reclining figure of

s^rcai setirs o[

reclining

volume; hut even here,

figures illustrated in die previous

the web-like striations

maintained energy

folly

The

relief,

there

is

in

new and

expressive invention.

The most
probably the
in the

considerable achievement
scries of sealed figures in

King and Queen group

of this period

is

bronze culminating

Plate 80).

Here there

an

is

obvious link with the various family groups beginning

1944 and continued

group

and

it

(Plate
is

l).

a break with

volume with

this

in

But there

the

in

Stevenage

an equally obvious break,

is

humanism and an advance

into the

superhuman realm of myth. This king and queen never

they were crowned in Erebus, or
reigned in our world
perhaps in some Olympian grove. They arc figures of
mystery
they

or

are

they

fate:

not

calmly

look

even

agitated

preliminary sketch for them

is

the

into

And

futurity.

Oucen's hands

seen in Plate 78)

(a

on

rest

her lap in a relaxed gesture of acceptance.

This group marks a climax

Page from a notebook

1951

in

ment, but another and a different tendency must be noted

that represented

by the Time-Life reclining figure already

mentioned (Plate 62) and by the

lor
this

point of view, has been

The very limitation

made by Dr

Erich

Neumann.

of Moore's subject-matter- the reclining

Henry Moore's achieve-

it

(Plate 63),

(Plate 83).

and

Here

is

also

torso

which was a study

by the recent Warrior with

a distinct Hellenic note, and

direct result of a visit to

it

Shield
is

the

Greece which the sculptor made

in

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,

than

rather

an

dispersed

attention

among

phenomena. This strength-by-limitation

so

many

choice:

of the greatest
is

it

does not

artists)

superficial

(characteristic of

come by

conscious

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

Moore's

may have

to

"humanism', and some words of

flattered

widespread nostalgia

naturalism. In the evenl there has been

such a reaction
this period,

and the

in

Moore's

case,

his

lie

works
1

of
1

frieze for the

past

such as the lead helmets of [95O Plates 10 and

Time-Life building (Plates 64

as intransigeantly super-real or
in

evidence of

little

and some of

for

71

are

even 'abstract' as anything

work. Indeed, apart from the special!)

com-

Page from a notebook

195'

'

mystery,

human

of the

sublime Struggling
It

tooted

expression

to

the

in

chthonic,

of the

pagan death.

in a

be observed that there are proportionately fewer

will

drawings

in

volume, but as

this

explained

the Intro-

in

duction to the previous volume, drawings done for their

own
were

sake,
a

and not

solely as preliminary studies for sculpture,

war-time measure. Willi

opportunity

explained

demand
be
in

cast

return to normal supplies

has had

drawing. Anothe^"dirFerence

lor

proportionately greater
partly

Moore

of the sculptor's raw materials,

by

number

it

is

also

due

is

and

may

same model can

not the place for an academic discussion

and

Moore has given

sufficient

direct carving;

evidence of

and

distinctive qualities,

there are

Page from a notebook

951.

Moore was never

lacking

in

95

admiration of the 'great'

period of Greek sculpture - in one of His rare writings

speaks of the Archaic Greek gallery
'with

its life-size

ness,

grand and

in

female figures, seated

full like

in

the British

a few other isolated pieces there,

it

is

come

fundamental experience
understanding of some
in the pieces

life.

for

This

referring to

now no

visit to

the Attic-

in

Greece was a

Henry Moore, and

aspects of the

am now

ception of drapery,

to

Museum and

necessary, as has

frequently been said, to sec Greek sculpture

it

natural-

still

Handel's music". But magnificent

as are the Parthenon fragments

landscape to see

Museum

the British
in easy,

is

evident in a

new

made

tense

The

reminiscent of the archaic bronzes of the eight

and seventh centuries

on a body that

human. This
a

con-

and contrapuntal

by the hard outward thrust of the underlying volumes.

is

new

evident

ircck genius

longer a secondary rhythm, hut

a nervous integument, a veil

Warrior

lie

is

is

B.C.,

but the mythical head

sensuously

poised

modelled and poignantly

not an imitation of

new icon expressing

is

its

Greek prototype:

modern consciousness of

it

is

the (berk

XI

and

more temptations

to

if

ol

in

his belief in

the unique virtues of direct carving. But modelling has

own

be

aesthetic qualities of this

the relative merits of modelling

the past

now

to the sculptor's increasing interest

the technical resources

medium. This

the

economic laws of supply and

the

several bronze replicas of the

but

is

bronzes. This

ol

lime or

less

its

they are not abused (and

abuse

in this

medium

than

in

carving), then
fertile

its

expressive freedom

imagination.

Thus

is

an advantage

case of the school the sculpture

to a

some extent

the small bronzes to

additional

is

replace the independent drawings, as quick records of a

In the Time-Life building the sculpture

mood

structure. This

or an intuition;

they have far greater plastic

but

word of explanation should be devoted to the

on the Time-Life building. Here the artist had to
a problem in direct consultation with the architect

Kosenhauer).
screen for

The

frieze

is

functional in that

the terrace behind

the plan of the building.

make

it

Moore's original intention was

movable within

occasionally be changed,

merged

Moore's commissions

"I

it.

into the

be

to

to the screen (see Plate 68).

But

official

regulations

moorland

to

modern building
a series of

in the heart

modern

of

and

like

some

genius

malala in Padua,

how few

art,

great

work of

<

giving form and definition to

loci,

We

act of contemplation

thoroughfare.

is

It

if

we watch

the

Trafalgar Square, or Gatte-

glance up to the familiar figures.

an act that

group outside a County Council school (Plate

dramatically isolated

xn

but

is

its

essence to an

impossible in a busy

has some chance of recognition in a park

or garden: but attention

In the

in

normally associate monucities,

however, only yields

even a more significant development than the placing of a

i).

illustrated in Plates [8a

- one of Moore's most successful

people passing King Charles

Never-

this

18)

mental sculpture with crowded

London has been

sculptures,

is

and sculpture. The gaunt

of landscape

the prevailing atmosphere.

their

would not

fixed.

oi

creations during these last five years - emerges from the

and a sense of openness be given

countenance such an innovation, so they are

integration

bronze figure (Plate

provides a

it

- a terrace necessitated by

the four sculptural elements

decorated with

first

Another interesting possibility

the

frames, so that the pattern presented to the spectator could

theless, a

was the

is

architecture and sculpture.

Finally, a
frieze

could

executed which shows the possibilities of an integration

significance.

solve

it

be removed without a Heeling the architecture behind

in a

is

best induced

landscape.

when

it

stands

Photograph of the

Roga Wood
artist, it,-'

Mil

OBSERVATIONS BY HENRY MOORE

Notes on Sculpture

When

began

to

make

sculptures thirty years ago.

was

it

trained eye

very necessary to fight for the doctrine of truth to material

more

is

human

critical of the

because

figure

ourselves.

it

is

think that the most 'alive' painting and sculpture from

the need for direct carving, for respecting the particular

character of each material, and so on). So at that time

make

of us tended to
but

a fetish of it.

think

still

is

it

many

important,

now on

should not be a criterion of the value of a work -

it

snowman made by

otherwise a
praised at

the expense of a

adherence

to

master of

be

to

The

sculptor ought

'abstract

experimental

domination of the

in

is

is

the necessary foundation for a sculptor.

most complex and subtle and

and construction, and

so

it

and comprehension.

will pass

muster

there

who

present there
is

a natural

arc following past

difficult to

is

an art of the open-air. Daylight,

is

nature.

moderate

landscape or a

tree,

and

it.

distorts the forms in order to create space

its

best setting

would rather have a piece of

sunlight

is

and complement

my

sculpture put

figure
in a landscape,

almost any landscape, than

in.

or on, the

figure

most beautiful building

grasp in form

know

Reprinted from the catalogue of the exhibition of

ability to 'draw'

Henry

but even the un-

me

for

Mm, >e

at

the Arts Council

Some Notes on Space and Form

II

at

artistsj.

makes the most exacting form

for study

One

human
The human

opinion, long and intense study of the

in a

than ever

artists

Only, not a cruel master.

his material.

necessary to

my

be the

to

Sculpture

In

go more 'humanist', though

will

more

time-lag in the work of the majority,

Rodin or a Bernini. Rigid

the doctrine results

sculptor by the material.

would have

a child

are

in recession

the

Tate Gallery, published by

of Great Britain, ujji.

Sculpture

in

inhabiting a tunnel. Seen

in

plan the figure has

'pools' of space.
If

space

a willed, a wished-for element in the sculpture.

is

then some distortion of the form

is

to ally itself to the

space -

FORM FROM THF

necessary.

At one time the holes

own

sakes.

Because

in

right, the solid

my

sculpture were

was trying

spaces in the sculpture,

own

made

to

spaces

holes)

portant

than

the

Figure

think

aim.

What

other.

is

in

In

shell

\ S

IDF

OUTWA RDS

last

being

bronze

perhaps most obvious

legs,

into,

force,

made by

forms straining or pressing from

Knees, elbows, forehead, knuckles,

outwards.

and the

more

and

Hardness,
vitality.

projection

ilenehcd

if

Although carved sculpture

in-

if it

Reclining

some measure succeeded

in

ends by seeming

out of a larger mass,

this

this figure

looked at lengthwise from the head end through

end. and the arms. body.

inside.

its

is

fist,

all

seek to press

outwards, gives tension.

symbol of Power

of Force.

holding the hole.

the forms

neither

the

Force, Power,

become conscious of

make

to

inseparable,

have

mean

for their

body was encroached upon, eaten

have attempted

(not

made

the hole have a shape in

and sometimes the form was only the

Recently

I.

Tension and inner force offorms

to
it

is

approached from the outside.

be sliced or scooped into

will not

have

its

maximum

its

shape

sense of

bigness.

is

SCI

to the foot

LP

RF / V

////;

OPEN AIR

looks smaller than

when

seen in the enclosed spaces of indoors. Landscapes, clouds, the

elbows, etc. arc seen as forms

XIV

sky,

impinge on the sculpture and red nee

forms tend

minimum

seems thai

net lust. Ii

t<>

bulk

needed,

is

its

the

in

hulk

open

And

thin linear
air a certain

He must make

of the sk) and large distances.

s/'.

far side to

become such

sculpture should imi

I<

I-,

in

form

is

weak and impoverished.

.1

fetish thai the

slopping

ULPTORS' DRAWINGS

There

is

diagrammatic

drawings should be

the object

stuck on the

is

to set

flat

That

it.

an object

it

in space,

at

edges).

ils

necessary to give

It is

,1

not an

and

the possibility

it

an existence beyond the surface of the paper.

flat

anything breaking

shading,

the

plane of the paper, opens up a suggestion,

a possibility of SPACE.

surface of the paper with no

Reprintedfrom Eight

H.

it

European

Man -published by

II*.

Artists, by Felix

Heinemann

Ltd.,

London

- Melbourne - Toronto. August 1953.

with the ground, with gravity.

Notes on the Sculptures made

Ill

make

is,

draws capable of having

is,

space - and often nol even to connect

in

it

thai

it,

tyranny of the

any sense of a background

studies, withoul

behind the object or of any atmosphere around

attempt

the object he

Any wash, smudge,

a general idea thai sculptors

with space as

object in relief (only half an object stuck on the paper,

ol

much concerned

as

is

the painter.

with the greal spaces

to contrasl

\ei the sculptor

for the

Time-Life Building,

London
I

was asked

to

the

make

London, and a reclining

more
It

was decided upon,

made

Street,
as being

had

be

my

do a draped reclining

to

in

drawings during the

like

my mind to use drapery on sculpture in a

way than I had used it in my stone sculpture.

as a

shelter

this figure

it

could therefore, in

my

hoarding
first

thought

less

vertical.

was while thinking about

reen',

'S(

approached

welcomed

Bond

the

at

the chance of

'Reclining

this

me

and

terrace,

It

seemed

to

me

surface of the building -

for

and

is

it is

The

me

to

carve

thai
it

it

is

it.

which gives an interesting penetration of

from Bond Sireei makes it obvious that it
not a solid pari

ol

also

is

a screen

and

would only be

that

using the position only

poster.
I

because

rejected

repetition

of the

tried to

vary

this

and make

it

doing so the rhythms became too

in

maquette

rhythm but was

tried

to

dissatisfied

more
monotony

introduce a

with the

fourth maquette

became

thought was better and more

the definitive maquette, although

my

studio, preparatory to the

'Screen' being erected

on the building, there were other

changes -

the

it,

and

light,

rejected the idea

and regular a

the 'Screen', here outside

led

with a back as well as a front, and to pierce

to

In working on the four separate sculptural elements in

an obvious part of Un-

only a screen with space behind

rhythm

a further working model- produced other changes.

though

a continuation of the

building.

The fad

third

varied and so this

that the 'Screen' should look as

to give a

of the size of the forms.

working simultaneous!)' upon two

was part of the architecture,

the

horizontal

such entirely different sculptural problems.

it

symmetrical but

In

Figure'

about the sculptured

end of the

Street

on a stone

for sticking

too obvious

it

like

of the four maquettes

In the second maquette

as a contrast to the architecture of the building.

the architect

was

fenestration of the building.

opinion, be

have a value
It

my aim

and

me

of the sculptural motives which should

hanging up a stone picture,

more an individual and complete work in its own right.

In fact, being a more human and realistic work it would

that

sizes

harmony with the architecture.

some pictorial scene, for

The

placed on the terrace and stands

is

from the building,

and

a portrayal of

in

it

realistic

Because

doing

me

for

the perspective sketch of the building beside

four maquettes

the spacing

suitable to the proportions of the terrace.

more
free

Bond

building in

figure

was a good opportunity

figure, as ever since

war

With

a free standing piece of sculpture for

of the Time-Life

terrace

four

for

example,

sculptural

made

the openings larger to give

more individual

units

power and

importance.
I

the building.

conceived the idea that

on occasions, be turned,

xv

i.e.,

if

each of the lour motives could,

put

at

an angle

to the surface of

the building instead of continuous with

give

them mure sculptural

should turn continually

each

months, perhaps

this

was found too

to turn

two or three

and expensive

difficult

to

do

some future date

that at

an

was pleased

to

do two such large

the 'Reclining Figure

and

"^<

the

j>i<<

es oi

may be

liit<<

ture.

tdpture

i<

reen' for the

.1^

same build-

ing because of showing what can be the difference between

new relationship.

.1

hope

a )](o use this idea in sculpture connei ted with

seasons of the year, would

have created a new- interest for people and

However,

that late stage. Hut

thai they

have been able

once every

say

different

at

mean

don't

that

1 > 1 1 1

angles,

different

at

interest.

would

thai also

it,

free

standing sculpture and sculpture which

actually

is

attached and part of the building.

at

IV Notes on the Draped Reclining Figure

Drapery

played

drawings

made

learn then about

very

realistic

its

way than

sculpture

1940 and

in

sometime or other,

And my
to

94

drapery

had ever

helped to strengthen

commissioned

part

to

Greece

intention

do a reclining

took the opportunity of

began

figure

making

it

in

to

in

my

carved

be

with

form

breasts,

(almost

the crumpled

etc.,

like

it

can be pulled
bandage),

slackness of the

and

tight

by

my mind

was

to

connect the contrast of the

skin of the earth. (This analogy,

in

where

Although

static,

repose, but, as

si/es

it

think,

comes out

in close-

the drapery alone.

this figure

is

not

meant

to

be

in slack

were, alerted.

Reprinted from

across

the

catalogue

of

the

Open Air

Exhibition of Sculpture. Holland Park.

contrast

drapery which

is

heavy, with the form of mountains, which are the crinkled

Street.

the form pushes outwards, such as on the shoulders, the

the

from inside

pressure

of folds, here small, fine and delicate, in other places big and

be placed on

in a figure, for

the

a decorative addition, but can serve to stress the

up photographs taken of

Drapery can emphasize the tension

the

just

Also in

bronze.

thighs,

points,

sculptural idea of the figure.

was

draped figure

salient

Drapery can also, by its direction over the form, make

more obvious the section, that is. show shape. It need not

more

the

intensified.

1951 perhaps

New Bond

this

to

the intention,

... So when

the terrace of the Time-Life building,

I

me

between

shelter

in sculpture in a

tried to use

first visit

this

the

in

and what

function as form gave

to use

important

London.

"J54- published by the London County Council.

lies

XV]

BIOGRAPHICAL SUMMARY

Moore was born

Httiry

at Castleford,

Yorkshire,

ill

<
1

<

1898. lie studied at the Leeds School of Art, 1919

and

2i,

[926 he spent

25. In

until

ici-'5

1939

lie taught

Paris,

six

pan-time

1925-32, and then

Art,

1932

9.

During

months

made more

this

or

in

less

visits to

full

in

where he

still lives.

He

married Irina Radetzky

daughter Mary was born

[929; their

in

biography of the period up

Volume

1950

to

194H

K)4<>.

in

95

(148

the Arts Council of (neat Britain

a large bronze Reclining Figure lor the [951

Elected a foreign

Academy

member

of the Swedish Royal

of Fine Arts. Visited Athens.

1952

Commissioned
to

make

to

carve a screen for the facade and

a bronze Draped Reclining Figure for the ter-

race of the

new Time-Life

Building,

London: both executed 1952-3

I.

Commissioned

to

carve a Madonna

anil

and

Child for St

Took

after

sponsored by unesgo, and held

Church, Claydon. Suffolk: executed 1948-9,

a model (no. 222) made in 1943 (no. 270, plate

to

make

a bronze Family Group for the

ig53

1948

9, after

269, plate

model

(no. 239)

in

Open

London County

member

of the Royal Institute of British Architects. Elected

Member

Venice.

at the

Uni-

London. Reappointed a member of the

for a further term.

the International Prize for Sculpture at

Visited Brazil, Mexico,

New

York.

of the Royal

Fine Art Commission. Elected Honorary Associate

Foreign Corresponding

in

the 2nd Sao Paulo Bienal.

Air Exhibition of Sculpture, held at

Hattersea Park. Appointed a

7].

Rome, Venice.

Royal Fine Art Commission

Awarded
first

(no. 344, plate

Created Honorary Doctor of Literature

versity of

1945 (no.

1).

Served on the committee of the

Council

made

Street,

part in the International Conference of Artists,

Visited Florence,

Barclay School, Stevenage, Hertfordshire: executed

Bond

no. 336, plate 62).

Peter's

Commissioned

Mycenae,

Olympia, Corinth. Delphi.

2).
1

make

Festival of Britain (no.293, plate 22).

be found

will

Commissioned by
to

time he showed his work at six

one-man and many group exhibitions. In 1940 when

his London studio was damaged by bombing, he
moved to the house at Much Hadham. Hertfordshire,

Am-

and from

Italy,

annual

Chelsea School of Art,

at

Tate Gallery for a

sterdam. Berne.

Royal College of

at the

Trustee of the

further term of seven years. Visited Brussels.

Royal College of Art, London, [921

at the

Reappointed

of the

Royale Flamande des Sciences, Lettres

Academie
et

Beaux-

1954

Commissioned

New Town,

to

carve a Family Group for Harlow

Hertfordshire: executed 1954

model (no.227) made

Commissioned

to

in

5, after

1944 (no. 364, plate 84).

produce a design

for a relief in

Arts de Belgique.

brick for the facade of the Building Centre (Bauccn-

Awarded

trum)

24th
Venii

the International Prize for sculpture at the

Venice
e.

Biennale.

Visited

Florence,

Pisa,

in

Rotterdam: design completed and work

executed in 1955.
Visited Milan, Venice,

Rome, Rotterdam. Hanover.

ONE-MAN EXHIBITIONS

Ki|()

Wakefield. City Art Gallery. 53 sculptures and 73

Gfiteborg.

drawings.

the Riksforhundet lor Bildande Konst. 23

Manchester. City Art Gallery. 53 sculptures and 73

sculptures

drawings.

Austria.

Brussels. Palais des

Beaux

Arts. 53 sculptures

and

and

Music Xationale d'Art Modcrne, 53 sculptures

Amsterdam.

1953

Stedelijk

Museum. 53

Neue Galeric der

in/.

;i

drawings

Copenhagen. Kunstforeningen. 23 sculptures and

Oslo. Kunstncrncs Hus. 23 sculptures

Hamburg. Kunsthalle. 53

drawings.

sculptures and 44 draw-

and 30

Trondheim. Kunstforeningen. 23 sculptures and

sculptures

30 drawings.

Kunstsammlungen. 53

Bergen. Kunstforeningen. 23 sculptures and 30

and 44 drawings.

Berne. Kunsthalle. 53 sculptures and 44 drawings.

drawings.

Mexico

Rotterdam. Boymans Museum. 28 sculptures and

City. Galeria de Arte

Mcxicano. 34 drawings.

43 drawings.

Guadalajara. 34 drawings.

London.
Athens. Zappeion Gallery. 53 sculptures and

London. Tate Gallery. 73 sculptures and

Contemporary

Arts. 106

Antwerp. Comite voor Arlistieke Werking. 15

sculptures and 24 drawings.

i|'>

drawings.

Hannover. Kcstner Gesellschafi. 24 sculptures and

London. Leicester

Galleries. 17 sculptures

and 40

38 drawings.

drawings.
Berlin.

Institute of

drawings.

drawings.

1952

I.

44 drawings.

Diisseldorf. Stadtischen

95

Siadt

10 small bronzes.

30 drawings.

and

sculptures

ings.

and 30 drawings.

16 drawings.

and 44 drawings.
1950

the auspices ol

Stockholm. Samlaren Gallery. 24 sculptures and

drawings.
Paris.

Kunstmuseum. Under

Munich. Hans der Kunst. 24 sculptures and

Hans am Waldsce.

10 sculptures

and 67

38 drawings.

drawings.

Frankfurt. Stadclschcs Kunstinstitut. 24 sculptures

New

and 38 drawings.

York. Buchholz Gallery. 34 sculptures and 31

drawings.

Stuttgart. Staatsgalerie. 24 sculptures

Vienna. Albertina. Drawings.

drawings.

Sao Paulo.

Cape Town. National Gallery of South Africa

Van Ricbeeck Tercentenary Celebrations). 23

nial of

and 36 drawings.
Stockholm. Akademien. Under the auspices of the

sculptures

Riksforhundet

for

[954

Sao Paulo.

London. Leicester

2<)

II

International Bien-

sculptures and 40 drawings.

Galleries. 33 sculptures.

Mannheim. Kunsthalle. 24

Bildande Konst. 23 sculptures

and 30 drawings.
Norrkoping. Akademien. Under

British Section.

and 38

sculptures and 38

drawings.

Bremen. Kunsthalle. 24 sculptures and 38 drawings.

Berlin. Senat Pur Volksbildung. 24 sculptures

the auspices of

the Riksforhundet for Bildande Konst. 23

and 38 drawings.

sculptures and 30 drawings.

Gottingen. Stadtverwaltung. 24 sculptures and 38

Orebro. Akademien. Under

Riksforhundet

lor

drawings.

the auspices of the

New York. Curt

Bildande Konst. 25 sculptures

and 20 drawings.

and 30 drawings.

win

Valentin Gallery.

;.'

sculptures

SOME MIXED EXHIBITIONS

(948

Internationa] Exhi-

London. Battersea Park.

First

bition of Sculpture in the

Open

the

London County

Air.

tci

Organized by

Years of

Institute of

Modern

by the Arts Coun-

cil.

Recklinghausen. Ruhr Miners' International Fes-

Council in association with

tival.

the Arts Council of Great Britain.

London.

pieces: exhibition organized

Contemporary

Arts.

Fort)

'953
Art, 1907 47.

London.

Whitechapel

Art

Twentieth

Gallery.

Century Form.
Antwerp. Middelheim Park. Second Biennale of

1948-9

London.

Institute of

Years of

Modern

London.

New

Contemporary

Arts. 40.000

Sculpture in the

Art.

Air.

Organized by the City

of Antwerp.

Varese.

1949

Open

Burlington Galleries. Contemporary

Second International

Mirabello.

Exhibition of Sculpture in the

Council and

British Art: Collections of the Arts

Villa

Open

Air.

Hamburg. Alsterverland am Harvesterhuderweg.

the British Council.

International Lxhibition of Sculpture in the

Open

Air.
hi")

London. Battersea Park. Second

Exhibition of Sculpture in the
ized by the

International

Open

London County Council

Air.

954

Organ-

Exhibition of Sculpture in the

First

Open

hibition of Sculpture in the

Air.

Organized

in association

by the London County Council.

with the Arts Council of Great Britain.

Antwerp. Middelheim Park.

London. Holland Park. Third International Ex-

International

Open

Air.

1955

Organ-

Antwerp. Middelheim Park. Third Biennale of

Sculpture in the

ized by the City of Antwerp.

Open

Air.

Organized by the City

of Antwerp.

Arnhem. Sonsbeek Park. Third International Ex1952

Arnhem. Sonsbeek

hibition of Sculpture in the

Park. International Sculpture

Lxhibition.

Kassel.

London. Tate Gallery. Twentieth Century Mas-

tury.

xix

Documenta

I.

Open

Air.

Art of the Twentieth Cen-

2
1

BIBLIOGRAPHY
ihis bibliography, re| rinted aa

stands from the

it

editions

i:\ti

Is

"l

Volume

edition of ilns volume,

firsi
It

I.

pro* ides a

selet tion

MOORE

111

is

of matei

supplement
thai

ial

15

published

to the bibliography

the third

in

and fourth

appeared between 1948 and 1955.

AMSTERDAM, STEDELIJK MUSEUM,

llemy MoOTt

!'e<n

gantsetrd

Amsterdam, 1950. 15 pp.. illus.. 117 exhibits.

Statement by Moore: preface by Herbert Read. Variant catalogues, also printed b\ Lund Humphries, London, issued foi
exhibition at Paris 2)", at Berne reviewed in W,erk, August 1950,
i)i| suppl.
ai Alliens re\ iewed in Arts, Paris, No. 304, Mart h

doot the British Council,

was

])|>.

BILDHAt IK ANSTREBT,

HI R

40

Munich, No.

hcnui.

lupi.

,",.

illus.

message

in

s(

LPTt re, XX*

SiicU, Paris

n.s.

No.

1951

1.

ill

Ri 11.M.

SCULPTURE, Man.

review of the exhibition

Vol. 5 1, July 1951, pp. 95 anil 96, a

the Imperial Institute.

at

30, i<r,i. p. 8

pp. 59 70. illus.

'Par Adam. Pevsner, Arp, Moore, Marini.'

1.

etc.

arts council oi greai mum \i\. Sculpture and Drawing* by

Henry Moon- ... at the Tate Gallery, London, 1951, 20 pp. plus
plates.

Catalogue prepared by A.

Sylvester for exhibition on the

B.

1).

May

occasion of the Festival of Britain.

I

rBMOiGNAGE: l'espace, XX*

"952, PP- 74-78,

n.s.

SiicU, Paris

No.

2,

January

Moon-, pp.

interview with ark magazine,

vember 1952, pp. IO13,

THE SCULPTOR

No-

6,

illus.

Art

NcWS, Xl'M

September 22-28, 1952,

ference of Artists. Venice,

Paris,

18

Con-

ZAPPEION GALLERY, llemy Mrmie, March

Athens, 1951. Introduction by Herbert Read. Statement by .MoonIllus.. with
col. illus. and illus. cover.
tin Greek and English
67 exhibits.
Basel. KUNSTHALLE, AussteUung llemy Moore, Oskar Schlemmer
Jan. to 13 Feb., Basel, 1955,29pp..

ig

illus..

Biographical notes,

introduction by Herbert Read, statement by Moore. 88 exhibits.

Henry Moore: Izloiba. Skulpture, Iciteia. in first two, in Ljubljana,

ith

Skulptura

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.

Modema

Risba,

in

ZEHLENDORF.

20 BERLIN,

and elsewhere.

note by KareJ Dobida

Galerija

HAUS

WALDSEE,

AM

Zekhrumgen und h'leine Plastik. lustellung vom

BerlinZehlendorf, 1951. 20 pp., illus.
.

December

15, 1953,

and

pp. 9

texts.

BELGRADE, ZAGREB, SKOPLJE and LJUBLJANA, British Council Exhibition, from March to May 1955. Same catalogue virtually.
u

In Ghiselin, Brewster. The Creative Process,

Berkeley and Los Angeles, University of California Press, 1952,

Art,

Unesco,

notes on sculpture.

statement.

Notes by

York,

1954, pp. 97-102. See bibl. 22.

29.

Athens,

MODERN SOCIETY,

IN

London. No.

Ark,

Vol. 5, No. 6, November 1952, pp. 24-25, 64-65, illus.

Also published in The Artist in Modern Society, International

JuK

illus.

17
-,

4; bibliography, p. 7; 73 sculptures, 9(1 drawings.

llemy

Moore.

30. September.

bis

Henry Moons'. Geoffrey Grigson,

'Die Zeichnungen

10.

0.

pp. 3-12,

77 exhibits.

notes on sculpture, January

and

Brief notes on sculpture

logues) are

mentioned

1954. See bibl. 17,96.

the sculptor's aim untitled in cata-

21

Bern,

KUNSTHA1

in the final

item

British

in this section.

extract from letter to Canon Hussey, Northampton;

May 1954. No. 2. No. 5. p. 3.
the sculptor
California (Unesco

22

September 1954. pp.

Arts

11

ami

and 30-33.

BREHM, BRUNO, Das

plate

T,. 195'. PP-

alford, roberi

\ m., 'A Visit to Henry Moore'. Museum Notes,

Providence. R.I.. Vol. 9. No. 2. Jan. 1952. pp. [3 1], illus.
Also May 1952, p. [4]: 'Henry Moore's Bronze, Interior-

exterior'.

ALLAN,

ei.
3,

\\ AI.I.ovv.VY.

Review,

26

KAN.

Moon-

'Henry

195 3. pp.

16

,.

LAWRENCE,

London. Vol.

5,

and

carves

puzzle',

J"b'i

Hull.

9, \l.t\

das
43.

30, 1953, p. 4.

iiri

illus.

27

",

1950, pp. 83 90,

ssels,

'Moore's Apertures'. Art

Palais des
Octobre

Ministere

tie I'lnslrui lion

illus.

&

Co.

Wrlag.

/);;<>'.

March

1..

Paletten,

Goteborg, Vol.

11.

illus.

Dessins,

busch, Miii

Piper

R.

illus-

'.">

Sculptures

77 80,

<

L.

Text bv Herbert

31. illus.

'Sutherland and Moore". Ail News and

No.

1,

11DDY. 'Henry Moore'.

25 BRt nius,

No

Ebenbild,

MARGARET,

24 BREI NINO.

HOOKS. ARTICLES. CATALOCl IS

January

liv

beyer. oskar. Die Madonnen Henry Moons'. Ahnanach auf

Jahr des Herm 1952. Friedrich W'ittig Ycrlag. Hamburg, pp. 37

Munich,

See also 16, 67, 81.

tj

-com

by Herbert
Moore; [26 exhibits, 6 photographs, 1950.

Architecture,

23

12

icranstaliet

Introduction

illus.

modern society,

in

Austellung

lion.

Kunsthalle,

The

Country Churchman,

11

Mooie:

Henry

B,

Council und der

Read, statement
10

to

vi

t>)4<i-

s.

Brussels,

Publique, 1949. 39 pp..

Read; statements
'British

liv

Sculptor'.

llemy Moore,
Council and the

Exposition
British

illus.. 117

exhibits.

Moore.

Life,

January

10,

1947.

p.

rOWN, NATION Al

28 CAP!
\

iu

ing of Sculpture':

Moon

k<

GALLER1 Ol
nary festi\

l>\

Mil
K
AFRICA.
195a, "The MeanI

|i>

01

i<

/.

rich,

and Drawings by H
of catalogue lists 71 exhibits.

Rembrandt-Verlag,

Plastik dei Gtgenwart, Berlin,

1953, pp. 20 22,

203. 218, 222 223,

i'i!i

illus.

Built round the Sculpturt

lent by the British Council.

Introduction

Pari

II

47

oiedion-welcker, carola, Contemporary

edition, New York, Wittenbom, 1955.

48

HAMBURG,

Herbert Read. Statement In Moore, pp. 17 26,

Revised

Sculpture,

illus.

19

KUNSTHALLE and DUSSELDORF, STAdTISCHEN

nstsammi ungen: Henry Moore: Austellung von Skulpturen und

vKk. ki \\i 111, "Henrj

's Metal Sculpture', Magazine of
Art, New York, Vol. ||.M.i\ 1951, pp. 171 174, illus.
1

Moore;

onrads, iikicii, 'Begegnung mil lenry Moore', l>a\ Kunstwerk,

Baden-Baden, Vol. 4. NO. 8 9, 1950, pp. 70 75, illus.

Read, statement by

Introduction by Herbert

1950.

Zeichnungen,

cover,

illus., illus.

'-'

col. illus.,

10 exhibits.

pi

iPENHAGEN, KUNSTFORENINOEN,
January

Tegninger,

Henry Mooie, Skulplurer Og

Copenhagen, 1953. Introduction by

->;,.

Herbert Read. Statements

l>\

Moore. 16 pp.

50

53 exhibits.

illus..

HANOVER, KESTNER-CESELLSCHAFT,

HAUKELAND, ARNOLD, 'Omkring

i

JJ

ins/. LOUIS, 'Dynamic Dissonance'.

Young,

New

1952.

ai nil

Slraus and

d'arcy, m. a., 'I. 'Art Religieux en Angleterre', L'Art

xxmc Annee Numero 1. pp. 5 7. illus.

DEOAND, LEON, 'Henry Moore', Art

November 1949. pp. [1315], illus.
devree, Howard, 'Moore's
November 7. 1954, p. 10.

No.

Paris,

d'Aujourd'hui,

\.

Sculpture',

New

The

York

Times,

54

tre Billedliuggcres l.'tstilhuger

Symbol',

1949. pp. 34 37.

HENDY, Pint. II'. 'Henry Moore",

November 1949, pp. [8-12], illus.

MOORE

!<>(>

171.

6,

exhibition".

Britain

illus.

Art d'Aujourd'hui, Pans. No.

|.

1950, 51, 52, Domus, Milan, No. 279, F'ebruary

illus.

henrv moore purchase by cologne,

London. Vol.

36 digby, georgf. WINCFIELD, 'Meaning and

Kaber & Faber. London, pp. 61-105, illus.

June

>953j PP- 4 '-43-

Review ofBuchholz Gallery exhibition (212).

No.

12,

July 1954,

Art

News and

Review,

p. 3.

1955,

55 HODIN,

and

anielka, 'Englands Grosser Bildhauer: Henry Moore',

Illustrierte. No. 51, March 1950, pp. 16-17, illus.

37 elter.

With

illus..

September 1953, pp.

HENDY, PHILIP, 'Henry Moore: His new

Today, No. 158,

d'Eglise,

53 henry'
35

pp.

i<>

York.

52
;4

Oslo", Bonytt, Oslo. Vol. 13, No. 9,

Moore, Ausstellung

lenry

illus.

51

33

vom 5. Juli his j. August, Hanover, i<, r>;.

foreword by Alfred Hentzen. 68 exhibits.

J.

their

pp. 21-27,

i'..

'Recent Fiends

Origins',

in

Aesthetics

Contemporary English Sculpture

Art Number, Bombay,

International

illus.

Europaische

38 fai ki nstein, claire, 'Work of Henry Moore", Arts and

tecture, Los Angeles. Vol. 67. October 1950, pp. 24-26, illus.

56 HODIN, JOSEF P., 'Henry Moore', Kroniek van Kunst en

Amsterdam. Vol. 11, No. 1, January 1950. pp. -5, illus.

Archi-

57
39 FINNE,
19. No.

FERDINAND, 'Henry Moore'.

2

3,

[951, pp. [4-23],

With English

Hogarth, William,
London, Vol.

Kunsten Ida"., Oslo, Vol. 18

58

POURCADE, XAVIER, 'Henry Moore',

Elements,

No.

Paris,

59

Art,

New York,

m..

Vol.

'Film Review:
41!.

March

ci. iff, 'Henry Moore: nagra kritiska Anteckningar',

Gdteborg, No. 3, 1953, pp. 78 80, illus.

HOPWOOD, GRAHAM,

61

", 1

LIMBOUR, GEORGES, 'Deux Sculpteurs Henry Moore

I

les

Temps Modemes.

1329.

FRANKFURT, MANNHEIM, MUNICH, STUTTGART, BERLIN,

BREMEN, 061 riNGEN. British Council Exhibition, same catalogue

62

manuel

'Northampton und die

124,

Modeme

georges, waldemar,
Industrie, Paris,

)-,

'l.es

d'Henrj

Silences

January 1952, pp. 23 25,

gerstenberg,
das SchSne lleim.

illus.

ONDON,

I.e. A.,

Retrospective Exhibition of Henry

ki ki. 'Besuch bei

Munich, Vol.

,z.

No.

graphical note.

Kirchen-

Moore'.

Art

illus.

March

1954, pp. 2

London, Leicester galleries, New

Bronzes by Henry Moore,

February March 1954, 16 pp., illus.. with biographical note. Brief

bibliography. Note on Retrospective Exhibitions, etc.

,i

Henry Moore'. Die Kunst und

6,

Moore Draw-

by Robert Melville.

illus.

64
It

Adami',

No. 51, January 1930. pp. 1324

kunst'. Werk, April 4. 1949. pp. 122

&

63 i.ondon. Leicester galleries, Catalogue of an Exhibition of

new Bronzes and Diau inns by I lent y Moore. London, 95 1 16 pp., illus.
Inhibition No. 962, April 28-May 26, listing 57 works; bio-

exhibits.

oassik.

Paris. Vol. 5,

ings, 1952. Introduction

each: Henry Moore: Ausstellung :<m Plasliken und Zeichnungen veranstallet torn British Council, 1953 Folder. 6 pp., with biographical
note. Introduction by Herbert Read. Statement by Moore. Illus..
for

li

Art',

60 INGRAM, E. W., 'Sculpture'. C.W.M., Spring 1933 iRownlree

Co. Ltd, York, England), pp. 13, illus.

f>2

'The History and Appreciation of

Melbourne. 1953. pp. 78-79. illus.

Henry Moore', Magazine of

1953, p. 138.

Produced by John Read 3 reels. i(i mm, black and white, sound;
distributed by British Information Services. A record of the
bronze Reclining Figure 1950
from sketch to site; statement
by the artist about his work.
42

Architectural Review,

holden,

Supplement,

franc, helen

'Flcm'y Moore, 1753',

August 1950. p. 135, illus.

I,

January 1951.
41

108,

illus.

translation.

Paletten,

40

h'ultuur.

65

LONDON.

ROLAND BROWSE

AND DELBANCO, Henry

May 19JJ. pp.

Drawings. With Garbell paintings. April

217,

illus.

catalogue, exhibits 21

xxi

47

incl.

(drawings of 1928 1950).

Mont,
5 8 of

66 majstorovic,
95.>

ste\ \n.

54. lllus

5'

Pl>-

Icru

'

Moon-'.

Mozaik,

Yugoslavia,

nbwton, eric,

83

in Christmas Pie, 1947, pp. 97

100,

illus.

w ion. eric, /" My View, London. New Yoik. loionto. Long1.

mans, Green, 1954, pp. |t
Reprinted review of'Henrj Moon Sculpture and Drawings'.

84 ni
67 \i\n. Felix

Photographed and Edited by

Eight European Artists

11..

Ftlix II. Mini, with Original Contributions by the Eight Artists,

London.

Hcincniann. 1954.

[-'41). pp.. illus.

Text printed in three languages: English, French

and German.

85 nicol, in

Includes chapter [<>| on and l>\ Moore, with facsimiles ofMSS.

titled: 'Sonic Notes on Space and Form in Sculpture', 'Form
from the Inside Outwards', 'Sculptors' Drawings'.

Autumn

bear, 'The Metal Standing

p.

954,

86 osto. ki nsi ni i< s

II. Mai\. (
1 4. Februar
Same catalogue at
1

ill!

MANCHESTER, CIT^ \ri GALLERY,

Drawings, igsg 1046, June
logue details.

July

17.

Henry Mtinir: Sculpture and

111

s.

)slo.

Heni\ Moore: Sculptw

1953, 16 pp.,

No.

Qjust,

17.

illus..

53

og Tegninger

exhibits.

BERGEN and TRONDHEIM.

NATIONAL

mi ski

organisee par

MARTINELLI, VALENTINO, 'Sculpture modcrne all'aperlo'. Comtnentari, Rome. Vol. 4, No. 4, October December 1953, pp. 306317.

-.

1949. See Wakefield for cata-

87 PARIS,
il

Figure',

19. illus.

MODERNE,

ii'ahi

Heniy

British Council. Paris. 1949. 12 pp., illus.. <\- exhibits.

le

Illustrated cover. Quotations from the artist: Introduction by

Herbert Read. Reviewed by F. Stably, Werk, January 1950,

illus.

p. 7 (suppl.).

Footnotes refer to recent major European open air sculpture

in which
Moore has usually been represented:
Battersea Park 1948, 1951 1, Glasgow
949 1, Varese 1949. 1953),

exhibitions

88 FOLEY, JOACHIM. 'Ausstcllung lb ins Moore in Hamburg'. Das

Kunstwerk, Baden-Baden. Vol. (.No. ). 1930, pp. 59-61, illus.

Antwerp
70

(1950,

953), Sonsbeck (1952),

Hamburg

(19531.

89

MATHEWS,

DENIS, Sculptures and Drawings by Henry Moore".

News and Review, London. Vol. 3. No. 7. May 5, I95I, p. 3.
Review of Leicester Gallery show. 232.

PORTRAIT OE THE ARTIST: HENRY MOORE.

London. Vol.

Review,

Art

90 RAMSDEN,

mcbride, henry, 'Lour

71

New

transoceanic

Reputations',

York, Vol. 49, January 1951, pp. 26-29, 66,

Art

I.

No.

4.

MELVILLE, Robert. 'Henry Moore and

Sculpture: Theme and Variations Towards a ConLondon, Lund Humphries. 1953. 56 pp., illus.
Also her: 'Twentieth Century Sculpture'. London. Pleiades.

illus.

e.

11..

91

MEXICO, GALERIA DE ARTE MEXICANO,

Henry Moore, organizada por

el

Mexico

City,

92

1950.

7}

MIDOLETON, MICHAEL,
No.

75

1954. pp. 84-85.

2,

read. Herbert. 'The Dynamics of

illus.

MIDDLETON, michaei., 'Henry Moore',

95"). PP- 4-". illu s.
moore,

'954. PP. 36-39. illus

77

VCEil, No.

3,

March

15,

No.

October 1953.

York, Vol.

15,

No.

2,

ZADKINE ALL'APERTO,

5. PP-

">'

Le Biennale

di

95

Venezia, Venice,

p. 7. illus.

\it

sgrave,

No.

17.

Jit

b.

i.,

liliik in

'The Reclining Figure',

Winter 1952, pp.

Die Welt,

York.

i.'i).

230,

Heniy Mmnc.

jo Mci 12 Ju/i
Rotterdam. 1953. 20 pp..
With a statement by Moore and introduction by Philip

iboth of these in Dutch and English

Hendy

Hamburg. No.

cioRGio, 'La Testimonianza

4. Bologna. 1949. pp. i<> and

Anno in. No.

eeds Arts Calendar, \ ol. 5,

71 exhibits.

NEW YORK. BUCHHOLZ GALLERY, CURT VALENTIN,

December

sicao de

Moon'.

Sodalizm,

17. illus.

museu de arte moderna, Cr

4.

Obras de Moore. Richards. Evans.

'953- 8 pp.,

Scott.

Espo-

-Bretanha:

Can. Ileum. Sao Paulo.

illus.

'Organizado pelo British Council para a II Bicnal do Museu de

Arte Moderna.' Biographical note. 6g sculptures and drawings,
in all, 29 by Moore.

Henry

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'.
i

di

7. illus.

new vork. BUCHHOLZ GALLERY, CURT VALENTIN, Henry

Moore, March 6-31. New York. 1951, 14 pp.. illus., 65 exhibits.

98

SAUMEl
16, 1952,

mew york.

New
)

illu ---

Mnore, November

82

Georganiseerd door the Riilnli Council,

97 sao PAii.o.

80

(.., Sculpture of the Twentieth Century,

Art. 1953. pp. 24-25, 33-34. (i. 2

ROTTERDAM. BOYMANS MUSEUM,

96 ruggeri,
79

Modern

Statements, biographical note, bibliography.

MUNZ, LUDWIG, 'Henry Moore',

">"

of

illus.

February

illus.

78

ANDREW

94 RITCHIE.

moore
16,

New

Current Biography,

illus.

93 READ. HERBERT, The Philosophy of Modern Art. London. I'aber and

Faber, 1952; New York, Horizon, 1953.
Ch. xi 'Henry Moore", pp. 195-215. is reprinted from the introduction to the Lund Humphries edition of 1944.

'Brev fran London'. Konstrevy, Stockholm,

Museum
76

Art'. Eranes-Jahrbuch, N.NI.

Rhein-Verlag, Zurich, 1953. pp. 279-274,

exhibits,

41

illus.,

pp.,

Sculptme and Drawings, Third reand much enlarged) Edition, London. Lund Humphries; New
York. Curt Valentin, 1949. 350 pp.. illus.

Exposition de DibujOS de

British Council,

including photographs of sculpture.

Preface by G. Grigson. biographical note; 97 exhibits.
12

read. Herbert. Henry Moore,

vised

PP- "7-95-

illus.

the Siting of Public

Sculpture". Architectural Review, London. Vol. 115, February 1954.

NtWS and

Ail

jb. 1949, p. 25. illus.

temporary Aesthetic,

News,

1949, pp. 16, 19 20. 22, 36,

7-'

March

modern art, Masters Oj Modem Art,

Ban. Jr, .Ness York, Museum of Modern Art.
distributed by Simon and Schuster. I9",|. pp. 148 149. illus.

is.

No.

is m.,

'Una

\isita a

Henry Moore'.

Alcnro.

August

15, p. 7- '"us.

mi jEt m ni

Edited by Alfred

Moon'.
Munchen, September

99 schapire, or rosa, 'Heni\

II.

gang

XXM

Nummer

18

Die
1-,.

Weltkunst,

1953, p.

xxm

Jahr-

2. illus.

oomez, 'An

inn mi ki. [osi

1950, pp.

Critic

oil

a holiday', Americas, January,

10

VIENNA, ai.bkktin a, Henry Moore,

phik, Ausstellung, Novembet

19, illus.

V) pp.,
I.

-.1

Mil

No.

I.

\\

I1KMAR. 'lhlll\

May June

3.

11)51.

Moore', The Norseman, Vol.

pp. 183-187,

STOCKHOLM, AKAI1KM1K
boki;

111

also

KORKOPINO, OREBRO,

1.0111

[2

Henry Moore: Skulpturer och

Teckningar, 1952. British Council and Riksforbundct for Bildande
Kunsi. Introduction by Herbert Read. Biographical note. 55
British

Council

illus.

IX.

illus.

vre

e,

blad.

102

Zeichnungen KUirtpUutik (inDecember, Wien, Verlag Anion Schroll,

Exhibition,

Paul

de, 'Henry Moon-', Bouwen en Wonen, No,

Maart 1951. pp. 137

1 .)

\.

Maand-

illus.

vrinat, Robert, 'L'Evolution de la Figure coucl dedans I'CEuvre

de Henry Moore'. L'Age Nouveau, Paris, November 1949, |i'>| pp.,
illus.

Unpaged

insert; bibliography.

exhibits.

113
103

storey, benjamin. Una Rctrospettiva di Henry Moore', Emporium, Bergamo, Vol. Ill, Xo. 663, March 1950, pp.
13-118,
1

On

the exhibition organized by the British Council for

'In Mostra di Henry Moore

Xo. 656, August 1949. pp. 90-92, illus.

104

10,

STRACRAN,

W.

book', Image, 8,

J..

1952, pp. 3-16,

Vol.

114

Hafte

georg, 'Henry Moore',

Konstrevy,

Stockholm, 1951,

Sculpture', Britain

107 trier, ed lard, Modeme Plastik: Von Auguste Rodin

Marini, Berlin, Mann, 1954, pp. 63-64, 93, illus.

bis

TURNBULL, clive, 'The

Quarter, 1947, pp. 32-35,

109

Art of Henry Moore',

Today,

Kroniek ran Kunst en Kultuur,

goethe, jomann Wolfgang von,

Promethee : Traduction par

Andre Gide. lithographies de Henry Moore, Paris, Henri Jonquieres,
P. A. Nicaise, Editeur, 1950.
Limited edition; 183 copies; 8 colour lithographs. Reviewed by

R.M.-U.

Marino

Meanjin,

in Arts, Paris.

No. 311,

hawkes, jacouetta, A
London,

May

18, 1954, p. 4.

Land, with Drawings by Henry Moore,

Cresset, 1951, 18 col. drawings.

1st

illus.

underwood, Margaret,

ganymed prints of sculptors' drawings, London. Lund

Humphries, 1950. A series, including a coloured reproduction by
Moore.

117

108

No. 42. 1951,

BOOK AND MAGAZINE ILLUSTRATIONS BY MOORE

for a

4, pp. 184- 190, illus.

Sylvester, david, 'Henry Moore's

Xo. 215, March 1954, pp. 32-35, illus.

Varld,

illus.

illus.

116

106

widlund, agnes, 'Henry Moore', Damernas

Sweden, pp. 30-31,

115
105 svensson,

21.

European

a Wakefield'

'Henry Moore's Promethee, Experiments

Summer

Henry Moore : Sculptures and

i<i|<j. Foreword by A. I). B.
Sylvester. Quotations from writings by Moore. Note on exhibition
by David Braxandall. Biographical note. 88 exhibits.

May

Drawings, igs3-ig^.8, April 2

illus.

circulation. Also see

wakefield, ciTV art GALLERY,

118 ley,

'Vernieuwer der Beeldhouwkunst',

11, Xo. 1, January

Amsterdam, Vol.

'95. PP- 6-9. i"us.

19

is

All,

San Francisco, Grabhorn

and

moore, henry,

'Lithographie Originale',

XXlll

Murray' hickey, A

1953, frontispiece

95 1, facing

p. 69.

Press,

inside of jacket cover.

XX'

Siecle (n.s.),

No.

1,

CATALOGUE
This catalogue continues that printed

and Drawings 1921-1948.

The order

of 1955.

It

includes

more or

is

less

works of sculpture executed between 1948 and the beginning

chronological, but as with the arrangement of plates certain

works have been

related groups of

the Fourth Edition of Henry Moore Volume One - Sculpture

in

all

together for general convenience.

listed

maquettes and studies precede the definitive state of the work.

Any

In

the numbering,

casts taken from parts of the

f mshed sculpture follow that sculpture. Titles have in a few cases been modified, and should

be regarded

Except

as definitive.

in

the case of

the measurement given

reliefs,

is

now

always that of the

largest dimension.

Where no

collection

indicated, the

is

work remains

in

the possession of the artist's family.

case of bronzes, an artist's copy generally exists, but this

has been listed only

possible to

name

in

those exceptional cases

private

owners of bronzes only

information about ownership, and especially

editor, c/o

All

where

Lund Humphries,

in

is

not included

has

left

in

the

the size of editions, and

the artist's hands.

It

has been found

the case of important works, but up-to-date

museum

2 Bedford Square,

the sculptures are illustrated, either

in

it

In

acquisitions, will always be

London

WC

welcome by the

the main plate section, or

in

the pages of this catalogue.

Alan Bowness

259 Family group (plates

1948-9
H.60 in.

I,

273 Reclining figure (plates

la-e)

1949

also the

Bronze (edition of

R. Sturgis Ingersoll,

4)

Barclay School, Stevenage, Herts.;

Modern

Art,

New

Museum

of

New

274 Rocking chair No.

York

1950

269a Seated
1949

man

H.6I

Philadelphia

York; Tate Gallery, London;

Nelson D. Rockefeller,

26?a

8, 8a)

in.

(Executed af;er a maquette of 1945, No. 246)

Hornton stone

a maquette of 1945, No. 239

working model, No. 259)

(Executed after
cf.

L.30

H.I3

Bronze (edition of

(page xxiv)

(plate 6)

in.

6)

Private Collections

in.

(Special cast of male figure of 269, with

275 Rocking chair

modifications)

1950

Bronze, cast 1964 (unique cast)

H.I

No. 2

Bronze (edition of

Corpus Christi College, Cambridge

(plate 7)

in.

6)

Private Collections

Madonna and

270 Clayc!on

H.48

1948-9

Child

(plates

2,

2a)

276 Rocking chair No. 3 (plate

in.

(Executed after

maquette of

1943,

No. 222)

1950

5)

in.

Bronze (edition of

Hornton stone
St Peter's

H.I2;

6)

Private Collections

Church, Claydon, Suffolk

277 Rocking chair No. 4 - miniature (page xxiv)

271

Seated figure

1950

(plate 3)

1
H.5, m.

Bronze (edition of

1949
H.I7 in.
Bronze (edition of 5)
British Film Academy, London;

9)

Private Collections

and Private Collections

278
272 Seated figure (plate
277

1949

H.9

4)

Maquette
1950

H.

for

Helmet head No.

Lead

in.

Bronze (edition of

7)

Private Collections

xxiv

Airs A. Zwinger, Florida

plate 10a)

279

Helmet head No.

1950

H. I3j

(plates 10.

290 Standing figure (plates

Ob)

Bronze (edition of

Bronze, cast I960 (edition of 9)

W.

Tate Gallery, London; Cecil Higgins

Museum,

Maquette

2 (plate

la)

291

Double standing figure

Helmet head No.

2 (plate

Bart Lytton,

Salter,

2)

New York;
New York

North Rose,

College, Poughkeepsie,

I)

(plates 19, 19a)

in.

Bronze (edition of
L. J.

H.I34

H.87

1950

H.6i in.
Lead. Destroyed

1950

4)

Keswick, Shawhead, Dumfries;

Dr van der Wal, Amsterdam

1950

281

I8a-c)

Los Angeles

Helmet head No.

for

J.

18,

in.

Lead

Bedford; and Private Collections

280

H.87

1950

in.

Vassar

in.

Lead
292

Bronze, cast 1955 (edition of 9)

National Gallery of

New

St'adtische Kunstgalene,

and Private

1950

H.5

Bochum, Germany;

L.

for Reclining figure (plates 21 21a)

Bronze (edition of

interiors for helmets (plate 9)

1950

283 Small helmet head (plate

1950 H.4 in.
Bronze (unique

12

- second edition)

L.9i

in.

New

(page xxv)

York

1950

L.81

in.

Bronze (edition of

Openwork head No.

for

9)

Private Collections

292b Small maquette No. 2 for Reclining figure

cast)

Collection Curt Valentin,

Maquette

for Reclining figure

(page xxv)

Bronze (edition of

284

6)

292a Small maquette No.

in.

Lead

Ex

286

17 in.

Private Collections

Collections

282 Five figures

Maquette
1950

South Wales, Sydney;

9)

Private Collections

(plate 14)

1950

H.7

293 Reclining figure (plates

in.

Bronze (unique

1951

cast)

Bronze (edition of

Private Collection

22,

5)

Arts Council of Great Britain;

285

Openwork head No.

Musee

d'art

moderne, Paris; Dr van der Wal, Amsterdam

(plate 16)

Mrs H. Gates

1950 H.I5 in.

Bronze (unique

22a-e)

L.90m.

Lloyd, Haverford, Pa.

cast)

Private Collection

294 Maquette for Internal and external forms

286

Maquette

for

Openwork head and

(page xxv; also plate 13 1950

H.6

(plate 23)

shoulders

1951
H.7 in.
Bronze (edition of

edition)

first

in.

Bronze (unique
Ex Collection

Openwork head and shoulders

1950

H.I7

Cplate 15)

cast)

Dr van der Wal, Amsterdam

Maquette

for

Openwork head No.

(page xxv; also plate 12 1950 H.5f in.

Bronze (unique

Mrs

first

Working model
forms

and Private Collections

edition)

296 Internal and external forms fplates

1952-3
H.79 in.

cast)

Louise Baker, Greenwich, Conn.

Bronze, cast 1958 (edition of

Kunsthalle,

28V

Openwork head No
1950

for Internal and external

(plate 24)

1951
H.241 in.
Bronze (edition of 7)
Rhode Island School of Design, Providence;
Kunstmuseum, Basle; Art Gallery of Toronto;

in.

Bronze (unique

288

288

R. Sturgis Ingersoll, Philadelphia

295

287

7)

Private Collections

cast)

2. (plate

17a)

Hamburg;

Andrew Gagarin,

J.

A.

Litchfield.

25, 25a)

3)

MacAuley, Winnipeg;
Conn.

292a

H.I5in.

Bronze (unique

cast)

City Art Gallery, Wakefield. Yorkshire

297 Internal and external

forms

fplates 26, 26a-b)

1953-4

H. 103

Elm wood
Albnght-Knox Art Gallery, Buffalo

xxv

292b

298

Working model
1951

for Reclining figure

and external

(internal

308

I)

Bronze (edition of

H.7

1952

of Fine Arts, Montreal; Niedersachsische

corner sculpture No. 2

child:

(plate 37)

L.2I in.

Bronze (edition of 8

Museum

Mother and

forrris) (plate 27)

in.

9)

Private Collections

Landesgalene, Hanover; Kunslhalle, Mannheim;

Arts Council of Great Britain (extra cast):

and

309

Private Collections

Mother and

corner sculpture No.

child:

(plate 38)

1952

299 Reclining figure (external forms) (plates 28

m.

H.8.;

Plaster

28a-e)

1953-4

L.84

310

in.

Bronze, cast 1957 (edition of 6)

Art Institute of Chicago; Museum of Fine Arts,
Toledo, Ohio;

Museum

Mother and

corner sculpture No. 4

child:

(plate 39)

H.9

1952

of Fine Arts, Richmond,

in.

Plaster

Virginia; University of Freiburg; Galleria

Nazionale d'Arte Moderna, Rome; Guido de

Telia,

31

Buenos Aires

Family: maquette for corner sculpture

(page xxvi)
1952

300 Interior piece for Reclining figure (plate 29)

1953
H.84 in.

H.5

in.

Bronze, cast 1957 (edition of 9)

Private Collections

Plaster, unfinished.

Destroyed
312

Mother and

child

on ladderback rocking

chair (plate 42)

301

Animal head

1952
H.8i in.
Bronze (edition of

(plates 30, 30a)

LI2in.

1951

Bronze (edition of

9)

Private Collections

8)

Private Collections

313

302 Goat's head (plate 31)

H.8

1952

10)

Art Society);

helmet head

7)

and Private Collections

(plate 32)

314

1952

H.4 in.
Bronze (unique

on ladderback chair

Ferens Art Gallery, Hull (gift of Contemporary

Private Collections

303 Bar

child

1952
H.I6 in.
Bronze (edition of

in.

Bronze (edition of

Mother and
(plate 43)

Maquette
1952

cast)

H.8i

for

Mother and

Bronze (edition of

G. David Thompson. Pittsburgh

child (plate 40)

in.

9)

Private Collections

304

Helmet head and shoulders

1952

(plate 33)

315

H.6Jr in.

Bronze (edition of

Mother and
1953

10)

H.20

child (plate 41)

in.

Bronze (edition of 7

Privcte Collections

I)

Tate Gallery, London (extra cast); Joseph H.

Hirshhorn,

305 Relief

No.

1952
L.5 in.
H.4f in.
Bronze (edition of 7)

1952

No.
H.4i

York; and Private Collections

316 Half figure (plate 45)

1952
H.6J m.
Bronze (edition of

Private Collections

306 Relief

New

(plate 34)

2 (plate 35)
in.

L.4

Bronze (edition of

5)

Private Co//ections

in.

317 Standing figure

7)

1952

Private Collections

H.9i

No.

(plate 47)

in.

Bronze (edition of

9)

Private Collections

307

Mother and

child: corner sculpture

336a

1952

H.7

No.

318 Standing figure No. 2 (plate 46)

(plate 36)

1952

in.

Bronze (edition of

9)

Private Collections

XXVI

H.I

in.

Bronze (edition of
Private Collections

9)

330 Reclining figure

319 Standing figure No. 3 (plate 44)

1952

1952

H.8

Bronze (edition of

Bronze (edition of

10)

320 Standing figure No. 4 (plate 20)

331

H.9J m.

Bronze (edition of

Maquette

for Reclining figure

(plate 59)

1952

Three standing
1952 H.IOm.

Bronze (edition of

figures

1954

Three standing
1953

H.28

No. 4

(plate 60)
337

L.23

in.

Bronze (edition of 7)
Musee des Beaux-Arts,

7)

Private Collections

322

I)

Private Collections

for

(plate 48)

No. 4

in.

L.6.;

332 Reclining figure

Maquette

9)

Bronze (edition of

9)

Private Collections

321

3 (plate 53)

Private Collections

Private Collections

1952

No.

in.

L.8.1

Brussels; Joseph H.

Hirshhorn,

New

Pittsburgh;

and Private Collections

York; G. David Thompson,

figures (plate 49)

333 Reclining figure

in.

Bronze (edition of

1952

8)

Blanden Memorial Gallery, Iowa; Kunsthalle,

Bronze (edition of

Hamburg; and

Private Collections

Private Collections

No.

5 (plate 54)

in.

L.8i

9)

334 Thin reclining figure (plate 55)

No.

323 Leaf figure

1952

1953

(plate 51)

L.6

in.

Bronze (edition of

H.IOin.

Bronze (edition of

9)

Private Collections

9)

Private Collections

335

No. 2

324 Leaf figure

1952
H.IOin.
Bronze (edition of

(plate 50)

1952

No.

1952

Draped reclining

336

3 (page xxvii)

H.I9iin.

in.

L.6i

10)

Draped reclining
1952-3

Bronze (edition of

I)

Education Committee;

Museum

of Contemporary

L.62

figure (plates 62, 62a-d)

in.

Bronze (edition of

3)

T/me

London; City of Cologne;

Life Building,

Joseph H. Hirshhorn,

New

York

Madrid; and Private Collections

336a

No. 4

326 Leaf figure

1952

(page xxvn)

Head
1952-3

of

Draped reclining

H.I

Bronze (edition of

315

Bronze (unique

I)

cast)

of Contemporary Art, Madrid; and

337 Reclining figure

Private Collections

L.8i

1954

L.8

(plate 56)

No. 6

(page xxvii)

in.

Bronze (edition of

No.

327 Reclining figure

1952

figure (page xxvi)

m.

(Part of No. 336)

H.I9in.

Museum

12)

Private Collections

in.

Bronze (edition of

9)

338

Private Collections

Draped torso
H.35

1953

328

figure

Private Collections

Jesus College, Cambridge; Leicestershire

Art,

for

Bronze (edition of

9)

Private Collections

325 Leaf figure

Maquette
(plate 61)

Maquette

for Reclining figure

(plate 57)

1952

L.9i

Bronze (edition of

No.

(plates 63, 63a)

in.

Bronze (edition of

4)

Ferens Art Gallery, Hull; Sir Robert and Lady

in.

Abdy, Newton Ferrors, Cornwall; Stead H. Stead

1)

Private Collections

Ellis,

Sparkford, Somerset; A. K. Solomon,

Cambridge, Mass.

No. 2

329 Reclining figure

1953

L.36

Bronze (edition of
Gallery of

(plate 58)

in.

Modern

the National Collections of Ireland);

Art Gallery;

339

7)

Art, Dublin (gift of Friends of

and Private Collections

Winnipeg

Time

Life screen -

maquette No.

(plate 64)

1952

H.7

326
in.

L. 13 in.

Bronze (edition of

9)

Private Collections

XXVII

340

Time

maquette No.

Life screen -

346 Seated
1953

(plate 65)

H.7 m.

1952

L.I

Bronze (edition of

woman

on bench

Bronze (edition of

in.

(plate 75)

H.8} m.
9)

Private Collections

9)

Private Collections

347 Seated figure (plates 77, 77a)

341

Time

maquette No.

Life screen -

1952-3

H.7

1952

H.4I

in.

Terra-cotta

(plate 66)
in.

Museum

L. 13 in.

Bronze (edition of

of

Modern

Art,

New

York

(gift

of

G. David Thompson)

9)

Bronze, cast 1963 (edition of 5)

Private Collections

Private Collections

maquette No.

342 Time/Life screen -

(plate 67)

H.7 m.

1952

348

L. 13 in.

Bronze (edition of

Maquette
1952

9)

H.9

for King and

in.

Bronze (edition of

Private Collections

Queen

(with frame H.IOi

(plate 79)

in.)

10)

Private Collections

working model

343 Time/Life screen -

H.I5

1952

in.

L.39|

Bronze (edition of 9
Time

New

Life Building,

1952

in.

York; Smith College

Britain (extra cast);

H.5

Museum

of Art,

349a Study for head of

1952

H.82

in.

Life Building,

(page xxviii)

4)

Private Collections
L. 318 in.

350 King and

Portland stone

Time

Queen

in.

Bronze (edition of
344 Time/Life screen (plates 69-74)
H.I 20

10)

Private Collections

Life Building,

and Private Collections

overall size:

(plate 78)

in.

Bronze (edition of

I)

London; Time

Northampton, Mass.; Arts Council of Great

1952-3

Queen

349 Study for hands of

(plates 68, 68a)

1952-3

London

Queen

H.64i

(plates 80, 80a-i)

in.

Bronze (edition of 4

I)

Middelheim Park, Antwerp; Tate Gallery, London

345 Seated figure (plate 76)
1952

H.8

(extra cast);

Bronze (edition of

York

9)

Bishop Otter College, Chichester, Sussex;

and Private Collections

349a

3SI

W.

J.

Keswick, Shav/head, Dumfries

David Astor, London; Joseph H. Hirshhorn,

in.

356

New

352

351

Head

of King (page xxviii)

(Part of

1952-3

354

No. 350)
22

Hand

relief

1952

H.I3

No.

in.

(page xxix)

L.I3

in.

Bronze, cast 1956 (edition of

in.

Bronze, cast 1962 (unique cast)

10)

Private Collections

Arts Council of Great Britain

355
352

Hands

of King (page xxix)

in.

and 10^

Bronze (unique
353

Hands

of

relief

1952

H.I2

No.

in.

cast)

Queen

(page xxix)

356 Small head (page xxviii)

1953

1952-3

Bronze (edition of

in.

each

Bronze (unique

6)

Private Collections

in.

(Part of No. 350)

2 (page xxix)

L. 13 in.

Bronze, cast 1963 (edition of

(Part of No. 350)

1952-3

Hand

H.3

in.

10)

Private Collections

cast)

354

355

357

Maquette

Warrior

for

1952-3

(plate 81)

Bronze (edition of

H.7J
1

with shield

in.

1)

8/onden Memorial Gallery, Iowa; and Private

Collections

358

Maquette

Warrior

for

without shield

(page xxx)

1952-3
H.7J in.
Bronze (edition of

9)

Private Collections

359 Warrior's head (plate 82)

1953
H.IOin.

Bronze (edition of

Museu de

8)

Arte Moderne, Rio de Janeiro;

Musee

des Beaux- Arts, Brussels; Joseph H. Hirshhorn

361

New

358

360

York; and Private Collections

Warrior with
1953-4

shield (plates 83, 83a-g)

H.60in.

Bronze (edition of

5)

City of Arnhem, Holland; Art Gallery of Toronto;

Minneapolis Institute of Arts; City Art Gallery,

Birmingham, England; Kunsthalle, Mannheim

361

Maquette
plate 52

1954

for Seated torso (page xxx; also

first

H.5

edition)

in.

Bronze (edition of

9)

Private Collections

362 Seated torso (plate 52 - second edition)

1954

LI9in.

Bronze, cast 1956 (edition of 9)

Private Collections

362a Stringed figure (page xxx)

1953

H. 144

in.

Elmwood and

string.

Destroyed
363 Bird table (page xxx; also plate 84 -

first

edition)

1954

H.6I

in.

Terra-cotta plus

364

concrete cast

Harlow family group

second edition)
1954-5 H.641

(plates 84, 84a-c -

in.

(Executed after a maquette of 1944, No. 227)

Hadene stone
Harlow Art

362a

363

xxx

Trust,

Harlow

New

Town, Essex

Family Group

269) bronze (60

in.)

1948-9

la

Back view of

lb

In situ at

Ic

Barclay School, Stevenage, Herts.

In situ at

Barclay School, Stevenage, Herts.

Id

Detail of

le

Detail of

2a

Detail of 2

Claydon Madonna and Child

(270)

Hornton stone (48

in.)

1948-9

Seated Figure

(271) bronze (17

in.

1949

Seated Figure

(272) bronze (9

in.

1949

o
in

z
L.

'ii

U
M
O

rsl

z
L
'

X
V
M
c
5u
o

a.

00

C
o

s
(^

o
m
v
c
o
c

3
00

c
u
an

10a

Five Figures (Interiors for helmets) (282)

Maquette

for

Helmet Head No.l

1950

lead (5 in.)

(278)

lead (5J in.) 1950

la

Maquette

for

Helmet Head No.2

(280)

lead (6i in.) 1950

II

Helmet Head No.2

(281)

lead (13*

1950

10

Helmet Head No.l

(279)

lead (13$ in.)

1950

Ob

Back view of 10

12

Small Helmet Head

Plates 12

and

13

(283)

from the

first

bronze (4

1950

in.)

edition of this

volume now appear

Plate 12 in this edition did not appear in the first edition.

There

in
is

the catalogue section:

no Plate

13 in this edition.

14

Maquette

for

Openwork Head No.

(284)

bronze

1950

(7 in.)

15

Openwork Head and Shoulders

(287)

bronze (I7{

in.)

1950

16

Openwork Head No.l

(285)

bronze

15 in.)

1950

17

Openwork Head No.2

(289)

bronze (15^

in.)

1950

17a

Side view of 17

18

Standing Figure

(290)

(in situ at

Shawhead) bronze (87

in.)

1950

18a

Another view

of 18

^
.O
CO

o
-:

>

o
c

<

19

Double Standing Figure

(291)

bronze (87

in.)

1950

19a

Detail of 19

20

Standing Figure No.4

'320)

bronze

(9J in.)

1952

21

21a

Maquette for Reclining Figure

Another view of

21

(292)

bronze (17

in.)

1950

3
00

C
u
V

o
c

<

22d

Detail of 22

22e

Detail of 22

23

Maquette

for Internal

and External Forms

(294)

bronze

(7 in.)

1951

24

Working Model

for Internal

and External Forms

(295)

bronze (24j

in.)

1951

25

Internal and External

Forms

(296)

plaster (79

in.)

1952-3

25a

Deta.lof25

v;

ink"

I
i

26

Internal and External

Forms

(297)

elm wood (103

in.)

1953-4

26a

26

in

progress

26b

Detail of 26

on

00

E
c

X
XI

3
00

00

0.

a:

v
o

00

c
o

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o

3
00

00

41

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c

<

ftfd

J2
Q.

<u

Q
00
(S

if.

Q
u
00

'

1/

28e

Detail of 28

(in plaster)

29

Unfinished Interior Piece for Reclining Figure (300)

plaster (84 in.)

1953

30

Animal Head

30a

(301)

bronze

(I

2 in.)

Another view of 30

i95l

31

Goat's

Head

(302)

bronze

(8 in.)

1952

32

Bar Helmet Head

(303)

bronze

(4<s in.

1952

33

Helmet Head and Shoulders

(304)

bronze (6^

in.)

1952

34

Relief No.l (305)

35

bronze (4f

Relief No.l (306)

1952

5 in.)

bronze

(4*

in.)

1952

36

Mother and Child: Corner Sculpture No.l

(307)

bronze

(7 in.) 1952

37

Mother and Child: Corner Sculpture No.2 (308) bronze

(7 in.)

1952

38

Mother and

Child: Corner Sculpture No. 3

309)

plaster (8i

in.)

1952

39

Mother and Child: Corner Sculpture No.4

(310)

plaster (9 in.)

1952

40

Maquette

for

Mother and Child

(314)

bronze (8^

in.)

1952

41

Mother and Child

(3

5)

bronze (20

in.)

1953

42

Mother and Child on Ladderback Rocking Chair

(312)

bronze (8i

in.)

1952

43

Mother and Child on Ladder-back Chair

'313)

bronze (16

in.)

1952

Z
u
3
00
00

3
BO

CM
in

o
L.

J3
L.

O
o

00
00

c
00

in

-jf-*

4
^-*:

/
.

48

Maquette

for

Three Standing Figures

(321)

bronze (10

in.)

1952

>_

49

Three Standing Figures

(322)

bronze

(3

SO

Leaf Figure No.2 (324) bronze (10

in.)

1952

51

Leaf Figure No.

(323)

bronze (10

1952

52

Seated Torso

(362)

bronze (19;

in.)

1954

53

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

54

Reclining Figure No. 5 G33) bronze (8^

in.)

in.)

1952

1952

55

Thin Reclining Figure

(334)

bronze

(6 in.)

56

Reclining Figure No.

(327)

bronze

(8 in.)

1953

1952

1/1

(S

Z
v
L
3
BO

00

u
E

o
V
*J

V
3

V
z
It

Z
41
L.

3
OS

DC

rM
in

z
3
60

as

u
v
tc

4)

-w
w
41

a
a
I

IT)

Z
3
00

OS

CM

CL

3
00
00

y
v
a.

oD
a

4)

1/1

3
00
00

41

o
Q.

(1

SO

o
V

o
c

<
J3

01

Q
u

63

Draped Torso

(338)

bronze (35

in.)

1953

63a

Another view of 63

64

Time

Life

Screen-Maquette No.l

(339)

plaster

(7x

13 in.)

1952

w>
t-i--

mmm-

65

Time

Life

Screen-Maquette No.2

(340)

plaster

(7^13

"

in.)

*-

"

"*

1952

k.

d*

fj
1*1

66

Time

Life

Screen-Maquette No. 3

(341)

plaster

(7x

67

Time

Life

Screen-Maquette No.4

342)

plaster

(7x13

13 in.)

in.)

jl

1952

1952

r-M
1/1

01

T>

r
00

c
01
L.

01

01

n
00

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Q-

D
i

c
01
01
L.

u
10

01

rsi

oi

c
41
01

u
u

CO

01

-o

1/1

D
c
01

01

J!

3
41

-.1

o
Q.

m
w

4)

1j
41

c
CO

o
o
c

t
o

Q.

?
C

s
i.
u
I/)

41

75

Seated

Woman

on Bench

(346)

bronze

(8

!9S3

76

Seated Figure

(345)

bronze

(8 in.)

1952

77

Seated Figure

(347)

terra-cotta (41

in.)

1952-3

77a

Detail of 77

78

Study for Hands of Queen

(349)

bronze

(5 in.)

1952

79

Maquette

for King and

Queen

348)

bronze

(9 in.,

with frame

10;,

in
|

1952

80

King and Queen

(350)

bronze (64^

in.)

1952-3

80a

Another view of 80

80b

80c

Views of 80

situ at

Shawhead

80d

80e

/iews of 80

in situ at

Shawhead

80f

Detail of 80

80g

Detail of 80

X
o
00

Q
s

81

Maquette for Warrior with Shield

'TiWI)

bronze 7

1952-3

82

Warrior's Head

'359)

bronze (10

in.)

1953

DO

2
.*!

!c
</)

x
b

o
'Z
L.

CO

5
01

I/)

u
oo

s
41

10

00

Q
o

QO

CI

Q
v
oo

Bi

83g

Detail of 83

84

Harlow Family Group

(364)

Hadene Stone (64^

in.)

1954-5

84a

84b

Detail of 84

..ijiji)
1

lililltilillitjiililll!
84c

Detail of 84

Illltlllllllllililili

111111

85

Three Standing Figures (drawing

Collection: Waller Haas. N.Y.C.

for metal sculpture)

watercolour and chalk (19

1951

"a

Dc

n
at

CO

c
E
o
o
*

o
o

M
c
c
c
il

E
o

"3

-o

ID

C
<u

a.

a.

3
o
L.

I
00

C
c
ID

a
3

o
L.

$ 2

1/1
tft

'

3
iZ

<*

o
o
u
l_

?
00

3
00

to
a-

Mo
n
v

J5^
(LI

U
BO
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2
EC
-

O-

95

Seated Figures chalk and watercolour

\i

9i

in.)

Collection: David Popper, Rickmansworth, Herts.

1951

96

Seated Figures chalk and watercolour

(I

<9\

in.)

Collection: Ronald Crichton

1949

97

Basket Heads and Figures chalk and wash

(I

in.)

Collection: Heritage Gallery, Los Angeles

1951

98

Standing Figures

chalk, crayon

and wash (25 x 22

in.)

Collection: Gallery of 20th Century Art, Berlin

1951

^w

99

Metal Standing Figures chalk and watercolour

rx~jk\

(I |i

x 9+

in.)

*-

Private collection

j*s*~jL W^-w^t-r

1951

100

Sketch for Reclining Figure pen and wash

(I l

/9

in.)

Private collection

1950

101

Leaf Figures

103

Helmet Head

102

1951

pen, crayon and watercolour

(1

1^x9^

(Interior Exterior

in.)

Private collection

Forms)

chalk and

wash

5j

22 4

Leaf Figures
pen, crayon and watercolour

in.)

Private collection

1951
(I

Ix9

in.)

Private collection

1950

104

Seated and Standing Figure chalk and wash

in.)

Collection: Felix

Man

1951

105

r j^

Helmet Heads

i]

U(

\{L*Jl*>

chalk and wash (11^ -9'

in.)

Private collection

1951

106

Head

of

Prometheus (drawing

for lithograph)

chalk, watercolour

and pencil (I3| x I0

in.)

Collection:

Mrs

Irina

Moore

1951

r\oo

107

Sculpture

in

Landscape

chalk, pen and watercolour (16 x 22 in.)

Collection:

Andrew Revai

1951

t.

-*>

_.

108

Sculpture

in

Landscape

chalk,

pen and watercolour (23

I9.|

in.)

Collection:

Graham Greene

109

Three Crows crayon

(I lj

9^

in.)

Collection:

Andrew

C. Ritchie,

New

York

1951

r\yr~<~-*-

10

Family Group cont6 crayon

(14 x 14

in.

approx.)

Private collection

1952

o
o

X
uj

8
0>

<
00

0.

o
o

<
V)

3
O
3

-O

o
x

0)

0)

14

Reclining Figures pen and wash

(I

9i

in.)

1954

115

Reclining Figures cont6 crayon

/ 9\ in.)

1954

<;

-U
'

1
'

116

Centaur

pencil

(I

Ix9|

in.)

1954

HENRY MOORE:
Sculpture and Drawings

Volume

(192 1 1948)
Fourth revised edition
i

Edited by David Sylvester

Introduction by Sir Herbert

Previous editions of this

first

Read

volume of the

standard work on Britain's most eminent

sculptor have established for themselves a

high and world-wide reputation.

The fourth
much

completely revised edition contains

new

material and includes an illustrated

catalogue of all the sculpture of the period.

The 400

reproductions (among which

frontispiece in colour collotype) include

than 140 new plates,

is

more

many of them

illustrating sculptures or

drawings which

were previously unpublished.

Volume

3 (1955- 964)
Edited by Alan Bowness
Introduction by Sir Herbert
1

Read

This new third volume of the standard work

gives a

pictorial

full

account of

Henry Moore's work during

It reveals, far

the last decade.

from a slackening

in style or

output, a remarkable development and

an incredible richness and variety of

production.

The volume

will

be eagerly

sought by those who.already possess Volumes

1

and

2. It

essential
in the

contains 180 plates and the

apparatus that has become familiar

previous volumes, including a complete

catalogue of the sculpture, with illustrations

of every work.

The book opens with

a superb

double spread frontispiece produced by

colour

offset.

Approximately 4. 10s

Published by

Lund Humphries

<