Welcome to the Henry Moore Archive Catalogue

A history of the British Council focusing on their exhibition programme "as an ambitious act of cultural dialogue".
References to Moore in chapter 2, Avant garde ambassadors.
Page 68 'Building the collection' includes reference to War Artists' Advisory Commission and the British Council's acquisition of shelter drawings.
Page 82 'The Sculpture of Henry Moore' includes reference to the first purchase in December 1947.
Page 85 'Moore in Venice' focusing on the British Pavilion at the Venice Biennale.
Page 88 'Moore in Mexico'.
Page 91 'Moore in Greece'.
Page 94 'Sculptor as Cold Warrior' Moore exhibitions travelling across Europe to the fringes of the Iron Curtain.
Chapter 7 'Art for a dangerous world'.  
Reference to Mary Moore on page 296 'Boundaries and limits'.

A guide to walking trails around Harlow.
Known as "Britain's first Sculpture Town" the trails encompass the collection of sculptures around Harlow including two works by Henry Moore.
References to Moore on:
Page 10. Moore's Harlow Family Group 1954-55 (LH 364) in the Civic Centre.
Page 11. Moore's Upright Motive No.2 1955-56 (LH 379 cast c) outside the Civic Centre.

Monograph on the journal Signature, and its influence on British art. Mentions of Moore throughout, with four illustrations of his works on paper which were reproduced in Signature and in the Penrose Annual.

Academic study on the minds and hearts of people who draw, seeking to answer the question: What does obervation drawing mean in the lives of those who practice it? Two black and white illustrations show:

Page 102: Fig. 7.1 Man Drawing Scene Through Window 1982 (HMF 82(40)) within the chapter Withdrawing from Others. Accompanying text on facing page exploring the "privacy" within the act of drawing.

Page 133: Fig. 10.1 The Artist's Hands 1974 (HMF 3215a verso)

Handsome monograph exploring the largely overlooked body of work Moore produced for the War Artists Advisory Committee when he documented working life for British Coalminers during the Second World War. Book divided into six chapters:

Pp.20 – 30 Chapter 1: WAAC and the Coalmining Commission – Working for the WAAC; The Commission; The Colliery.

Pp. 31 – 54 Chapter 2: ‘Down the Pit’ – The Visits; The Photographer; The Sculptor as Mineworker; The Artist as Reporter.

Pp. 55 – 89 Chapter 3: Developing the Drawings – The Coalmining Sketchbooks; Drawing Technique; Figure Compositions.

Pp. 90 – 109 Chapter 4: Context and Influences – The Mediterranean Tradition; The First World War.

Pp.110 – 119 Chapter 5: The Coalmining Drawings – Final Drawings; Reception.

Pp. 120 – 149 Chapter 6: Enduring Influence – Book Illustrations 1943-51; Sculpture; The Black Drawings.

Portuguese edition of Art and Social Change: A Critical Reader (0020998).

Collects an international selection of artists' proposals, manifestos, theoretical texts and public declarations that focus on the question of political engagement and the possibility of social change. pp.100-105 is the text of the British Surrealist Group's 1938 pamphlet "We Ask Your Attention", signed by Moore along with 14 other members. One of the images on the cover, no.1, shows surrealist artists marching in the 1938 May Day procession, carrying placards that read "Chamberlain must go" and wearing masks of Neville Chamberlain's face designed by F. E. McWilliam.

Book on the representation and re-interpretation of landscape in British art, 1943-1967. Several mentions of Moore's sculpture, including specific mention of the Family Group at Barclay School, Stevenage, the Harlow Family Group, and Draped Seated Woman in Tower Hamlets (all illus.). Also mentioned in connection with Moore is Trevor Tennant's Gulliver, described as being based on Moore's reclining figure sculptures. Discussion of the postwar demand for Moore's work as public art; his early association with CND, and the parallels between his reclining figures and Bill Brandt's abstract nude photographs.

Book of artworks depicting cats in the Tate's collection. Moore's Tiger (CGM 644), from the Animals in the Zoo portfolio (POR 61), is illustrated (p.52) with brief comments.

pp.282-283: in Alexandra PARIGORIS' chapter on marble in the 20th and 21st century, discusses Moore's response to Constantin BRANCUSI's marble sculptures, and illustrates the marble Suckling Child (LH 96).