Henry Moore Artwork Catalogue
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"Baltimore"
0007595
Publisher: Baltimore Museum of Art
Place Published: Baltimore
Year: 1955
Date & Collation: 93pp.Illus.Introduction by Adelyn D.BREESKIN.
Description: 72(1 illus): Henry Moore: Reclining Figure, 1938 bronze.
Title as printed: 200 Objects in the Baltimore Museum of Art: a picture book.
Title as printed: 200 Objects in the Baltimore Museum of Art: a picture book.
0015245
Author/Editor: ISEPPI Lorenzo.
Publisher: L'Informatore del Marmista
Place Published: Verona
Year: 1992
Date & Collation: (Sept) 146,148-149(7 illus).Text in Italian.
Description: Conception (Large Reclining Connected Forms, 1969 and 1974 Roman travertine marble) is temporarily back in Italy for restoration work at Sem Ghelardini laboratory Pietrasanta. Many of those who will work on it are the same people who originally executed it from Moore's maquette.
0009665
Publisher: Baltimore Museum of Art
Place Published: Baltimore, Md.
Year: 1966
Date & Collation: .4pp.
Description: 18 September 1966 press release, which includes a list of the twelve Bronzes 1937-1963 on display. The exhibition lasted until 9 October 1966, and coincided with Trade with Britain Week. A two-page press release of 19 September 1966 documented four Films on Henry Moore to be Shown at the Baltimore Museum of Art.
0013372
Publisher: Washington Post
Place Published: Washington, D.C.
Year: 1990
Date & Collation: (1 September)..
Description: News note that Reclining Connected Forms, 1969 bronze (also known as Conception) was sold at Sotheby's and will leave the Baltimore Convention Center for Paris. The work was given to the Maryland Institute College of Art in 1980 by the U.S.F. & G. Corporation.
0009643
Publisher: American Federation of Arts
Place Published: New York
Year: 1965
Date & Collation: (July)-1966(July).12pp.47 plates of illus.Introduction by Elaine Evans DEE.
Description: Exhibition of 53 works by 53 artists sponsored by the Samuel H. Kress Foundation. Selected by Elaine Evans Dee, organized and circulated by the American Federation of Arts. Also at National Gallery of Art (Washington, D.C.); Museum of Art, Indiana University (Bloomington, Ind.); Baltimore Museum of Art (Baltimore, Md.); Allentown Art Museum (Allentown, Penn.); Museum of Art, University of Michigan (Ann Arbor); Allen Memorial Art Museum (Oberlin, Ohio); Krannert Art Museum, University of Illinois (Urbana, Ill.).
Exhibit 41(1 illus) Henry Moore: Coalminers, 1942 drawing.
Title as printed: 19th and 20th Century European Drawings.
Exhibit 41(1 illus) Henry Moore: Coalminers, 1942 drawing.
Title as printed: 19th and 20th Century European Drawings.
0007869
Publisher: Walters Art Gallery
Place Published: Baltimore, Md.
Year: 1953
Date & Collation: (28 Feb-22 April).32pp.Illus.Foreword by Elisabeth PACKARD and John C.KIRBY.Introduction by Gertrude ROSENTHAL.
Description: Exhibition by Walters Art Gallery and Baltimore Museum of Art to explore relationship between twentieth century art and that of earlier civilizations. 145 items by many artists, including 37 of the twentieth century.
13,30(1 illus) Henry Moore: three bronzes.
Title as printed: 4000 Years of Modern Art.
13,30(1 illus) Henry Moore: three bronzes.
Title as printed: 4000 Years of Modern Art.
0000167
Publisher: Hofstra Museum, Hofstra University
Place Published: Hempstead, N.Y.
Year: 1987
Date & Collation: (10 Sept-21 Nov).vi,150pp(131 illus).Biog.Bibliog.Edited by Gail GELBURD.
Description: Exhibition also at Museum of Art, The Pennsylvania State University, University Park, Pennsylvania 6 Dec 1987-23 Jan 1988; Arthur Ross Gallery, University of Pennsylvania, Philadelphia, Pennsylvania 11 Dec 1987-17 Jan 1988; Baltimore Art Museum, Baltimore, Maryland 16 Feb-17 April 1988. Curated by Gail Gelburd and Alex Rosenberg. Publication made possible by Chase Manhattan Bank, N.A. Catalogue distributed by University of Pennsylvania Press, Philadelphia in cloth and paper editions. 72 sculptures 1929-1985. 26 drawings 1933-1982. 29 prints 1931-1984.
vi DOUGLAS Robert R. Sponsor statement.
(Vice Chairman, The Chase Manhattan Corporation, expresses pleasure in supporting the exhibition).
1-2 GELBURD Gail, ROSENBERG Alex. Acknowledgements.
3 List of Lenders.
5-7 SPENDER Stephen. Preface: Eulogy.
(Address for Henry Moore at the Memorial Service in Westminster Abbey, Tuesday 18 November 1986. See 0010935 for summary).
9-12 ROSENBERG Alex. Foreword: Henry Moore, encounters with a gentle giant.
(Personal recollections of meetings with Moore, his straightforward personality and clear comments on art, and the Mother and Child theme in his work).
13-15 Notes by Henry MOORE; assembled by Alex ROSENBERG.
(Previously published statements, as printed in Henry Moore: sculpture, drawings, prints 1981 (See 0001829)).
17-19 MITCHINSON David, ELLIOTT Ann. Henry Moore's Mother and Child at the Shri Bhawani Museum in Aundh.
(Personal description of long hot journey through India to discover the 1931 Cumberland alabaster carving, previously unrecorded. Describes the work larger in better condition and more beautiful than we had imagined" and how it was acquired by Mr. A.B.Pant through Fran cis Watson directly from the artist shortly before the Second World War).
21-25 GARROULD Ann. Henry Moore: drawings.
(Outlines Moore's love of nature and the universality of the Mother and Child theme an enduring motif for the artist. The sculptural forms involved and related emotion implied in the theme are noted. Describes Moore's change from drawing to maquette as preparation for sculpture. Outlines his love of drawing choice of materials and favoured colours. Importance Moore placed on teaching of drawing in schools).
27-40 GELBURD Gail. Introduction: Mother and Child the art of Henry Moore.
(The theme dates from Moore's earliest work. His sculptural exploration of the forms involved spans the early carvings Surrealism Constructivist works Madonna and Child Family Groups and the bronzes. Quotes from Moore and other writers and notes the universality of the theme: "She is the Earth Goddess. She is the landscape and mountains as well as the source of growth and the protector of life". The force of vitality of the forms from inside and out and the links with nature and human emotion: "The mother and child sculptures are not only a symbol of maternity but of creativity itself").
43-127 The Exhibition (photographs).
128-134 Chronology (Documentation on Moore's career).
135-137 Bibliography.
138-140 List of illustrations.
141-149 Checklist (of exhibits).
150 Photo credits.
See also 0010901."
vi DOUGLAS Robert R. Sponsor statement.
(Vice Chairman, The Chase Manhattan Corporation, expresses pleasure in supporting the exhibition).
1-2 GELBURD Gail, ROSENBERG Alex. Acknowledgements.
3 List of Lenders.
5-7 SPENDER Stephen. Preface: Eulogy.
(Address for Henry Moore at the Memorial Service in Westminster Abbey, Tuesday 18 November 1986. See 0010935 for summary).
9-12 ROSENBERG Alex. Foreword: Henry Moore, encounters with a gentle giant.
(Personal recollections of meetings with Moore, his straightforward personality and clear comments on art, and the Mother and Child theme in his work).
13-15 Notes by Henry MOORE; assembled by Alex ROSENBERG.
(Previously published statements, as printed in Henry Moore: sculpture, drawings, prints 1981 (See 0001829)).
17-19 MITCHINSON David, ELLIOTT Ann. Henry Moore's Mother and Child at the Shri Bhawani Museum in Aundh.
(Personal description of long hot journey through India to discover the 1931 Cumberland alabaster carving, previously unrecorded. Describes the work larger in better condition and more beautiful than we had imagined" and how it was acquired by Mr. A.B.Pant through Fran cis Watson directly from the artist shortly before the Second World War).
21-25 GARROULD Ann. Henry Moore: drawings.
(Outlines Moore's love of nature and the universality of the Mother and Child theme an enduring motif for the artist. The sculptural forms involved and related emotion implied in the theme are noted. Describes Moore's change from drawing to maquette as preparation for sculpture. Outlines his love of drawing choice of materials and favoured colours. Importance Moore placed on teaching of drawing in schools).
27-40 GELBURD Gail. Introduction: Mother and Child the art of Henry Moore.
(The theme dates from Moore's earliest work. His sculptural exploration of the forms involved spans the early carvings Surrealism Constructivist works Madonna and Child Family Groups and the bronzes. Quotes from Moore and other writers and notes the universality of the theme: "She is the Earth Goddess. She is the landscape and mountains as well as the source of growth and the protector of life". The force of vitality of the forms from inside and out and the links with nature and human emotion: "The mother and child sculptures are not only a symbol of maternity but of creativity itself").
43-127 The Exhibition (photographs).
128-134 Chronology (Documentation on Moore's career).
135-137 Bibliography.
138-140 List of illustrations.
141-149 Checklist (of exhibits).
150 Photo credits.
See also 0010901."
0007456
Publisher: Baltimore Museum of Art
Place Published: Baltimore, Md.
Year: 1956
Date & Collation: .44pp.Illus.Foreword by Adelyn D.BREESKIN.Text by Gertrude ROSENTHAL.
Description: Exhibition travelling to Utica, Pittsburgh and Buffalo.
Cover,25,37,39(1 illus) Henry Moore: three Bronzes 1937-1950.
Title as printed: 4000 Years of Modern Art.
Cover,25,37,39(1 illus) Henry Moore: three Bronzes 1937-1950.
Title as printed: 4000 Years of Modern Art.
0003903
Author/Editor: NOVAK Josephine.
Publisher: Evening Sun
Place Published: Baltimore, Md.
Year: 1974
Date & Collation: (27 Aug)..(1 illus).
Description: Large Reclining Connected Forms, 1969 and 1974 Roman travertine marble, called Conception in the article, has been installed in the plaza of the new U.S.F. & G. world headquarters at 100 Light Street, Baltimore.
0003961
Publisher: Helmsman
Place Published: Baltimore, Md.
Year: 1974
Date & Collation: -1975(Winter) 7(1) Cover,1-5(11 illus).
Description: In magazine of the U.S.F. & G. companies. Particular reference to Conception (Large Reclining Connected Forms, 1969 and 1974 Roman travertine marble) which stands on the plaza surrounding U.S.F. & G.'s office in Baltimore, Maryland. Brief biographical details, a note on the importance of the human figure and the vitality in his works on public sites throughout the world.
0002352
Author/Editor: DORSEY John.
Publisher: Sun Magazine
Place Published: Baltimore
Year: 1980
Date & Collation: (8 June) Cover,14,16(1 Moore illus).
Description: Sculpture Garden at the Baltimore Museum opens with 24 works from a Collection given by Alan and Janet Wurtzburger. Includes a photograph and passing mention of Three Piece Reclining Figure No. 1, 1961-1962 bronze.
0006966
Publisher: Baltimore Museum of Art News
Place Published: Baltimore
Year: 1960
Date & Collation: (Spring) 23(3) 24pp(20 illus).
Description: BREESKIN Adelyn D. The Wurtzburger Collection of contemporary sculpture.
SPENCER Eleanor Patterson. Notes on the nature of sculpture.
Catalogue of the Collection.
The Alan and Janet Wurtzburger Collection totalled 21 pieces by 20 artists after five years of collecting, and is eventually intended for presentation to the Baltimore Museum. Henry Moore's Working Model for U.N.E.S.C.O. Reclining Figure, 1957 bronze is illustrated on the front cover, on page nine, and is discussed by E.P. Spencer on pages 6 and 8.
SPENCER Eleanor Patterson. Notes on the nature of sculpture.
Catalogue of the Collection.
The Alan and Janet Wurtzburger Collection totalled 21 pieces by 20 artists after five years of collecting, and is eventually intended for presentation to the Baltimore Museum. Henry Moore's Working Model for U.N.E.S.C.O. Reclining Figure, 1957 bronze is illustrated on the front cover, on page nine, and is discussed by E.P. Spencer on pages 6 and 8.
0011923
Author/Editor: SOZANSKI Edward J.
Publisher: Sun
Place Published: Baltimore
Year: 1986
Date & Collation: (2 Sept)..(1 illus).
Description: Knight-Ridder News Service obituary notice. Moore's fame, and combination of the Primitive and the Renaissance. Moore was a solitary innovator... He was neither a disciple nor a member of any school or movement nor has he left disciples of his own." Surveys his influences sculptural form and limited range of themes. "Form was everything to him..."
A shortenened version of this text appeared in Herald Republic (Yakima Wash.) 2 September 1986. A short tribute appeared in the 3 September 1986 Morning Sun under the heading Sculptor of the Century mentioning works in Baltimore. See also 0011936."
A shortenened version of this text appeared in Herald Republic (Yakima Wash.) 2 September 1986. A short tribute appeared in the 3 September 1986 Morning Sun under the heading Sculptor of the Century mentioning works in Baltimore. See also 0011936."
0004888
Publisher: Baltimore Museum of Art
Place Published: Baltimore, Md.
Year: 1969
Date & Collation: (2 Dec)-1970(1 Feb).116pp.Illus.Bibliog.Foreword by Charles PARKHURST, text by Albert E.ELSEN.
Description: 81 works by 50 artists.
53-58,112(6 illus) Henry Moore: three Sculptures 1934-1960.After Rodin's death the partial figure and figural part have their longest, most varied, and richest history in the sculpture of Henry Moore. Primitive art gave him a feel for elemental forms. The elimination of hands feet and often faces was part of Moore's gesture on stripping away surface excrescences. The influence of Brancusi and Gaudier-Brzeska is noted. Versions of the partial figure are seen in semi-abstract and part-figures of the 1920s and 1930s and in Moore's fascination for bone forms. Human references in Surrealist-influenced drawings are related to the partial figure theme. Helmet series the torso-like Upright Figures Warriors and other works are cited in the context of the partial figure. Moore is also quoted on Rodin and there are incidental references throughout the catalogue."
53-58,112(6 illus) Henry Moore: three Sculptures 1934-1960.After Rodin's death the partial figure and figural part have their longest, most varied, and richest history in the sculpture of Henry Moore. Primitive art gave him a feel for elemental forms. The elimination of hands feet and often faces was part of Moore's gesture on stripping away surface excrescences. The influence of Brancusi and Gaudier-Brzeska is noted. Versions of the partial figure are seen in semi-abstract and part-figures of the 1920s and 1930s and in Moore's fascination for bone forms. Human references in Surrealist-influenced drawings are related to the partial figure theme. Helmet series the torso-like Upright Figures Warriors and other works are cited in the context of the partial figure. Moore is also quoted on Rodin and there are incidental references throughout the catalogue."
0023927
Publisher: Baltimore Museum of Art
Place Published: Baltimore
Year: 2019
Date & Collation: Winter/Spring.35pp.illus.
Description: "Henry Moore and the Pre-Colombian Past" (p.7). Article on exhibition at the Baltimore Museum of Art on the interaction between pre-Colombian and modern art. Illus. of Three Rings.
0003188
Author/Editor: HARRIS R.P.
Publisher: News American
Place Published: Baltimore
Year: 1977
Date & Collation: (10 July)..(2 illus).
Description: Review of Henry Moore: prints, 1969-1974 (See 0003591) at the Baltimore Museum of Art. Moore's is the ability shared by all first-rate artists to depict plain simple life in a way that gives it great dignity and universality." Compares Moore's prints with those of Maillol and Despiau also on exhibit."
0003183
Publisher: The Sun
Place Published: Baltimore
Year: 1977
Date & Collation: (3 July)..(1 illus).
Description: Short descriptive review of Henry Moore: prints, 1969-1974 exhibition at Baltimore Museum of Art, 5-31 July 1977 (See 0003591).
0003201
Author/Editor: CHISOLM Elise T.
Publisher: Evening Sun
Place Published: Baltimore
Year: 1977
Date & Collation: (28 July)..(1 illus).
Description: Short note on print exhibition at Baltimore Museum of Art (See 0003591).
0003186
Author/Editor: JOHNSON Lincoln F.
Publisher: The Sun
Place Published: Baltimore
Year: 1977
Date & Collation: (7 July)..
Description: Intelligent review of Baltimore Museum of Art print exhibition (See 0003591), drawing reference to the many themes and influences in Moore's work: It is the multiplicity of reference in the single form that endows Moore's work with its characteristic richness...""
0005731
Author/Editor: HARRISS R.P.
Publisher: News American
Place Published: Baltimore
Year: 1966
Date & Collation: (28 Aug)..(2 illus).
Description: Review of Baltimore Museum of Art exhibition (See 0009665) outlining Moore's career, and commenting on one or two specific works.
0017216
Publisher: National Institute for the Conservation of Cultural Property
Place Published: Washington, D.C.
Year: 1996
Date & Collation: 40mins.Colour.Sound.
Description: Title from related booklet entitled Maintenance Considerations to Save Outdoor Sculpture. Views of mostly historical statues, and comments by restorers in Philadelphia, Gettysburg, and Baltimore. Includes glimpse of part of a Moore bronze.
0003591
Publisher: International Exhibitions Foundation
Place Published: Washington, D.C.
Year: 1975
Date & Collation: .32pp(25 illus).Biog.Bibliog.Introduction by David MITCHINSON.Acknowledgements by Annemarie H.POPE.
Description: Catalogue of touring exhibition organized in association with the British Council on the occasion of the U.S.A. Bicentennial.
81 Prints 1969-1974. Mitchinson's introduction documents the wide range of Moore's graphic output, and incorporates brief statements by the artist on Stonehenge and the Sheep etchings.
Exhibition travelling to Fort Wayne Museum of Art (Fort Wayne, Ind.), University Art Gallery (Pittsburgh), Henry Gallery, University of Washington (Seattle), Philbrook Art Center (Tulsa, Okla.), The Phillips Collection (Washington, D.C.), Municipal Art Gallery (Davenport, Iowa), Rosenburg Library (Galveston, Tex.), University Art Museum (Austin, Tex.), Museum of the Arts (Fort Lauderdale, Fla.), Brooks Memorial Art Gallery (Memphis, Tenn.), Munson-Williams-Proctor Institute (Utica, N.Y.), Elvehjem Art Center (Madison, Wis.), Kirkland Gallery, Millikin University (Decatur, Ill.), Ringling Museum of Art (Sarasota, Fla.), Museum of Art (Baltimore, Md.), Krannert Art Museum, University of Illinois (Champaign, Ill.), The Dulin Gallery of Art (Knoxville, Tenn.), Benedicta Arts Center, College of St. Benedict,(St. Joseph, Minn.), The Nevada Art Gallery (Reno, Nev.), Fayette Bank and Trust Co. (Uniontown, Penn.).
81 Prints 1969-1974. Mitchinson's introduction documents the wide range of Moore's graphic output, and incorporates brief statements by the artist on Stonehenge and the Sheep etchings.
Exhibition travelling to Fort Wayne Museum of Art (Fort Wayne, Ind.), University Art Gallery (Pittsburgh), Henry Gallery, University of Washington (Seattle), Philbrook Art Center (Tulsa, Okla.), The Phillips Collection (Washington, D.C.), Municipal Art Gallery (Davenport, Iowa), Rosenburg Library (Galveston, Tex.), University Art Museum (Austin, Tex.), Museum of the Arts (Fort Lauderdale, Fla.), Brooks Memorial Art Gallery (Memphis, Tenn.), Munson-Williams-Proctor Institute (Utica, N.Y.), Elvehjem Art Center (Madison, Wis.), Kirkland Gallery, Millikin University (Decatur, Ill.), Ringling Museum of Art (Sarasota, Fla.), Museum of Art (Baltimore, Md.), Krannert Art Museum, University of Illinois (Champaign, Ill.), The Dulin Gallery of Art (Knoxville, Tenn.), Benedicta Arts Center, College of St. Benedict,(St. Joseph, Minn.), The Nevada Art Gallery (Reno, Nev.), Fayette Bank and Trust Co. (Uniontown, Penn.).
0021403
Publisher: Baltimore Museum of Art
Place Published: Baltimore
Year: 2007
Date & Collation: 74pp.Illus.Chronology.CD Rom.
Description: Booklet divided by chapter; Moore content page 21, Chapter 2 - Shape, Space & Silhouette. Moore's The Three Rings 1966 red Soroya marble, (LH) illustrated. Accompanying text explains significance of Moore's use of holes; just as you might cut holes in a pumpkin and scrape out the inside, Moore cut away the interior of each marble block.
0009671
Author/Editor: GOLD Barbara.
Publisher: The Sun
Place Published: Baltimore
Year: 1966
Date & Collation: (4 Sept)..
Description: Baltimore Museum of Art exhibition (See 0009665): convincing symbols for momentous abstract ideas." Discusses individual works on display and mentions Moore's influence on the younger generation of English sculptors."