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Catalogue accompanying the inaugral exhibition at the Norval Foundation. Essay on Sydney Kumalo references Moore's works (pp.126-128) with illustrations of a large bronze Reclining Figure 1969-70 and Shelter Drawing: Three Fates 1941 (HMF 1830).

Leaflet accompanying the Revolt & Revolutions exhibition held in the Bothy Gallery at the Yorkshire Sculpture Park. Inspired by a Noam Chomsky quote, "Optimism is a strategy for making a better future", the exhibition is made up of works in the Arts Council Collection which give insight into modern anti-establishment and counter-cultural movements. Mentions of Moore, p.3, as a "cornerstone" of the YSP loan collection, and p.5 as one of the artists whose works are in the Arts Council collection. p.21 discusses Moore's Helmet Head No.3, exhibited in Room 2. Mentions of Moore's opposition to nuclear weapons, and his use of the armour in the Wallace collection as inspiration for the Helmet Head series.

Exhibition catalogue for Bronze Age at Firstsite in Colchester.  The exhibition, curated by Neil Wenman and Mary Beard, mixes authentic bronze age artifacts, contemporary art in bronze, and bronze objects bought on ebay.  Two Moore works (both illus.) included: Helmet Heads (HMF 2643) and Wall Relief: Maquette No.7 (LH 371).

Catalogue for exhibition of works in the NMAO collection. Works are grouped by theme, with Henry Moore's Large Standing Figure: Knife Edge (illus., p.15) coming under the rubric "Spaces", along with works by Jiro TAKAMATSU, Aiko MYAWAKI, Kenjiro OKAZAKI, Yuji TAKEOKA, and Kazuo OKAZAKI.

Catalogue for exhibition of works in alabaster at the Ordovas gallery in London, spanning sculpture from ancient Egypt to the present day, which includes Moore's Head c.1931. Essay by Jon Wood mentions Moore as one of the modern sculptors to experiment with alabaster as a material when breaking away from the 19th century traditions of sculpture. Two images of Head c.1931 (LH 105a), and one of Moore at work in his studio in Parkhill Road.

A collection of essays on Stephen Spender, interspersed with Spender's poems and artworks in his collection. Published on the occasion of the special presentation by Hauser & Wirth at Frieze Masters, London, 03-07 October 2018. Olive green Slip case.

Moore works illustrated include two of Moore's portraits of Spender, the cover design for Encounter 100, Maquette for Warrior without Shield, Maquette for Three Standing Figures, and Women Winding Wool.

pp.66-73 discusses Moore's relationship with Spender, and comments on Maquette for Warrior without Shield, Maquette for Three Standing Figures, Women Winding Wool, and Moore's portraits of Spender.

Catalogue accompanying exhibition curated by the artist Florian Slotawa. 

Preface mentions Moore as one of the highlights of the Staatsgalerie Stuttgart's collection, along with Rodin, Maillol, Archipenko, Julio González, Richard Serra, and Walter de Maria.

p.63: illus. of Draped Torso. p.96 shows an installation view of the exhibition, with Draped Torso next to works by Renée Sintenis and Jacques Lipchitz; works by Antoine Bourdelle, Pietro Tenerani, and Pia Stadtbaümer are also in the frame.

Cristofer Conrad's essay, "A Forest Full of Statues", mentions that the Staatsgalerie has five Henry Moore sculptures in its collection. Along with Draped Torso, Draped Reclining Woman (illus.) and Helmet Head No.2 are named.

p.138: Catalogue entry for Draped Torso.

Catalogue for the National Museum of Art Osaka's 40th anniversary exhibition. pp.97-99: discussion of Moore's Large Standing Figure: Knife Edge with two illus.

Catalogue for the 2018 exhibition at the Hepworth Gallery in Wakefield on Lee Miller and Surrealism in Britain. Mentions of Moore throughout.

Chapter 1, by Eleanor Clayton, contains three illustrations of Moore works: p.31 Reclining Figure 1936; p.72 Stringed Figure 1939, Bird Basket 1939. pp.23-4 quotes Moore on his early visits to Paris in the 1920s and 30s. On p.32, there is a mention of Moore as a member of Unit 1, and Clayton notes that Moore positioned himself as between surrealism and abstraction. Other mentions of Moore: p.28, as one of the artists exhibited at the 1933 Exhibition of Recent Painting by English, French and German Artists; p.34, as a member of the organising committee of the 1936 International Surrealist Exhibition; p.61, as one of the English surrealists who used to meet in the late 1930s at "The Barcelona" in Soho; and on p.71, listing three of Moore's works exhibited at the Zwemmer Gallery's 1940 exhibition Surrealism Today.

Chapter 2, by Hillary Floe, contains three illustrations of Mother and Child 1936-37, and one of Lee Miller's photographs of Moore in the London Underground from the filming of Out of Chaos. Mentions Moore on pp.86, 89, and 92 as appearing in surrealist publications (the International Surrealist Bulletin, Minotaure, The London Bulletin), and p.110 as being a war artist.

Catalogue accompanying an exhibition of modern art at Di Donna Gallery, New York.  Moore's Figure, 1939 (LH 209) included in the exhibition, along with works by artists including Hans Arp, Alexander Calder, Barbara Hepworth, Joan Miro, Henri Matisse, and Isamu Noguchi.

Catalogue to accompany exhibition at Heide Museum of Modern Art on the Australian designers Grant and Mary Featherston. pp.49-51: discussion of influence of Moore on Grant Featherston, with illus. of Two Women with a Child in a Shelter (HMF 1729).

Catalogue for an exhibition of works in the Washington DC-based Phillips Collection at the Mitsubishi Ichigokan Museum in Tokyo. A small bronze Family Group by Henry Moore is included in the exhibition and illustrated (p.116).

Leaflet to accompany the exhibition Indomitable Spirit in One Canada Square, Canary Wharf. Eight columns of text on Moore's life and art, and the Draped Seated Woman. One illus. of the plaster and five of the bronze Draped Seated Woman, along with one of the Working Model for Draped Seated Woman and one of Study for "Shelter Scene: Bunks and Sleepers".

Exhibition guide for the 2018 exhibition Out of the Block: Henry Moore Carvings held at Henry Moore Studios and Gardens in Perry Green. Discussion of Moore's approach to carving, and a number of individual sculptures, along with illustrations of sculptures and related material. 22 illustrations of Moore works.

Catalogue, published in French and English editions, to accompany the Henry Moore exhibition at FHEL in 2018.

Interview with Michel-Édouard Leclerc, Mary Moore, and the exhibition curators.

12 essays on Moore, his life, and his practice.

Illustrated catalogue of works in the exhibition.

Catalogue for three-venue touring exhibition in Poland. Foreword by Godfrey WORSDALE from the Henry Moore Foundation, and the directors of the three venues. Six essays on Moore and his works, along with catalogue entries on 23 Moore sculptures and 16 sculptures by Polish artists.
Chapter 1: "New Perspectives on Universal Forms: Henry Moore in Poland" by Hannah HIGHAM briefly summarises Moore's earlier exhibitions in Poland, and his life and development as an artist up until his first solo exhibition in the country in 1959.
Chapter 2: "The Power of Nature" by Eulalia DOMANOWSKA discusses the influence of natural objects, and ancient art from around the world, on Moore's work; and the influence of Moore on Polish artists of the next generation.
Chapter 3: "Henry Moore in Poland 1946-1960" by Katarzyna MURAWSKA-MUTHESIUS analyses the reception of Moore's work in Poland from the exhibition of eight of his Shelter Drawings in Warsaw as part of a British Council travelling exhibition in 1947 to the success of the 1959-60 retrospective.
Chapter 4: "Henry Moore in Wroclaw: Reminiscences and Afterimages" by Iwona Dorota BIGOS discusses specifically the Wroclaw leg of the 1959-60 exhibition, looking at its contemporary reception as well as its legacy.
Chapter 5: "Sculptor, Discoverer, Demiurge: Henry Moore as One of the Myths of Post-War Polish Art" by Agata Malodobry
Chapter 6: "Lesson in Architecture, Lesson in Nature" by Monika Rydiger
See also Exhibition Guide 0023848