Henry Moore Artwork Catalogue
Search
Skip to main content
Refine Results
13 results
for
*
0012164
Author/Editor: WILKINSON Alan G.
Publisher: Maclean's Magazine
Place Published: Toronto, Ont.
Year: 1986
Date & Collation: (15 Sept) 63(2 illus).
Description: Reminiscences of meeting Moore in 1969 and visits to Much Hadham. Moore's contacts with Canada and the creation of the Henry Moore Sculpture Centre at the A.G.O. Henry Moore changed and enriched the way we perceive the world." See also 0012134."
0012134
Author/Editor: WILKINSON Alan G.
Publisher: AGO News
Place Published: Toronto
Year: 1986
Date & Collation: (Nov) 1-2(2 illus).
Description: Curator of Sculpture at the Art Gallery of Ontario, and a leading authority on Moore's work, Alan Wilkinson remembers with fondness the late artist's close relationship with the A.G.O. Recalls meeting Moore in Ottawa in 1967. Large Two Forms, 1966 and 1969 bronze and subsequent works in Toronto. Recalls visits to Much Hadham. Describes Moore's oeuvre. For me one of Moore's greatest and most original contributions to modern sculpture is his poetic interpretation of the female figure as a metaphor for landscape." See also 0012164."
0019880
Author/Editor: WILKINSON Alan G.
Publisher: Galerie Nationale du Canada Bulletin Annuel
Place Published: Ottawa.
Year: 2001
Date & Collation: 16pp.Bibliog.Text in French.
Description: Printed 29 May 2002 from Internet collections.ic.gc.ca. National Gallery of Canada Digital Collections Program version without illustrations of the article on Reclining Woman, 1930 green Horton stone. Also available in English (See 0019876). For description see 0002644.
0019876
Author/Editor: WILKINSON Alan G.
Publisher: National Gallery of Canada Annual Bulletin
Place Published: Ottawa
Year: 2001
Date & Collation: 16pp.Bibliog.
Description: Printed 29 May 2002 from Internet collections.ic.gc.ca. National Gallery of Canada Digital Collections Program version without illustrations of the article on Reclining Woman, 1930 green Horton stone. Also available in French (See 0019880). For description see 0002644.
0003745
Author/Editor: WILKINSON Alan G.
Publisher: Vingtième Siècle
Place Published: Paris
Year: 1975
Date & Collation: 44 1975(June) 14-23,185(15 illus).Text in English and French.
Description: Describes the history of the Sculpture Centre from the time when the Three Way Piece No. 2: Archer, 1964-1965 bronze was chosen for the Civic Square, through the decision to send the plasters to Toronto, to the current input of graphics to join the 300 works by Moore dating from 1921 now in the Centre.
Journal title as printed: XXe Siècle.
Journal title as printed: XXe Siècle.
0003840
Author/Editor: WILKINSON Alan G.
Publisher: Courtauld Institute of Art
Place Published: London
Year: 1974
Date & Collation: 3 vols.
Description: Thesis submitted by Alan G. Wilkinson for the Ph.D. degree at the Courtauld Institute of Art, University of London, July 1974.
Vol. 1: iv.385pp.Bibliog.
Vol. 2: 158 plates.
Vol. 3: Plates 159-295.The purpose of this thesis is to examine Henry Moore's development as a draughtsman from 1921 to the mid 1950s. Incorporates statements by Henry MOORE both from published sources and from conversations with Alan G. Wilkinson.
1-27 Life Drawings.
(Detailed account of Moore's early studies at Castleford Leeds School of Art and the Royal College of Art. Drawing theory. The earliest life drawings surviving date from 1921 the first term at the R.C.A. From 1927-1928 connections are seen between individual drawings and the Carvings. Portrait drawings and drawings made in Paris in the 1920s and 1930s are contrasted with more characteristic work. Many studies up to 1935 are of the artist's wife Irina).
28-41 Copies of works of art.
(Survey of Drawings mainly 1921-1926 of art from Paleolithic times to Cézanne indicating Moore's interest in the art of the past. Some copies made from the art work others from books).
42-247 Six Early Notebooks.
(Page by page detailed analysis of six notebooks dating between 1921 and 1928 concluding with the Sketchbook for the Relief on the Underground Building).
248-298 Drawings for Sculpture.
("Few great sculptors have left through their drawings such an extensive record of the genesis of so many sculptures." Works are traced to sketchbook drawings with commentary by Wilkinson and incorporating observations by Moore. Selected coverage: Mother and Child 1924-1925 Hornton stone; West Wind 1928-1929 Portland stone; Reclining Figure 1929 brown Hornton stone and influence of Chacmool; Composition 1931 blue Hornton stone and influence of Picasso; Composition 1932 dark African wood; Two Forms 1934 pynkado wood; Four Piece Composition: Reclining Figure 1934 Cumberland alabaster; Stringed Figures; Three Points 1939-1940 lead).
299-316 Wartime Drawings 1940-42.
(Moore's life at the outset of the war and how he came to produce the Shelter drawings. "It is as if we were within a sculpture deep in a Moore cavern inhabited by a race invented by him. The subterranean setting is timeless and anonymous; it is as if we have come unexpectedly upon the tomb of a mass burial. The bodies swathed like Egyptian mummies seem to belong more to the dead than the living." Discusses the Shelter Sketch Books and individual drawings. The Coal Mine Drawings of 1941-1942 completed Moore's activities as a war artist).
317-322 Pictorial Ideas and Settings for Sculpture.
(In Moore's words "an imaginative drawing in which the whole drawing came together as an idea which could not be translated into sculpture.").
323-385 Notes List of Plates Bibliography.
For 1984 Garland edition see 0000652. For 1969 M.A. Report see 0010062."
Vol. 1: iv.385pp.Bibliog.
Vol. 2: 158 plates.
Vol. 3: Plates 159-295.The purpose of this thesis is to examine Henry Moore's development as a draughtsman from 1921 to the mid 1950s. Incorporates statements by Henry MOORE both from published sources and from conversations with Alan G. Wilkinson.
1-27 Life Drawings.
(Detailed account of Moore's early studies at Castleford Leeds School of Art and the Royal College of Art. Drawing theory. The earliest life drawings surviving date from 1921 the first term at the R.C.A. From 1927-1928 connections are seen between individual drawings and the Carvings. Portrait drawings and drawings made in Paris in the 1920s and 1930s are contrasted with more characteristic work. Many studies up to 1935 are of the artist's wife Irina).
28-41 Copies of works of art.
(Survey of Drawings mainly 1921-1926 of art from Paleolithic times to Cézanne indicating Moore's interest in the art of the past. Some copies made from the art work others from books).
42-247 Six Early Notebooks.
(Page by page detailed analysis of six notebooks dating between 1921 and 1928 concluding with the Sketchbook for the Relief on the Underground Building).
248-298 Drawings for Sculpture.
("Few great sculptors have left through their drawings such an extensive record of the genesis of so many sculptures." Works are traced to sketchbook drawings with commentary by Wilkinson and incorporating observations by Moore. Selected coverage: Mother and Child 1924-1925 Hornton stone; West Wind 1928-1929 Portland stone; Reclining Figure 1929 brown Hornton stone and influence of Chacmool; Composition 1931 blue Hornton stone and influence of Picasso; Composition 1932 dark African wood; Two Forms 1934 pynkado wood; Four Piece Composition: Reclining Figure 1934 Cumberland alabaster; Stringed Figures; Three Points 1939-1940 lead).
299-316 Wartime Drawings 1940-42.
(Moore's life at the outset of the war and how he came to produce the Shelter drawings. "It is as if we were within a sculpture deep in a Moore cavern inhabited by a race invented by him. The subterranean setting is timeless and anonymous; it is as if we have come unexpectedly upon the tomb of a mass burial. The bodies swathed like Egyptian mummies seem to belong more to the dead than the living." Discusses the Shelter Sketch Books and individual drawings. The Coal Mine Drawings of 1941-1942 completed Moore's activities as a war artist).
317-322 Pictorial Ideas and Settings for Sculpture.
(In Moore's words "an imaginative drawing in which the whole drawing came together as an idea which could not be translated into sculpture.").
323-385 Notes List of Plates Bibliography.
For 1984 Garland edition see 0000652. For 1969 M.A. Report see 0010062."
0010062
Author/Editor: WILKINSON Alan G.
Publisher: Courtauld Institute of Art
Place Published: London
Year: 1969
Date & Collation: 3 vols.Typewriter script.
Description: Courtauld Institute of Art M.A. Report. Developed into 1974 Ph.D. thesis (See 0003840) and its 1984 publication (See 0000652).
Volume 1: Text.47pp.Bibliog.
Volume 2: Plates 1-42.
Volume 3: Plates 43-94.
Volume 1: Text.47pp.Bibliog.
Volume 2: Plates 1-42.
Volume 3: Plates 43-94.
0017995
Author/Editor: WILKINSON Alan G.
Publisher: Burlington Magazine
Place Published: London
Year: 1999
Date & Collation: (Jan)..
Description: Books review of 0017164. The most important feature of this catalogue is that it documents in great detail the paramount role of drawings as not only a means but the means of generating ideas for sculpture"."
0002644
Author/Editor: WILKINSON Alan G.
Publisher: National Gallery of Canada Annual Bulletin
Place Published: Ottawa
Year: 1979
Date & Collation: 1 1979 33-55(19 illus).Bibliog.Text in English and French.
Description: Reclining Woman, 1930 green Hornton stone purchased by the Gallery in 1956, is placed in the context of Moore's early work. The influence of Chacmool is traced through Notebooks of the time and the Underground Relief West Wind, 1928-1929 Portland stone. The Reclining Figure, 1929 brown Hornton stone at Leeds City Art Gallery is the contemporaneous work which is also compared with the sculpture under discussion. The Ottawa sculpture is seen as closer to the Mexican prototype than that of Leeds, and marks both the culmination of Moore's interest in Primitive art, and the establishment of the Reclining Figure as a strong personal idiom.
Publication title given as: National Gallery of Canada Annual Bulletin Annuel Galerie Nationale du Canada. Also: Annual Bulletin Annuel.
Publication title given as: National Gallery of Canada Annual Bulletin Annuel Galerie Nationale du Canada. Also: Annual Bulletin Annuel.
0000652
Author/Editor: WILKINSON Alan G.
Publisher: Garland
Place Published: London and New York
Year: 1984
Date & Collation: iv,385pp.295 plates.Bibliog.
Description: Outstanding Theses from the Courtauld Institute of Art series. Reprint of Ph.D. thesis 1974. See 0003840 for annotation. For 1969 M.A. Report see 0010062. Plates 9a and 21a do not appear to be mentioned in the actual text.
0002440
Author/Editor: WILKINSON Alan G.
Publisher: Art Gallery of Ontario
Place Published: Toronto
Year: 1979
Date & Collation: 232pp(453 illus).Bibliog.Foreword by William J.WITHROW.
Description: Outlines the association with Viljo Revell, the eventual acquisition by Toronto of Three Way Piece No. 2: Archer, 1964-1965 bronze, and the subsequent development of the Henry Moore Sculpture Centre, to which Moore donated 101 Sculptures, 57 Drawings, and an almost complete collection of Prints. With purchases and donations before and since, this catalogue documents 73 Drawings, and 126 Sculptures in the Collection. A selection of 37 Prints is also included. Each work is documented in detail, with a commentary by Alan Wilkinson drawing on The Drawings of Henry Moore (See 0003064) to which frequent references are made. Background information is provided, and comments by Moore are incorporated. A brief selection of works which are documented in some depth:
Page 155 from No. 3 Notebook: Study for Manchester Mother and Child, 1924 drawing; Ideas for West Wind Relief, 1928 drawings; Page from Sketchbook 1934: Ideas for Sculpture, 1934 drawing; Ideas for Sculpture: Studies for Four Piece Composition: Reclining Figure, 1934 drawing; Page from Square Forms Sketchbook, 1934 drawings; Projects for Relief Sculptures on London University, 1938 drawing; Miners Resting During Stoppage of Conveyor Belt, 1942 drawings; Seated Figure, 1930 alabaster; Stringed Head, 1938 bronze and string; Family Group, 1947 plaster; Standing Figure, 1950 fibreglass; Reclining Figure, 1951 plaster; Working Model for Upright Internal-External Form, 1951 bronze; Mother and Child, 1953 plaster; Draped Reclining Figure, 1952-1953 plaster; Time-Life Screen, 1952 maquettes; Warrior with Shield, 1953-1954 bronze; Wall Relief: Maquette No. 2, 1955 bronze; Wall Relief: Maquette No. 4, 1955 bronze; U.N.E.S.C.O. Reclining Figure, 1957-1958 travertine marble; Draped Seated Woman, 1957-1958 plaster; Two Piece Reclining Figure No. 1, 1959 plaster;; Working Model for Standing Figure: Knife Edge, 1961 fibreglass; Working Model for Locking Piece, 1962 plaster; Working Model for Reclining Figure: Lincoln Center, 1963-1965 plaster; Atom Piece, 1964-1965 plaster; Working Model for Three Way Piece No. 2: Archer, 1964 bronze; Large Two Forms, 1966 and 1969 bronze.
The illustrations include photographs of Moore by Arnold Newman, Yousuf Karsh and Errol Jackson, family snapshots, work in situ, sources.
Page 155 from No. 3 Notebook: Study for Manchester Mother and Child, 1924 drawing; Ideas for West Wind Relief, 1928 drawings; Page from Sketchbook 1934: Ideas for Sculpture, 1934 drawing; Ideas for Sculpture: Studies for Four Piece Composition: Reclining Figure, 1934 drawing; Page from Square Forms Sketchbook, 1934 drawings; Projects for Relief Sculptures on London University, 1938 drawing; Miners Resting During Stoppage of Conveyor Belt, 1942 drawings; Seated Figure, 1930 alabaster; Stringed Head, 1938 bronze and string; Family Group, 1947 plaster; Standing Figure, 1950 fibreglass; Reclining Figure, 1951 plaster; Working Model for Upright Internal-External Form, 1951 bronze; Mother and Child, 1953 plaster; Draped Reclining Figure, 1952-1953 plaster; Time-Life Screen, 1952 maquettes; Warrior with Shield, 1953-1954 bronze; Wall Relief: Maquette No. 2, 1955 bronze; Wall Relief: Maquette No. 4, 1955 bronze; U.N.E.S.C.O. Reclining Figure, 1957-1958 travertine marble; Draped Seated Woman, 1957-1958 plaster; Two Piece Reclining Figure No. 1, 1959 plaster;; Working Model for Standing Figure: Knife Edge, 1961 fibreglass; Working Model for Locking Piece, 1962 plaster; Working Model for Reclining Figure: Lincoln Center, 1963-1965 plaster; Atom Piece, 1964-1965 plaster; Working Model for Three Way Piece No. 2: Archer, 1964 bronze; Large Two Forms, 1966 and 1969 bronze.
The illustrations include photographs of Moore by Arnold Newman, Yousuf Karsh and Errol Jackson, family snapshots, work in situ, sources.
0003064
Author/Editor: WILKINSON Alan G.
Publisher: Tate Gallery
Place Published: London
Year: 1977
Date & Collation: .157pp.16 plates.(423 illus).Bibliog.Foreword by W.J. WITHROW and Norman READ.
Description: Published in collaboration with the Art Gallery of Ontario for the exhibition at the Art Gallery of Ontario (Toronto) 5 Nov-3 Dec 1977 and Tate Gallery (London) 28 June-28 Aug 1978. Distributed in France and Italy by Idea Books (Paris and Milan). The exhibition was also shown in four venues in Japan between 21 January and 31 May 1978. For details see 0003065. 261 Drawings 1921-1977 are reproduced as small black-and-white illustrations, with 16 colour plates. There are over 100 additional photographs depicting sculpture, family snapshots, source materials and the work of other artists. The short Foreword takes the form of acknowledgements, and the text by the exhibition organizer Alan Wilkinson, who selected the exhibits in collaboration with Henry Moore, is in the form of introductory essays and catalogue in thematic groupings:
Life Drawing.
(Moore's traditional academic training, and his awareness of importance of studying the human figure. Leeds School of Art, Royal College of Art, influences, portraiture, Paris 1920s, Drawing theory).
Copies of Works of Art.
(Moore's copies of works of art from Paleolithic times to Cézanne. Most of them date between 1921 and 1926).
Drawings 1921-1940.
(Mostly studies for sculpture. Few great sculptors have left through their drawings such a complete and extensive record of the genesis of their sculptural ideas." Modifications during the translation into sculpture influences of other artists and movements. Hampstead in the 1930s. Influence of Natural objects. Ideas for West Wind Relief 1928 drawing; Study for Leeds Reclining Figure 1928 drawing. Transformation drawings).
Wartime Drawings 1940-42.
(Moore in Kent at the outbreak of war; discovery of the shelterers at Belsize Park; Shelter Sketchbooks; working methods; move to Much Hadham; Drapery; colour; War Artists' Advisory Committee; influence on his subsequent work. "Among the supreme achievements of English graphic art." Coal Mine Drawings 1941-1942. Return to Castleford Wheldale Colliery. "More factual and documentary than the visionary shelter drawings" their latent influence noticed in 1970s prints of "dark forms emerging out of depth and blackness").
Drawings 1942-77.
(Return after war to studies for sculpture and subsequent dependence on maquettes. Renewal of interest in drawing for pleasure and towards printmaking Crowd Looking at a Tied-Up Object 1942 drawing).
Copies of Works of Art.
(Additional text analyzing copies from Moore's notebooks and discussing their original sources. British Museum books Italy 1920s Peter Paul Rubens Primitive art African art Oceanic art Mexican ancient art).
There is a commentary on each exhibit and Wilkinson's text incorporates statements by Henry MOORE both from published sources and from conversations with the artist.
References are made throughout this publication to Alan Wilkinson's The Moore Collection in the Art Gallery of Ontario (See 0002440)."
Life Drawing.
(Moore's traditional academic training, and his awareness of importance of studying the human figure. Leeds School of Art, Royal College of Art, influences, portraiture, Paris 1920s, Drawing theory).
Copies of Works of Art.
(Moore's copies of works of art from Paleolithic times to Cézanne. Most of them date between 1921 and 1926).
Drawings 1921-1940.
(Mostly studies for sculpture. Few great sculptors have left through their drawings such a complete and extensive record of the genesis of their sculptural ideas." Modifications during the translation into sculpture influences of other artists and movements. Hampstead in the 1930s. Influence of Natural objects. Ideas for West Wind Relief 1928 drawing; Study for Leeds Reclining Figure 1928 drawing. Transformation drawings).
Wartime Drawings 1940-42.
(Moore in Kent at the outbreak of war; discovery of the shelterers at Belsize Park; Shelter Sketchbooks; working methods; move to Much Hadham; Drapery; colour; War Artists' Advisory Committee; influence on his subsequent work. "Among the supreme achievements of English graphic art." Coal Mine Drawings 1941-1942. Return to Castleford Wheldale Colliery. "More factual and documentary than the visionary shelter drawings" their latent influence noticed in 1970s prints of "dark forms emerging out of depth and blackness").
Drawings 1942-77.
(Return after war to studies for sculpture and subsequent dependence on maquettes. Renewal of interest in drawing for pleasure and towards printmaking Crowd Looking at a Tied-Up Object 1942 drawing).
Copies of Works of Art.
(Additional text analyzing copies from Moore's notebooks and discussing their original sources. British Museum books Italy 1920s Peter Paul Rubens Primitive art African art Oceanic art Mexican ancient art).
There is a commentary on each exhibit and Wilkinson's text incorporates statements by Henry MOORE both from published sources and from conversations with the artist.
References are made throughout this publication to Alan Wilkinson's The Moore Collection in the Art Gallery of Ontario (See 0002440)."
0000052
Author/Editor: WILKINSON Alan G.
Publisher: Art Gallery of Ontario
Place Published: Toronto
Year: 1987
Date & Collation: xviii,270pp(434 illus).Biog.Bibliog.
Description: Published with Key Porter Books in cloth and paperback editions. Issued on the occasion of an exhibition held at the AGO 16 Sept 1987-7 Feb 1988. A revision of The Moore Collection in the Art Gallery of Ontario (See 0002440). David M. CAMPBELL of CMQ Communications Inc. provides a brief Sponsor's foreword. William J. WITHROW in the Director's foreword recalls personal memories of the artist. Acknowledgements are made by Withrow and Wilkinson.
Pages 39-265 The Collection, although reset, is essentially the publication that appeared in 1979 with the addition of five new bronzes; so that 73 drawings and 131 sculptures are now recorded, with illustrations of 21 prints selected from 689 in the collection. Ideas for West Wind Relief, 1928 drawings are referred to in this revision as Ideas for North Wind Relief, 1928 drawings, due to an oversight. The Chronology on pages 269-270 is new, as are the opening chapters.
3-26 A stranger here: Moore in Toronto.
(The Service of Thanksgiving for the Life and Work of Henry Moore (See 0012397) held at Westminster Abbey i s described. The history of Moore's gift to the Art Gallery of Ontario is recorded in detail: from the association with Viljo Revell, through the acquisition of Three Way Piece No. 2: Archer, 1964-1965 bronze, and the development of the Henry Moore Sculpture Centre. Wilkinson's own association with Moore, in the production of his thesis (See 0003840) and in the creation of the Centre is described. Subsequent activities of the AGO, in terms of acquisitions, loans and exhibitions, are described. Moore's twilight years at Much Hadham are recalled).
27-37 Sculptural energy is the mountain: the art of Henry Moore.
(Moore's role in giving sculpture a high profile, and the universal appeal of his own work through its utilisation of natural objects. Outlines Moore's life and career: the family background, school and college days, early influences, War Drawings, and subsequent sculptural achievement).
Pages 39-265 The Collection, although reset, is essentially the publication that appeared in 1979 with the addition of five new bronzes; so that 73 drawings and 131 sculptures are now recorded, with illustrations of 21 prints selected from 689 in the collection. Ideas for West Wind Relief, 1928 drawings are referred to in this revision as Ideas for North Wind Relief, 1928 drawings, due to an oversight. The Chronology on pages 269-270 is new, as are the opening chapters.
3-26 A stranger here: Moore in Toronto.
(The Service of Thanksgiving for the Life and Work of Henry Moore (See 0012397) held at Westminster Abbey i s described. The history of Moore's gift to the Art Gallery of Ontario is recorded in detail: from the association with Viljo Revell, through the acquisition of Three Way Piece No. 2: Archer, 1964-1965 bronze, and the development of the Henry Moore Sculpture Centre. Wilkinson's own association with Moore, in the production of his thesis (See 0003840) and in the creation of the Centre is described. Subsequent activities of the AGO, in terms of acquisitions, loans and exhibitions, are described. Moore's twilight years at Much Hadham are recalled).
27-37 Sculptural energy is the mountain: the art of Henry Moore.
(Moore's role in giving sculpture a high profile, and the universal appeal of his own work through its utilisation of natural objects. Outlines Moore's life and career: the family background, school and college days, early influences, War Drawings, and subsequent sculptural achievement).