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0023430

Publisher: British Council headquarters London

Place Published: London

Year: 2016

Date & Collation: 1 December 2015 - 19 February 2016.50pp.illus.chronology.acknowledgements.

Description: Henry Moore Comes Home - Selected etchings and lithographs from the British Council Collection is a publication that complements the exhibition Henry Moore Comes Home celebrating the most recent results of a long and close relationship between the British Council and Henry Moore, and specifically, the achievements and lasting impact of the most recent tour of the exhibition titled Henry Moore - The Printmaker to Macedonia, Montenegro, Albania, Kazakhstan, Kosovo, Serbia and Uzbekistan between 2013 and 2015. On page 5 there is an image titled 'Henry Moore drawing on a copper etching plate with an old dental tool in his studio at Perry Green, 1970.' The introduction by Emma Dexter the Director of Visual Arts, British Council finishes with a credit to David Mitchinson 'for his contributions to and support for both of these exhibitions, and for his longstanding friendship with the British Council.' Page 8 there is an image of Henry Moore examining Draped Reclining Figure 1974 Lithograph (CGM 332), Gildmore Graphic studio. Page 9 there is a quote from a letter from Henry Moore to the Prime Minister Margaret Thatcher dated 10 November 1979 supporting the British Council in the face of financial cuts, and there are images of Moore's works: Brown Tube Shelter, 1940; Girl with Clasped Hands,1930 and Reclining Figure, 1939 all from the British Council Collection. Page 10 refers to Moore's gift of 200 prints to the British Council Collection to mark its 50th anniversary together with a quote from Moore and other information on the extent of the British Council's Moore collection of 427 works and image of Moore at the Venice Biennale, 1948. Page 11 shows an image of Standing Figure: Storm Sky, 1978 together with Moore quote from BBC Kaleidoscope 22 May 1975 on the subject of prints. Page 12 and 16 discuss Moore's theme of Internal/External Forms with quote from David Mitchinson 1981 and images of Standing Figures 1949 and Pandora and the Imprisoned Statues 1950. Pages 14 discusses Reclining Figures with quote from Moore published in the Sunday Times 17 and 24 December 1961 with image of Four Reclining Figures 1973. Page 15 discusses Mother and Child with image of Mother and Child V 1983 and quote from Moore on page 29 of Wildenstein's 1979 publication Henry Moore's Drawings 1969-79. Page 16 discusses the Elephant Skull theme with quote from Moore in Galleria il Fauna Turin October 1970 on his elephant skull etching series together with image of Elephant Skull Plate XVI 1970. Page 17 discusses Ideas for Sculpture with quotes from Moore in Atlantic Monthly 1962 and The Listener 1937 together with image of Studies for Sculpture: Two and Three Piece Reclining Figures 1967. Page 16 discusses Organic Forms with image of Stone 111 1977 and quote from Moore in John Hedgecoe's book titled Henry Spencer Moore 1968. Page 19 discusses Trees with quote from Moore in Wildenstein's 1979 book Henry Moore Drawings 1969-79 and image of Trees 1: Bole and Creeper 1979. Page 20 discusses Hands with image of Hands 11 1976 and a quote from taken from Henry Moore, The Artist's Hand Raymond Spencer Company Ltd, Much Hadham 1980. Animals is the subject of page 21 with an image of Elephant's Head 11 1981 and a quote from Moore taken from David Mitchinson (ed) Henry Moore: Sculpture, Macmillan 1981.Pages 22 to 23 cover Moore's life and work with image on page 22 of Henry Moore behind his Kimber and Hughes star-wheel etching press with master printer Jacques Frélaut in the Etching Studio at Perry Green, 1971 credit Errol Jackson and an image on page 25 credit Errol Jackson of Moore working on Elephant Skull etchings, with the elephant skull in foreground and Elephant Skull Plate XXVII (CGM 140) in the background. Pages 28 and 29 detail the itinerary of the exhibition Henry Moore - the Printmaker. Pages 30 to 34 reflect on Moore's influence on Maks Velo and Petar Hadzi Boskov. pages 40 to 41 present Moore's influence on Gayane Umerova, curaor of the National Museum of Arts Uzbekistan. Pages 42 to 43 refer to Henry Moore - the Printmaker impact as the first significant international exhibition to open at the National gallery of Kosovo. Pages 44 and 45 refer to printmaking and workshops held on subject in the State Museum of Arts of Kazakhstan. Page 47 shows an image of Moore working on alternative background for CGM 238.