Henry Moore Artwork Catalogue
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0009233
Publisher: Cassell
Place Published: London
Year: 1935
Date & Collation: 464pp.
Description: Thirty-seven chapters on famous people, including
311-320 READ Herbert. Pablo Picasso, and
91-101 GOLDING Louis. Jacob Epstein
which mentions in passing Epstein's ownership of carvings by Henry Moore who for him is the one important figure in contemporary English sculpture"."
311-320 READ Herbert. Pablo Picasso, and
91-101 GOLDING Louis. Jacob Epstein
which mentions in passing Epstein's ownership of carvings by Henry Moore who for him is the one important figure in contemporary English sculpture"."
0019976
Author/Editor: THANE Pat.
Publisher: Cassell
Place Published: London.
Year: 2001
Date & Collation: 456pp(1 illus).Bibliog.Chronology.
Description: Distributed in the USA by Sterling Publishing, New York. One of a five-volume series of A-Z guides to people and subjects from Medieval Britain to the present.
271-272 Henry Moore.
Outline of the artist's career.
271-272 Henry Moore.
Outline of the artist's career.
0005863
Author/Editor: ROTHENSTEIN John.
Publisher: Cassell
Place Published: London
Year: 1965
Date & Collation: x,169pp.Plates.Bibliog.
Description: Short history of English painting originally published 1933.
142,144.Illustration 45(1 illus) Henry Moore.
Two list-mentions of Moore, and a photograph of Family Group, 1948 drawing.
142,144.Illustration 45(1 illus) Henry Moore.
Two list-mentions of Moore, and a photograph of Family Group, 1948 drawing.
0003791
Author/Editor: LAROCHE Lucienne.
Publisher: Cassell
Place Published: London
Year: 1974
Date & Collation: 190pp.Illus.Glossary.Bibliog.
Description: Monuments of Civilization. Originally published in Italian under the title Grandi Monumenti: Dai Sumeri ai Sassanidi copyright 1971 by Mondadori (Milano)/Kodansha (Tokyo). A Dutch edition of this book was published in 1981 by Icob, under the title Mesopotamie.
7-9 MOORE Henry. Foreword.
Moore stresses the importance of a knowledge of history and of contact with the monuments of the past, through books, films and photographs if necessary. He recalls his fascination on first seeing Mesopotamian art at the British Museum, and comments on an alabaster statuette of a Sumerian Woman, its sense of monumentality and proportions. Moore notes the grandeur of Mesopotamian art and the unity of sculpture and architecture. He admires free standing sculpture in the round, with full three-dimensional existence; and also the rhythm in some relief carvings.
7-9 MOORE Henry. Foreword.
Moore stresses the importance of a knowledge of history and of contact with the monuments of the past, through books, films and photographs if necessary. He recalls his fascination on first seeing Mesopotamian art at the British Museum, and comments on an alabaster statuette of a Sumerian Woman, its sense of monumentality and proportions. Moore notes the grandeur of Mesopotamian art and the unity of sculpture and architecture. He admires free standing sculpture in the round, with full three-dimensional existence; and also the rhythm in some relief carvings.
0019259
Publisher: Cassell
Place Published: London and New York
Year: 1993
Date & Collation: vi,403pp.
Description: Paperback reference book of names and terms in A-Z order.
253-254 Henry Moore.
Short biographical outline.
253-254 Henry Moore.
Short biographical outline.
0006269
Author/Editor: CABANNE Pierre.
Publisher: Cassell
Place Published: London
Year: 1963
Date & Collation: xxii,305pp.Plates.Bibliog.
Description: First published in France in 1961 by Opera Mundi (Paris) under the title Le Roman des grands collectionneurs. Chapters on a dozen collectors throughout the centuries, concluding with:
257-287 Peggy Guggenheim.
Includes half-a-dozen passing mentions of Moore, including Bernard Berenson's distaste for his work.
257-287 Peggy Guggenheim.
Includes half-a-dozen passing mentions of Moore, including Bernard Berenson's distaste for his work.
0011626
Publisher: Cassell
Place Published: London
Year: 1991
Date & Collation: xviii,453pp.Illus.
Description: Published by arrangement with Orion Books, a division of Crown Publishers (New York).
55(1 illus) Henry Moore.
In a section Britain Stands Alone, a colour reproduction of Women and Children in the Tube, 1940 drawing, with a note on Moore as a War Artist.
55(1 illus) Henry Moore.
In a section Britain Stands Alone, a colour reproduction of Women and Children in the Tube, 1940 drawing, with a note on Moore as a War Artist.
0009258
Author/Editor: Edited by READ Herbert
Publisher: Cassell
Place Published: London
Year: 1934
Date & Collation: 124pp(67 plates).
Description: Includes an introduction by Herbert Read which reprints Paul Nash's letter to The Times 12 June 1933 (See 0009298), announcing the formation of the group. It also reprints the Questionnaire sent by Read to each member of Unit One. The bulk of the book consists of photographs and statements by the members, guided by the questionnaire. The Headquarters of the Unit was the Mayor Gallery, and membership was: Barbara Hepworth, Henry Moore, John Armstrong, John Bigge, Edward Burra, Tristram Hillier (replacing Frances Hodgkins), Paul Nash, Ben Nicholson, Edward Wadsworth, Wells Coates, Colin Lucas.
27-35(7 illus) Henry Moore.
In common with the other sections there are photographs of the artist and of his hands. The other illustrations are of the Hampstead studio, and four Carvings 1930-1933. In an important text, widely reprinted under the title The Sculptor's Aims, Moore sets out the qualities in sculpture which are of fundamental importance to him:
Truth to Material. Every material has its own individual qualities. It is only when the sculptor works direct when there is an active relationship with his material that the material can take its part in the shaping of an idea. Stone for example is hard and concentrated and should not be falsified to look like soft flesh..."
Full three-dimensional realisation. Argues for "full spatial reality" as "only to make relief shapes on the surface of the block is to forego the full power of expression of sculpture". Asymmetry is important "sculpture fully in the round has no two points of view alike."
Observation of Natural Object. Spells out the importance of nature as a source of primary inspiration with seminal statements on each topic: "The human figure is what interests me most deeply... Pebbles and rocks show Nature's way of working stone... Bones have marvellous structural strength and hard tenseness of form... Trees (tree trunks) show principles of growth and strength of joints... Shells show Nature's hard but hollow form (metal sculpture) and have a wonderful completeness of single shape... There is in Nature a limitless variety of shapes and rhythms (and the telescope and microscope have enlarged the field)..." Moore also writes on "Vision and expression" and "Vitality and power of expression" in which he speaks of combining both abstract and human elements to achieve a fuller deeper meaning. Sculpture must have a vitality or pent-up energy of its own independent of the object it may represent. "Beauty in the later Greek or Renaissance sense is not the aim in my sculpture. Between beauty of expression and power of expression there is a difference of function. The first aims at pleasing the senses the second has a spiritual vitality which for me is more moving and goes deeper than the senses. Because a work does not aim at reproducing natural appearances it is not therefore an escape from life."
Title as printed: Unit 1."
27-35(7 illus) Henry Moore.
In common with the other sections there are photographs of the artist and of his hands. The other illustrations are of the Hampstead studio, and four Carvings 1930-1933. In an important text, widely reprinted under the title The Sculptor's Aims, Moore sets out the qualities in sculpture which are of fundamental importance to him:
Truth to Material. Every material has its own individual qualities. It is only when the sculptor works direct when there is an active relationship with his material that the material can take its part in the shaping of an idea. Stone for example is hard and concentrated and should not be falsified to look like soft flesh..."
Full three-dimensional realisation. Argues for "full spatial reality" as "only to make relief shapes on the surface of the block is to forego the full power of expression of sculpture". Asymmetry is important "sculpture fully in the round has no two points of view alike."
Observation of Natural Object. Spells out the importance of nature as a source of primary inspiration with seminal statements on each topic: "The human figure is what interests me most deeply... Pebbles and rocks show Nature's way of working stone... Bones have marvellous structural strength and hard tenseness of form... Trees (tree trunks) show principles of growth and strength of joints... Shells show Nature's hard but hollow form (metal sculpture) and have a wonderful completeness of single shape... There is in Nature a limitless variety of shapes and rhythms (and the telescope and microscope have enlarged the field)..." Moore also writes on "Vision and expression" and "Vitality and power of expression" in which he speaks of combining both abstract and human elements to achieve a fuller deeper meaning. Sculpture must have a vitality or pent-up energy of its own independent of the object it may represent. "Beauty in the later Greek or Renaissance sense is not the aim in my sculpture. Between beauty of expression and power of expression there is a difference of function. The first aims at pleasing the senses the second has a spiritual vitality which for me is more moving and goes deeper than the senses. Because a work does not aim at reproducing natural appearances it is not therefore an escape from life."
Title as printed: Unit 1."
0006634
Author/Editor: NEWTON Eric.
Publisher: Cassell
Place Published: London
Year: 1961
Date & Collation: xvi,245pp.32 plates.
Description: The Belle Sauvage Library. Originally published by Penguin Books, 1941 (See 0009043).
219,Plate 32(1 illus) Henry Moore.
Photograph of Reclining Figure: Festival, 1951 bronze and a passing mention of Moore in the chapter on the Twentieth Century. For details of other editions see 0009043.
219,Plate 32(1 illus) Henry Moore.
Photograph of Reclining Figure: Festival, 1951 bronze and a passing mention of Moore in the chapter on the Twentieth Century. For details of other editions see 0009043.