Henry Moore Artwork Catalogue
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0002893
Publisher: Ganymed Original Editions
Place Published: London
Year: 1978
Date & Collation: 12pp(9 illus).Preface.
Description: Booklet on the portfolio of etchings (See 0002892) published by Ganymed in association with the Louisiana Museum on the occasion of Moore's 80th birthday, giving details of the editions.
Cover title is Moore: the reclining figure.
Cover title is Moore: the reclining figure.
0002892
Author/Editor: MOORE Henry.
Publisher: Ganymed Original Editions
Place Published: London
Year: 1978
Date & Collation: Print album.
Description: Also published by Louisiana Museum of Modern Art, Humblebók 1978. Album with a total of eleven etchings 1977-1978 (Cramer 471-481) in a total edition of 75. Poem by Stephen SPENDER, entitled Sculpture and Statues: homage to Henry Moore. In four verses, it begins:Hews
Flakes from stone. Releases
Imprisoned form
His eyes presaged there.
For brochure see 0002893."
Flakes from stone. Releases
Imprisoned form
His eyes presaged there.
For brochure see 0002893."
0003371
Publisher: Ganymed Original Editions
Place Published: London
Year: 1976
Date & Collation: 8pp(4 illus).
Description: Brochure giving details of 0003377 and containing a brief preface which quotes from Moore's introduction to the catalogue accompanying the facsimile.
0003854
Author/Editor: MOORE Henry.
Publisher: Ganymed Original Editions
Place Published: London
Year: 1974
Date & Collation: Print album.
Description: Album totalling 19 Prints 1972-1973: Cramer 202-203,207-223 in a total edition of 100. The Introduction by Stephen SPENDER portrays the impact of Stonehenge on the artist's mind and quotes a letter from Henry Moore on the subject. For 32 page booklet on this portfolio see 0003855.
0003855
Publisher: Ganymed Original Editions
Place Published: London
Year: 1974
Date & Collation: 32pp(20 illus).
Description: Booklet on print portfolio (See 0003854).
0003377
Author/Editor: MOORE Henry.
Publisher: Ganymed Original Editions
Place Published: London
Year: 1976
Date & Collation: Box containing 2 vols: Facsimile and Catalogue.
Description: Published in association with Fischer Fine Art. Facsimile edition of the Sketchbook limited to 325 copies all numbered and signed by the artist. 300 copies are for sale, 25 are reserved for the artist and numbered A.P. 1 to 25. Moore created two etchings with acquatint for the éditions de tête, Circus Scenes, 1975 etching with aquatint and High Wire Walkers, 1975 etching and aquatint. Edition de tête A consists of 25 sets numbered 1 to 25 containing both etchings. Edition de tête B consists of 100 sets numbered 26-125 containing one of the two etchings to choice. The standard edition is numbered 126 to 300.
Vol. 1: The facsimile Sketchbook. 86pp of illus.
Vol. 2: Accompanying catalogue entitled Henry Moore Sketchbook 1926. Frontispiece,ii,25pp.4 plates.
1-9 Henry MOORE (in 1976) on this Sketchbook of 1926.
(The artist describes how by 1926 he had finished being a student and was already teaching sculpture at the Royal College" and living "in a small (top-lighted) studio in Adie Road Hammersmith...A Sketchbook is a book in which one thinks and works out ideas. In this one you will find in drawings and written statements the ideas which occupied and excited one at that time". While learning about the figure was fresh in Moore's mind by 1926 he had turned towards early and primitive sculpture. He realised that "nothing is ever perfectly symmetrical" in nature. The asymmetry principle and archetypes of stone sculpture were found in pebbles and related to direct carving and truth to material. Moore comments on modelling the "world tradition of sculpture" the sense of touch British Museum and books consulted. Practical reason for Reclining Figures is that they needed no support. Concludes with a note on Drawing and Sculpture recording their relationship and his change to using maquettes).
10 Captions to the five illustrations.
(Moore in his studio and plates of four Sculptures 1924-1927 relating to drawings in the Sketchbook).
11 -21 Catalogue.
(Commentary on each page of the Sketchbook; mainly the work of Alan G. WILKINSON).
22-25 Bibliography Acknowledgements details of editions.
For tape recorded interview in preparation for Henry Moore's text see 0009928."
Vol. 1: The facsimile Sketchbook. 86pp of illus.
Vol. 2: Accompanying catalogue entitled Henry Moore Sketchbook 1926. Frontispiece,ii,25pp.4 plates.
1-9 Henry MOORE (in 1976) on this Sketchbook of 1926.
(The artist describes how by 1926 he had finished being a student and was already teaching sculpture at the Royal College" and living "in a small (top-lighted) studio in Adie Road Hammersmith...A Sketchbook is a book in which one thinks and works out ideas. In this one you will find in drawings and written statements the ideas which occupied and excited one at that time". While learning about the figure was fresh in Moore's mind by 1926 he had turned towards early and primitive sculpture. He realised that "nothing is ever perfectly symmetrical" in nature. The asymmetry principle and archetypes of stone sculpture were found in pebbles and related to direct carving and truth to material. Moore comments on modelling the "world tradition of sculpture" the sense of touch British Museum and books consulted. Practical reason for Reclining Figures is that they needed no support. Concludes with a note on Drawing and Sculpture recording their relationship and his change to using maquettes).
10 Captions to the five illustrations.
(Moore in his studio and plates of four Sculptures 1924-1927 relating to drawings in the Sketchbook).
11 -21 Catalogue.
(Commentary on each page of the Sketchbook; mainly the work of Alan G. WILKINSON).
22-25 Bibliography Acknowledgements details of editions.
For tape recorded interview in preparation for Henry Moore's text see 0009928."