Henry Moore Artwork Catalogue
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6-7 MITCHINSON David. Preface.
(The Mother and Child etchings form the last major graphic project undertaken by Moore. Proofed by James Collyer and John Crossley of J.C. Editions and signed by Moore in July 1986 they bring to a happy climax a lifelong theme which had always been central to Moore's work).
8-9 ROSENBERG Alex. Reflections.
(Recalls conversations with Moore. The beauty of his Mother and Child pieces lies in the frontal imagery of the mother holding the child).
11-16 GELBURD Gail. Introduction.
("His Mother and Child images carved drawn or etched reach beyond the theme of maternity to an enquiry into birth growth and the very nature of creativity." Outlines Moore's approach to the archetypal image and quotes him on sculptural form. "The miracle of a woman creating life within herself parallels the genius of the artist who gives birth to a form within a once lifeless stone").
19-79 Mother and Child I-XXX.
(Catalogue with colour reproductions of the 30 etchings from 0011131 incorporating twelve brief quotations from Moore's published statements).
81-97 Mother and Child 1-8.
(Catalogue with colour reproduction of the eight etchings from 0011132 incorporating four brief quotations from Moore's published statements).
99-107 Mother and Child A-D.
(Colour reproductions of the last etchings made by Henry Moore; plus one quotation from his published s tatements).
108 Sources of quotations.
109 Selected bibliography.
111 Details of editions.
(In English there are 750 copies numbered 1 to 750 in hard covers with 42 plates of which the first 75 contain Mother and Child D 1984 etching; and 3000 unnumbered copies in soft covers with 30 plates (See 0011023)).
In French there are 250 copies numbered 1 to CCL in hard covers with 42 plates (See 0011025) of which the first 25 contain Mother and Child D 1984 etching; and 2000 unnumbered copies in soft covers with 30 plates (See 0011024))."
Box containing:
a) Facsimile of the 72pp. Sketchbook.
b) Catalogue by Alan G. WILKINSON. 41pp(79 illus).
Henry MOORE on the origin of the West Wind Relief.
(One-page text outlining initial reaction against Charles Holden's commission, followed by drawings which helped me to sort out my ideas" and final pleasure at executing the work).
Alan G. WILKINSON on the evolution of the West Wind Relief and the Leeds Reclining Figure.
(Two-page text describing the sketch book studies as "the beginning of Moore's total obsession with" the Reclining Figure. The drawings for the West Wind and the garden relief led to the Leeds sculpture and "the sudden re-emergence of the Chacmool reclining figure" dating from 1922-1926 drawings. The basic differences in the position and pose of the relative figures are discussed. West Wind 1928-1929 Portland stone; Reclining Figure 1929 brown Hornton stone; Six Garden Reliefs 1926 Portland stone.; Relief for the Back of a Garden Bench 1928 teak wood).
There are photographs of the sculptures related to the Sketchbook followed by small reproductions of each page in the Sketchbook with accompanying descriptive commentary.
Total of 410 copies in three editions. Edition A: 35 copies with two etchings. Edition B: 85 copies with one etching. Edition C: 290 copies without etchings."