Henry Moore Artwork Catalogue
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0021301
Publisher: The Henry Moore Foundation
Place Published: Much Hadham
Year: 2005
Date & Collation: 4pp.illus.
Description: Invitation to a Lenders' Lunch at Perry Green, Wednesday 20 April 2005, celebrating the exhibition in the Sheep Field Barn. Front shows Michael Rosenauer's Time/Life Building with screen by Henry Moore, Bond Street, London. The rear shows biographical image of Moore with architect I.M.Pei during the installation of Mirror Knife Edge, 1977, Dallas. See 0020800 for exhibition catalogue.
0020699
Author/Editor: DAVIDSON Amanda A.
Publisher: The Henry Moore Foundation
Place Published: Much Hadham
Year: 2005
Date & Collation: 208pp.Illus.Index.Bibliog.Chronology.
Description: An overview of Turnbulls career so far, along with the first complete catalogue of his entire sculptural output.
Passing references to Double Standing Figure 1950 bronze, (LH 291) placed outside the Venice Bienniale in 1952. Moore's style, influence over, and friendship with Turnbull is also mentioned.
Passing references to Double Standing Figure 1950 bronze, (LH 291) placed outside the Venice Bienniale in 1952. Moore's style, influence over, and friendship with Turnbull is also mentioned.
0020800
Publisher: The Henry Moore Foundation
Place Published: Much Hadham
Year: 2005
Date & Collation: 32pp.(102 illus).Text by Anita Feldman BENNETT
Description: Henry Moore collections and Exhibitions series. Catalogue of exhibition in the Sheep Field Barn, works to be changed and re-hung over a two-year period.
In his interviews and written statements, Moore repeated that he did not like working with architects, that doing so symbolised for him the subservient relationships between sculptor and architect, and that architects only thought of sculpture as an afterthought, as 'mere surface decoration'... This exhibition, in five sections, looks at both completed and abandoned projects to assess how Moore changed his approach to architecture throughout his career.
In his interviews and written statements, Moore repeated that he did not like working with architects, that doing so symbolised for him the subservient relationships between sculptor and architect, and that architects only thought of sculpture as an afterthought, as 'mere surface decoration'... This exhibition, in five sections, looks at both completed and abandoned projects to assess how Moore changed his approach to architecture throughout his career.