Henry Moore Artwork Catalogue
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0007053
Publisher: Whitechapel Art Gallery
Place Published: London
Year: 1959
Date & Collation: (April-May).24pp.18 plates.Texts by Bryan ROBERTSON, Robert ERSKINE.
Description: 173 recent prints and drawings by 82 British artists.
22,Plate 12(1 illus) Henry Moore: two Drawings 1926-1927.
22,Plate 12(1 illus) Henry Moore: two Drawings 1926-1927.
0010881
Publisher: Whitechapel Art Gallery
Place Published: London
Year: 1987
Date & Collation: (16 Jan-22 Feb).88pp.Illus.Biog.Bibliog.Foreword by Nicholas SEROTA.Texts by Joan SIMON, Jean Christophe AMMANN.
Description: English catalogue for exhibition also in Basle 13 July-7 Sept 1986 and Paris 8 Oct-7 Dec 1986. The essay by Joan Simon, entitled Nauman Variations, includes an illustration and discussion on Henry Moore Bound to Fail (Back View) 1967. Moore as if he were a prisoner, alluding to the self-limiting nature of any artist's accomplishments: the ability, or inability, to keep working productively, imaginatively, over long periods of time.
0009110
Publisher: Whitechapel Art Gallery
Place Published: London
Year: 1939
Date & Collation: (9 Feb-7 March).8pp.Foreword.
Description: Work by members of the Artists International Association exhibited as a demonstration of the Unity of Artists for Peace Democracy and Cultural Development." Fourth annual exhibition of the A.I.A. 297 works by many artists.
Exhibits 102131 Henry Moore: one sculpture and one drawing.
Moore is mentioned in the foreword as one of the well-known artists in the 700 strong membership of the A.I.A. He is also listed on the back cover as one of the Advisory Council of the Association. Press cuttings indicate that this exhibition toured 1939-1940 to Southport York Bradford Hanley Kidderminster Carlisle Southampton.
Title as printed: 1939 Exhibition."
Exhibits 102131 Henry Moore: one sculpture and one drawing.
Moore is mentioned in the foreword as one of the well-known artists in the 700 strong membership of the A.I.A. He is also listed on the back cover as one of the Advisory Council of the Association. Press cuttings indicate that this exhibition toured 1939-1940 to Southport York Bradford Hanley Kidderminster Carlisle Southampton.
Title as printed: 1939 Exhibition."
0007893
Publisher: Whitechapel Art Gallery
Place Published: London
Year: 1953
Date & Collation: (9 April-31 May).16pp.4 plates.Prefatory texts by Bryan ROBERTSON, Trevor DANNATT.
Description: 136 exhibits by many artists and architects.
9 Henry Moore: one Carving 1930.
Title as printed: 20th Century Form: painting, sculpture and architecture.
9 Henry Moore: one Carving 1930.
Title as printed: 20th Century Form: painting, sculpture and architecture.
0007739
Publisher: Whitechapel Art Gallery
Place Published: London
Year: 1954
Date & Collation: (23 Sept-31 Oct).8pp.8 plates.Foreword by Bryan ROBERTSON.
Description: 73 works by 66 artists.
8 Henry Moore: one Bronze 1954.
8 Henry Moore: one Bronze 1954.
0001810
Publisher: Whitechapel Art Gallery
Place Published: London
Year: 1981
Date & Collation: .264pp.Illus.Biog 248-263.Bibliog.Prefatory texts by the editors.
Description: Book of two-part exhibition, sponsored by the British Petroleum Company and the Henry Moore Foundation:
Part 1: Image and Form 1901-50, 11 Sept-1 Nov 1981.
Part 2: Symbol and Imagination 1951-80, 27 Nov 1981-24 Jan 1982.
Two exhibition lists were issued, each of 8pp.
Over 300 works by more than 100 artists; including 17 Moore Sculptures 1922-1944 in Part 1, and seven Moore Sculptures 1950-1976 in Part 2.
9-37(7 Moore illus) FARR Dennis. The Patronage and Support of Sculptors.
(Quotes Moore on Epstein and the West Wind commission. Mentions subsequent public works including the Northampton Madonna and Child, 1943-1944 Hornton stone, and the Glenkiln works).
38-47 READ Ben. Classical and Decorative Sculpture.
48-61 BECKETT Jane. Cubism and Sculpture in England before the First World War.
62-71 FRANCIS Richard. War Memorials.
72-81(2 Moore illus) GLAVES-SMITH John. The Primitive, Objectivity and Modernity: some issues in British Sculpture in the 1920s.
(Briefly quotes Moore's world view of sculpture).
82-89(2 Moore illus) SHONE Richard. Painting and Sculpture in the 1920s.
(Mention of reclining female nude as theme).
90-101(1 Moore illus) CORK Richard. Overhead Sculpture for the Underground Railway.
(Early reticence at the commission disappeared in a mass of drawings using the Reclining Figure theme. Reports 1980 and 1981 conversations with Moore on the project, and praises the simplicity of the work).
102-111(4 Moore illus) HARRISON Charles. Sculpture and the New Movement.
(The emergence of Moore, Hepworth and others, their determination; incorporates quotes from Moore's published statements).
112-123(4 Moore illus) GRUETZNER Anna. The Surrealist Object and Surrealist Sculpture.
(Primitive and other influences on Moore, as reported in 1980 conversation with the artist, and depicted in installation photographs of Surrealist exhibitions. The fantasy element in Nature and Landscape).
124-13 3 GLAVES-SMITH John. Sculpture in the 1940s and 1950s.
134-153(2 Moore illus) CALVOCORESSI Richard. Public Sculpture in the 1950s.
(Quotes Moore on public sculpture, and outlines the artist's position in public collections, Battersea Park Three Standing Figures, 1947-1948 Darley Dale stone, Time-Life Screen, 1952-1953 Portland stone, Harlow, etc).
154-165 GRIEVE Alastair. Constructivism after the Second World War.
166-183(1 Moore illus) COOKE Lynne. New Abstract Sculpture and its Sources.
(Belief continued in role of universal archetypes like Moore's Upright Figures).
184-195 HYMAN Timothy. Figurative Sculpture since 1960.
196-207 MORGAN Stuart. A Rhetoric of Silence: Redefinitions of Sculpture in the 1960s and 1970s.
208-221 PRENDEVILLE Brendan. Constructed Sculpture.
222-235 CRICHTON Fenella. Symbols, Presences and Poetry.
Ephemeral posters and leaflets for these exhibitions included illustrations and brief text on Moore.
Part 1: Image and Form 1901-50, 11 Sept-1 Nov 1981.
Part 2: Symbol and Imagination 1951-80, 27 Nov 1981-24 Jan 1982.
Two exhibition lists were issued, each of 8pp.
Over 300 works by more than 100 artists; including 17 Moore Sculptures 1922-1944 in Part 1, and seven Moore Sculptures 1950-1976 in Part 2.
9-37(7 Moore illus) FARR Dennis. The Patronage and Support of Sculptors.
(Quotes Moore on Epstein and the West Wind commission. Mentions subsequent public works including the Northampton Madonna and Child, 1943-1944 Hornton stone, and the Glenkiln works).
38-47 READ Ben. Classical and Decorative Sculpture.
48-61 BECKETT Jane. Cubism and Sculpture in England before the First World War.
62-71 FRANCIS Richard. War Memorials.
72-81(2 Moore illus) GLAVES-SMITH John. The Primitive, Objectivity and Modernity: some issues in British Sculpture in the 1920s.
(Briefly quotes Moore's world view of sculpture).
82-89(2 Moore illus) SHONE Richard. Painting and Sculpture in the 1920s.
(Mention of reclining female nude as theme).
90-101(1 Moore illus) CORK Richard. Overhead Sculpture for the Underground Railway.
(Early reticence at the commission disappeared in a mass of drawings using the Reclining Figure theme. Reports 1980 and 1981 conversations with Moore on the project, and praises the simplicity of the work).
102-111(4 Moore illus) HARRISON Charles. Sculpture and the New Movement.
(The emergence of Moore, Hepworth and others, their determination; incorporates quotes from Moore's published statements).
112-123(4 Moore illus) GRUETZNER Anna. The Surrealist Object and Surrealist Sculpture.
(Primitive and other influences on Moore, as reported in 1980 conversation with the artist, and depicted in installation photographs of Surrealist exhibitions. The fantasy element in Nature and Landscape).
124-13 3 GLAVES-SMITH John. Sculpture in the 1940s and 1950s.
134-153(2 Moore illus) CALVOCORESSI Richard. Public Sculpture in the 1950s.
(Quotes Moore on public sculpture, and outlines the artist's position in public collections, Battersea Park Three Standing Figures, 1947-1948 Darley Dale stone, Time-Life Screen, 1952-1953 Portland stone, Harlow, etc).
154-165 GRIEVE Alastair. Constructivism after the Second World War.
166-183(1 Moore illus) COOKE Lynne. New Abstract Sculpture and its Sources.
(Belief continued in role of universal archetypes like Moore's Upright Figures).
184-195 HYMAN Timothy. Figurative Sculpture since 1960.
196-207 MORGAN Stuart. A Rhetoric of Silence: Redefinitions of Sculpture in the 1960s and 1970s.
208-221 PRENDEVILLE Brendan. Constructed Sculpture.
222-235 CRICHTON Fenella. Symbols, Presences and Poetry.
Ephemeral posters and leaflets for these exhibitions included illustrations and brief text on Moore.
0019296
Publisher: Whitechapel Art Gallery
Place Published: London
Year: 2001
Date & Collation: (21 March-20 May).144pp.Illus.Texts by Catherine Lampert, and others.
Description: Publication of the Whitechapel Centenary Exhibition. List of exhibitions, photographs, essays, reminiscences, artists' pages. No Index. Lists the Henry Moore Foundation as a sponsor, and includes half-a-dozen list mentions of Moore: in texts by Jon Newman, Lynda Morris & Robert Radford, Bryan Robertson.Works in Exhibition' lists one Henry Moore bronze 1952.
0004289
Publisher: Whitechapel Art Gallery
Place Published: London
Year: 1972
Date & Collation: (1-26 Nov).52pp.Illus.Biog.Bibliog.Introduction and catalogue by Alan BOWNESS.
Description: Fourth in a series of Arts Council of Great Britain exhibitions surveying decades of British art in the 20th century. Travelling Britain until 3 June 1973.
43,46-48(2 illus) Henry Moore: seven Moore Drawings 1940-1942 and seven Moore Bronzes 1943-1946.
Bowness writes that the small sketch models Moore made in 1943-45 were immediately acceptable to a much larger audience than Moore had known before the war: they were in fact one of the main reasons for his international reputation".
Cover title: Decade 40s."
43,46-48(2 illus) Henry Moore: seven Moore Drawings 1940-1942 and seven Moore Bronzes 1943-1946.
Bowness writes that the small sketch models Moore made in 1943-45 were immediately acceptable to a much larger audience than Moore had known before the war: they were in fact one of the main reasons for his international reputation".
Cover title: Decade 40s."
0017965
Publisher: Whitechapel Art Gallery
Place Published: London
Year: 1982
Date & Collation: .64pp.Illus.Biog.Bibliog.Text by Nena DIMITRIJEVIC.
Description: Exhibition also in Kunsthalle (Basel) 1981, and Stedelijk Van Abbemuseum (Eindhoven) 1982.
Illustrates McLean's performance pieces Pose Works for Plinths and Fallen Warrior, and states that these, and King for a Day, were comments on the work of Henry Moore.
Illustrates McLean's performance pieces Pose Works for Plinths and Fallen Warrior, and states that these, and King for a Day, were comments on the work of Henry Moore.
0006883
Publisher: Whitechapel Art Gallery
Place Published: London
Year: 1960
Date & Collation: (March-April).36pp.Illus.Biog.Prefatory texts by Bryan ROBERTSON, Colin MACINNES.
Description: An exhibition of portraits of artists and writers in Great Britain, France and the Soviet Union.
13(1 illus) Henry Moore, 1954.
13(1 illus) Henry Moore, 1954.
0006882
Publisher: Whitechapel Art Gallery
Place Published: London
Year: 1960
Date & Collation: (Nov-Dec).84pp(80 illus).Text by Bryan ROBERTSON.
Description: Six-page preface by Robertson, plus eighty photographs of the artist's sculpture produced during the ten years 1950-1960. Describes Moore's working lifestyle and personality. His work is grim and on occasion tragic, with the conflict between the tough and the tender expressed in archetypal images. Notes the energy in Moore's work, and some of the artistic sources of his inspiration. Landscape references are mentioned. Honours and commissions are referred to.
For supplementary text by Bryan Robertson see 0006796.
For supplementary text by Bryan Robertson see 0006796.
0002179
Publisher: Whitechapel Art Gallery
Place Published: London
Year: 1980
Date & Collation: (17 Sept-26 Oct) and travelling Britain until 4 July 1981.32pp.Illus.Texts.
Description: Arts Council of Great Britain exhibition of the Leicestershire Collection for Schools and Colleges. Includes a brief statement by Henry MOORE on page 3 paying tribute to the enterprise of the Education Authority in bringing schools into contact with the work of contemporary British artists. Page 30 includes a list and photograph of Two Standing Figures, 1949 textile in the collection.