Henry Moore Artwork Catalogue
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Article in Spring 2020 issue of Tate Etc. on the blitz, the use of London Underground stations as bomb shelters, and Henry Moore's shelter drawings. Illustrated with images of Shelterers in the Tube 1941 (HMF 1797).
Book on Henry Moore, focusing particularly on his relationships with the Sainsbury family and the photographer John Hedgecoe. Foreword by Moore's godson, David Sainsbury, with some personal recollections of Moore's friendship with his parents. Introduction discusses Moore and his relationships generally, especially those with his artistic contemporaries formed during his student years and subsequent life in London. Chapter on "Visions and Sightings" focuses on Moore's relationship with Robert and Lisa Sainsbury. Essay by Norman Foster on "Meeting Henry Moore and Living with his Work" recalls their meeting when Foster was designing the Sainsbury Centre for Visual Arts to discuss the placement of Moore's Reclining Figure (LH 402) outside it. Chapter on "Portrait of a Friendship" discusses Moore's relationship with John Hedgecoe, and touches on his relationship with other photographers and filmmakers, particularly Errol Jackson, Gemma Levine, and John Read. Second half of book discusses specific works in the Sainsbury Centre collection in depth, arranged in chronological order from Half Figure No.2 1929 to the Animals in the Zoo portfolio of 1981-82.
Catalogue accompanying exhibition celebrating the 800th anniversary of Salisbury Cathedral. Henry Moore's Large Reclining Figure was among the works exhibited. Sandy Nairne's introductory essay "Art in the Cathedral: A Spark of Inner Life" discusses Moore's Northampton Madonna and Child. pp.34-37 discuss Moore's Large Reclining Figure, with photos of it installed outside the cathedral. The cover illustration is also of Large Reclining Figure. Photographs of the work being installed are included on p.79.
Catalogue for exhibition at Musée des Beaux-Arts, Lyon.
pp.44-46: Section on "Henry Moore: dessins d'os à transformation, ossuaires sculpté" ("Henry Moore: bone transformation drawings and sculpted ossuaries"). Illustrations of HMF 974 and LH 140. Mentions in text of Two Forms 1934, Transformation Drawing: Ideas for Sculpture 1930, and Four Piece Composition: Reclining Figure 1934.
Collection of Tate artworks related to the summer. p.76: Henry Moore's Feet on Holiday I, one of the works in the chapter "Flight From Routine".
Book of highlights of the Tate Britain's collection of art, arranged chronologically. One Henry Moore work, Recumbent Figure (pp.126-127) included. Various works by artists Moore knew or was inspired by featured, including Jacob EPSTEIN, Barbara HEPWORTH, Paul NASH, Ben NICHOLSON and Graham SUTHERLAND. Moore's former assistant Anthony CARO is also included.
Catalogue for a sale. 11 lots are from the collection of Gigi Crompton (née Richter). Introduction to the lots (p.79) mentions Richter's association with liberal artistic circles in post-war London, naming Moore and Barbara Hepworth as close friends, and mentioning her relationship with Roland Penrose. Also contains an essay on Richter's association with Moore, featuring comparative photographs of Richter in the studio at No.7, the Mall, Hampstead, which she rented from him. In one of the photographs, a Moore sculpture owned by Richter is visible.
Lots 325-327 comprise several letters, postcards, and a telegram from Moore to Richter. One letter discusses Moore's first visit to the USA and his 1946 retrospective at MoMA; others mention Moore works owned by Richter or which Moore stored in Hampstead while Richter was renting his studio.
Lots 328 and 329 are a pencil drawing (HMF 2378a) and a lithograph (related to HMF 1438) by Moore owned by Richter.
Two further lots not from Richter's collection are Henry Moore graphics: lots 408 and 409, Elephant Skull Plate XXI and Elephant Skull Plate XX.
Catalogue for a sale with one Henry Moore work: lot 8 is Square Form (LH 168), with one page provenance, exhibition history, and bibliography, and nine pages of lot essay and comparative images. LH 168 also illustrated on the cover of the catalogue.
Two sculptures and two drawings by Moore included in the sale.
Lot 142: LH 429
Lot 143: HMF 1502
Lot 156: LH 676
Lot 161: HMF 2444
Large book of collected photographs of the Italian photographer Aurelio Amendola, produced for an exhibition of his works at the Fondazione Pistoia Musei. Two images of Moore in his studio from 1972 (pp.72-73). One shows Moore in the etching studio; the other, Moore in the plastic studio with part of the plaster Hill Arches in the background, and the matching segment from the plaster working model in front of him. Biographical note by Paola Goretti (p.354) mentions that Amendola was introduced to Moore by Giovanni CARENDENTE, who invited him to photograph Moore's works at the 1972 exhibition at the Forte di Belvedere.
Book setting out the author's theory on the causes of "peaks" of artistic achievement in Western art history. One of the peaks discussed is modernist sculpture in the first half of the 20th century, of which Moore is cited as an example. Mentions of Moore throughout; particular discussion in section on modernist sculpture (pp.302-316), where Moore is singled out alongside Hepworth and Brancusi as one of the three luminaries of the period. Figure 39 illustrates Moore's elmwood Reclining Figure 1936 (LH 175). Cites various influences on Moore, including African and Mexican art; Lipchitz, Picasso, and Brancusi; and archaic Greek sculpture.