Henry Moore Artwork Catalogue
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HMF 3078
0014200
Publisher: ICA TV
Place Published: London
Year: 1988
Date & Collation: 45mins and film reels 200 and 201. HMF audio number A133
Description: Undated tape made for 0011194. Opens with atmosphere track of Battersea Park Girls Walking Past the Three Graces" and closes with brief interview with a resident of the Mall Studios Hampstead "I had the bad luck to miss Henry Moore by a whisker".
Bernard MEADOWS comments on Moore's work from the 1920s until the immediate post-war years. "He was building up a sort of form-repertoire...There was an authenticity to the way that he saw people...and recorded what he saw...He was enlarging his experience and he was enlarging the experience of all the people who would come along and look at his work...The only fashion was originality...He knew all the Surrealist people...He was really in the middle of the Avant-Garde at that time...It became much more conventional...After the war...I continued working with him for short periods...In the 1940s and 50s the feeling of exploration and adventure was lessened compared with the 30s and the 20s but every so often he came up...with works which really display his old originality".
For England and Moore: Bernard Meadows 1 2 and 3 see 0014184 0014185 and 0014186."
Bernard MEADOWS comments on Moore's work from the 1920s until the immediate post-war years. "He was building up a sort of form-repertoire...There was an authenticity to the way that he saw people...and recorded what he saw...He was enlarging his experience and he was enlarging the experience of all the people who would come along and look at his work...The only fashion was originality...He knew all the Surrealist people...He was really in the middle of the Avant-Garde at that time...It became much more conventional...After the war...I continued working with him for short periods...In the 1940s and 50s the feeling of exploration and adventure was lessened compared with the 30s and the 20s but every so often he came up...with works which really display his old originality".
For England and Moore: Bernard Meadows 1 2 and 3 see 0014184 0014185 and 0014186."
0014185
Publisher: ICA TV
Place Published: London
Year: 1988
Date & Collation: 23mins.Sound recording and film reel 8. HMF audio number A148
Description: 16 February 1988 unedited interview made for 0011194. Continues from 0014184 on Kenneth Clark. Clark had a role which was chiefly as Director of the National Gallery...it changed later because he got involved in all sorts of other things...He was an impresario he knew how to present people...That sort of success was important to Henry...he had tremendous ambition...He's a very very complex person...he felt it essential to work and work the whole time". Meadows rejects notion that Moore's work portrays his working-class background or his experiences in World War 1. He explains how the shift from the slow process of carving to the use of bronze enabled Moore to carry on and enlarge his audience.
For England and Moore: Bernard Meadows 3 and 4 see 0014186 and 0014200."
For England and Moore: Bernard Meadows 3 and 4 see 0014186 and 0014200."
0014186
Publisher: ICA TV
Place Published: London
Year: 1988
Date & Collation: 85mins.Sound recording and film reels 9,10,11,12. HMF audio number A134
Description: Unedited interviews made for 0011194. Bernard MEADOWS 17 February 1988 ten minutes on scale and on Moore as a person. I don't think that he had friends he confided to...he was well able to look after his own ideas...His one great help with his work was his wife Irina".
17 February 1988 Stephen SPENDER 45 minutes on London Mercury portrait (See 0009197). "We spent about a week doing it...there are something between six and a dozen different versions". Hampstead in the 1930s. "Henry Moore was trying I think very hard at that time to be an abstract artist...but however hard he tried at that time everything he did always turned into something else usually a reclining figure...He wished that he could do work in which his feelings about humanity were more obvious...He signed manifestos...He did feel very committed...In the whole of his life he never had any feeling that anyone was inferior to him or that anyone was superior to him...There was total refusal of Henry ever to force his politics his political sympathies into his work". Spender acknowledged Moore's consciousness of his childhood working-class background but rejected the notion that his work represented a failure of the Labour Movement. "When he got ideas about himself which were often really imposed on him by other people...he could often be misled he could think for instance that anything he did could be cast in bronze and it would be interesting because it was by Henry Moore...After the Moores left Hampstead I doubt whether Henry really had real friends". Use of natural objects and birth of Mary Moore.
17 February 1988 Ghisha KOENIG a student of Moore at Chelsea School of Art in the 1940s attacks Moore as a teacher a person and an artist: "No sense of adventure to the classes...He didn't relate to us as human beings...He is not the great sculptor because he hasn't a real vision...He went on to explain why Rodin was not a great artist... he used assistants he used pointing machines he enlarged maquettes of which he did not work on himself - all the very traps he himself fell into".
For England and Moore: Bernard Meadows 1 2 and 4 see 0014184 and 0014185 and 0014200."
17 February 1988 Stephen SPENDER 45 minutes on London Mercury portrait (See 0009197). "We spent about a week doing it...there are something between six and a dozen different versions". Hampstead in the 1930s. "Henry Moore was trying I think very hard at that time to be an abstract artist...but however hard he tried at that time everything he did always turned into something else usually a reclining figure...He wished that he could do work in which his feelings about humanity were more obvious...He signed manifestos...He did feel very committed...In the whole of his life he never had any feeling that anyone was inferior to him or that anyone was superior to him...There was total refusal of Henry ever to force his politics his political sympathies into his work". Spender acknowledged Moore's consciousness of his childhood working-class background but rejected the notion that his work represented a failure of the Labour Movement. "When he got ideas about himself which were often really imposed on him by other people...he could often be misled he could think for instance that anything he did could be cast in bronze and it would be interesting because it was by Henry Moore...After the Moores left Hampstead I doubt whether Henry really had real friends". Use of natural objects and birth of Mary Moore.
17 February 1988 Ghisha KOENIG a student of Moore at Chelsea School of Art in the 1940s attacks Moore as a teacher a person and an artist: "No sense of adventure to the classes...He didn't relate to us as human beings...He is not the great sculptor because he hasn't a real vision...He went on to explain why Rodin was not a great artist... he used assistants he used pointing machines he enlarged maquettes of which he did not work on himself - all the very traps he himself fell into".
For England and Moore: Bernard Meadows 1 2 and 4 see 0014184 and 0014185 and 0014200."
0014184
Publisher: ICA TV
Place Published: London
Year: 1988
Date & Collation: 85mins.Sound recording and film reels 4,5,6,7. HMF audio number A132
Description: 65mins unedited interview with Lord HOUGHTON made on 16 February 1988 for 0011194. Inscribed Rolls 4 & 5, 6 & 7. Describes meeting Moore in 1917 on train to London to enlist, in Civil Service Rifles. Bayonet training at Winchester in C Company in February 1917 (We thought it was good fun at the time...We hadn't got the anxieties of older men") and the horrors of active service by September 1917 ("Lifeless bodies that are lying with distorted features probably partly dismembered all covered in mud and slime...The biggest crime in history...We lost a generation"). Convalescent camp at Shoreham-by-Sea preliminary training at Mill Hill School to qualify as physical training instructors at Aldershot. Lord Houghton in Labour Government 1964-1970 avoids or rejects questions that Moore's works depict horrors of World War 1 or the failure of the Labour movement.
20 minute interview with Bernard MEADOWS on working as Moore's assistant 1936-1940 in Canterbury. "He was quite Left-Wing at the time...His work went along in spite of outside influences...Picasso had a tremendous influence...It was an incredibly inventive period in his work..." Kenneth Clark.
Continued on 0014185 also 0014186 and 0014200."
20 minute interview with Bernard MEADOWS on working as Moore's assistant 1936-1940 in Canterbury. "He was quite Left-Wing at the time...His work went along in spite of outside influences...Picasso had a tremendous influence...It was an incredibly inventive period in his work..." Kenneth Clark.
Continued on 0014185 also 0014186 and 0014200."
0021694
Publisher: British Broadcasting Corporation
Place Published: London
Year: 2009
Date & Collation: 50mins.Colour.Sound
Description: Arts documentary presented by Alan Yentob, broadcast 28 July 2009, BBC1. Examines the social and cultural impact of funding, from government, business and private endowment. Five Moore illustrations; HMF 1557, 1635, 1690, 1797, 1845 shown in slideshow to soundtrack of gunfire. Footage from John Read's 1951 film Henry Moore, showing Moore working on his sculpture Working Model for Reclining Figure: Festival 1950 plaster, (LH 292). This is accompanied by archive audio footage of John Maynard Keynes. Five Moore illus: Air Raid Shelter Drawing: Gash in Road c.1940 drawing, (HMF 1557) Study for 'Tube Shelter Perspective' 1940-41 drawing, (HMF 1635) Basement Shelter 1940-41 drawing, (HMF 1690) Shelterers in the Tube 1941 drawing, (HMF 1797) Pink and Green Sleepers 1941 drawing, (HMF 1845).
0023150
Publisher: Nederlands Architectuurinstitut
Place Published: Rotterdam
Year: 2012
Date & Collation: 8minutes20seconds.Colour.Sound.MP4. V515
Description: Short documentary film produced by ARTtube, narrated by Wouter Vanstiphout, architectural historian. Discusses the history and construction of Wall Relief 1955 brick (LH 375) on the façade of Bouwcentrum, Rotterdam and collaboration with architect Joost Boks and two master bricklayers. Shows the removal of the work and discusses the work in the context of the past and plans for the new building development. Illustrated: Four Sleeping Children and Two Lying Figures 1940-41 (HMF 1618) ; Study for Row of Sleepers 1940-41 (HMF 1657); Two Figures Sharing same Green Blanket 1940-41 (HMF 1705); Three Seated Figures 1941; Two Sleepers in the Underground 1941 (HMF 1848). 0023150 Architecture News 2 February 2015
0022153
Publisher: British Broadcasting Corporation
Place Published: London
Year: 2009
Date & Collation: 50mins.Colour.Sound
Description: Arts documentary presented by Alan Yentob. Broadcast BBC1 28 July 2009. Examines the social and cultural impact of funding, from government, business and private endowment. Five Moore illustrations; HMF 1557, 1635, 1690, 1797, 1845 shown in slideshow to soundtrack of gunfire. Footage from V126 showing Moore working on LH 292.
0018578
Publisher: Warner Home Video.
Year: 1945
Date & Collation: 100mins.Black and white.Sound.
Description: British Classics series. Ealing Studios feature film. Produced by Michael Balcon. Directed by Alberto Cavalcanti, Charles Crichton, Basil Dearden, Robert Hamer. Copyright 1945 Canal.
The opening credits appear over Henry Moore's Figure in a Shelter, 1941 drawing (HMF 1763).
0010720
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1983
Date & Collation: 3 hours 30 mins.Sound recording.
Description: Relates to film 0000946. Two audio cassettes of sounds of activity on Much Hadham estate; and interview between Henry MOORE and Huw WHELDON on Drawing, including Shelter and Coal Mine Drawings; Kenneth Clark and Herbert Read; Alice Gostick; Tip cat; Human figure; Materials; Holes; Carving; Jacob Epstein; Henri Gaudier-Brzeska; William Rothenstein's support of Moore against adverse press criticism; Words and literature; Michelangelo; Rembrandt; Maquettes; Northampton Madonna and Child, 1943-1944 Hornton stone and religion; Commission of Large Arch, 1979-1980 travertine marble for Hyde Park; Sheep Piece, 1971-1972 bronze; King and Queen, 1952-1953 bronze at Glenkiln and the contrast between the symbolic heads and the human hands; Rubbing his mother's back; Reclining Figure theme and Divided Figures; the Henry Moore Foundation; Tapestries; Yorkshire background; Curt Valentin; Elephant Skull; Cézanne; Art collection of Henry Moore; Giacometti; Stringed Figures; Much Hadham estate and sculpture in the Open Air; Pre-Columbian sculpture; Sheep Sketchbook; Picasso Guernica visit; Surrealism; Joan Miró; Blind and sculpture.
0010751
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1972
Date & Collation: 14 mins.Sound recording.
Description: Copy, received from David Katzive, of the telephone conversation printed in Art Journal, Spring 1973 (See 0004164). The printed version is very slightly edited and omits the questions/promptings by David Katzive which produced Moore's comments. In a note accompanying the tape (which he refers to under the title Interview with Henry Moore at Home by David Katzive from Philadelphia, 1972), David Katzive states that the tape was played in an exhibition about Nuclear Energy, 1964-1966 bronze at the Philadelphia Museum of Art in 1972.
0016262
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1977
Date & Collation: 4 mins.Sound recording.
Description: Tape inscribed: Henry Moore Transfer of Title 1/31/77". In Munson Williams Proctor Institute Guy Farmer representing Henry Moore transfers title of 81 graphics on exhibit to Robert J. Corber representing the Henry Moore Foundation. Also present Becky J. Koch. See 0003269 0003591."
0018105
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1998
Date & Collation: 7mins.Sound recording.
Description: Female introduces Moore's centenary year, and at National Gallery interviews Margaret McLeod, the curator of the exhibition (See 0017650). Brief comments on Massacio, British Museum, direct carving, open-air. Outlines history and work of the Henry Moore Foundation, and mentions forthcoming Open Day on 20 June 1998 (See 0017796).
Repeated on 0018106.
Repeated on 0018106.
0018106
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1998
Date & Collation: 11minutes.Sound recording.
Description: Repeats 7 minute interview Henry Moore, McLeod (See 0018105).
Adds 4 minutes in which female interviews David Mitchinson in Aisled Barn on Moore's tapestries and textiles. Also Michel Muller on Moore's straightforward personality and routine working day.
Probably recorded on 20 June 1998 Open Day (See 0017796).
Adds 4 minutes in which female interviews David Mitchinson in Aisled Barn on Moore's tapestries and textiles. Also Michel Muller on Moore's straightforward personality and routine working day.
Probably recorded on 20 June 1998 Open Day (See 0017796).
0019947
Publisher: HMF library copy
Place Published: Much Hadham.
Year: 1986
Date & Collation: 60mins.Sound recording.
Description: Tape recording of 18 November 1986 Service of Thanksgiving for the Life and Work of Henry Moore O.M., C.H. 1898-1986 at Westminster Abbey. See 0012397 for programme and those taking part.
Side A: 30mins. Organ playing, Readings, Hymns, and Music.^Side B: 30mins. Henry Moore, O.M.: a memorial address by Stephen Spender (See 0010935), followed by closing hymns, prayers, music, and organ playing.
Side A: 30mins. Organ playing, Readings, Hymns, and Music.^Side B: 30mins. Henry Moore, O.M.: a memorial address by Stephen Spender (See 0010935), followed by closing hymns, prayers, music, and organ playing.
0017379
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1995
Date & Collation: 15 minutes. Colour.
Description: Anonymous amateur video depicting exterior of building, and trees being cleared from its grounds. No words.
0015339
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1992
Date & Collation: 5 mins.Colour.Sound.
Description: Views of sculpture at Bagatelle to music. John Farnham and workmen installing bronzes. Brief commentary on the setting for the sculptures. Cassette labelled: Erica Bolton and Jane Quinn. Henry Moore Foundation Exposition.
0006097
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1965
Date & Collation: 5 mins.Black and white.Sound.
Description: Henry Moore at Henraux, speaking in English to workman who replies in Italian, discussing qualities of marble and techniques of cutting it from the mountain. Cited as: Henry Moore Visits Carrara, Zonal Film Facilities Ltd 1965.
0009710
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1967
Date & Collation: 26 sound recordings.
Description: About 50 hours of tape recorded, informal conversations between Henry Moore and John Hedgecoe at Much Hadham, with contributions by Irina Moore. Made in preparation for the books Henry Spencer Moore (See 0005040) and also the 1986 Henry Moore (See 0000066). Typed transcripts exist of some of the tapes; and there are half-a-dozen additional typescripts, in varying stages of revision and duplication. Typed in January 1985 they are mostly recollections of childhood years. Identification is by the Henry Moore Foundation library accession numbers A74-A99. Tapes 84-99 were probably made during 1984 and 1985, towards the end of Moore's life. They are late, hesitant recollections, and lack the content of the artist's earlier statements.
Tape A74. (Inscribed 'Reel 1'. Discusses format of Henry Spencer Moore book, and comments on photographs on pages 1-67, thus providing edited extracts from the recording as some of the text which appears in the book).
Tape A75. (Inscribed 'Reel 2'. Much Hadham Church heads, Henry Spencer Moore photographs and text going back over early pages. Holes, Cubist and Cycladic art. Kent. Pebbles. Pages 68-75 approx.).
Tape A76. (Inscribed 'Reel 3'. Chalk stone. Courtney Pollack. Early press criticism and subsequent attacks on Moore's work. Pages 80-81 and continuation of Henry Spencer Moore. Tape bears mss. inscription 7.30. 22nd Oct").
Tape A77. (Inscribed 'Reel 4'. Kent. Maquettes. Wood. Henry Spencer Moore book: approx. page 100).
Tape A78. (Inscribed 'Reel 5'. Surrealist and abstract influences Michelangelo; Northampton Madonna and Child 1943-1944 Hornton stone; Religious art; Reclining Figure theme; Stringed Figures; Titles of art works; Form and space in sculpture; Natural forms; Three Standing Figures 1947-1948 Darley Dale stone; Memorial Figure 1945-1946 Hornton stone. Up to page 175).
Tape A79. (Inscribed 'Reel 6' . Family Groups Rocking Chairs Leaf Figures Bronze casting Drapery Much Hadham Church heads. Time-Life Screen 1952-1953 Portland stone and its maquettes. King and Queen 1952-1953 bronze Hands. Henry Spencer Moore coverage pages approx. 174-239).
Tape A80. (Inscribed 'Reel 7'. Harlow Family Group 1954-1955 Hadene stone; Upright Motives; Sectional lines; Wall Relief 1955 brick; Reclining Figures. Relates to Henry Spencer Moore approx. pages 240-339).
Tape A81. (Inscribed 'Reel 8'. Moore describes his time as a student teacher immediately before and directly after World War 1. Leeds School of Art. Henry Spencer Moore book pages 340-357. Two-part Reclining Figures and rock formations and their construction in plaster. Critics. Royal College of Art William Rothenstein and others).
Tape A82. (Inscribed 'Reel 10'. Follows on directly from Reel 8. Comments on Henry Spencer Moore pages 358-435. 1960 Whitechapel Art Gallery exhibition (See 0006882); Much Hadham gardens and space for work Natural forms. Bridges and Arches. Forte dei Marmi. Holidays and work).
Tape A83. (Described as 'Reel 12 the last'. Side B seems to continue briefly the conversation on Forte dei Marmi from Tape A82. Side A discusses a city like a house in its placing of sculpture. Open Air sculpture exhibitions. Henry Spencer Moore pages approx. 478-to end. Three Way Piece No. 2: Archer 1964 plaster and the T.S. Eliot stage design (See 0005927)).
Tape A84. (Inscribed 'Done by...October 1984'. Carving holes; sculpture as full-time work; ambition to be a writer; architecture; countryside and change).
Tape A85. (Typescript inscribed 'Typed 19 Dec 1984'. Touching sculpture Rodin Natural forms financial security personal and domestic matters).
Tape A86. (Inscribed 'Henry Moore 3.2.85. Typed'. Drawing; Leon Underwood as a teacher; British Council; Curt Valentin and other dealers and friends).
Tape A87. (Conversational recollections on pre-war Paris, English artists, J.B. Priestley's recent death (i.e. August 1984). Meeting Irena Radetzky and early married life in Dedham (Cuckoo Cottage) before moving to Hampstead. Appreciation of abstraction. Drapery. Wood as a material. Art and life and reality).
Tape A88. (Inscribed 'Henry Moore. March 1985 tape (2) Typed'. Early life: Castleford; Alice Gostick; World War 1. It's 2 March 1985. Domestic conversation on children and grandchildren, and friends. Forte dei Marmi).
Tape A89. (Inscribed 'Henry Moore conversation about photographs April 1985. Typed'. John Hedgecoe, Irina Moore and Henry Moore looking admiringly at photographs from 1986 book).
Tape A90. (Inscribed 'Henry Moore conversation June 1985. Typed'. Recollections of the 1930s, the Human figure, Landscape).
Tape A91. (Inscribed 'Henry Moore Tape 4. Typed'. Sheep drawings, Stonehenge, Glenkiln, Irina Moore on Dedham).
Tape A92. (Inscribed 'Henry Moore 7. Typed'. John Hedgecoe and Henry Moore looking at photographs for 1986 book. Public acclaim, drawing, art).
Tape A93. (Inscribed 'Tape 8 Henry Moore. Typed'. Three-dimensional form, Raymond Spencer Moore (father)).
Tape A94. (Inscribed 'Henry Moore Tape 9. Typed'. Leeds School of Art and Royal College of Art student life, Michael Rothenstein).
Tape A95. (Inscribed 'Tape 10. Henry Moore. Typed'. Nostalgic recollections, mainly of 1920s and 1930s as student and as teacher).
Tape A96. (Inscribed 'Henry Moore. Tape 11. Typed'. Hesitant, late comments on the arts/ Mentions recent visit of President Mitterrand (i.e. October 1984)).
Tape A97. (Inscribed 'Henry Moore. Tape 14. Typed'. Cézanne and historical art).
Tape A98. (Inscribed 'Repeating Conversations with H.M. on Heredity'. 10 mins. John Hedgecoe, dictating, paraphrases Moore's comments on heredity and environment. See 1986 book pages 101, 149).
Tape A99. (Inscribed 'Henry Moore August 7th 1984' and 'Last Visit'. John Hedgecoe announces Ebury Press book. Recollections of Castleford, childhood, Yorkshire landscape, early education, World War 1, Northampton Madonna and Child, 1943-1944 Hornton stone, Shelter drawings, early married life in several locations).
Tape A74. (Inscribed 'Reel 1'. Discusses format of Henry Spencer Moore book, and comments on photographs on pages 1-67, thus providing edited extracts from the recording as some of the text which appears in the book).
Tape A75. (Inscribed 'Reel 2'. Much Hadham Church heads, Henry Spencer Moore photographs and text going back over early pages. Holes, Cubist and Cycladic art. Kent. Pebbles. Pages 68-75 approx.).
Tape A76. (Inscribed 'Reel 3'. Chalk stone. Courtney Pollack. Early press criticism and subsequent attacks on Moore's work. Pages 80-81 and continuation of Henry Spencer Moore. Tape bears mss. inscription 7.30. 22nd Oct").
Tape A77. (Inscribed 'Reel 4'. Kent. Maquettes. Wood. Henry Spencer Moore book: approx. page 100).
Tape A78. (Inscribed 'Reel 5'. Surrealist and abstract influences Michelangelo; Northampton Madonna and Child 1943-1944 Hornton stone; Religious art; Reclining Figure theme; Stringed Figures; Titles of art works; Form and space in sculpture; Natural forms; Three Standing Figures 1947-1948 Darley Dale stone; Memorial Figure 1945-1946 Hornton stone. Up to page 175).
Tape A79. (Inscribed 'Reel 6' . Family Groups Rocking Chairs Leaf Figures Bronze casting Drapery Much Hadham Church heads. Time-Life Screen 1952-1953 Portland stone and its maquettes. King and Queen 1952-1953 bronze Hands. Henry Spencer Moore coverage pages approx. 174-239).
Tape A80. (Inscribed 'Reel 7'. Harlow Family Group 1954-1955 Hadene stone; Upright Motives; Sectional lines; Wall Relief 1955 brick; Reclining Figures. Relates to Henry Spencer Moore approx. pages 240-339).
Tape A81. (Inscribed 'Reel 8'. Moore describes his time as a student teacher immediately before and directly after World War 1. Leeds School of Art. Henry Spencer Moore book pages 340-357. Two-part Reclining Figures and rock formations and their construction in plaster. Critics. Royal College of Art William Rothenstein and others).
Tape A82. (Inscribed 'Reel 10'. Follows on directly from Reel 8. Comments on Henry Spencer Moore pages 358-435. 1960 Whitechapel Art Gallery exhibition (See 0006882); Much Hadham gardens and space for work Natural forms. Bridges and Arches. Forte dei Marmi. Holidays and work).
Tape A83. (Described as 'Reel 12 the last'. Side B seems to continue briefly the conversation on Forte dei Marmi from Tape A82. Side A discusses a city like a house in its placing of sculpture. Open Air sculpture exhibitions. Henry Spencer Moore pages approx. 478-to end. Three Way Piece No. 2: Archer 1964 plaster and the T.S. Eliot stage design (See 0005927)).
Tape A84. (Inscribed 'Done by...October 1984'. Carving holes; sculpture as full-time work; ambition to be a writer; architecture; countryside and change).
Tape A85. (Typescript inscribed 'Typed 19 Dec 1984'. Touching sculpture Rodin Natural forms financial security personal and domestic matters).
Tape A86. (Inscribed 'Henry Moore 3.2.85. Typed'. Drawing; Leon Underwood as a teacher; British Council; Curt Valentin and other dealers and friends).
Tape A87. (Conversational recollections on pre-war Paris, English artists, J.B. Priestley's recent death (i.e. August 1984). Meeting Irena Radetzky and early married life in Dedham (Cuckoo Cottage) before moving to Hampstead. Appreciation of abstraction. Drapery. Wood as a material. Art and life and reality).
Tape A88. (Inscribed 'Henry Moore. March 1985 tape (2) Typed'. Early life: Castleford; Alice Gostick; World War 1. It's 2 March 1985. Domestic conversation on children and grandchildren, and friends. Forte dei Marmi).
Tape A89. (Inscribed 'Henry Moore conversation about photographs April 1985. Typed'. John Hedgecoe, Irina Moore and Henry Moore looking admiringly at photographs from 1986 book).
Tape A90. (Inscribed 'Henry Moore conversation June 1985. Typed'. Recollections of the 1930s, the Human figure, Landscape).
Tape A91. (Inscribed 'Henry Moore Tape 4. Typed'. Sheep drawings, Stonehenge, Glenkiln, Irina Moore on Dedham).
Tape A92. (Inscribed 'Henry Moore 7. Typed'. John Hedgecoe and Henry Moore looking at photographs for 1986 book. Public acclaim, drawing, art).
Tape A93. (Inscribed 'Tape 8 Henry Moore. Typed'. Three-dimensional form, Raymond Spencer Moore (father)).
Tape A94. (Inscribed 'Henry Moore Tape 9. Typed'. Leeds School of Art and Royal College of Art student life, Michael Rothenstein).
Tape A95. (Inscribed 'Tape 10. Henry Moore. Typed'. Nostalgic recollections, mainly of 1920s and 1930s as student and as teacher).
Tape A96. (Inscribed 'Henry Moore. Tape 11. Typed'. Hesitant, late comments on the arts/ Mentions recent visit of President Mitterrand (i.e. October 1984)).
Tape A97. (Inscribed 'Henry Moore. Tape 14. Typed'. Cézanne and historical art).
Tape A98. (Inscribed 'Repeating Conversations with H.M. on Heredity'. 10 mins. John Hedgecoe, dictating, paraphrases Moore's comments on heredity and environment. See 1986 book pages 101, 149).
Tape A99. (Inscribed 'Henry Moore August 7th 1984' and 'Last Visit'. John Hedgecoe announces Ebury Press book. Recollections of Castleford, childhood, Yorkshire landscape, early education, World War 1, Northampton Madonna and Child, 1943-1944 Hornton stone, Shelter drawings, early married life in several locations).
0006098
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1965
Date & Collation: 40 mins.Sound recording.
Description: Excellent interview with Virginia Museum of Fine Arts exhibition assistant, discussing works to be displayed. Conversation used at the exhibition (See 0005903). Topics and works ranged over Working Model for Locking Piece, 1962 bronze; beauty and sculptural objective; backgrounds for sculpture; Upright Figures and thin forms; Time-Life Screen, 1952-1953 Portland stone; Maquettes, physical size and mental scale; Virginia; use of bronze; Helmet Heads; Family Groups and Mother and Child theme; and Stringed Figures. See also 0006099.
0006099
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1965
Date & Collation: 10 mins.Sound recording.
Description: Virginia Museum of Fine Arts exhibition (See 0005903) contained recorded interviews with Henry Moore (See 0006098) which could be heard on telephones by the exhibits. Marie Louise PINCKNEY explains to Fred HAZELTINE how she visited Moore at Much Hadham to obtain the interview. Moore is heard in two brief extracts, speaking about the Working Model for Locking Piece, 1962 bronze and about bronze.
0009656
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1965
Date & Collation: 20 mins.Black and white.Sound.In German, with Henry MOORE talking in English.V14
Description: Film, without title or credits, of Henry Moore at Noack Foundry in Berlin examining work in progress on Sundial, 1965-1966 bronze, Nuclear Energy, 1964-1966 bronze. In interview Moore outlines his early career, influence of the British Museum, the Human figure, materials and idea, and working from Maquettes. Slides of other works by Moore are seen during the interview. Hermann Noack and Werner Haftmann also appear. There is a section on the site of the Berlin Neue Nationalgalerie with Three Way Piece No. 2: Archer, 1964-1965 bronze.
0011383
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1989
Date & Collation: 60 mins sound recording.
Description: To sound of slide projector, Brenda RAWNSLEY reminisces about Derek Rawnsley 1911-1943, and the founding and development of School Prints. Mentions Henry Moore drawing onto plastic sheet, and his concern about colour, and the French prints by Picasso, Léger, Braque, Dufy and Matisse with whom his work was included. The lithographs by the six artists were launched/exhibited at 39 Eaton Square on 28 April 1949: temporary premises of School Prints at the time. Sculptural Objects, 1949 lithograph. Never issued were the black and white commissions, Reclining Figure and Ideas for Sculpture, 1949 lithograph and Seated Figures, 1949 lithograph.
See also 0012715 and 0012809.
See also 0012715 and 0012809.
0009928
Author/Editor: MOORE Henry.
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1975
Date & Collation: 28 min + 26 min. Sound recording.
Description: Double-sided tape recording in preparation for 0003377, in which Moore examines the Sketchbook with David MITCHINSON, and comments on asymmetry, pebble forms, carving and modelling, the world tradition of sculpture, animal forms, sense of touch, Reclining Figure theme, and drawing and sculpture relationship.
0009899
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1974
Date & Collation: 90 mins.Sound recording.
Description: Long interview in Hoglands by female interviewer, possibly Italian. Dated from references to recent opening of Henry Moore Sculpture Centre at Art Gallery of Ontario, and Turner exhibition currently at the Royal Academy of Arts. Influence of Old Masters, Maquettes, Stringed Figures, Naum Gabo, Architecture and sculpture, Open Air, Bronzes and lost wax casting technique, changing pattern of acceptance of modern art, Teaching, Paris 1920s, Size and scale, Reclining Figure theme, War Drawings, Drapery, Childhood, Moore's father, T.R. Dawes, Alice Gostick, Leeds School of Art, Sunday School Michelangelo story, Stage Designs, Florence exhibition (See 0004285), Plasters, Holes, Three-dimensionality.