Volume to accompany the exhibition of 4 Moore works at the Nolde Foundation in Seebüll, Germany in 2017. Foreword by Christian Ring and Godfrey Worsdale, directors of the Nolde and Henry Moore Foundations respectively, followed by four chapters on Moore and his work. 

The first chapter is an essay by Sebastiano Barassi and Hannah Higham from the Henry Moore Foundation on "Ein naturverbundener Mensch: Henry Moore und die Natur" ("A natural person: Henry Moore and nature"). It discusses the influence of nature and the landscape on Moore's art. Moore's drawings explore nature, especially later on when Moore stopped using them as a way of developing ideas for sculpture; his later drawings include landscapes, animals, and trees. Moore's sculpture also influenced by nature. The reclining figure, one of his three great themes, often echoes the hills and valleys of the English landscape. Moore frequently used natural objects (his "library of natural forms") as the starting point for his maquettes, which might then have been worked up into large-scale works. One of Moore's most impressive natural objects that he collected was the elephant skull, which was the inspiration for a series of lithographs, along with sculptures and drawings. Also printed in Danish in 0023576.

Second chapter by Astrid Becker is called "Versuche tiefer Griffe ins übervolle All der Natur: Emil Nolde und Henry Moore". Discusses relationship between Moore and Nolde as two of the great figures in 20th century art; Moore as a groundbreaking sculptor and Nolde as an expressive painter. An expanded version of Becker's comments in 0023574. Sections on "Emil Nolde meets Henry Moore", "Mental landscapes", "Ideal values", "Dialogue of works", and "Timeless validity of essence". Also printed in Danish in 0023576.

Third chapter, "Henry Moore in Seebüll", discusses in turn each of the four works on display at the Nolde Foundation. It begins with a summary of Moore's work, which it divides into four phases: his early career, up to the 1929 Reclining Figure (LH 59), where Moore was influenced especially by the ancient Mexican Chacmool figures; the next two decades, influenced by the Surrealist movement and marked by a willingness to experiment; the 1940s and 1950s; and Moore's later work, from 1960 onwards. The next section is on the Reclining Figure as a recurring motif of Moore's work, making up around a quarter of the sculpture in the catalogue raisonné, and three of the four works displayed at Seebüll. Then each of Moore's four works displayed at Seebüll are treated individually: Working Model for Three Piece Reclining Figure: Draped, Working Model for Reclining Figure: Angles, Working Model for Draped Reclining Figure, and Working Model for Oval with Points.

Fourth chapter, "Henry Moore und Deutschland", by Hans-Joachim Throl, is about Moore's links with Germany more generally. Discusses the development of Moore's reputation as a sculptor of the world ("Bildhauer von Weltgeltung") following his first American retrospective at MoMA in 1946 and his winning the grand prize at the 1948 Venice Biennale. Discusses Moore's first German solo exhibition in 1950, which first showed at the Hamburg Kunsthalle and then at the Stadtischen Kunstsammlungen in Dusseldorf. Quotes Herbert Read's discussion of Moore's artistic career in the catalogue for the 1950 German exhibition. Moore's contributions to the documenta exhibitions, including documenta I (where King and Queen) was shown, discussed. Moore's major works on public display in Germany, including the Goslar Warrior and Large Two Forms treated briefly. Important exhibitions from 1971 (Henry Moore 1961-1971 in Hamburg) to 2017 (Henry Moore: Impuls für Europa in Münster) mentioned.

Finally, there is a timeline of Moore's life, from his birth in 1898 up to his death in 1986, discussing key points in Moore's life.