Henry Moore Artwork Catalogue
Sketchbook 1926.
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Vol. 1: The facsimile Sketchbook. 86pp of illus.
Vol. 2: Accompanying catalogue entitled Henry Moore Sketchbook 1926. Frontispiece,ii,25pp.4 plates.
1-9 Henry MOORE (in 1976) on this Sketchbook of 1926.
(The artist describes how by 1926 he had finished being a student and was already teaching sculpture at the Royal College" and living "in a small (top-lighted) studio in Adie Road Hammersmith...A Sketchbook is a book in which one thinks and works out ideas. In this one you will find in drawings and written statements the ideas which occupied and excited one at that time". While learning about the figure was fresh in Moore's mind by 1926 he had turned towards early and primitive sculpture. He realised that "nothing is ever perfectly symmetrical" in nature. The asymmetry principle and archetypes of stone sculpture were found in pebbles and related to direct carving and truth to material. Moore comments on modelling the "world tradition of sculpture" the sense of touch British Museum and books consulted. Practical reason for Reclining Figures is that they needed no support. Concludes with a note on Drawing and Sculpture recording their relationship and his change to using maquettes).
10 Captions to the five illustrations.
(Moore in his studio and plates of four Sculptures 1924-1927 relating to drawings in the Sketchbook).
11 -21 Catalogue.
(Commentary on each page of the Sketchbook; mainly the work of Alan G. WILKINSON).
22-25 Bibliography Acknowledgements details of editions.
For tape recorded interview in preparation for Henry Moore's text see 0009928."
Bib. Number0003377
Sketchbook 1926.
Author/EditorMOORE Henry.
PublisherGanymed Original Editions
Place PublishedLondon
Year1976
Date & CollationBox containing 2 vols: Facsimile and Catalogue.
LanguageEnglish
More InformationPublished in association with Fischer Fine Art. Facsimile edition of the Sketchbook limited to 325 copies all numbered and signed by the artist. 300 copies are for sale, 25 are reserved for the artist and numbered A.P. 1 to 25. Moore created two etchings with acquatint for the éditions de tête, Circus Scenes, 1975 etching with aquatint and High Wire Walkers, 1975 etching and aquatint. Edition de tête A consists of 25 sets numbered 1 to 25 containing both etchings. Edition de tête B consists of 100 sets numbered 26-125 containing one of the two etchings to choice. The standard edition is numbered 126 to 300.Vol. 1: The facsimile Sketchbook. 86pp of illus.
Vol. 2: Accompanying catalogue entitled Henry Moore Sketchbook 1926. Frontispiece,ii,25pp.4 plates.
1-9 Henry MOORE (in 1976) on this Sketchbook of 1926.
(The artist describes how by 1926 he had finished being a student and was already teaching sculpture at the Royal College" and living "in a small (top-lighted) studio in Adie Road Hammersmith...A Sketchbook is a book in which one thinks and works out ideas. In this one you will find in drawings and written statements the ideas which occupied and excited one at that time". While learning about the figure was fresh in Moore's mind by 1926 he had turned towards early and primitive sculpture. He realised that "nothing is ever perfectly symmetrical" in nature. The asymmetry principle and archetypes of stone sculpture were found in pebbles and related to direct carving and truth to material. Moore comments on modelling the "world tradition of sculpture" the sense of touch British Museum and books consulted. Practical reason for Reclining Figures is that they needed no support. Concludes with a note on Drawing and Sculpture recording their relationship and his change to using maquettes).
10 Captions to the five illustrations.
(Moore in his studio and plates of four Sculptures 1924-1927 relating to drawings in the Sketchbook).
11 -21 Catalogue.
(Commentary on each page of the Sketchbook; mainly the work of Alan G. WILKINSON).
22-25 Bibliography Acknowledgements details of editions.
For tape recorded interview in preparation for Henry Moore's text see 0009928."